Fighting off those depressive waves in the manic depressive ocean.

Cyanide Days

First rough mix from digging up an old DLF session.

10 inch

The Story Behind “In a River”

Really, right when we are starting to get past a global pandemic someone decides to start another war and cause so much suffering?

When the war in Ukraine started in 2022, I was compelled to write something about it. How could the atrocities unfolding not be addressed? How could the pop world just continue writing “let’s party” songs? Denial maybe, or perhaps a coping mechanism.

One of my oldest friends had started living in Ukraine years ago and married a Ukrainian woman. Shortly after the invasion, he told me that his wife, along with her mother and their dog, were sheltered in a parking garage, scared to death with bombs exploding all around. They eventually got out of the country safely, but that brought the reality of the war into clearer perspective. Everyday life can be tough enough, right? Now add indiscriminate bombing into the mix. No longer can ordinary citizens enjoy the innocence of watering in the garden, walking the dog, and driving down the street without the threat of being destroyed with an incoming missile.

As much as I wanted to write about the war, everything that came out was too literal and seemed void of any cathartic relevance. I put the idea aside.

Months later, I came up with a new drum beat. Inspired by the drumming of Manu Katché  @manukatche6350  and Phil Collins  @philcollins  I wanted to create a drum beat that incorporated lots of toms. The power and driving nature of the beat was the catalyst to return to the idea of writing a song about this war. New lyrics started to appear and resonate with me around what I was feeling from the horrible images I had seen, and “In a River” started to take shape.

This drum part, which I refer to as “war drums,” has been sent to some of my closest musician friends with the suggestion that they use it as the foundation for their own song. After the release of the song, the drum part will be available to the general public for downloading and using for the same purpose.

I once learned that when Mother Teresa was asked to attend an anti-war protest, she declined but said that when there is a pro-peace rally, she would be there. This song is a pro-peace song.

The release date for “In a River” is set for July 1st, 2023  on Bandcamp and all streaming platforms. The video will premiere on July 4th, 2023 on YouTube.

100% of the proceeds from the sale of the song between July 1st-31st, 2023 will be donated to help supply NAR C.A.T. Gen7 Tourniquets to those on the frontlines for Ukraine.

Lyrics 

In a River

How well we know it
We’ve seen it all before
Dear God here we go now
In another fucking war

God here we go

Someone out walking the dog
Destroyed thinking you’re some demigod
Watering in his garden
History will grant your crimes no pardon
A little girl’s grandmother
An evil monster erasing her
Evil monster

How well we know it
We’ve seen it all before
Dear God here we go now
In another fucking war

Driving on a city street
Treated like a slaughterhouse of human meat
There’s a building of homes
Set ablaze by your gang of drones

Safely ashore
You push us right back in

Game to threaten all existence
Underestimating resistance
What you do your little lifespan
Worth it to be a better man
Greed, hate, and delusion
Draw your own conclusion

How well we know it
We’ve seen it all before
Dear God we can save us
We want no more war

Drum set, acoustic guitar, Moog Subsequent 25, vocals, and lyrics: Michael Faeth
Pro Tools Engineering, Mixing, and Mastering: Peter Wolf at Wolfsound Audio in Fresno, CA

In A River

How many songs about war can be written around the same drum part? This drum part, which I refer to as “war drums,” has been sent to some of my closest musician friends with the suggestion that they use it as the foundation for their own war song.

If you are interested in writing your own protest song using the drum beat or know someone that is, credit the drum part as "war drums by Michael Faeth" and send your song to me so I can check it out and share it. Writing a protest song with an emphasis on pro-peace is encouraged.

The BPM is 91 and the beat can be downloaded here or at https://michaelfaeth.bandcamp.com/track/war-drums

WAR DRUMS

This is a love song written for my lovely wife, Laura.

Inspiration for the music came from Duran Duran, ABBA, Mozart, Mark Hollis, Stanton Moore, and Tears for Fears.

