Wales v England. Always a difficult one for me. Welsh blood English heart. I can’t remember the last time Wales beat England in the football. Rugby… now that’s a different matter – but for some reason Wales just can’t pull it together in the football. Ranked between Haiti and Grenada apparently… and that’s not good! So it’s always with faint embarrassment that I watch Wales play football. And although I support England at every sport it is always a tug of the heart-strings when they play Wales. Like two sides of my soul competing in battle, ripping each other apart and yet coming together as one when the whistle blows.
Those two sides… the devil on one shoulder and the angel on the other. The devil telling you to write simple, easy on the ear songs and the angel telling you to always write from the heart. Or is it the other way round? Anyway, they both have a point. The devil just wants you to succeed and earn a lot of money. He just wants you to write that hit song – that song that’ll earn you a million dollars. He just wants you to write simple songs that the general public can relate to . He wants you to write a “Yellow” or a “Wonderwall” and then have an Adele-like album success story. He knows you have to eat and he knows what you could do to fill that stomach. You don’t even have to sell your soul to him… you just have to stick with the melodies, stick with the McCartneyisms, write “The Bends”.
But the angel tells you that the hits aren’t important. The angel says that you have to follow your own path and write music that you can be proud of forever more. Music that is artistically satisfying and sod the money! The angel wants you to write “Kid A”.
For a songwriter this can be a tightrope. I should qualify that! There are some songwriters that will never experience this dilemma for there are many out there who couldn’t write a great song even if a friend travelled into the future, stole an almanac of classic songs then travelled back in time and placed said almanac under said songwriter’s pillow.
But for a lot of songwriters the devil and the angel are an issue. In fact, the score right now is England 1 – 0 Wales. England play in white, Wales play in red. Hmmmm… relevant? I’m serious. The devil and the angel do indeed often come out to play. The songwriter wants to be considered an artist you see. An artist – fancy that! The musician wants to be considered clever. Ha ha! He wants to write ‘clever’ music. He wants to dumbfound and even alienate his audience. For alienation can be satisfying. Alienation can even be rewarding. The devil struggles with this… but if you get it right you can alienate your audience and mesmerise them. You can seduce them with an agile twist and turn. The devil appreciates “Ok Computer” but is unsure of exactly how it happened. The devil would rather you didn’t entertain such thoughts. Forget it and listen to “Angel” by Robbie Williams a few more times. Then the devil decides that suggesting you listen to “Angel” is a bit contrary and he suggests “Highway to Hell” instead!
The switched on songwriter knows you have to strike a balance. Whether that be across the range of songs on an album – i.e. have a couple of singalong singles and a few deeper songs… or internally within the song itself. For a song can be clever and catchy – the perfect balance perhaps. And sometimes songs that sound simple and catchy are actually clever and catchy but disguised as simple and catchy. McCartney was perhaps the king of the simple and catchy (but really clever and catchy) song. There are many exponents out there including one of my favourites, Pete Shelley of the Buzzcocks. Many of those songs that you think are just throwaway pop songs actually have an intricate, delicate structure hiding beneath the surface. Or you were right in the first place and they are just throwaway pop songs! Do you know which are which? Do I? Do you care? Do I?
I think that a lot of songwriters want acceptance from their peers. They need other musicians to acknowledge their talent and fulfil their want of worthiness. And this exploration for the lost chord, the sound that will cause all others to down tools and proclaim “God-like Genius”tm status, can so often be their downfall. I can think of a whole host of musicians that have at one time or another fallen into this category. It’s not important to name them… but sometimes just because you CAN play notes only a Golden Headed Langur can hear, doesn’t mean you have to!!! (Steve Vai, not naming any names… but I am pointing at you!).
So when you find a band that gets this balance right you tend to fall in love. Most of the bands I adore strike the balance. They live with the devil and the angel and survive the conflict. When one of these bands gets it right it moves you. When the Flaming Lips released “the Soft Bulletin”, I felt that power. That album was clever and simple. It was the album Goldilocks would have chosen had the house had three record players rather than three bowls of porridge. A close to perfect album. I could have picked a whole host of albums to represent examples of ‘devil and angel’ albums. I could have picked “Revolver”, “His ‘n’ Hers”, “Grace”, “Pet Sounds”, “Silent Alarm” or “Is This It?”. Albums that reach the parts other collections of songs cannot reach. And often the very same bands will start to prefer the advice coming from one shoulder over another. They veer too far away from the line of balance – with various degrees of success. They can be lucky and still produce an album which is loved… or they can be unlucky and create an album that becomes a source of amusement and derision. I think the Flaming Lips, Lennons and Radioheads of this world have all veered from the path and enjoyed the positives and the negatives of the experience.
