Music

What I am writing and listening to.

It was about three years ago now that I began to fade from the academic music scene as a composer.  I tend to say that family commitments pulled me away, and that’s partly true.  But it’s equally true (just a lot more difficult) to say that I came to something of a crisis and decided that I didn’t have much of a clue what I was actually doing there in the first place.

I think I could probably sketch more than one narrative for why that is.  Maybe I didn’t have the dedication or single-minded focus to jump-start life as a professional.  Maybe I have absolutely no talent or skill to write music!  Or maybe it’s just that being an artist makes you so damn vulnerable, and my skin (not to mention my ego) aren’t tough enough for the bruising.

Whatever the reason, I continually found myself in that ‘between-a-rock-and-a-hard-place’ position.  When I just pressed on and did what I wanted, I was dogged by the suspicion that I must be an egotistical bore to other people, an artistic Don Quixote. And anyway, I was often unhappy with the result, so wasn’t that just confirmation that I had no right to confidence in the first place?  When the pendulum inevitably swung the other way and I proceeded full of caution and self-criticism, I didn’t fare much better.  Oscillating back and forth, I eventually sunk into complete paralysis.  Life moved on, I started a family and kept up with odd jobs, and wondered if it would be best for to define myself somehow, somewhere else.  I didn’t officially give up composing, but I didn’t necessarily see it as a sabbatical, either.

I still don’t have answers to my questions.  I’m still full of doubt and self-criticism, and can’t honestly say how much of it is warranted.  (It’s so unsettling to feel that you can’t even trust your opinion of your own self!)  I suppose it’s something that will be with me for a while.

However, something has changed.  I feel it in my bones, like the changing of the seasons.  I want to write music. It’s not that I didn’t before, but somehow there’s an urgency that I didn’t always feel when I took the student life for granted.  It probably has something to do with my realisation that my 20s will be over before I know it, and that seems somehow important.  I feel the same way about music as I do about parenting:  when my life is over, I’d like to be able to look back and say ‘I made that!’

So, for better or worse, I’m turning my little boat into the wind and facing my uncertainties head-on.  I’ve started re-orienting the rest of my life according to that decision, especially by requesting an extra dispensation of patience from my wonderful wife, and permission to spend many late evenings huddled over the laptop.  But most importantly, I’m resolved to see myself as an artist.  Perhaps a failed artist, but one nonetheless.

I wish I could say that my new-found fervour caused my clouds of anxiety to disappear in a fresh breeze of creative fulfilment.  In reality I’ve already had many struggles, and one near-complete mental breakdown just yesterday.  And it’s only been a few weeks!  In another couple of weeks I’ll be able to see if I have much to show for it, and I’d love to publish fragments of drafts here if I can stomach anyone else seeing them.

In the meantime, I would be grateful to anyone who has any advice on how to harness the creative urge without it turning into a toxic sludge of anxiety and self-deprecation…

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I had the goal of finishing this song before the end of November, which I did manage to do! But then it took me a while to get it recorded, and to post it online took me until… now.

These lyrics germinated during the early mornings of late autumn, which is for me always a melancholy (and peaceful) time of year.  It’s only been in the last year or so that I’ve written some lyrics that I’ve been really happy with, and that’s been quite rewarding.  It’s still pretty cold and dreary, so grab a blanket and a mug of something hot, and sample some ‘November rain’.

grey skies, and my
blackened eyes are
opening towards the new day outside
another chance to laugh
another chance to cry
just one more chance to live before it’s time to die

and the memories like raindrops
still drench me to the bone, and i
can’t remember if there ever was a time
when i did not feel alone

November rain falls
and your ghost calls again
they said the sun would come
but they did not tell me when
and i’m still waiting by the phone
though i know nobody’s home
and then i’ll go outside and stand
in the November rain

muddy water, and
dripping trees, and i am
just another one of these today
remaining motionless is an
act of grace, and i will
hold my breath in this sacred place…

drink deep, o these roots of mine
and i will stand tall
it will still be a long time
before i fall