I was going to entitle it One and One is Three, but I liked Laura's take on it better.

no need for an expensive view
all I need is you
every place I'm with you I
enter saying yes
when you catch the innuendo
you will guess the rest

in keeping with saying we do
we move towards us
in keeping with saying we will
we find our compass

this town isn't big enough without the two of us
this town isn't big enough without the two of us

over and over for our Labrador
retrieving love is fun
I kiss you under blushing moon
you kiss me under warming sun
cool under big shady trees
we know how good it can be
when one and one is one
we all know how two makes three

this town isn't big enough without the two of us
this town isn't big enough without the two of us

One and One is One

Is it time to stop marveling at the works of Mozart, Stephen Hawking, Ella Fitzgerald, Picasso, Mary Oliver, da Vinci, or so many others that have enhanced our lives using their natural intelligence? It seems as though society is now being primed to put their faith entirely into AI instead. But, why?

AI has implications for screenwriting, music, painting, design, and other creative fields. But, perhaps the related copyright issues will steer people away from using it. The process of generating content must begin by inputting content, which can be copyrighted material. How are AI companies compensating the copyright owners?

The scenario of how AI generates content is much different than how Paul McCartney might say Chuck Berry influenced him. The listener can always go and check out Chuck themselves, so there is a direct connection. Plus Paul would be using his own personal experiences to channel the influence and create something truly unique – something human.

The excitement around AI is understandable. There are likely some very good uses for it, like perhaps in engineering as a safety check or something like that. But, it seems like now everything, not only creative endeavors, is going to have to use AI. Wasn't the message about Hal clear enough in 2001: A Space Odyssey? Does everything need to be delivered so instantaneously and without human contemplation? Isn't the journey as important as the destination?

This song is a celebration of natural intelligence. May it never be replaced by something artificial.

Inspiration for this track came from The For Carnation, Slint, Nirvana, and Radiohead

good morning
had coffee with peace
Beethoven
to make it complete

drama later with
Shakespeare
an authentic voice
to hear

evening painted by
van Gogh
something you feel
and know

like
Prince, Cobain, Lennon, Hendrix
worth more than
some high tech trick

OI
OI

theory at night
on a beam
Einstein
didn’t need your machine

OI
OI
OI
OI
OI
OI
OI
OI
OI
OI
OI
OI
OI
OI
OI

released April 1, 2024
Writer: Michael Faeth
Artist: Michael Faeth
Recorded: Love Shack Studios; FCC Piano Room, Fresno, CA
Mastered: Oasis Mastering, Burbank, CA
Released: A-side only single, limited burn to CD and streaming

Organic Intelligence

'Gold, Green’ is taken from the 'The Appearance of Colour' out now on Real World Records.

Pre order from iTunes and download 'Gold, Green' instantly:
iTunes: http://smarturl.it/appearanceofcolour
Real World: http://realworldrecords.com/johnmetcalfe
Amazon: http://smarturl.it/vxrbpo


John Metcalfe takes to the road for a series of dates in May 2016. 

For these live shows Metcalfe has assembled an incredible line up of musicians from the worlds of folk, electronica and post-classical; crisp, jazz-influenced beats from Rae Morris’ drummer Daisy Palmer, deeply felt groove from Red Snapper's bassist Ali Friend and the exquisite voice of Rosie Doonan, fresh back from touring with Birdy.

2016
8 May BRISTOL Colston Hall Lantern	
www.colstonhall.org 0844 887 1500

13 May CORK Triskel Arts 
www.triskelartscentre.ie +353 (0)21 427 2022

19 May BRIGHTON Great Escape Festival 	
www.greatescapefestival.com 0870 264 3333

20 May OXFORD The Bullingdon	
www.thebullingdon.co.uk info@thebullingdon.co.uk

21 May STROUD, SVA, Brunel Goods Shed	
www.sva.org.uk 01453 751440

28 May LEICESTER Cookie	
www.thecookieleicester.co.uk 0116 253 1212

29 May LONDON Royal Albert Hall Elgar Room	
www.royalalberthall.com 020 7589 8212
--------------------------------------------------------------------------------

'It's an effervescent, divinely beautiful moment, packed with Eno-esque passages of ambience and glistening guitar lines worthy of 
Vini Reilly.’ – Clash

--------------------------------------------------------------------------------

Composer, producer, classical violist, guitarist, and arranger to A-list pop stars, John Metcalfe has always been a name worth seeking out. The Appearance of Colour presents Metcalfe as a recording artist -- as front man, maestro and manipulator of sounds. Moreover it's a 'proper' album, carefully crafted as a listening experience with a beginning, middle and end, in which no two tracks sound or feel the same.