During the writing of “Escapism” I have walked that fine line between pretentious and commercial. Every artist wants to have a commercial success… don’t let any of them tell you otherwise. However, if you can achieve that success whilst never abandoning what you believe in then all power to you. I think Bill and I have pulled off a sweet yet clever album with “Escapism” and I’m sure the song ‘A Thousand Steps’ was a contributing factor. We chose to document every second of the songs creation – from the moment I first picked up the acoustic guitar, until the moment I finalised the mix. As we worked on ‘A Thousand Steps’ I was fearful that we might be creating a song that satisfied us as writers but left the public cold. But I’m pretty sure we took the advice of the devil and the angel and in many ways Bill and I actually become the devil and the angel during the songwriting process. One of us will make a decision and the other will flag up its potential pitfalls. A battle always rages. A friendly battle… but a rewarding battle. The outcome for us has been songs such as ‘A Thousand Steps’, ‘The Calm and the Storm’ and ‘Where We Go Next’. Songs that don’t shy from being intellectual, and yet have that commercial appeal that the public crave… we hope. However, please note that I will never confuse having an element of “commercial appeal” with being a producer of “coffee table album”s. Don’t fret… I could (and probably will) wax lyrical about coffee table albums in a future post. 😉 For now my friends, I leave you with track 9 of “Escapism”… A Thousand Steps. Oh.. and Wales lost.
‘Mean Machines‘ was a surprise. An experiment gone wrong and yet so well. When Bill and I decided to make our collaboration a ‘band proper’, ‘Mean Machines‘ became the second song we recorded. We had to follow the majesty of ‘Where We Go Next’. Not easy to top a song that had so much slavish effort put into it. So I sat in my studio, exactly as I am now, and stared at the blank screen. I do a lot of staring at blank screens. Don’t get me wrong, I do fill my days with other things too! It’s just that staring at a blank screen is an activity which the modern musician cannot avoid. In the old days I suppose the equivalent would have been staring at blank studio walls – or watching paint dry in a rehearsal room. But now we have computer monitors to take some of the burden – to take the weight off our shoulders. Staring at a computer screen can feel more fulfilling. Ha ha!
I remember the day. Some guys were in the house changing my old boiler. I’m not referring to the girlfriend… I genuinely mean my old boiler (joke Dani xxx). And I was in my studio staring at the blank screen. Then I layed down the first beat. And then the first bass roar. In a couple of hours I pretty much had the song complete… in its most basic form. One of the men changing the boiler expressed a bit of interest and would chip in with words of advice! Ha ha! But like I say… I had the bare bones of the song completed very quickly. I’m actually quite proud of the music of ‘Mean Machines‘. It is quite heavy and persistent. I also really like some of the orchestral flourishes.
I sent the music to Bill with the title “Mean Machine”. Yes, I did indeed name it after watching a Burt Reynolds film, but I always assumed the name would end up being changed. Changed like an old boiler. But Bill took the spirit of the music along with the temporary title and sold the concept to the world. He owned that title. And so with the addition of an ‘s’ that is how it stayed and will always stay. The song is a grower. In fact the song has become an entity bigger than Bill or I could ever have imagined. In hindsight ‘Mean Machines‘ was actually the perfect song for us to work on after ‘Where We Go Next’. It was a blast and proved that we had something in us to be able to pull off a song really quickly. The song confirmed that the match of my music and Bill’s lyrics was not a one-off fluke. And most of all it made us determined to produce a whole album of work. Along the way we would often look back at ‘Mean Machines’ as being a defining moment and yet not a defining song. Perhaps as people listen to the album they will decide for themselves the significance of the song. Now… come on everyone… grow moustaches and stick your toupees on… we’re gonna have a party!!!
I sit here with a bowl of mint choc chip ice cream and stare at an empty screen. A screen I know I’m supposed to be filling with insight. With wonder. With mesmeric prose. And the ice cream is melting. But it is good ice cream… because it hasn’t crystallised – you know, when you let it melt and then you stick it back in the freezer. It comes out with ice saturated through it. Ice cream with ice. NO!!!! I want my ice cream with no ice! And that’s what I have. So I am relatively happy.
