We may be unsure about DGM's raison d'etre, but that doesn't stop stuff flowing into the office. My days, which are split between time downstairs with Punk and the Vicar, and time in the office upstairs, have increasingly been of the elevated, upstairs variety. Such excitements as sync requests for KC titles, BMG publishing statements, Harry Fox and the new website.
Apologies to Eric the wonderbee, who is still waiting on several things from me.
Downstairs, the music continues to be both wonderful and eternally frustrating. Take a badly sung, bad played acoustic guitar rendition of a track. Replay it, re-sing it, and guess what? The original, out of tune and out of time is better. It has a sense of itself. Of the music.
I find myself increasingly intrigued by what makes us connect to pop/rock music (as compared with orchestral music). Today, my vote goes to a personal connection with the artist. An identical sounding track played by a different artist WOULD be different. Would I connect to the new Fripp/Eno album in the same way if I did not know that it was by them ? Or with soundscapes, if someone was playing identical music on a keyboard synthesiser. The way that music is made, and by whom is as important, probably more important than the music itself. No doubt this thought is not as new to my reading public as it is to me.
Where does it leave an atonal song writer? Given the time of day, Going to bed, as it happens.
