Sol 2: "Good Morning Good Morning" Beatles, Sgt. Peppers Lonely Hearts Club
Sol 3: "Good morning, good morning" from Singing in the Rain.
Sol 5: Wagner "The ride of the valkyries" R10 Victory Song: Theme from "Mission Impossible"
Sol 6: "Got the Time" by Anthrax, and "Echelon" by 30 Seconds to Mars
Sol 7: The Doors - "Break on Through", and George Harrison - "Got My Mind Set on You"
Sol 8: Theme from Star Wars by John Williams
Sol 9: Wake Up Little Susie by Simon and Garfunkel
Sol 10: Frank Sinatra "Come Fly with me"
Dan Spitz, former guitarist for Anthrax, had this to say on his Facebook page about the news:
My Guitar has been played ON MARS !!! LOL … I am now officially an intergalactic recording artist.
Anthrax song wakes up Mars Curiosity Rover today. Thrash on Mars.... Top That Anyone ? Anyone ? Bueller ?
On Monday, July 23rd at 9:30 AM (EST), Alice Cooper logged online for a 45-minute video chat where he answered fans' questions live as they were typed in to him. Listen for his creative answers below! (Alice enters the room about 10 minutes in....)
There
are so many albums from which to choose to begin, and I’m not going to
particularly choose in order as far as release date, though as I catch up, I
might address recently released albums as they come out in a relatively
real-time review. However, I decided
that due to recent discovery, my first album review will be of Vanden Plas’
2010 album, “The Seraphic Clockwork.” I
may review their other albums here at a later date, but their most recent
offering was over the top (in a good way!) and seemed the clear choice to begin
with for me.
Vanden Plas is a progressive metal band from Germany.
I only recently discovered them (this year!) thanks to Pandora radio,
when one of their songs came on my Dream Theater “channel.” I wasn’t even watching the station rotate
through the like-minded songs since I was doing work while it was on in the
background, but one of their songs came on and caught my attention enough that
I had to check back onto the station to find out “who the heck is this?” I realized I’d never heard of them, but
decided right away I had to check them out.
I can say that I now own all of their albums after a massive quest to
obtain their discography, and though I’m late to the party, I’m so glad I found
this lesser known band (at least in America) that should have much more
worldwide notoriety.
Vanden
Plas has been playing together since the 1980’s, but released their first
album, “The Colour Temple” in 1994.
Interestingly, most of their time playing and composing together is in
the realm of musical theater/rock operas, where they have not only played in
already created musicals (i.e., Jesus Christ Superstar, Rocky Horror Picture
Show, Evita), but also created or arranged their own original rock operas with
their local theater in Kaiserslautern (and other southern German theaters)
including Ludus Danielis, Christ 0 (based on their 5th full-length album),
Abydos, and currently Blutnacht. Though
elements of Dream Theater-ish styles are reminiscent in their music, I think
their camaraderie in the theater experience largely influences their sound,
especially as their most recent albums have become more conceptual in nature
with the potential for stage performance in mind. Vocalist Andy Kuntz has performed the lead in
many of these plays, and his growth and confidence keeps coming through in each
consecutive album. Keyboardist Günter
Werno is usually the musical director for their theater performances, and is a
large writing force for the band along with Andy (vocal lines/lyrics) and
guitarist Stephan Lill. Torsten Reichert
holds down a solid bass presence while Stephan’s brother Andreas Lill mans the
intricate drum duties. I believe that
their notoriety is limited due to their extended theater schedules which don’t
allow for lengthy touring, and when they do, they tend to remain in
Europe. They have attended ProgPower in
the States before, but this is my presumption why much of America is not aware
of this talented group.
“The
Seraphic Clockwork” is a concept album with a detailed story delineated in the opening pages of the liner notes.
Essentially, a clockmaker named Tio is tasked to rebuild a clockwork
that will launch him backwards through time from 15th century Rome
to 1st century Jerusalem to complete an important mission. In this story, history is different than we
know it – due to the devil tempting Judas NOT to betray Jesus Christ so that He
wouldn’t die in order to bring salvation to mankind, the Bible was written differently
where the apostles protected Christ, Judas did not betray Him, and therefore He
did not die, and redemption and eternal life never happened. Tio is given the mission to time travel back
to 33 AD to be the real “Judas,” to willingly betray Christ to the authorities
so that He will die as God had planned to save mankind after all. It is kind of a mixture of science fiction
and religion, but somehow it seems to work for this album. Each song ties this
story together with a very powerful 13-minute culmination in the final
song. Vanden Plas pulls out all the
stops musically on this album. Overall,
the album has a melancholic feel with mostly minor-keyed songs. The beginning songs are more straightforward
metal with more standard time signatures, but as the album continues, more
complicated arrangements and musical layering appear, reaching its height with
the final song. Here I will review “The
Seraphic Clockwork” track by track.
