Gigging with Beige Shelter

I’ve been playing drums and percussion for a while for singer-songwriter Adi Aman, aka Beige Shelter. The band name comes from Adi’s feeling that the colour beige is neutral and can express a wide range of emotions, and music being the place of shelter where he can best express them.

I started my collaboration with Adi as his producer. We’ve worked through twelve songs for his debut album release later this year. He expressed an interest in performing more to promote the album and get his music heard. I volunteered to back him up on percussion. So far I’ve played a drumkit when it’s available, and also cajon and shaker. In the future, we hope to rope in a bassist and lead guitarist.

Our gig at Page One cafe in downtown Toronto felt like our first “real” show. We had a great turnout, thanks to our friends and to FXRRVST and Madison Galloway, our supporting performers. I’ve branded my look, always performing in a pressed shirt and bowtie.

Beige Shelter performing at Page One
Beige Shelter performing at Page One

So far it’s been a high performing with Adi. His songs are very well written (we even co-wrote on one of them) and his performances are passionate and energetic. Together I think we make a good team, as I also give him tips on improving his performance and creating interesting song arrangements.

There’s nothing quite like getting on stage on putting on a show of great original songs. You get into a “zone” where the world around you fades into the background and for a moment, it’s all about the music.

 

Panspermia

I has previously heard the idea that life on earth may have originated by some organic goo being deposited on our humble little planet by a meteor or comet. Recently I found a youTube video that explained that while indeed speculative, the theory is given the perfect name: “Panspermia.”

It’s one thing to write a song simply about a speculative theory, but that could come across as a high school essay or research paper. To be a good song, I’d have to inject my own commentary or reaction to it. I did this in a Facebook post, positing that every living thing in the universe is united by the same goo, and that makes us all Gooians.

Panspermia post

 

A short while later, I jotted down the lyrics for the chorus. A few months later, I conducted additional research online to generate keywords, making sure I captured proper terms, scientifically speaking. I also happened to attend a public lecture at the University of Toronto on the topic of Planetary Habitation on the day I finished the lyrics. At the lecture’s reception, I approached the speaker, Dr. John E. Moores, Assistant Professor of Space Engineering at York University, who agreed to review my lyrics for any scientific faux-pas. He followed through, and suggested only one minor change, which I took. Dr. Moores also introduced me to the “nerdcore” genre.

I wrote the music bed (using only piano) and melody in one day. The verse melody suggested lines of lyric that lasted a little more than two measures of 4/4 time. So, I introduced a two-measure loop for the verse that was made up of one 4/4 measure and one 5/4 measure. This introduced a very quirky and offbeat rhythm to the song. I then proceeded to layer on the bass sound, the synth pads, and other sounds to fill in the music bed. The original piano track was archived.

I presented the song at the monthly Songwriter’s Cafe Meetup Group, and it was generally liked. One group member commented how the song is a good, clear, explanation of the theory, and has educational value. Many people in the group felt that the 4/4 + 5/4 pattern was too jarring for no particularly good reason. So I revisited the pattern and tried out a 4/4 + 6/4 pattern, which was still a little offbeat, but easier to digest due to its symmetry. I decided it did in fact work better for the song.

The song also placed in the top 10 in an online, informal song writing contest!

Here’s the final song with the lyrics. I hope you enjoy and maybe learn something!

I came from very far away
An astronomical journey
Propagated on the meteor express
An answer to a great mystery

I lay dormant for eons
A gourmet primordial soup
Along came amino acids
And a dash of magical woo

We are the goo
That makes up me and you
And everything at the zoo
Panspermia

I’m one with all the people
Animals in this place
Don’t forget about the plants
And all the stuff in outer space

It’s true we are so special
We won the cosmic lottery
Jackpots are still floating out there
Beyond all we can see

We are the goo
That makes up me and you
And everything at the zoo
Panspermia

Yeah
Gooinas unite
In a cold dark night
Evolve ‘n take flight
To survive

Gooians unite
Despite our plight
We all just might
Find a place to survive

Gooians unite
Chances slight
Water and light
Carbon bite

Gooians unite
At the speed of light
Black and white
It’ll be alright

We are the goo
That makes up me and you
And everything at the zoo
Panspermia

Songwriter’s Cafe Meetup

In addition to being a co-organizer and co-host of the meetup group The Songwriter’s Cafe in Toronto, I also participate by presenting my own songs to the group and getting their feedback. There’s nothing quite like getting constructive feedback from fellow songwriters that’s always supportive and encouraging. The group experience never fails in inspiring me to improve my own songwriting, as well as meeting the extraordinarily talented songwriters in the room. There’s also great opportunities for collaborations between members beyond the meetups.

