A Music Update
First of all, the good folks over at Veggie Co Records have finally had a go at my Myspace page, which was long in need of an overhaul. I’m still not going to update it much because I hate Myspace, but at least it looks less boring.
I have finished a draft of the first song of American Expatriate, “Arriving”. It’s got a skeleton instrumental and complete lyrics, although I haven’t revised them yet. It describes the narrator’s first moments arriving in China, first while he’s looking out the plane and then later when he’s lugging his luggage up the eight flights of stairs to his apartment. It’s got a chorus that is meant to be sung, so prepare yourselves now: I’ll be singing again on this album. (Don’t worry though, I’ll be getting some knowledgeable help before I record it).
I’ve decided on a writing style for the album that’s heavily influenced by my recent experience writing some short fiction (and reading it). Although the overarching plot of the album isn’t exactly crystallized yet, don’t expect there to be a lot of dialogue. This song, and those that follow it, get the point across largely through a description of the environment, filtered (of course) through the narrator’s somewhat distorted perspective.
Why am I choosing to write it this way? For one, I find it much more interesting than conveying feelings with dialogue. A song already is dialogue in a sense; I can use tone and emotion in the delivery and convey information without having to have the character talk to people. Secondly, it fits one of the overarching themes of the album, which is isolation. This is not to say that the narrator won’t interact with other people–quite the contrary–but my concern is primarily what’s going on inside his head. What happens outside is really only important in that it affects his mind state. Finally, it allows me to paint a visual picture and convey information about the narrator at the same time. Since urban China is an interesting setting, and one that many listeners won’t be familiar with, the more detail I can cram into the songs, the clearer a picture of the setting they are going to get. At the same time, by filtering that detail through the narrator’s language, the listener learns something about him, too. It’s the proverbial two birds-one stone thing.
I’ve also been wanting to bring magical realism into some of my music for a while now, being a fan of authors like Borges, so expect a good bit of that, too. Nothing too crazy, though. I think you’ll like it.
Musically, I’ve got around 40 skeleton instrumentals, of which 3 or 4 might end up on the album, if that. I’m still learning my way around the new Reason, and developing my composition skills. It’s really too early to say anything for sure, but expect real-life drums and stripped-down piano chord melodies mixed with some distortion and occasional electronic intrusions.