1. “Frequency”
This
track starts off with a strong beginning with dissonant chords and double bass
driving the background, in this particular case very reminiscent of Dream
Theater’s “In the Presence of Enemies, Pt. 1 – Prelude/Resurrection.” However, it resolves to an energetic melodic
theme with a driving 4/4 but loosens to a rhythmic cut time feel in the chorus
with strong harmonies. At about 3:15,
the solid riffing gives way to a piano and string interlude with flute, showing
some of the musical softer side of the band that complements their strong metal
roots as the dissonance re-enters about 3:45 and then segues into keyboard and
guitar solos with a supersonic conclusion around 5:10. This song introduces the album with the part
of the story where Tio reflects on the death surrounding him with the plague,
and the start of setting into motion his destiny.
Rating: 9/10
Favorite
Lyrics:
“On the day when the sun disappears
Then I see the lights
In a city of angels
And we’re watching this
downfalling star
It reflects in a river
of tears
On the day when the sun
disappears”
2. “Holes in the Sky”
This
song is featured in the band’s first music video. It is more commercially appealing from a
musical standpoint, and could easily be heard on radioplay. It starts with a rhythmic clock ticking and
an small orchestral beginning, which soon gives way to Stephan’s power chord
riffing and Günter’s keyboard reflection of the song’s melody. Andy’s vocals
come in with a relaxed introduction to the verse, which builds about halfway
through, a pattern also reflected in the other verses. The soloing is comfortable and moderate, and
gives way to some nice layering at 3:53, and there is an effective grand pause
at 4:02 with only the clock ticking in the background before another powerful
re-entry with the chorus. Another
hallmark of this song is the strong harmonies of the vocals, which I believe is
one of the band’s musical strengths and appeals. This is a generally less complicated, more
straightforward song by the band. This
is also the shortest song on the album at *only* 5:26. This song reflects the clockwork that Tio
builds to time travel via “holes in the sky.”
Rating
9/10
Favorite
Lyrics:
“I stay between the
hours
And fill them with sand
My destiny’s time dust
Is stolen soil from
Promised Land"
3. “Scar of an Angel”
This
song starts softly, with only a piano and acoustic guitar intro that continues
into the first verse. Strings gently add
into the verse and following. One of the
only complaints I have on this whole album is at this point in the track, the
guitar abruptly begins the next portion of the song, which in my opinion was
much too sudden. It seemed that the
lovely intro line with the light beginning just got steamrolled before it
finished. Now, I am not one to disagree
with striking musical contrasts; on the contrary, Vanden Plas has shown to be a
master at the combining of the soft and gentle juxtaposed with the heavy and
chugging. However, this particular
instance, I think could have been finessed a bit better. This song also features
a guest female vocalist to reflect the part of Mia. There is an effect in her voice to perhaps
make it seem more ethereal, but it seems to flatten her voice in comparisons to
Andy’s and the instruments, so it seems slightly distracting to my ear. At 4:06 there is some nice progressive
interplay with keyboards and guitar, and at 5:22, there is a pleasant bridge
melody that improves the song overall from there until the end. Andy’s voice is strong, and in this song in
particular, he shows his vocal prowess by holding lengthy phrases apparently
effortlessly in one breath. In the
storyline, this song related the appearance of Mia Ambrylight, who motivates
Tio to continue and to complete the clockwork machine as he briefly protects
her from the Death from whom she is trying to escape. This is probably my least favorite song on
the album, but that still isn’t saying much.
J
Rating
8/10
Favorite
Lyrics:
“And then I speak a shallow prayer
We are going nowhere
Heal me – Save me
…..
