I’m not religious but I have always found traveling to be a very spiritual experience. 

I’m not talking about your family vacation or 2 weeks off a year. I’m talking about raw experience, new places, the unknown and that feeling of unlimited possibility that comes with having time on your side. I get high just thinking about it.

‘Heading Out West’ is my attempt to capture that exact feeling in song. It is all about surrendering yourself completely to the excitement, danger and possibilities of being on the road. That said, in the end it is all about those two great rock n’ roll clichés - freedom and release.

I used my memories of back packing across the USA a few years back as some key inspiration. As such, the idea of “heading out west” like a real frontier man just sort of felt right.

The song is a rambling and slightly bluesy/country number that just poured out of me about a week ago. For those of you familiar with my music you’ll agree it is a very 'me' kind of sound. It starts simple enough but it builds and changes into something very different from where it started. 

Like my song ‘I’m Drifting’ I once again used a banjo – it seemed to add that frontier vibe that I was looking for. I played it in a very flat and percussive kind of way which is probably a bit unusual. There is also a bit of lap steel guitar floating around.

I won’t lie. I dig this one a lot. 

Anyway, I hope you enjoy.

Enjoy!

The Vamp
   
   
LYRICS...

I couldn’t breathe, I had to leave
Had to see what my eyes couldn’t see
God be with me beyond the trees
Into the heart of the dark country

Gonna bribe my way into the garden
Gonna bribe my way into the garden

God be with me...

I’m set in motion,
I’m a truck stop and red eye buses
I’m reading street signs like versus out of the bible
I ain’t too brave but there is comfort in courting the danger
I’m wasting time, but I’m gaining more as I go...

I’m heading out west baby with my headlights on – eyes are open
I’m heading out west baby with my headlights on – eyes are open
I’m heading out west baby with my headlights on – eyes are open
I’m heading out west baby with my headlights on – eyes are open

Watch me leave...

I had a dream
I had a dream I would leave
I had a dream
I had a dream I would leave

I’m heading out west baby with my headlights on – eyes are open
I’m heading out west baby with my headlights on – eyes are open
I’m heading out west baby with my headlights on – eyes are open
I’m heading out west baby with my headlights on – eyes are open

I'm heading out / I'm heading out
I'm heading out / I'm heading out west...

I'm heading out / I'm heading out
I'm heading out / I'm heading out west...

I’m heading out west baby with my headlights on – eyes are open
I’m heading out west baby with my headlights on – eyes are open
I’m heading out west baby with my headlights on – eyes are open
I’m heading out west baby with my headlights on – eyes are open

Heading Out West

Over the last couple of years I had forgotten the joy of simply plugging in a guitar, cranking it up to 11 and letting go. So the other night over a few scotches (well, maybe more than a few) I grabbed a couple of slightly out of tune guitars, a broken harmonica, quickly scribbled down some booze inspired lyrics and hit record. The end result was a chaotic free form jam and ode to the bar called ‘Black Eyed and Broken’.

To be fair I pinched the slide riff from another song of mine that is still a work in progress, but the rest of the backing was completely spontaneous - as mentioned I didn’t even bother to tune the guitars or bass. The whole thing is just a bit of fun and I think it captures a really raggedy, drunken and threatening mood. In particular, I like when the bass and harmonica first hit. It has a bit of an apocalyptic feel to it.

In the end it is all just an excuse to play loud. I can hear bits of Led Zep, AC/DC, The Stones, The Stooges and T.Rex in it. I also think there is a pretty strong Australian pub rock feel to this one – i.e. Rose Tattoo or The Angels (if you like classic Bon Scott era AC/DC then you’ll love these two bands. Both legends in Australia).

Anyway, hope you enjoy. Back to some more straight forward song writing on the next post.

The Vamp
  
    
LYRCIS….

I’m black eyed and broken
I’m drunk and swollen
I’m black eyed and broken
Now it’s all on me…
Now it’s all on me…

I’m black eyed and broken
After the bottle has spoken
I’m really black eyed and broken
You can put it on me…
You can put it on me…

I’m black eyed and broken
When the bar is open
I’m black eyed and broken
Put your hate on me…
Put your hate on me…


Black Eyed & Broken

Sometimes there are songs that you need to get out of your head in order to move on. ‘She Never Touched My Soul (Like Rock ‘n’ Roll) is one such song.