November rain falls
and your voice still haunts my brain
no matter what they say,
it will always be the same
and i’m still waiting by the phone
though i know nobody’s home
then i’ll go outside and stand
in the November rain

so i’ll let the clouds come down
and make a blanket for my soul
when the time is right
i will surely know
and i’ll be waiting by the phone
you know i’ll always be alone
and then i’ll go outside and dance
yes, i’ll go outside and dance
in the November rain

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Love the ‘plus’

I just wanted to alert all the music lovers out there about something that was announced by Apple recently with amazingly little fanfare:  all the music on the iTunes store is now encoded at the ‘iTunes Plus’ standard:  256kbps AAC, with no DRM.  If you already know what that means, feel free to skip to the last paragraph; if not, keep reading to see how this geekspeak is really important for your ears!

Digital music works by encoding the sound vibrations as streams of data.  In order to work well, this requires a lot of data — CD quality music has 44,100 chunks of 16 bits encoded into every second of sound.  In the days of antiquity (like, before 10 years ago) there was no practical way to move that many bits down the information superhighway.  Bump.

The funny thing is, some clever people figured out that we don’t actually hear everything that gets thrown at our ears.  The details get complicated, but the point is that there’s a whole lot going on in our ears and the connection between our ears and our brains that shape the sound that we perceive, and many parts of the sound become practically (or nearly) imperceptible.  So then some really clever people put two and two together and thought, ‘What if we made a computer program that could take out the sound we don’t hear?’  Less sound means less data.  And that was the birth of compression.

It goes without saying that compression only works as well as the computer is able to guess what we can (and can’t) hear.  As soon as it takes out something obvious, it’s no good.  After a few earlier attempts, the now-famous mp3 was the first to come close.

I mentioned that compression was designed for the internet, but it soon found another important use:  the portable player.  If I just copied my cds onto the ipod I own, I estimate it would be full after about 28 cds.  With compression on the other hand, I currently have 2643 tracks, or 8.5 days of continuous playback… and it’s only about 2/3 full.  So compression was crucial to the ipod revolution.

I mentioned that all this was important, and some people are probably wondering why.  Here’s the deal:  now that everybody and their pet goldfish has an ipod and is downloading music (legally, I’m sure…) it’s about time that people started paying some attention to audio quality.  Bad compression is like junk food for your ears, except it doesn’t even taste good.  Kind of like… wet cardboard sprinkled with sand. (Really.)  But if you ate sandy cardboard for breakfast every day of your life, you just might think it was normal. (It’s not.)  If you’re in the habit of listening to your mp3 collection all the time, you really need to sit down with the cd and listen to both, one after the other.  You might be in for a shock.

So now you know you need good compression, how do you get it?  First thing first:  mp3 sucks.  I mean it.  Maybe it was enough to make Napster the rage in 2000, but now it really needs to die.  If your ipod is full of mp3s that you made from your cds, go and delete them all, and start over.  This time your songs will be smaller and better.

If you use iTunes on windows or mac, your answer is AAC.  (If you’re a linux geek then you already know ogg vorbis!)  In iTunes, go to the Edit menu and click Preferences.  Halfway down the page you’ll see an ‘Import Settings’ button.  Use the AAC encoder at the ‘iTunes Plus’ setting.  From now on, everything you import will sound much, much better.

It’s always been easy to import cds at these high settings, so why am I excited?  Until recently, most of the material on the iTunes store was encoded at half the quality.  I bought one album and wished I could have returned it.  Not only that, but the files had rediculous encryption nonsense attached.  Not any more!  With the iTunes Plus encoding (256kbps), I doubt I could tell the difference from the cd, especially on normal (consumer) equipment.

What was my first iTunes Plus purchase?  An album, from these guys, ‘Congotronics”:

Kudos to Apple for removing DRM and selling 256k aac files.  Life is good.

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