ONU Update for April 2009
Hello all,
The last few months have been difficult with regard to songwriting. Currently I am helping put my wife Megan through graduate school, which generally means watching our girls almost every waking second that I am not at work. There is light at the end of the tunnel, though–it looks like she’ll graduate in August, Lord willing. Weekends for me to write and record should open up.
Nevertheless, work continues, even with the difficult schedule. I have been focusing on the melody, changes, and vocal harmonies of the finale “Glory to the Lamb” on and off for a few weeks now. I also received an incredible deal on a software upgrade for recording (I have the latest version of Apple Logic Studio now), which means I have everything in place technologically for us to record, mix, and master the entire 2-CD project without spending another dime.
I take my small little victories where I can.
I have been listening to the following music for purposes of creative inspiration during the songwriting and arrangement process:
Passion by Peter Gabriel. This was his outstanding effort originally for Scorsese’s Last Temptation of Christ, a deplorable movie with a great soundtrack. The composer of the score for Mel Gibson’s Passion of the Christ, John Debney, borrowed heavily from it–so heavily, in fact, that many call it an unconscionable rip-off. So, I though I’d learn from the original.
Titus: The Original Motion Picture Soundtrack by Elliot Goldenthal. Similar story, only even more blatant. The composer of the soundtrack for the movie 300, Tyler Bates, ripped off major portions of Goldenthal’s epic masterpiece (an out of court arrangement with Warner Brothers kept the controversy low-key).
West Side Story by Leonard Berstein. Stunning musical achievement–even “progressive” in the ways prog rockers groove to (odd time signatures, key changes, etc.). Pure genius.
Rites Of Spring and Firebird Suite by Igor Stravinsky, Scythian Suite by Sergei Prokofiev (all conducted by Leonard Berstein). Stravinsky’s primal rhythms are inspirational as I try to write very ethnic yet powerful Middle Eastern grooves (not as laid back as “world music” can be these days–remember, the debut of this work actually resulted in a riot!). Also on the same album, some elements of the Scythian Suite by Prokofiev have even more directly ancient militaristic sounds (to me, anyway).
Sheer Heart Attack and A Night At The Opera by Queen. These are the two best Queen albums. Early enough to have their best creativity, while having the fully realized “Queen” sound courtesy of Roy Thomas Baker (as opposed to Queen and Queen II, which are a bit too “raw” for my tastes).
Signals by Rush. Not the best Rush album, but the bass tone is absolutely the best Rickenbacker 4001 biamped sound ever recorded. Stirs my heart every time I hear it.
Spilt Milk by Jellyfish. This album continues to delight me with every listen. Amazing production values.
Boston (debut) by Boston. I had this on vinyl when it was first released. Loved it then, love it all the more now. This album is most inspirational because of how it was made. It was nothing less than the most successful basement recording of all time.
So, at least I am filling my brain with some decent raw musical material. One thing is certain: O Nox Ultima will NOT sound like another Rush album!
That’s all for now.
Bart
