Under the bonnet of Big Blue Car's album 'The Masking of Everyday Things'
Under the bonnet of 'Everyday Things'
The Masking of Everyday Things was inspired by a 'what lies beneath is often different to the shape it represents', thought.
Over the years I've worked in the business of visual design and promotion of products and service. Ah yes, that old 'positively leveraging a brand' so stuff can be bought and sold. This would often leave me thinking that we lived in a world of self denial, false perceptions and an overwhelming supply of unimportant information.
I've often wondered; what would happen if all the branding and false messages was just suddenly stripped away? I'm not imagining a utopian vision here, just a massive de-branding of everything, where only the actual product itself is visible without the soothingly wrapped, ripe images and words. What would we, as consumers rely on for our buying decisions?
Please don't think I'm against 'pretty' things or form without function, I'm not. I just think we are too often manipulated by the mainstreaming of messages as facts.
This thought came back to me while I was looking out at my back garden on a rare snowfall. I took a little time to watch how the garden melted back from its green-brown to a soft white, eventually disappearing altogether. Of course we know exactly what lies underneath the snow, but the shape and topography of the garden took on a different context along with my attitude to it. And I liked that; the thought that it revealed something different while hiding the obvious and everyday.
People are like that too, and I can never fully decide whether I'm engaging with a snow-covered person or a wilfully exposed one.
Harpo Gets Serious
I was playing around with this particular harp sample on the keyboard (I think it originated from a Korg K1) which just sounded beautiful. It turned into quite a melancholy little piece (drawn to the minor key again) and as I started playing around with the theme I imagined Harpo Marx sitting in the corner of a large misted bathroom playing this to himself. He's illuminated by a harsh ceiling light and framed at the doorway by a dark room which broods before it. His playing seems to keep something dark at bay - and he knows it.
Obsessive behaviour. 'G' drives through town's jungle watching the hordes. He systematically peels the personalities from poorly fashion'd skins. A Neanderthal in sportswear gibbers into his mobile loud enough for all to hear the chest-beating of a conversation. 'G' considers running the monkey over, but of course knows better.
Pride (of a pantomime cow)
What happens to old movie stars when they finally get retired by Hollywood? They get embalmed, trolleyed out and fed to the press.
The old pin ‘n’ tuck movie star is wheeled out for a film ceremony. Onlooker ‘Q’ revolts at the assembled blind adulation. He hates the excesses of stardom and its consequence of the overindulged. He notices there are flies swarming around the ‘old cow’ as she moves slowly, grazing on her fans' sentimental frenzy.
Office life takes a turn for the worst when an individuals' only option to rise to the top is to seek refuge on the roof. After being followed by those of the HR and Marketing departments 'D' sings to them from his loud hailer. A Pied Piper for the new globalism.
A picture of liquid in slow motion like a thick sea hangs on the reception wall, presenting a stunningly lit logo of bold corpocracy. Remember, if you let it, it will take more out of you than you can possibly take out of it.
I remember I had some old Marvel comics (long gone now) with Loki in them. After installing a VST version of an old Roland rack synth I got some of these nicely simple, outdated-and-harsh voices from it and for some reason it made me think about the character of Loki, or at least the Norse version. He's the shape shifter who can't be trusted, a Jack Frost figure (not the Disney version). Loki is not just the ghost in the machine, he is much more sinister.
in 2001 I met a driving instructor who hated cars and Long-John Silvered to be a pirate on the open sea. He's the only Pirate-in-Waiting who doesn't know he's an albatross.
A character based on the book ‘The Lightning Cage’ by Alan Wall, involving an obscure 18th century poet detained at an asylum and his eventual 'release' through trepanation.
When you fear so much you have nothing else to lose. When you have nothing to lose, you lose fear. When you have no fear, you are like a god. When you are like a god, you can put out the stars.
Realise that you will be altered and bent by your experiences. Take charge and be strong, because you will survive - you always do.
Exiting The Circle
The cycling picked guitar is a carousel. The horses are four verses. The first is also the last. Everything is a cycle, everything has a rhythm. Which way is Out and where was the In?
Table No. 4.
I can't play piano well but I loved the idea of this slightly discordant, almost jazzy piano which performs the narration while a seated figure (viewed from the outside) sits at a table in a corner cafe. He is seated at the 4th table of a cluster of 18. The smoky cafe/bar is winding down for the night. The figure is not clearly seen but his inner thoughts are mirrored by the rise and fall of the piano.