Heal the world – Save
me now
You’re the awaited sign
Heal the world – One
last chance
For saving you –
Ambrylight”
4. “Sound of Blood”
This
song is a nice mixture of some progressive metal with syncopated rhythms and a
bit of gothicness sprinkled throughout with the Latin choir in the background
of the chorus. The song starts of
strongly, but it does take a little time at 3:09 for a soft acoustic guitar
interlude with piano joining, with a solid polyrhythmic drum foundation, and it
builds as electric guitar and bass add a moving countermelody until it reaches
the strong riffing again that it started with as the instrumental carries on
for a good two and a half minutes until the single strong bass re-introduction
to the vocals again at 5:42.
Rating: 9.5/10
Favorite
Lyrics:
“Who are you sweet
miricadium
Get off possessed
premonition
Excise the thing
Like a nail out of my
wound
Unsaintly inoculation
……
There’s a reflection in
my iris
Christus – Sanctus – Me
vocat (Christ – Holy – I call)
That helps me to hear
the sound of blood
Scriptum – Divinum –
Illuminat (Written – Divine –
Illuminates)
Tears are the noeses of
water
God’s distillation of
the flood”
5. “The Final Murder”
This
track starts the increasingly lengthier offerings on the album, clocking in at
9:54. It begins immediately with
acoustic guitar and vocals, with a melancholy feeling creeping into to fabric
of the music as a more regular occurrence, especially with the ominous sense
starting around 1:00. The martial
drumming starting around 1:35 continues to set the tone even as progressive
rhythms take its place soon afterwards (it recurs again in the song at 3:09 and
8:16). The strong beat of the song gives way at about 4:31 for a singular
guitar bridge with string and flute background, giving a brief melancholic
break before the vocals and driving beats resume. It has an intriguing ending that fades into a
string quartet along with a cathedral bell ringing into the background and into
the next song as it begins. In the
storyline, this track relates the part where Tio is led to the Hall of
Sanctimony in the church of Sante Croce di Gerusalemme with the ancient, buried
manuscripts that had been long hidden, where he discovers the real truth of the
Christian story, that Jesus *was* betrayed by Judas, died on the cross, and
resurrected to bring eternal life to mankind. There, Tio realizes he has to go
back in time to change the events so that this would be sure to happen as
planned. This is a song that builds as it unfolds, adding strong rhythms and
harmonies, easily pulling the listener in along for the ride. I believe this song continuing through the
second half of the album does a superb job of allowing the listener to become
lost in the music and the story. Tracks
1-3 are a great introduction; Track 4 is a turning point; Tracks 5-8 are the
punching gloves that grab your attention and really pull you into the
brilliance of the album.
Rating: 10/10
Favorite
Lyrics:
“When Samiel muted the voice of God on earth
He stole with an
“ungiven kiss” the infinity of days
Tell me what is on the
way
A forgotten savior
…….
Hear now savior –
demons find their way
Hear now savior – they
sing just for you
And I know in a few
thousand sins
This, your kingdom falls
We’re awaiting the end
of the world
Waiting for it –
waiting for it
And waiting for you,
waiting for you
Tell me what is on the
way
To the final murder”
6. “Quicksilver”
The
melancholic mood continues into the beginning of this song as the cathedral
bell continues to toll and the piano solemnly introduces this song with a
hauntingly beautiful melody, assisted by occasional strings and flute that
embellish the downhearted tone communicated by this song. The vocals by Andy are strong as ever in the
song, and show his range from the soft beginning and second verse, to his
strong build through the latter part of the verses, bridges, and the
chorus. The choral background in the
middle of the song add gothic qualities to the song, right before a change of
style at the 5:17 mark with dramatic drop to piano and acoustic guitar and the
titular whispers of “Seraphic Clockwork” before it builds again into a power
chord channel with frequent time changes.
The chorus again reprises before the abruptly quiet ending with the
strings and piano that had introduced the song.
This song continues to relate the part of the story after Tio discovers
the lost manuscripts and realizes his part where he needs to travel back in
time through the Clockwork to be the Judas to betray Christ.
Rating: 10/10
Favorite
Lyrics:
“Climb into the time –
searching heaven
I hear the revelation
cry
Searching Jesus –
finding neverland
…..
Fireflies shine so
faint and fragile
Neonizing a town with
their nonlight
These sacred poetics
Are darkminded auguries
Let the circle of
Tanakh
Revolve the old
quixotic gear
…..
