CONTENTS
Introduction
Overview
Defragmenting Buds of Lavender (Track 1)
Defragmenting Gift for You (Track 2)
Defragmenting To Love (Track 3)
Artwork
Appendix One: Buds of Lavender
Appendix Two: Gift for You
Appendix Three: To Love
Introduction
In October 2010 began a project of new music. New music inspired by an incident, and subsequently, by themes intertwined and uprooted by a selection of motifs within a key book pertaining to said incident. In August 2006 came sorrow from the death of a loved one. On the same day, the comfort of new hope presented itself, illuminated through the discovery of a book by Henry Drummond. These are the strands - the foundations - upon which the new music artefact, Buds of Lavender is based.
The blog, Lavender in the Library, provides a narrative for the thematic and creative development of the new body of work. However, the following written piece provides an in –depth discussion in reflection of the immersive creative process, conveying elemental decision-making; citing other music works that helped inform this piece, and; an appraisal of each outcome (each track), with close regard to the project brief.
Overview
Buds of Lavender is the title track upon which the project is based. Circling heavily around the incident element, depicted in detail within the aforementioned blog, the themes transferred and applied to Buds of Lavender are twofold... Firstly, as in Drummond’s book (ibid.), are the nine concepts of Paul’s first letter to the Corinthians, Chapter 13: Patience, kindness, humility, generosity, courtesy, selflessness, good temper guilelessness and sincerity. Secondly, the personal, self-reflective emotions derived from the underlying story that runs parallel in relation to the death of Anna Kelly.
Approaching the writing process was testing, taking one very much outside one’s comfort zone. On the other hand, the experience unearthed the existence of a previously unfound ability: in creating melody. For one normally ingrained in percussive persuasion, the use of keyboard appeared the only device in which communication to the other performing musicians on the piece could be made. It worked.
The process of casting one’s mind back to the day of discovering the book, The Greatest Thing in the World, by Henry Drummond (n.d.) was not difficult; however, it did travel back with some heart-rending memories. A barrier that one felt needed to be overcome. For the artefact was aimed at embodying the positive side, the lessons learned and wisdom gained through the message subsumed from said influential book. In this regard, Shining Light by Ash provided one of the first musical influences for Buds of Lavender. The uplifting melody presented in the verses and indeed the lyrical content almost seeks to deliver the heartfelt warmth of apparent sorrows intermingled with hope and faith. Feelings indeed experienced on the morning of Anna Kelly’s death. Drawing insight from Songs of Love and Death, a 2001 album by Emm Gryner, helped one connect the emotions of ‘love’ and ‘death’ within the new music work. Feelings of hope, of faith, also present themselves here... The Greatest Thing in the World’s (ibid.) own themes (which run parallel) are believed to be a comforting message from Anna to her family. As a result, the consequential realisation brought unto one, is the understanding that there is good in the world; that everything will be okay, and; in the new-found (and much greater) appreciation of love.
Defragmenting Buds of Lavender (Track 1)
When setting out to write this track, it was felt that the conveyance of the initial sorrow (based on the death) and the weariness (through lack of sleep due to Anna’s death occurring around 04:00hrs) be embodied by instrumentation of a mellow, tender nature. As stated in the Lavender in the Library blog, (post on 15th October, 2010), after the beautiful vocal delivery of Black Sun by Jo Mango, one was touched and moved – enough so to consider strongly the use of tender vocals at the beginning of Buds of Lavender. Fittingly, Tender by Blur played strong in one’s head. Alluding to said song as a means of communicating to chosen vocalist, Brian Cunningham[1] the feel of the opening tone of Buds of Lavender. The hope and positivity is emphasized by the tempo change thereafter, designed to portray an uplifted and ‘looking-to-the-future-in-a-positive light’ feel.
Verse 1 sets out to capture the initial feelings of bewilderment, weariness and confusion upon discovering the book. In hindsight, one did not know what this find meant... Did it mean anything? Did one want it to mean something? The following lyrics were thus written to mirror this confused, almost dreamlike state:
Unexpected, in my hand
Sleepless motion
Dream command
Furthermore, prior to the commencement of this verse, one wanted to add a piece of instrumentation that reflected the ‘realisation’ element. After experimentation, the glockenspiel (via synthesizer, recorded using Mac computer and Pro Tools) became the preferred sound.