To make the album, Metcalfe enlisted the support of a small 'repertory company' of trusted collaborators, including drummer Andy Gangadeen (The Bays, Chase and Status), bassist Ali Friend (Red Snapper), pianist Tom Cawley (Curios, Peter Gabriel) and singer Natasha Khan (Bat for Lashes). Metcalfe then meticulously assembled his arsenal of electronics, strings, guitars and layered vocals in his Oxford garage studio. The Appearance of Colour may share some of the programmed perfection typical of contemporary electronica, yet there's a 'played' feel that animates the tracks -- the sense of musicians giving everything they have in the first take.


http://john-metcalfe.co.uk

Buy on iTunes

John Metcalfe - Gold, Green

'Just Let Go’ featuring Natasha Khan (Bat For Lashes) is taken from the 'The Appearance of Colour' out now on Real World Records.

Available via:
iTunes: http://smarturl.it/appearanceofcolour
Real World: http://realworldrecords.com/johnmetcalfe
Amazon: http://smarturl.it/vxrbpo

John Metcalfe takes to the road for a series of dates in May 2016. 

For these live shows Metcalfe has assembled an incredible line up of musicians from the worlds of folk, electronica and post-classical; crisp, jazz-influenced beats from Rae Morris’ drummer Daisy Palmer, deeply felt groove from Red Snapper's bassist Ali Friend and the exquisite voice of Rosie Doonan, fresh back from touring with Birdy.

2016
8 May BRISTOL Colston Hall Lantern	
www.colstonhall.org 0844 887 1500

13 May CORK Triskel Arts 
www.triskelartscentre.ie +353 (0)21 427 2022

19 May BRIGHTON Great Escape Festival 	
www.greatescapefestival.com 0870 264 3333

20 May OXFORD The Bullingdon	
www.thebullingdon.co.uk info@thebullingdon.co.uk

21 May STROUD, SVA, Brunel Goods Shed	
www.sva.org.uk 01453 751440

28 May LEICESTER Cookie	
www.thecookieleicester.co.uk 0116 253 1212

29 May LONDON Royal Albert Hall Elgar Room	
www.royalalberthall.com 020 7589 8212

--------------------------------------------------------------------------------

‘A stirring, atmospheric slow-burner that pits cinematic pianos with Khan's auto-tuned vocals, 'Just Let Go' is a perfect marriage of two innovative artists in harmony.’ – NME

'...a sparse, piano- and string-driven song that’s not so out of place in this everlasting winter the Northeast’s been fending off this year' –  SPIN

'AutoTuned vocals against a mystically creeping orchestral slow build and, eventually, a deconstructed trip-hop thump. It’s a 
marvellous piece of music, so listen to it.' – Stereogum

--------------------------------------------------------------------------------

Composer, producer, classical violist, guitarist, and arranger to A-list pop stars, John Metcalfe has always been a name worth seeking out. The Appearance of Colour presents Metcalfe as a recording artist -- as front man, maestro and manipulator of sounds. Moreover it's a 'proper' album, carefully crafted as a listening experience with a beginning, middle and end, in which no two tracks sound or feel the same.

To make the album, Metcalfe enlisted the support of a small 'repertory company' of trusted collaborators, including drummer Andy Gangadeen (The Bays, Chase and Status), bassist Ali Friend (Red Snapper), pianist Tom Cawley (Curios, Peter Gabriel) and singer Natasha Khan (Bat for Lashes). Metcalfe then meticulously assembled his arsenal of electronics, strings, guitars and layered vocals in his Oxford garage studio. The Appearance of Colour may share some of the programmed perfection typical of contemporary electronica, yet there's a 'played' feel that animates the tracks -- the sense of musicians giving everything they have in the first take.

http://john-metcalfe.co.uk

John Metcalfe - Just Let Go (ft. Natasha Khan)

Summer's Over Tour
http://smarturl.it/PNDSO

Like Dat (feat. Jeremih & Lil Wayne)

Imagine Mothersbaugh on the Moog, Levin the bass, Katché the drums, Summers the guitar, and Yorke on vocals. That would be some music worth checking out. May we all continue to make music using organic intelligence and enjoy the labor of love in the process.

WAR DRUMS

Michael Faeth

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