And soldiers gamble for
a garment
They want to crucify
His son
Inside of a manual “The
Judas Revelation”
I read a prophecy that
my yesterday will come”
7. “Rush of Silence”
The
third longest song on the album, clocking in at 9:23, is another tour de force
on the album. It has a strong intro that
backs off briefly for the verse to begin, but then both instrumentals and
vocals build strongly into the powerful chorus with a catchy (but not kitschy)
melody. The song continues with strength
until in typical Vanden Plas fashion it drops to a soft interlude at about 4:40
with only piano with countermelodies, strings, and light strumming acoustic
guitar. At 5:04 a tender violin solo
carries the melody through the rest of the interlude that slowly builds with
the re-entry layering of instruments (multiple strings, flute, drums, bass,
guitar) when the keyboards and guitar again push the power of the song at
around 5:59 and Stephan’s guitar solo at 7:15 leading into the reprise of the
chorus that continues strongly until the light piano outro with strings at
8:50. This song essentially relates the
struggle that Tio goes through with the mission he knows he must complete, but
appears to be ambivalent about doing it, perhaps even hoping it would be someone
else chosen to do so.
Rating: 9.5/10
Favorite
Lyrics:
“Turbid idols we adore
All distempers draw one
scene
With a cross upon the
hill
What a beautiful
nightmare
Then I hear the rush of
silence
And I know that I must
save the world tonight
I fall into the rush of
silence
Where are you
Let me save you now
Before you have to die”
8. “On My Way to Jerusalem”
My
first statement about this song is that it simply is a musical masterpiece, in
my opinion. The lengthiest song on the
album, just shy of 13 minutes (12:51), Vanden Plas pulls out all the stops on
this song musically, covering a wide range of dynamics, instrumental
combinations and styles, and time and tempo changes. It begins with a music box-like keyboard
melody with a gentle vocal entering courtesy of Andy. The minor, melancholy tuning of the song is
very effective in communicating the emotion of the lyrics, even though there
are some more light moments within the song.
One of these places is at 1:50, where the increasing power of the song
seems to drop to reveal what I call a “lounge music” verse…I don’t mean this in
a derogatory way, but it’s what I think of with the style of Andy’s smooth
vocalizing, Andreas’ easy beat, and Günter’s piano line in the background. It is a surprising change in the song, but it
still appears to work effectively. But
then Andy’s harmonies kick in and at 2:22 start another strong verse with more
of a minor feel, and then returning to the lounge-style again from 3:10-3:39. Again they return to the powerful verse
harmonies from 2:22, and leaving the “lounge style” far behind as they press
ahead to give more musical styles through the rest of the track. The beat kicks up a notch at 4:08 and leads
into a more chugging riff-style about 30 seconds later. Then, the listener is surprised again by a
sudden change at 5:01 with what I call the “medieval segue,” which features a
medieval or renaissance melody with a period flute and harpsichord sound, while
Torsten’s bass counters with a tapping melody that somehow complements it
despite its modern sound. This may be a
musical allusion to Tio’s traveling back in time from the 15th to
the 1st centuries. This
slowly morphs with the entry of keyboards, drums, and then guitar as it carries
this melody forward to a new vocal bridge with some time changes. At 6:30, this brings a dissonant “wind chime”
section with acoustic guitar and then an amalgamation of vocalizations from
male and female voices, leading into a major keyed section at 7:24 with piano
and acoustic guitar, which again builds musically. A lighter section with multiple time changes
interjects again at 8:18, then a return of the vocals with some strong
double-bass kicking patterns forging ahead into the multi-harmonized chorus and
continues to pick up speed. At 10:22,
the music-box melody returns from the song’s intro and again Andy’s gentle
vocals capture the emotion of the unfolding story in the lyrics. This for me encapsulates the heart of the
song, the culmination of the storyline that Andy poignantly captures in the
lyrics until the end. This song does not
seem 13 minutes when I hear it. It seems
to fly by, and then it is suddenly finished…and then beckons me to listen
again.
Rating: 11/10
[is that possible? :)]
Favorite
Lyrics:
“Hey you, are You
waiting for the end
The Sanhedrin says You
will die here today
But why me, why’s not
anybody else
Finding the way out of
time to Jerusalem
….
All kinds of details
falling right out of the sky
‘Not Unimmortal’ if Your
father let You die
God’s time levitation
found a way
To make You a savior
today
…..
