Allow me to share with you the insanity of my pedantry. Fully aware of the fact that once published, the text will not be displayed as written in Evernote, I nonetheless take great pains to ensure that the paragraph lengths correspond. In this post, paragraphs one, three, four and six have the same line lengths, as do paragraphs two, five and seven. Imagine my disappointment when I could not also express the “To the next poem” part in three paragraphs!
The highlight of June was Origins, the inaugural release of the Lonely Swallow label: a collection of six contemporary classical impromptus for the piano composed, performed and recorded by Affan at his home in London. The pieces ebb and flow with delightful melodies and tempos that gently transport you along—now light and lively, now quiet and reassuring. (Of these, “Origin IV”, the fourth track on the album, is undoubtedly my favourite.) I am honoured to have worked with Affan on releasing his first album. I hope you enjoy the work of this very talented musician.
I drafted an essay.
The subject of Art fascinates me. A graphic designer by profession, my field of study was the Visual Arts; yet, notwithstanding the theory, my conception of Art has always been nebulous, nuanced and pliable. I consider it fortunate that my pursuit of music and poetry has since forced me to think more intelligibly about the nature and purpose of Art. As a result, my understanding has become more clear, and to elucidate this emerging view, I have drafted a simple essay in which I attempt to demystify the matter. When completed, I shall post it here.
I resumed work on my poetry.
In the meantime, I continue revising the poetic sketches for the collection of poems I want to self-publish. Some are completed, some await rewriting, and some have been discarded. At the present time, I am writing “The Pines”: two verses about the sound of the wind as it moves through the trees. Even as I think of this theme, I smile. Writing these poems is a deeply fulfilling occupation. They are little celebrations of Nature—short, simple and sincere outpourings of admiration and awe. I cannot wait to share them in time!
Over the past few months, I have been working on a new album. It began at about the same time as my collaboration with Krzyzis in late 2016. Early on, I knew that both projects would share a theme and have a similar concept. These were first explored in The Zephyr and the Swallow—the collaborative EP with Krzyzis—a combination of poetry and ambient music inspired by my love for the countryside. The EP was built around a couplet, a short poem of two lines I wrote to inspire the music; but for the album, I wanted to expand on the idea and write a larger work, a series of verses for a ballad.
The Zephyr and the Swallow EP illustrated a pastoral scene—the wind blows over a field and a swallow dashes into the sky—an idyllic moment of beauty set in a rural landscape. In my youth, at the height of summer, I would spend hours in the fields watching the wind making waves in the grass and the swallows flying overhead. Even now, I find this simple pastime a most enchanting and vivid experience. It is just such a scene I describe in the couplet I wrote for The Zephyr and the Swallow—“Over the field the zephyr blew, / Into the sky the swallow flew”—lines I set to music to create an ode.
Writing the Poem
I started writing the poem for the album in late 2016, going through numerous drafts until I eventually found a form and approach that felt appropriate. In much the same way one agonises over the notes of a musical composition, one pores over a poem—every syllable of every word carefully chosen to exquisitely articulate a meaning or express an emotion. After three months of assembling and dismantling verses, I finally produced “Forgotten Fields”, a self-titled ballad with six verses. In the poem, a daydreamer nostalgically recalls a happy moment in time, surrounded by fields and swallows.
Central to the theme of the poem is the feeling of wistfulness—a longing tinged with regret—conveyed by the imagery. It describes a world of endless fields, swallows impossible to catch, a memory forgotten and rediscovered. The lines are gentle and flowing—the musings of someone lost in thought. They are beautifully read by English narrator Chris Lateano for the compact disc release. “Forgotten Fields”, the all-encompassing title, is alluded to in the final verse:
Far away and left untrodden
Under summer skies
Lie the fields I had forgotten
Where the swallow flies!
This is part one of a three-part series about the new self-titled album. Read part two, “A New Album, Part Two: The Music”, next. Forgotten Fields will be released on 17 November 2017.
One autumn evening, I drove from the city to the countryside to visit my parents. I stopped beside the familiar road, got out the car and stood in the darkness—listening… It was quiet all about except for the gentle bleating of sheep in the distance. I could see every star in the Milky Way and the air was cool and clear. A wave of longing swept over me. I had been weary of living in the city and I knew the time had come to move back home.
Nearly a decade later, I have not once regretted that decision. The countryside is my home, the rural landscape an extension of my being. It is the setting in which I write my poetry and compose my music and it profoundly influences what I want to create, namely a combination of poetic and musical works that reflect my love for the bucolic. I am a Romanticist, compelled to extol the beauty of the pastoral and (by extension of that movement) the virtues of emotion and imagination.
My recent works for Forgotten Fields express this fascination and weave into it the melancholy and nostalgia that inevitably emerge in my compositions. They describe simple moments of rural beauty I wish to preserve, translating them into a poem or a piece of music in order to extend and sustain them. I am attempting to create a container for the heart and mind in which poetic metaphors and ambient soundscapes capture emotion, memory and time.
The collaboration with Krzyzis will be the first release dedicated to this subject, conceived as an ode to a windy summer’s day. It will be followed by a track inspired by the winter rain, composed for the upcoming Astoria Sound collaborative project. I am also working on the new Forgotten Fields album, which will be the fullest expression of these ideas in poetry and music.
Sometimes, one is so caught up in a project that one forgets to keep things simple. For days, I’ve been agonising over the Airship album Bandcamp page. I had planned to write an overview of the album concept, as well as track-by-track expositions, walking the listener through the music.
But, I kept hitting a wall. No matter how many times I rewrote the paragraphs, they sounded ridiculous. The album descriptions read like a bad press release—”Sail on the airs of dark melodic soundscapes…”—and the track explanations were like excerpts from a pretentious review—”Strings ease the tension and gently reassure…”—it was beyond embarrassing. (There is a screenshot of my cringeworthy writing below.)
And is made simple again
Today, I came to my senses. There is no need to spoon-feed anyone, everyone can interpret the music as they see fit. And what better album description than the lyrics for “The View From Above”? It felt appropriate, simple and succinct. I breathed a sigh of relief.