To write about a song called “The Calm and the Storm” should be so fitting at the moment. Bill is experiencing some of the sentiment of the song literally. And while he ponders why the storm always has a girl’s name… I sit here eating mint choc chip ice cream. Rum and raisin is probably my favourite flavour. But I can certainly learn to live with mint choc chip. Anyway, this relationship is not going to last. The bowl is emptying steadily. Well… sporadically… in between fits and starts of typing.
I sit here in my studio and recall the writing of “The Calm and the Storm”. The album was progressing beautifully – plenty of hit singles in the making. Things were in danger of becoming too easy. I felt compelled to throw a spanner in the works. I embarked on a song that couldn’t possibly, conceivably, ever be a single. When I toyed with the Les Paul I was trying to choke out notes that would cause the listener to furrow a brow rather than tap a foot. I was messing with time signatures and messing with the concept of what an Eleventh Hour Initiative song should be. And when I finally sat back in my chair and surveyed all that was before me I realised that I had accidentally recorded perhaps our defining moment. It was with a sense of trepidation that I sent Bill the music for “The Calm and the Storm”. I so wanted him to like it… but for so many reasons. I needed him to like it… because the song had become an important statement of intent. The song had become a symbol of how strong my music could be. How strong music could be. full stop – /period . . . Like an obelisk surrounded by apes. I had thrown the bone to Bill and I hoped the jump cut would work. And it did.
Bill understood where I had taken our music and reciprocated with some tremendous lyrics. Not only that, but he also added more to the music and made the epic more epic. We could seriously state that our music was cinematic. The song projects images into my head. Static, moving, flickering, full colour, black and white. The song is a true journey. The song is a pivotal moment for the album that has become “Escapism”. If we were brave before, we came out the other side victorious warriors.
I feel we need Bill’s input on this one. For he talks so eloquently when the subject of this particular song arises. And I think this song justifies a second talking head.
Oh.. and the ice cream has been eaten. Everything is good.
‘Non Submersible Units’
So we’re sitting here now, I have no idea what time it is where you are, but let’s pretend it’s 3 in the morning. We need to talk clearly with this post, and as I’ve said, there is no better time.
I want you to think about some of your favorite daydreams. Are you there yet? Now imagine yourself. Who do you see yourself as? I don’t mean where you’re at right now, I mean where you’re going. Who is that person? How do you see the world? Again, not as it is, but as you think it should be. What about all those mysteries out there? What are some of your theories about them? What do you believe?
Don’t worry, we have infinity to do this, remember?
It is my belief, feel free to agree or disagree, that in order to be truly fulfilled you need to take all of these things out into ‘the harsh light of the noon sun’.
As I said in my last post, some things will be utterly destroyed, and yet that same destructive power will give other things life.
‘Why do I need to throw all of them out there?’, you ask.
Well, ok, not all of them. Just the ones that are important to you. ; )
It gets a bit more complicated though. You see, if you’re throwing everything you deem worthy out into the sun, well some of these things are going to be part of the core of who you are. Some of these things are going to be what Stanley Kubrick would refer to as ‘non submersible units’. These are your anchors. Destroy these things, and your whole internal world comes crumbling down.
Why risk it, then? Why throw something so important into the unforgiving sun?!!!
Because as awful and hard as it is, it’s a bit easier when you choose to do it. If you don’t, at some point, life will do it for you.
Trust me, life always hits harder…
Sometimes, whether you did it willingly, whether you saw it coming, or whether you were blind-sided, one of your non submersible units gets obliterated by the sun.
Some people refer to this as the death of the self. If you’re Christian you may have heard it referred to as ‘being put on the cross’. Carl Jung or Joseph Campbell would call it the death/rebirth archetype. Poets? They call it ‘the dark night of the soul’. If you asked the guy next door, he’d probably just call it deep, dark depression.
If you’re wondering if you’ve ever experienced this, then you haven’t experienced it yet.
Your entire inner world is utterly destroyed. Nothing remains. I mean nothing.
There is no quick recovery from this if it happens to you. Usually, at first, you need to mourn what you’ve lost. You want to hold onto that dream so bad!!! You fight, you struggle, and then, finally, …it dies.
What needs to happen at this point is you essentially need to be rebuilt from the ground up. Unfortunately, Rome is never built in a day, …or so I’ve been told.