The group recently surpassed 1,000 members and I’m proud to be part of its growth over the last few years.

The photo was taken by one of the members, who, like me, is a budding photographer as well as a songwriter. Thanks Alexander for the great capture!

songwriters_meetup

Jam session: I Never Write Her a Song

The latest Song Talk Radio backup band jam session was for my own song, I Never Write Her a Song. We rehearsed for a couple of hours, and then performed about three takes for the video recording. Thanks to the guys who put their hearts and souls into the performance, especially David St Bernard who took on the vocal part with great verve! Phil (bass) also took us through an exercise to ensure all four instrumentalists knew each other’s parts well, and worked together to create a unified groove.

David St Bernard – vocals
Neel Modi – piano, songwriter
Joe Romasanta – guitar
Phil Emery – bass
Gary Duke – drums
Bruce Harrott – consultant

I captured the room audio, and the vocal audio to separate tracks so I could mix them in post-production to get the best sound quality and ensure the vocal sat nicely above the mix.

Game of Thrones Theme cover

After hearing the fascinating podcast Song Exploder, where a song is deconstructed and examined into its separate parts, I stumbled upon an episode featuring composer Ramin Djawadi and a breakdown of the Game of Thrones theme music.  Hearing and learning the individual parts prompted me to arrange my own cover version, similar to the original in its groove, but with electric guitar and synth strings as points of departure.  I also ended up discovering several other great versions of the theme on Soundcloud, my favourites including industrial, prog rock, and smooth jazz versions.

Check out my version here:

Do you write songs from the heart or from the head?

Often on Song Talk Radio, this question arises.  Sometimes, it’s fun for the hosts to try and guess.  “Your song sounds very cerebral,” or “Your song sounds very intuitive.”  The guests themselves tell us how well considered every decision in their songwriting process is, or tell us “It just came to me.”  This question of process in creative endeavour is as old as the creative endeavours themselves. On Blair Packham’s show, he talked about his own journey on both the intuitive and the cerebral roads.

Most songwriters and musicians know the history of the Beatles.  In the early 60’s, before they were famous, they played for hours every night in clubs in Hamburg, Germany.  They learned their chops, got better at harmonizing together and playing tightly together.  Author Malcolm Gladwell, in his excellent book Outliers, describes this as the 10,000 hours rule: practice anything for 10,000 hours and you’ll be an expert.  The Beatles played more shows in a few short years than many contemporary bands play in their entire career.  Gladwell uses evidence-based examples to show that the most successful people are those who put in the time.

In another book, Blink, Gladwell champions the subconscious mind as a powerful decision maker, and how little information can be beneficial in making positive, snap decisions.  He cites such examples as fine art experts who can spot a forgery at a glance (and can’t explain how they know they’re looking at a forgery) and orchestras who hold blind auditions to reduce conscious biases.

So let’s bring this back to our central question.  It may be possible that songwriters who feel they channel their songs from some outward source, may in fact be so well practiced they make decisions in a “blink” and rely more heavily on their subconscious experience to guide their songwriting decisions.  “That chord progression just felt right.”  On the other hand, some songwriters are deliberate and conscious in their writing, and know the reasons their songs work the way they do.

I recall clearly learning to play the drums many years ago.  I started with simple rhythms on a single drum, and practiced many hours to coordinate my hands and feet on a drumkit.  The moment I could successfully coordinate kick drum and snare hits with a running cymbal rhythm, something in me clicked and I’ve never forgotten how to do it, no matter how long it’s been since I’ve last played a drumkit.  These days, I don’t think about it – I just follow my subconscious to feel the beat and play along.  If I’m playing in an unusual time signature, like 5/4 or 7/4, I need to engage more of my conscious mind.

I think the same applies to songwriting.  As songwriters, we can rely on our ability to “blink” and know if a songwriting or performance decision is the right one.  However, we can also study more conscious tools of songwriting to change things up, overcome writer’s block, and think outside the boxes we have created ourselves through our experience.