Now You walk Your way
all alone
To carry the sins of
the world
I came to dethrone and
to betray You
So they crucify You for
another life
A better day to free
the world
(God’s time levitator
found a way)
To heal all kinds of
things
(To make you a savior
today)
And take all souls on
board
(Me – the parallel Judas
will burn)
You die to save us all”
9. “Eleyson”
(Bonus Track)
This
song is a bonus, and is a live audio recording of a solo Andy did in his lead
as the prophet Daniel in their reinvention of the medieval (12th
century) play called “Ludus Danielis,” performed entirely in Latin. Most of the play is done with a company of
singers, with several soloists throughout by the lead characters. This is the “soliloquy” that Daniel sings as
he has just been thrown into the lion’s den.
Vanden Plas’ modernizing this play into a rock opera – while maintaining
the original melodies from the period instruments and the Latin lyrics – is
nothing short of amazing in my book.
Here you can see Andy’s vocal and emotive range as well – and his
singing in Latin! This also gives you a
good idea of what the band does in between recording albums. :)
Rating: 9.5/10
Favorite
Lyrics:
“Hujus rei non sum reus
(I am not guilty of this crime)
Miserere mei Deus (Have
mercy upon me, O God)
Mitte Deus huc patronum
(O God, send a guardian)
Qui refrenet vim leonum
(to hold back the lions in their strength)
Eleyson Deus (Have
mercy, O God) x3
Hujus rei non sum reus
(I am not guilty of this crime)
Miserere mei Deus (Have
mercy upon me, O God)
De profundis clamavi ad
te Domine (From the deep I called you God)
A profundis clamavi
(From the deep I called)
Eleyson Deus (Have
mercy, O God) x6”
Here is a video of the song in live performance:
Overall Album
Rating: 9.5/10
There
is word that this album may also appear on the stage sometime in the near
future…this is one performance that I would do everything within my means to
attend if at all possible. This would be
a very powerful story to be brought to the modern stage, and I can’t wait to
see how it will be presented in a live format.
If it is anything like Vanden Plas’ previous original or arranged
theater works, it will be sure to be fantastic both visually and
sonically. There are a lot of albums
made in the world by a plethora of groups, bands, artists, ensembles, etc. and
I listen to quite a few (though I still barely scratch the surface). I had high expectations when I finally got
this album in the mail, but I think it far exceeded even what I presumed. I have listened to both religious and secular
groups, and I definitely have come across albums that really grabbed my
attention and made me take notice, both musically and lyrically. But I was surprised that this album struck me
so much on a spiritual level that I didn’t expect – especially from a band that
does not identify itself as Christian or otherwise – so that I had to take
notice. The musical passion of the band,
the lack of confinement of a particular genre label or category, the latent and
manifest content of the lyrics, and even perhaps the spiritual beliefs of its
members seem to be the variables that came together with this particular themed
album to rise above even their previous offerings. I think ‘Christ 0,” their previous album,
started this idea in its concept, and blossomed even further in “The Seraphic
Clockwork.” My only hope is they are
able to continue in this vein and somehow outdo themselves in subsequent albums
– though I think that would be a tall order!
My thanks to the band for creating such a poignant album that managed to
awaken me audially as well as spiritually. Vielen Dank und guteArbeit!
Well,
I started this blog to be a place to share music information as well as post
some of my music reviews.That is
something I thought I would like to do but never tried it officially before.Since I constantly listen to music, and have
a fairly discriminating ear for what I like, I was hoping to be able to
recommend different music that I come across.Some of it may be more mainstream or well known, others may be more
obscure, but I hope that all in all it is helpful to you, the reader, to find good
quality music out there in the rock/metal/progressive realm.It may take me a while to get reviews here as
often as I would like, but I do take my time and want to have a thorough report
of each album I review.I hope you enjoy
the format, and comments are welcome!
I came across this article that highlights a sibling band called the "Children Medieval Band," with siblings Stefan (9), Olga (8), and Cornelia (5). They all play a number of instruments and practice and perform covers of their favorite songs. Their parents have modified some of the lyrics of the songs, making them more appropriate for the young trio. Check them out!
If you think there’s no correlation between metal and cuteness,
you’ve yet to witness the Children Medieval Band rocking out covers of
their favorite Rammstein classics.