It is not that it is a bad song. It is OK. It just seemed to be blocking me up creatively so I was in a rush to finish it. 

It is actually a very honest song from a lyrical perspective. It is all about wasting time pining for someone that you know isn’t worth it. I tried to sum it up in the chorus by saying I am fully aware that I am obsessing over someone who could never even touch me like music.

Anyway, the music itself is my brand of country - fairly minimalist. It usually consists of just a handful of chords. I refer to this kind of music as ‘country drift’. It seems to float around on a country backdrop and gets a bit trance like or even psychedelic. Once again I picked up the banjo.

I rushed the vocals on this one, you can hear me stumble in the second. I was eager to move on to a more rocking song that is in the works so I decided to just give this the once over. 

One thing I do like is the nifty little guitar solo. It was a complete one off and first take. It had a really compact feel to me.

All in all, this is a very traditional sounding song by my standards. I like the melody and probably should have spent a bit more time developing it and adding other parts. For now it is what it is.

Hope you enjoy!

The Vamp

LYRICS…

14 years just to say goodbye
And I don’t know why I could never let her go
She never touched my soul like rock n’ roll

Man I tried in a blink of an eye
Wasted time…
How was I to know?
She’d never touch my soul like rock n’ roll

She never touched my soul like rock n’ roll
She never touched my soul like rock n’ roll

I’m so tired yet night pass slow
It probably shows that I am still alone
She never touched my soul like rock n’ roll

I ain’t sure of where I’m going, 
But where I’ve been...
Honey it was never home
She never touched my soul like rock n’ roll

She never touched my soul like rock n’ roll
She never touched my soul like rock n’ roll

I'll never learn / I already know
I have no control
I can never let her go
She never touched my soul like rock n’ roll

Drifting out or passing through
It's all I can do
Got nothing more to show
She never touched my soul like rock n’ roll

She never touched my soul like rock n’ roll
She never touched my soul like rock n’ roll


She Never Touched My Soul (Like Rock 'n' Roll)

Hey all, here is my first new song of 2015.

This is a strange one to kick things off. It falls under the category of what I describe as ‘fever dream’ music.

“The God In Me Just Evaporated” is a strange mix of blues, electro, disco, post punk and maybe a bit of ambient for good measure. It came about pretty organically as bits and pieces started to merge together to form a picture.

The song was inspired by my home country of Australia. I don’t often write about Australia as everywhere else always seems a lot more exciting to me – you know, the grass is always greener. Anyway, what you quickly discover about Australia is that once you leave civilization (i.e. Melbourne, Sydney, Brisbane etc) and venture into the outback it can become a pretty terrifying place. If something can bite you, poison you, eat you, break you or generally scare the hell out of you it resides down under. Make no mistake, Australia is unforgiving. 

Importantly, there is a real sense of isolation in the Australian outback. I’ve been around and to me it is different to any other desert or landscape anywhere in the world. It is alien. It feels like nothing has ever existed out there. It feels like a land before time. I’ve heard someone describe as being older than God.

With that in mind, I was also inspired by the brilliant 2005 John Hillcoat film ‘The Proposition’ and its idea that God does not exist in the outback – that the land sucks any belief out of you (i.e. the God in me just evaporated). I actually sampled the film. You can hear Guy Pearce and the beyond incredible John Hurt conversing. I tried to write lyrics that reflect the feeling of their conversation.  I don’t know... You’ll get the idea. It is more about mood.

I think the music does a good job communicating vastness. I also give my old Guild 12 string a workout which I haven’t used in a while. Think I’ll end up using it a lot more this year.

I like this one.

Hope you enjoy!

The East Village Vampire
  
   
  
LYRICS...

Mr Lamb:

"Russia, China, The Congo... Oh, I have travelled among unknown people in lands beyond the sea.

