I tend to write my journal entries offline – this is attempt number three at this article.

Since I obtained my classical guitar a few months back, I've tended to carry it around with me rather a lot, usually taking it with me when I go to JAFWA [link] on a Saturday night – there's quite often shows on that don't capture my interest.

Out of curiosity, I decided to play some songs I used to perform back in the early Nineties when I was in a band called “Cerebral Nomad”. The band didn't last long but it showed a lot of potential.

Or so I thought.

As a four piece band – Barry on drums, Steve of lead guitar, Jason on bass and myself on rhythm guitar (though we often swapped instruments for certain songs) and we preferred to do mostly original material. If we did a cover, we played it how we thought it should be done - never mind what the original artist thought. We also split in to two songwriting teams – Barry writing the lyrics and I composed the core melody, whilst Jason and Steve would share duties. Arranging was generally a group effort.

When the band split after six months, I took my songs with me and wrote new lyrics for them. As Barry had ambitions of being lead singer as well, he had a tendency to keep his lyrics to himself. I usually had little idea how they went. Though I did do several instrumental arrangements as well (you'll find a couple of them under the High Voltage SID Collection). [link]

So as I sat outside JAFWA one evening fighting off the mosquitoes, I tried to recall some of the material written by the other band members, such as “Mother” or “Dove”. My parts were generally pretty easy, usually only three or four chords. Steve wrote songs to demonstrate his guitar technique, not mine. Easy but dull, so I developed a more intricate playing style incorporating different techniques that I'd picked up over the years – arpeggios, tapping, slapping and plucking (usually used on bass guitars), four note chords (when most people would use three) and using my little finger to play a melody around the chord. All of this designed to make my part of the music sound much bigger and more interesting.

I struggled to recall the arrangement of the music, but it came to me after a while, along with some of the lyrics. Its funny how the mind sometimes distorts experiences, exaggerating certain points. What I recalled as powerful, soulful imagery proved to be a whiny, immature and incoherent tirade as told by a spoiled, bratty teenager. Seriously - cheer up, emo kid.

I had a similar experience many years ago when playing back some of our recordings made at the Fremantle Music Centre – I wanted to show some of the material to the lead guitarist from my then current band (we never really settled on a name, though we had narrowed it down to “Electric hooligans”, “Hooligans with guitars” and “Fastidious rabble”. I remember playing some of my best guitar ever during that recording and yet we ended up with a ghastly cacophony of twangs, out of time drumming and squeaky, pained vocals – I only retain the tapes to stop them falling into the wrong hands (they are hidden away with my collection of Ringo Starr LPs).

So I'm thinking it might be time to walk away from the older material – put the worthy material down on disc and recycle the rest before it pollutes the environment. Whilst I still want to get a band together again, I have two main projects on the go now – the folky (or filky) concept album inspired by *BlackSylph and a new electronic suite inspired by a conversation with a friend the other night (for those of you wondering what “Ybeq Rexl” was all about). And that game soundtrack I've been promising since 1993.

Three! Three mains projects. And that music demo that I formed Project: Synthesis for.

Four!

I'll go sit in the corner now...with the soft cushion...