While Verse 2 encapsulates the nine concepts of Paul’s letter to the Corinthians, Chapter 13; the chorus draws from the paralleling story of Anna’s death, in positive elevation. To portray the upbeat element, the drums served as heartbeat and driving force in the chorus. The use of guitars and bass (guitar) worked well in allowing one to convey the idea of ‘letting go’, whilst providing and uplifting effect. The lyrical content and delivery in the chorus encompass a rising effect wrapped in motifs of reassurance:
In
Between
The words
Of love
You smiled in a way I knew
Buds of something small said it all
I’m with you, I’m with you, I’m with you
The repetition of the final line in the chorus highlights reassurance of love and comfort. As the song progresses to Verse 2, as previously stated, the lyrics therein communicate the aforementioned concepts:
Patience, virtuosity
In kind, generosity
Sincere constellation
Shine, like the light, like the sun
Believe, rise awake
Mould, and knead, and make
Blooming in a Panopticon plant
Breathe
Perhaps the most ambiguous line in Verse 2, is ‘blooming in a Panopticon plant’. Thus, one will explain its meaning. Applying the plant-life imagery relevant to the buds of lavender chrysanthemums found inside the key book, one partnered this with the idea of being watched from above (by Anna, or by God) without having the ability to see the watcher with one’s naked eye. A Panopticon - a structure originally designed as a prison by architect Jeremy Bentham in 1785, described as the “sentiment of the invisible omniscience” – juxtapose the word ‘blooming’, bringing forth the portrayal of one growing into one’s own person successfully, whilst wondering if one is being watched by an all-seeing source. The living world can sometimes seem like one’s prison, however, one can nevertheless bloom and feel exhilaratingly free. Hence, the lyric ‘breathe’ follows in a manner representative of freely releasing powerful energy within.
Defragmenting Gift for You (Track 2)
Gift for You, the first of the double B-sides, was a track that was organically inspired by one’s mind enveloped in the moment. More specifically, this track was born from immersing oneself in the entire project concept. For example, the lyrics flowed naturally, speaking honestly of the personal ramifications from this body of work. In one sense, the body of work did serve as a gift. Thus, looking to the ‘selflessness’ theme more closely, this piece embodies the act of giving.
The approach to this new music work was somewhat different from Track 1. The lyrical content absorbs the nature of looking forward to seeing Anna Kelly in another life, which, in turn, symbolizes a more sombre persona. Verse 2 exemplifies:
On my calendar
I even dare
To count the days
Till I see you there
I really hope that you come
The chorus from Gift for You include layered vocals from Paul Duffin and Clare Kelly. The vocal melody recorded by oneself for the chorus was originally designed to merely communicate the melodic idea to Paul Duffin. However, after listening back to the blend of male-to-female voices, one felt that the outcome embodied warmth and communicated the loving message that one would desire in the act of giving such a gift.
Stripping the instrumentation back to acoustic guitar, egg shaker, tambourine and two vocalists brought diversity to the body of work, in contrast to Track 1; important in delivering a fresh perspective to the conceptualisation. Recording both B-sides in a bedroom environment also provided ample space for delicate emotional to be effectively captured. This track was created to personify the simplicity of love, its organic nature and also as a bridge of gradualism between tracks 1 and 3.
Defragmenting To Love (Track 3)
To Love, acting as the second portion of the B-side to the new body of work. In contrast to the upbeat spirit of Track 1, To Love serves up the idea of confusion intermingled with positivity while implanting references to Christianity. Verse 2 illuminates:
Wine within the human hand
Red and black
White the sand
Doves between your twinkle toes
An open road, future flows, future flows
The lyrical content throughout this track deliberately serves to convey the idea of mixed emotions. Juxtaposing imagery relating to feeling the pains of a loss with that of the realisation and appreciation of new hopes were crafted in such a way to effectively achieve this.