The adorable trio is made up of three siblings, with the wee drummer
Cornelia clocking in at a whopping five years old. Stefan, the
elder-statesmen of the group, is nine years old and plays a bevy of
instruments from violin to keyboard, to trumpet and xylophone. His eight
year old sister Olga rocks the violin and keys as well.
According to some stats posted by the trio’s parents on their YouTube page,
the three children practice music an hour a day and look tense because
they are concentrating on their recordings and they don’t really like
“shake-butt” music. Future metalheads in the making?
As far as any concerns for their youngsters playing Rammstein tunes,
their parents say that the children are well-rounded and love everything
from Little Richard to Rammstein. They feel that the “unique
combination of immense power, tension, glorious themes and subtle
infusion of good taste romanticism, makes them [Rammstein] the best
musicians of the past 20 years.”
Thanks to MetalInsider.net for turning us on to these mini-metalers!
Performing "Ich Will" by Rammstein:
Performing "Mon Amy" by Tielman Susato, a Medieval song:
A new documentary titled ‘Mission to Lars’ centers on Tom Spicer, a learning disabled man who goes on a quest to meet his hero, Metallica drummer Lars Ulrich. Spicer has Fragile X Syndrome, which is a sort of autism, and is helped on his journey by his brother and sister.
Kate and William Spicer hit the road
with their brother Tom, traveling from the UK to Los Angeles, Las Vegas
and beyond. “We had this fantasy of hitting the road with Tom and
recreating some of the magic of our teenage years cruising around in
£100 cars, eating Burger King and listening to heavy metal on the tape
deck,” says Kate. “We thought it would be fun, bonding. We wanted to do
something good for our brother. We were also sick of him endlessly
asking.”
Kate is a journalist and William a filmmaker, so they have experience
in the music industry, but still ran across numerous obstacles in
trying to fulfill their brother’s dream. Mencap, the British charity who works with learning disabled individuals, were involved in the making of the film.
The movie’s website
says ‘Mission to Lars’ tells the story of the confusing family dynamics
around learning disability, and portrays Tom as a complex and likeable
character, and not as someone one sees first as learning disabled and
everything else second.
In addition to entertaining the audience and raising awareness,
‘Mission to Lars’ is also giving all the profits from the film to
Mencap. In June, there will be theatrical screenings of the
documentary, which will also be used as outreach opportunities. The
soundtrack includes music from Bob Dylan, Devandra Banhart and Blur.
Lars Ulrich himself has seen the movie, and according to the Spicer
family, he likes it. Sounds like an interesting documentary with a great
message for a worthy cause. In addition to some British screenings, the
filmmakers plan on taking ‘Mission To Lars’ on the road.
PHOENIX -- Valley rock legend Alice Cooper made an appearance at a Paradise Valley School Board meeting on Thursday night.
Cooper was speaking on behalf of The Mr. Holland's Opus Foundation, a national organization that donates instruments to under-funded school music programs.
The foundation awarded $20,000 dollars worth of instruments to Arrowhead Elementary School. The school received the donation in response to a grant application.
The donation means some student will no longer have to share their instruments.
"There are kids out there that really want to play that just can't
afford it and here they are, here's the instrument, put it in their
hands and just watch them go. Maybe some of them won't be great
musicians but so what - it's something that they're doing that they
love," said Cooper.
Jackie Moran, a student at Arrowhead Elementary said, "Music is like
my life. I love music so much. We didn't really have a lot of
instruments at our school so I'm really happy that we got it."
Cooper, who grew up in Glendale, told the school board that his band started while he was a student at Cortez High School,
"The amazing thing is is I see these kids here everybody's got their
instruments like it's a prize. You can take this away. Their culture is
involved in their art and their music."
Cooper is getting ready to open The Rock at 32nd Street Teen Center in just a couple of weeks. The facility will provide free music and dance lessons to teenagers.
"Basically to get kids in gangs out of gangs and into music,"
explained Cooper. "We feel that if we can change one 13-year-old kid
that will change everything. I mean there's a kid out there right now
probably selling drugs that might be the best guitar player in Arizona.
He just doesn't know it. So we're gonna put the guitar in his hand and
say try this."
While addressing the school board, Cooper had this message for the
students in the audience: "Music is way important guys so all of you
kids that are learning right now stay with it it's gonna be with you the
rest of your life, calculus probably won't be."