It’s been my experience that you don’t have any blessed clue how to do this, how to remake yourself. You don’t want to. You don’t want to do anything! Then some time passes and all that fury of emotion settles into sadness, then cynicism, and finally apathy. You usually get one direction then. Call it intuition, call it what you want, but it’s like a quiet and calm voice, not audible, but you just know.
It says, ‘go here’
You say, ‘go here?!!!’ ‘why?!!’ ‘What’s going to happen?.’ ‘is this going to help me?!!!’ ‘i want some answers!’
It says, ‘Ok.’
So after you fight it, doubt yourself some more, and then fight it some more…. you get tired, and finally
you go ‘here’.
‘Here’ is not necessarily a physical place. It’s more about starting again. Everyone has a different ‘here’.
Once you get ‘here’, that same feeling leads you to go to another ‘here’
You ask all the same questions, and the process repeats itself, until you stop asking so much and you just go. I mean, at this point, what better thing do you have to do?
It takes a long time, but at some point, things start to feel ‘new’ again. There’s no other way I can describe it. Then you find that after another great long time you look back and you realize that you are a really different person than you were. You’re a better person. You come to terms with why that particular dream had to die. Something new and very real tends to take its place. The experience itself just changes you.
There is no moment I can put my finger on and say, ‘that’s when it happened!, Resurrection!!!’. I guess it just happens at some non-descript time when days are blurring into days. Maybe part of it is that you’re no longer thinking about it, so you don’t notice exactly when it happens.
I’m sure some of you have no blessed clue what the hell I’m going on about. This is for those of you who do. Even if you don’t, their may come a time in your life where you’ll get what I mean. When that happens…trust me,
When I was younger I used to believe that everyone, deep down, saw the world exactly the way I did. I mean how could you not? Just look around!
I was also a talker. If I was a car salesman in the 1950s people might just refer to me as having ‘the gift of gab’. It was my theory that all I had to do was talk to a person enough and I could get down to the heart of the matter. I just had to peel away all those social layers and then deep down, we’d be the same.
I mostly made this mistake on girls. A pretty girl would walk into the room and I’d already be projecting all kinds of wondrous and mysterious things onto her personality. Sure, she may seem shallow, but deep down I could get to the real her! I would just hit that rock with words, like Henry Plainview in ‘There Will Be Blood’ and eventually I’d strike it rich!
Imagine my surprise to find out this wasn’t the case.
You set up the diving board, jump off full of excitement. you do your best trick, and you find the water is only 2 feet deep. You end up with a concussion, and a lot to talk about.
How dare she not see the world exactly as I do!
How dare she not love everything I love!
Depending on how stubborn you are, you may have had to jump off of many diving boards till you figured things out. You grow, you adapt, you learn to appreciate the different perspectives different people have on the world.
How often does something like this happen in a person’s life? How often do thoughts you have that seem so natural turn out to be utter, embarrassing nonsense in the light of reality?
In my recent post on ‘Try and Get Some Sleep’ I talked about the magic that is 3 o’clock in the morning. How many ideas do you have at 3 in the morning that just seem foolish once the next day rolls around?
A character comes to mind from David Lynch’s ‘Blue Velvet’. Her name was Dorothy and she was played by Isabella Rosellini. Throughout much of the film she is a classic femme fatale. Dorothy is beautiful, mysterious, dangerous, sensual, magical, etc. etc. A funny thing happens though, at one point in the film Dorothy ends up naked and beaten on the main character Jeffrey’s doorstep, in front of Jeffrey’s parents and girlfriend! In an instant, everything that was once sensual and mysterious about Dorothy suddenly becomes awkward and embarrassing in the light of day. It’s as if real life had stripped her, pardon the pun, of some sort of magical power and now we were viewing her as she really was.
How many ideas are like this? They are mysterious and powerful in the night of your mind and then they become instantaneously ridiculous in the light of day. Perhaps it is for this reason that many of us deem it wise to keep our inner most thoughts and dreams to ourselves.
However, reality isn’t just a harsh, unforgiving force. A funny thing happens sometimes. Sometimes an idea, a thought, or a creative work can spring out of your mind into reality. The sun eyes it up and gives it all it’s got. Then, instead of melting like the witch in The Wizard of Oz, the idea becomes purified. The sun gets rid of the dross maybe, but what’s underneath passes the test. It is deemed worthy and suddenly it exists as a real thing, clever thing that the sun is ; )
So maybe you’re sitting there tonight and you have this idea. Maybe it’s just a thought of who you’d like to be. Maybe it’s something new you’d like to try. Maybe it’s a song that you want to write, or a movie you’d like to make, or a business you’d like to start, and on and on. There is always the fear that the sun, being very strict, may mock this thing you want to bring into being. It may destroy it utterly. You may be embarrassed!!!(the crowd shrieks!) However, just maybe,
… it may be found worthy.