The instrumentation, similar to Gift for You, was stripped back in order to provide a clear contrast from Buds of Lavender as Side A. To Love comprises of much more unconventional percussion. To do this, a cardboard box was tapped, and separately, hand-made hotrod drumsticks were used on a rubber pad. In the background, this provides somewhat of a staccato effect – representative of the jagged nature within ‘uncertainty’ and subsequently within that of the confused yet hopeful state. Using Paul Duffin as the vocalist again, aimed to keep consistency from A-side, to B-side. It was thought that such sounds and choices in musicians would reflect said contrast and confusion elements.
Both B-sides purposefully and metaphorically personified a different perspective on the conceptualised incident, allowing the body of work to flow to a specific closure. The lyrical content in the final chorus is the first strand in portraying this:
Echoes above
And running in this
A shadow behind
Confusing abyss
Finding the new
And feeling awake
Starting again...
Although the previous choruses contain one more line after ‘starting again’, the desire to end with this line was significant in mirroring the idea of ‘renewal’. This pertains to the concepts in Paul’s first letter to the Corinthians, Chapter 13, intertwined with the reflective thoughts of renewing one’s own life when dealing with the loss of a loved one. Reincarnation and the renewal of the self were the key thoughts here.
As To Love and indeed the entire body of work draws to close, the sounds created to lead the listener out, were crafted to convey a floating ambience - setting one adrift to a metaphorical land beyond. In turn, from such land beyond, comes new wisdom. The metaphorical land is represented twofold. In one sense, it is representative of a perceived heaven; in another sense, it is the future life that lies ahead of one. Thoughts and feelings of which were triggered by the discovery of the poignant book, The Greatest Thing in the World (Drummond, n.d.).
Artwork
The explanation of the artwork choice for the new body of work is very simple. After toying with canvas constructions painted in water-colour lavender, it seemed from a standing-back observation that it did not fully portray the essence or significance of the elemental book. One almost wanted the listener to have the book itself. Mindful of this, the final decision on artwork resulted in a complete cover-scanning of the book’s old, hardback exterior. One used software tools available through PhotoShop to carefully resize the cover to fit snugly inside the DVD-style case. To maintain the old style, the italicised font was elected. Finally, as promised in the post ‘An Ode to Mary Watson’ in the blog Lavender in the Library, the symbol of a bell is subtly included below the main title. Mary played a key role in aiding the rediscovery of The Greatest Thing in the World (ibid.).
Appendix One: Buds of Lavender
Written by Clare Kelly
In, Love, Smile, Do
In, Love, Smile, Do
In
Between
The words
Of love
You smiled in a way I knew
Buds of something small said it all
I'm with you, I'm with you, I'm with you
Between
The words
Of love
You smiled in a way I knew
Buds of something small said it all
I'm with you, I'm with you, I'm with you
Unexpected, in my hand.
Sleepless motion
Dream command
Wonder why you disappear
Lavender says you are near
Patience, virtuosity
In kind, generosity
Sincere constellation
Shine, like a light, like the sun
Believe, rise: awake
Mould, and knead, and make
Blooming in a Panopticon plant
Breathe
Appendix Two: Gift for You
Written by Clare Kelly
You have lavender
In your hair
Only joy
No despair
I’d really like you to stay
Every night
When you go to sleep
I take the time
To repeat
Everything that you say
I have
A gift for you
And I have a gift for you
On my calendar
I even dare
To count the days
Till I see you there
I really hope that you come
There was a time
That I felt alone
But now that’s gone
Because I’m home
You make my world a happy place
Appendix Three: To Love
Written by Clare Kelly
Spirit of the oxygen
Bubble fan, waking limb
Float and sink
Consume the brim
Breaking in, breaking in
Wine within the human hand
Red and black
White the sand
Doves between your twinkle toes
An open road, future flows, future flows, future flows
Navigate a narrow mind
Balloon idea, colour find
Pot of gold, turpentine
Echoes above
And running in this
A shadow behind
Confusing abyss
Finding the new
And feeling awake
Starting again
Know what it takes
Butterfly, I wonder why
Wavy want, magic sigh
Cross the T, dot the I
Arms open wide
Never mind, never mind
Over-wind
River relax
Hand by my side
Eye command, touch and glide
Eye command, undefined
[1] Brian Cunningham – vocalist, and close friend, selected mainly for the emotion so heartily penetrated in previously-witnessed vocal performances.