Unsung captures the latest chapter in the life of one of metal music’s most iconic and influential artists, as he explores a new medium for his lyrical creativity. The book is also David’s first venture into the realm of self-publishing and as a result, he encourages the reader to utilize his new and original lyrics under license from him for their own songs. In this manner, song-writers of all levels can actually become a co-writer with David.
As bassist for the rock group MEGADETH, David has been a regular contributor to one of Metal music’s most enduring legacies. Followers of David’s work will be delighted that Unsung proves to be yet another unique narrative from a man who is known for creating fresh and innovative ways to inspire and connect with his fans.
Lately, a musician releasing a book is nothing unusual, and Megadeth bassist David Ellefson has joined the fray, releasing Unsung: Words & Images, a self-published book of his lyrics and photograph.
Guitar World caught up with Ellefson, who offered some insight into the book.
GUITAR WORLD: You recently released a self-published book, Unsung: Words & Images. Can you tell us what inspired the project and how it got started?
I have a lot of lyrics from just the past few months, ideas that were really good, but I wasn't necessarily inspired to go through the process of writing music around them all. Setting the lyrics to photo images opened up a whole new realm of creativity with these words and didn't confine me to having to edit ideas to fit into a specific musical genre, either.
Were the works in the book written specifically for the book?
Much like when you compile a musical album, the lyrics started to shape the book very naturally. Once I realized the potential, I had to not be locked into writing only genre-specific lyrics, other ideas started to flow effortlessly. Pieces like "Sweet Affections," "Goddess Divine" and even "The Cycle" really helped round out the book and give it some unique emotion and variety that I may not have been able to put on a musical album with many of the same lyrics.
The photos used in with each piece -- were they take with a piece in mind or did you look through photos to find what fit your vision?
I was really blessed to find a fantastic creative team to help me put this book together. Raffaella is a photographic artist and, as a result, she has so many great photos we were able to utilize. Her specialty is taking random, thought-provoking photos of various subjects, much the same way I create thought through lyric ideas. Bringing our creative works together with mine was a really unique way to co-create with our respective mediums.
When you write a lyric, you will typically have a melody and form in mind. Was it liberating to be able to just let the lyrics flow naturally?
Sometimes I will have a melody, or even start with a riff and then put lyrics over the song. But when starting with a lyric, I usually just let an idea flow in order to convey the story I have in mind. The trick in putting lyrics to music is that you are often then required to edit your words to fit into the music, either because of space, rhyme or even the simplicity the words require for the listener to grasp the story. That is really the difference between story telling versus lyric writing. Lyrics have to be musical!
This book didn't confine me to have to edit lyrics to fit musical nuances. In fact, I found it really became much more open, like poetry or even spoken word, because the music wasn't dictating to me how I should edit my words to convey my thoughts. That is why the photos are so important, because they reinforce the words to the reader to really go in depth with the thoughts I'm conveying. The photos are visually doing what the music would be audibly doing if these were songs.
What drew you to go the self-published route with the book?
The book publishing business has evolved much like the record business. Today, artists and writers don't have to toil in vain over their creations, only to have some corporate giant reject their work because it may not fit their sales objectives. More and more in recent years, I have really embraced the DIY work ethic because I'm not profit driven but rather creative driven. I really subscribe to the belief that when you can create at your best, all the perks of that will flow naturally anyway and that's the freedom self-publishing now affords writers.
Do you have aspirations to do more publishing beyond Unsung?
Yes, for sure. I'm definitely a communication kind of guy! I like to put thoughts down on paper, audio, video, etc. It's just how I'm wired. So this whole process has really opened up my sphere of creating more in a literary sense, and even being available to help others publish and release their own books, too.
I think at this point the actual physical printing of books is shrinking because of the new formats for digital distribution, like Apple's iBooks, Kindle, etc. Unsung was specifically created to be a high-gloss print book, but I must say that the iBooks version looks fantastic and it is a fraction of the price because there is no printing and shipping involved. It creates a very high-quality version for another kind of book buyer now. It's following the same road as the physical manufacture of CDs vs. a purchase from iTunes.
Can you give us an update on your "David Ellefson Rocks Shop" iPhone app?
Yes! We are finishing the feature set on it as we speak and we are aiming for a launch first week of April. It will be available in the App store from there. It's a fun app, but it's really become a new type of digital work station for musicians to practice and create with. More info available at pocketlabworks.com and davidellefson.com in the coming days.
