In working on music, I often try to reach for past, sensory indicators as a way to guide me. Say, for example, when Jeff yesterday was playing a delayed guitar line over the QUEEN OF THE MEADOW chorus. Feeling-wise, this reminded me of what I liked about Tears For Fears; and in noting that, it helps me trace back how we might better mine that same impression into more clarity.
And so far, that seems to be what we're after: the epic space we heard on certain records from the 80's, that in their emotional acuity targeted something we've rarely heard since. But that's just where it begins, an this new B-side is a nice indicator of that; pegged in my mind as being from the same emotive terrain as a song like CHERRY; nothing more, nothing less.
CHERRY is an interesting one, at that, as producer Flood would have preferred it made MELLON COLLIE over say, LOVE. As hook, I agreed, but I was unwilling at that time to further investigate why I'm such a fan of that kind of music but that I didn't necessarily want that approach for SP. Back then, it was in my eyes all about power.
But power is a tricky thing, as indicated by all these 'whoa-e-whoa-y' chorus that you seem to hear everywhere. You know the one: a stadium full of people sing 'nah-nah-nah-nah' together, and somehow this is indicative of human cohesion. Obviously, I beg to differ, as I'll take a Judas Priest classic any day. Or Depeche Mode. Or Abba.
Yes, I date myself with said references, but as I said in a recent interview, those new artists aren't making music for me, nor should they. On the whole, I tend to reject convention with suspicion. But there are times where, thief-like, I'll plow my way through to take what I like; and MTAE is evidence of that; coming soon, FOR SALE, to a store near you; Dec 9th to be exact!
Anyway, back to our new work. QUEEN OF THE MEADOW is somewhat finished, the vocals having been done yesterday, the affair sparse in a way that forces me to consider how I might live with such austerity in my music if this is the last terrain to explore. Firstly, the ideas need to be fab. And second, the songs need to be so strong of character they don't need to be over-painted. As for today's work, Jeffrey is off, so I'll tackle the boards alone; starting with more MACHINA work before trying to compose another extra-track on the fly. Presumably starting with a title to see where it might take me. Something like, 'MUGWUMPS AND GIZZARDS'…or 'FIDELITY IS THE NEW CURSE'.
All that mentioned, Jeff and I do agree that this work on b-sides is the R + D we need to have a different experience on/with DAY FOR NIGHT; as I've asked Howard to wait a bit before coming back in so that we might dial in what songs I'll want to push forward, how we might better execute them to save time on the back-end, and to give me space to perhaps cork out a whole new batch. Seems like ages since I wrote new material, and in those occasional, illuminative moments I have, it even sounds like fun.