Name: Reflections by Schräge Musik
Duration: 2 min 17 s
Description: I wrote this as Nikki's Bridal March (Nikki is my wife btw).

Like an early GENESIS instrumental".selling England  by poundish".     Like That. :0).    Dave 

Beautiful Marsh . . . and strangely demonic . . Part of your scheme to mesmerise poor Nicky into your fiendish plan , , , ?

Bari Watts. cover version of: By The Light Of A Magical Moon

Lullaby for May Day, 2023

Polyphonic Rock Music   Well, maybe a slow dance, at a push. Probably suitable for dancing in your head after a long day and a glass of wine.

01 Starlight Dripping Through Time

The untuned percussion is in 4/4 time, and the pitched instruments are in 7/8, giving a fairly extreme polyrhythm. 

Chord In Asian

BLAKES CHORUS

All Over The Place

02 regret.mp3

Talk To Me   

Pat Pik - Talk To Me

I wrote this as Nikki's Bridal March (Nikki is my wife btw). 

Reflections

Wavestation SR, JU-06a, Alesis HR16B, Volca FM, Roland MC50

The Barrier

Composed with Chris Bean, because my guitars were there... and Chris found his voice on his SG.. good job Chris

At The Edge Of Time

Echoes In The Abyss (remade) Mix 1

Schräge Musik was intended to be a loose conglomeration of musicians, with members coming in and out as the need arose. With one notable exception, however, the contributions made by others (guitarists mainly) has been negligible. And I see no likelihood of this changing. For this reason, Schräge Musik is no more. Though the music remains and will continue to grow and improve. Tom Newman always refers to me as 'Marsh' so, from now on, all music will come under the name 'Marsh' (though, as some blighter has already filched that moniker, I have to use 'Marsh 1' on here.  Please continue to visit. Some new mixes and new pieces are in the pipeline (some of these being sung by a new lady-vocalist) and, with words of advice from the aforementioned Newman (T) my mixing skills are beginning to improve.

A note of warning: I've noticed that some of my early track on here are running VERY slow. May I suggest that you only listen to later ones for now, please? The other will be replaced asap. 

I started playing  with sound at age 12 (1967) . I had a tiny reel-to-reel machine (Alba, if memory serves), an accoustic guitar, an Indian snake-charmer's flute and occasional use of a piano. Within days of having that tape recorder I discovered the joy of recording all manner of noises from local factories, nature and traffic, short-wave carrier signals  etc. and combining these with instruments and with tape manipulation. A splicing block became my best friend.

After a few years of building up some very off pieces (for an approximate idea of the sound, list to Frank Zappa's "Chrome Plated Megaphone.....") I acquired a Stylophone. To this I added a wah-wah pedal (with a built-in tone generator for siren-effects), a phaser and a ring modulator. These were all installed in a a suitcase as a sort of poor-man's EMS. Recording this (monophonic) device was done by playing the first line of the piece into a cassette deck then, while playing back that first line, recording a second line and recording both onto a second (borrowed) cassette deck. By the fifth overdub, there was more hiss than music but it was a start.

Around this time I had bought a flute and was playing and doing lead vocals in a schoolboy rock band. 

By 1975 I had tired of playing cover versions of the songs of others and was far more interested in playing my own music, the stuff that I was 'hearing' in my head. None of the others in the band were interested in performing what was going to be quite challenging stuff (being in a band in those days meant learning twenty 12 bar blues 'songs' on the first evening then playing gigs - the thought of playing 'hard stuff' was anathema. I flounced off, telling everyone that, unless they wanted to play music of substance, then kindly stay away. And stay away they did.

I spent the best part of a year's wages on a synthesizer (a Roland SH1000) and a reel-to-reel tape deck (Bang & Olufssen) with a primitive 'sound-on-sound' facility. This allowed recording in a manner similar to that mentioned above but with slightly higher quality.

I returned to bands a couple of times in the 70s ('Food for Thought' and 'The Bank Clerks' (the latter with Carlton B Morgan - there are people who state the we invented punk) ) and mid 80s ('The Secret Room') but have been far happier locked in a studio. 

Through the 80s and 90s I produced many pieces for theatre groups, all of which were well received.

Up to Date (2021) Teamed up with poetess/writer/actor/photographer Julie West. Big change for the better.

Reflections

Schräge Musik

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