I found this track which I did in collaboration with my friend James Reid on an old audio cassette tape. I have to admit I thought it had gone missing forever but no. And the sound quality was not too bad either so I decided to have a go at giving it a mix makeover. Here is the result.

The pic was also taken by James Reid and was from around the same era.

Glenn's Theme 2021

I found this one on another of the tapes in my collection. Probably done circa '92, definitely pre-sampler and pre-analogue synth. Just my drum machine and FB-01 with extremely heavy use of a flanger pedal. I'm trying to think if I actually co-wrote this one because there is a middle section which is so clearly a reference to another track that was out at the time and I think I remember someone wanting it in there... Paul maybe?

Technology Is My Domain XFX 2021

This is probably one of the earliest tracks I ever composed. It was for my girlfriend at the time, my first girlfriend ever. My muse.

GHA 2021

David Lynch's Twin Peaks completely fascinated me at the time I wrote this and seemed to mirror a strange place that I occupied in my teenage years. Of course it also got brought into dance music by Moby's classic "Go" but I think my one was more creepy. Also for the intro I used a clip from "Yellow Submarine".

Another Friend 2021

This was for my girlfriend at the time. I was at Henley College in my final year and had been going out clubbing for a while so my music by this point had certainly evolved somewhat to fit with the dance music I was listening to. Again a muse inspired me. I was still fascinated at this time with many esoteric and occult writings hence the title "The Chariot", one of the major arcana in the Tarot deck. I think that it was also my girlfriend's star sign according to the associations from the Crowley deck I had. This also features the poetry of Alastair Crowley from a CD I got of his recordings. I thought they were quite good but my main poet of choice has always been W. B. Yeats who knew Crowley and disliked him and his work. The paths of poets and whom they cross are very strange and mysterious.

I did this on a four-track I borrowed from someone and again the flange effect dominates. Now I listen back to it I must have rushed the drums as well because they seem to only consist of kick and hi-hat. But I managed to approximate a delay effect by laying down tracks at different speed settings. I also used the CD player for the Crowley part and manipulated it by using the rewind.

I have done a bit of EQ on this in Ardour to bring a bit more lightness to the original.

The Chariot 2021

This is a short excerpt of an attempt to do a hip-hop backing track. I was messing round a lot at the time with the a cappella version of Method Man and Redman "So High" and I think this is where the vocal sample came from.

I Dont Stop 2021

At the time I did this I was experimenting with brain wave entrainment (I did a psychology project on it) and using white noise to induce auditory hallucinations. I leave it to you whether it was successful or not. The recording for the intro came from one of the tapes my grandmother gave me. She made regular recordings of a radio show called "New Dimensions" and it was from these tapes that I first became acquainted with the burgeoning new age movement in the 90's. Authors such as Fritjof Capra, Stanislav Grof et al. were featured regularly. She was an amazing intellect.

Trance 2021

The opening recording was from the Talking Heads film "True Stories". I was and am a huge talking heads fan and they have influenced me a lot although it might not seem particularly like it from this track. This was just a bit of an experiment. I quite like the intensity of it and it settles into a slightly more techno like riff at the end. A track like this would take me a couple of weeks to get to a finished state with all the programming and then added tweaks that were involved.

Maniacs 2021

On The Shores Of Loch Tay Where We Were Married

This is an acapella version of W B Yeats "The Song of Wandering Aengus".  The melody came to me while staying in Slane on the River Boyne, Ireland.  I hope Yeats would have approved, his setting to the poem with accompaniment by the psaltery was similar.

The Song Of Wandering Aengus

This is a fairly basic recording of Salm 1 (Psalm 1 in Gaelic) with the tune Inbhir Aoidh that I made up for it. The tune is named after the place where I composed, sang and recorded this which is English is known as Inverie on the Knoydart Peninsula.

Salm 1 - Fonn: Inbhir Aoidh

This is the instrumental version of the first nations flute (courting flute) played at the beginning of the Kyberpoetica album.



Visit the Kyberpoetica website at:

http://www.kyberpoetica.net/contents.htm

You can buy the Kyberpoetica album at:

www.cdbaby.com/cd/drewmcnaughton

or listen to it on Spotify at:

play.spotify.com/album/24nld4OYb5pLHOkPdbPuhv

or download it on Bandcamp:

https://drewmcnaughton.bandcamp.com/album/kyberpoetica

Kyberpoetica Flute

This is a song which I have sung many times as a lullaby to my daughter.  I hope you enjoy it.  Sorry about the duff note at the end. I don't think I will be making it on "The Voice" any time soon.

Sweetness (A capella)

This Scots Gaelic song is the version found in the Songs of Gaelic Scotland by Anne Lorne Gillies. I hope my croaky voice and pronunciation don't mar it too much.

The song is attributed to Ailean Morbhairneach (Alan MacInnes) and in English the title is "Oh, my land". It is mainly about the feeling of homesickness of a emigrant to Canada for his native Uist which he praises as being a "land of bent-grass, land of barley" (in other words food for livestock and people) and abundance of every kind. If I was rich enough I would go there myself as it says in the song.

O Mo Dhùthaich

Time and Mala

Wrists arresting in their delicacy
Adorned with mala on the one hand
And a graceful feminine time-piece on the other.

Both click out to heart beat,
Metronome of unwavering constancy,
Music pulsating in my body and mind.

I am in the presence of the genius loci
Which art and the Muses have exalted
And fulfils the completion of my soul.

Time is irrelevant, has no meaning,
Is a mere adornment because the sound,
The sound is of eternity, nāda Brahman.

The true meaning of passing time
I find only in your embrace
Which fleeting though it is
I know contact with you.
I know the Earth, giver of life
The emanations of which are understood
Only in dream time.

From every one of your pores
Extends a filament of light.
No shoes for you,
You are plugged in to the soul of soil
And rock and the mountains of home
Below which you were raised.

Fo beanntan gun chomharradh,
Only one mark in time, that of your birth
When the world became a better place.

DrewMcNaughton

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