For myself, how do I answer the question of do I write from the heart or the head?  Historically, I’ve been a head-dominated writer, but lately I’ve been “consciously” relying more on my snap judgements, and perhaps surprisingly, they’re mostly right.  So, like everyone else, I’m somewhere in the middle.

Let us know how you look at your own process.  Do you write from the heart or the head, or both?

Blissless Christmas

As hosts for Song Talk Radio’s 2015 Holiday Show, we were challenged to write a 60-second Christmas song in the days leading up to the show.  I decided that in order to get a song done quickly, it would have to be rap/spoken word and I’d need to come up with lyrics first.  I started with the internally rhyming title Blissless Christmas, and wrote 4 verses with an AABB rhyme structure.  I recorded a quick demo on my phone.

A couple of days later, I started on the music. The first thing was to develop the two beats, knowing the structure would be 3 verses of half-time beats, and the final verse at full speed (150 bpm in this case).  This would be reflected in the lyrical shift from cynicism to optimism.  I kept the instrumentation simple with piano, strings, horns, and bass, and used many 9th and 7th chords to give the music bed a more R&B or soul flavour.

I also did a quick video for the final track.   Enjoy!

Blissless Christmas
Why all the sadness?
Don’t have a reason
For blingin’ the season

Blissless Christmas
Yuletide forgiveness
Feed all the children
Canadian and Syrian

Blissless Christmas
Consumerism hits us
After Hallow’s Eve
The pockets, they bleed

Christmas Blissness
Hugs and kisses
Under the mistletoe
Reindeer sleigh go!

Song Talk Radio appearance

On November 24, once again I appeared on Song Talk Radio as the featured guest.  I spoke with Bruce and Phil about three of my latest songs, and in a special twist, Sonja Seiler joined us as co-host and co-writer of one of the songs.  We talked about collaboration, anthropomorphism, and whether or not I could pull off writing a love song for my wife.  Check out the complete episode, including the songs, here:

I Never Write Her a Song

My wife asked me why I never put her in a song, or one of our experiences, into a song. Good question. After much pondering, I thought it might be good to go all meta and write a song about how I never wrote her a song. And of course, in keeping with the meta element, by the end of the song, I realize I DID just write her a song.

I started with the chorus lyric and melody, defining the hook with a simple chord progression on the piano. Lyrics and the rest of the chords came after that. I also employed chord substitutions in the verse progression and as a transition from the second chorus to the bridge.

All in all, it’s probably the pop-iest song I’ve ever written, and some of my friends helped me out with a live jam of the song too! I also appeared as a guest on Song Talk Radio where the song was reviewed, including a mini-domestic disturbance with my wife who was on the radio with me!

It’s like we’ve been together for a million years
And I guess we’ll be together for a million more
But in all that time I’ve never smiled or shed a tear
And I never let my feelings out for show

She said I never write her a song
She’s right, and I’m always wrong

Now I’ve got a yearning stirring deep inside
Or is it just because she asked out loud?
Will I take pen to paper, and write it right?
Or choke up and admit, it’s all a fraud.

She said I never write her a song
I could do it, but it might take too long
She said I never write her a song

Maybe all she wanted was a love song
All mushy lovey dovey and googley eyed
But somehow I know she’ll get it
The kinda love that comes from her clever guy

She said I never write her a song
But look here, her song is now done

She said I never write her a song
Now she knows her song’s all for fun

Nature’s Lullaby (with Sonja Seiler)

This summer, I wrote a little progression on the piano which was intended to be a gently flowing chord progression and melody. I repeated it twice in the recording.  Having nothing more to do with it, I sent it to my friend Sonja to see if she would be willing to put a lyric and vocal melody to it.

Later on, we got together to hash out some ideas. Sometimes ideas can come from the strangest places. The piano sound I used was from Native Instruments “The Giant” and for lack of a title, I thought of “Giant…” and what’s something that’s NOT giant? “Giant Caterpillar.” So when we got together, we decided to write lyrics that reflected paradoxes or contradictions in nature, where the reality of things in nature may not be what they appear to be. Sonja came up with a gorgeous melody and beautifully poetic lyrics.

The final recording was done in my home studio, and we added a cello part to complement the piano and vocal. We also showcased the song on an episode of Song Talk Radio.