It may become something very, very real in your life.
Is it worth the risk?
That depends on how you feel about your life? Are you happy? Are you right where you need to be? Is there anything you truly wish to do, but are afraid to?
I say life is short, and I’ve been embarrassed enough to realize that the world doesn’t end when falling off of a limb. In fact, not too long from now, I have an ‘Escape Plan‘ that has a scheduled audition with the sun. Don’t worry about me, even if I fail, I’ll still have Isabella Rosellini
Well, you get my point!
It’s late again. And very hot. It has been like a tropical heat here. Like stepping off the plane in Cyprus or something. That sheer wall of heat! It’s late. I’m sitting here in my studio. Sweating. And so I begin to type… we could be here for some time! Ha ha!
I think I’ve been ‘producing’ music now for about 20 years. I mean ‘producing’ in the loosest sense. I, like many other musicians, started out with tape. First ‘tape to tape’ recordings on a double cassette player. There are some of you out there who will have absolutely no idea what I’m talking about. And I’m not about to explain myself. Let’s just say it was an extremely rudimentary form of getting more than one ‘layer’ of sound recorded in some form.
Then came the ‘4 -track’ recorder. I had a battered old Tascam. In fact I’m pretty sure I still have it somewhere. This was a machine that let you record 4 tracks (no shit Sherlock!) on a normal cassette tape. It did it if I remember rightly, by using both sides of the tape at the same time. This meant that if you played the cassette in a ‘normal’ player, 2 of the tracks would play backwards. This in itself, if manipulated correctly, could give magical results for certain songs. I trace my constant experimentalism back to those archaic days! And the technique, used by mistake, never did Led Zeppelin any harm!
In those “good ol’ days” the art of bedroom production was a tight-rope. You see you could never REALLY produce anything more than a demo of a song. It was always full of hiss, and the 4-track system meant that recording something like a full drum kit varied from “problematic” to “impossible”. Yet those ‘demo’ efforts held their own in some ways. You had your demo, and that demo then had to be ‘lived up to’. The next step for every musician at the time was the journey into “the studio”. And more often than not, after you’d spent all your hard earned pennies, you’d listen to the final product and say “Hmmm… Not as good as the demo is it?!?”. Ha ha!
Anyway… The Studio. That ever so magical place. The theatre of dreams! Or bloody nightmares! Ha ha! I remember recording one of my first studio sessions. We were recording a song that was supposed to be pretty heavy. Heavy and foreboding. It had been a live favourite. So we ventured into the studio to record this killer rock song. But… I decided on the day, (or was persuaded… I honestly can’t remember now!) that I had to sing this song with a real ‘gruff rock vocal’. Now… anyone who has heard me sing know’s that I’m not exactly a Death Metal singer! Ha ha! I’m more your Damon Albarn than your Max Cavalera.. but anyway, sing it gruff I did! With devastating results! I remember the band playing the finished recording to a fan at the time. His face dropped. He just looked so disappointed… “What have you done to it?” he asked. “You’ve just ruined your best song!!!”. Ha ha! We were gutted! And it was all my fault! (well… and the drums were shit, the guitar solo was shocking and everything else generally stank the place up!). But my point is… back then you had to be completely honed. Every member of the band HAD to know his shit inside out to save the day. For these were the times of recordings costing you “by the hour”. A concept lost today. For today is an era in which I can tinker to my heart’s content. Back then a recording studio could kick you in the teeth if you weren’t ready for it.
So, I learned from those initial mistakes. For a start I left the band! 😉 Found a better drummer. Learnt everything totally prior to recording. And I was a perfectionist. I spent hours on every single part. And remember, by this time I was playing all the instruments bar the drums. I would write everything down religiously. I would attend the studio completely prepared. Now, I’m not saying that I got things done in one take. I have never been a one take kinda guy! Understatement!!! But I was certainly prepared. And the final recordings, I think, still show that preparation. The album I’m talking about ended up being the only ‘album’ by my band/solo project Alexi in Winter. It was recorded at a time when I was very into acoustic music. And indie rock. And rock. I was diving deeper into orchestral accompaniment and epic, cinematic sounds. I was taking my first steps towards making music an ‘experience’. And I learned the production techniques every step of the way. The Alexi in Winter album was the last time anyone else produced my music. Since then it has been me all the way. I stand and I fall by what I do. I can blame no-one else. Success or failure is all down to me. The burden rests on my shoulders! Ha ha!
I’m probably wildly digressing here… but that was the caveat of my opening sentence pretty much. It’s late and it’s hot!
So I have a solid ten years of ‘professional-standard’ solo production under my belt now. I have produced a whole solo album. I have tried to remain on the cutting edge of music production. The idea of staying on the cutting edge is a minefield in itself. As I see it there are two ways to go. You can listen to every new cutting edge band and try to stay one step ahead… or you can listen to nothing and steer your own course. It’s probably not going to surprise you to learn that I steer my own course. During the Brit-pop era I was the guy who had every new single by every new band. I was the guy walking around wearing the “I listen to bands that don’t even exist yet” t-shirt. I WAS THAT GUY! So I can say the following knowing that I have been there and done it: I try to avoid current trends. I avoid bandwagons. I want to do my own thing. I want to try my own sounds, my own ideas. I don’t want to be influenced by the sound of the drums on the new ‘Siberian Apes’ record. Do you understand what I mean? It’s not that I think I’m too cool for school! It’s that I feel jaded by the passing bandwagons. Their cart wheels roll over my toes and break my spirit.
Anyway… ha ha! So, hmmm. Where was I? I built my own recording studio. This was an important step and has been the most creatively liberating thing I have probably ever done! I then got together with Bill last year and we decided to record an album. We worked first on a song called Where We Go Next. Now… I’m not here to talk about the content of the songs too much at the moment. I’m more interested in describing the sound I was trying to achieve. For you see, very early on I had to settle on a ‘sound’. I was producing music for the very first time that I had not provided the lead vocal for. I have pretty much sorted out what MY vocal sound is. I’ve had years to work on it. But all of a sudden I had to work out what to do with Bill’s singing. He has a style all of his own. Nothing like my vocal nuances. He has his own recording techniques and his particular way of singing. It could have been a problem. But I hit upon an idea. I would use my “basking in music’s past” and avoiding “music’s present” to produce a sound reminiscent of the ’60s, but still firmly rooted in today. For me, this concept is perfection. I hold aloft Pet Sounds, Beggars Banquet and Sgt Pepper as the pinnacle of great albums. My my, how cool would it be if I could bring that spirit into 2011? I remember writing to Bill and telling him that I’d decided I was going to give his vocals a kind of ‘Head‘-era Monkees treatment. Now, that could have frightened the poor sod off!!! But luckily he let me roll with it. So I went down the avenue of a dreamy, trebley, floaty vocal for the entire album. It is the constant. The music may veer wildly from pop rock to epic prog rock… but that vocal sound keys it all together. A strong glue!
Cool… I had the foundation of the ‘sound’ of the Eleventh Hour Initiative. This enabled me to write a collection of songs that I maintain are the most coherent and focussed of my career. I’m not going to talk about specific production techniques… coz they is a sekrit!!! (because they are a secret). But I thought it would be interesting to mention how the majority of the album was formed. I wrote most of the songs on the bass guitar. Now… to any non-musicians out there this may mean jack shit to you. But any musos will be nodding their heads that this is indeed a little out of the ordinary. I don’t have any particular explanation. It’s just the way I did it. And it’s another factor that I feel completely influences the musicality of the album. For this is a bass and drum album. Everything else is secondary. This album is all about the sound of the drums… and the interplay with the bass. This album is something a little different. You don’t even have to like it (although I have my fingers crossed that you will!), – but I believe you will get a lot out of simply listening to it. Bass, drums and Bill’s exciting vocals towering above the skyline.
Bill has spoken about the lyrical themes of Escapism. Well… in many ways the music echoes the themes. Songs such as the Calm and the Storm and Life Will Be the Death of Me embody escapism within their musical structure. Escapism has been an album where I have finally realised I don’t have to follow any rules. Rules can be good. Rules can be bad. But Escapism, at its best, unshackles itself from the straight-jacket of convention. Escapism is the continuation of the music I began with Alexi in Winter all those years ago. But I have raised the bar. A lot! I am waffling now. It is a hundred degrees in here!!! And late. Bedtime I think. Apologies for the rant. I’m not even finished. But for now… I bid you farewell! Emrys.