But nothing! Nothing could have prepared me for this God forsaken hole."

East Village Vampire:

I am lost in a shroud of stars
I am lost and on my own
Feel it leaving me behind
Soon the land will claim my bones
Because there's nothing out here to find
No there's nothing but sand and stone
And those birds circling the sky
Will never point the way back home
See them turn and turn and turn
See them turn and turn and turn

Charlie Burns:

"Do you pray Mr. Lamb?"

Mr. Lamb:

"Good lord son no I do not!

I was in days gone by a believer, but alas I came to this beleaguered land and the God in me just evaporated..."

The East Village Vampire:

I feel all God leaving my soul
I feel the city lights fading away
And all memory of you will dissolve
but the scars will always remain
And the land is looking for blood
And it knows that's what it will find
And those birds keep circling the sky
See them turn and turn and turn
See them turn and turn and turn

See them turn and turn and turn
See them turn and turn and turn



The God In Me Just Evaporated

Recorded in about 2.5 hours, this song is what it is and it is "We Are What We Are".

In short, it is a bit of fuzzed up glam rock that just hammers on a 4 chord sequence. I shouldn't be so dismissive as it is probably somewhat catchy. You can hear me destroying my voice on the vocal lead. I also dig the kind of Lady Madonna or Bowie TVC-15 style piano.

The song is basically about the fact that most people don't/can't change (yep, We Are What We Are). Take me for instance, I shouldn't waste my time on music but here I go again. The inspiration came when I was recently told that I would never change. They were right because a song came out about an hour later.

Some people claim that you are what you pretend to be. Bullshit! We are what we are. Just ask Norman Bates how well pretending to be something he wasn't turned out for him.

Hope you enjoy!

the East Village Vampire

LYRICS...


We are what we are

I'm changing outside 
Because inside is locked away
The more you ask the more things stay the same
Over the years I've learnt a thing or two
People don't change
No matter what they say or do

We are what we are...

You know the night can't pass as a bright new day
You know that anger can't never be stored away
Over the years I've learnt a thing or two
People can't change
No matter what they say or do

We are what we are...

I'm changing outside 
But inside is locked away
The more you ask the more things stay the same
Over the years I've learnt a thing or two
People don't change
No matter what they say or do

We are what we are...


We Are What We Are

I don’t really do covers. 

Up until now the only cover I have ever recorded was ‘John The Revelator’ and even that is just a take on a standard. 

Anyway, ‘The Idiot’ by Iggy Pop (and let’s face it, David Bowie) is in my top 5 favourite albums of all time. Depending on my mood it can even be No.1. It is cold, detached, evocative and completely unrepresentative of anything Iggy ever did before or after. Although my favorite song is easily ‘Mass Production’ this is a cover of one of the most well known tracks off the album, ‘Nightclubbing’.  

My version is a mess. It goes out of time, out of tune, it has disinterested singing and some  scuzzed up production. It probably suits the boozed out nocturnal nature of the song to some extent. 

It came about a few months back when I was zombie watching TV and by chance hit on a cool way of playing the song on my acoustic guitar. I then just hit record and bashed it out. I also added a bit of record crackle to it for a bit of ambience.

I wanted to get a bit of a bluesy funeral procession vibe. You know, that kind of blues where they beat the big bass drum.

So come and join me for a boozed out, blurred blues as we stumble home through neon streets after a night of living dead debauchery.

Shit, where did that come from?

Enjoy!

The East Village Vampire


Nightclubbing (A Cover By The East Village Vamp)

"You should see the damage, bronze"

This is my fuel drenched love letter to the spirit of the most Australian, most aggressive, most electric bit of dialogue ever uttered in the history of film. Cult actor Vincent Gil nailed the true essence of nihilism in the intro of George Miller's 1979 classic Mad Max (forget that 2015 piece of crap).

Check this bit of dialogue out:

Max: 

Much damage? 

Nightrider: 

[via radio] You should see the damage, bronze. Huh? metal damage, brain damage. Heheheh. You listen bronze. I am the Nightrider. I'm a fuel injected suicide machine. I am the rocker, I am the roller, I am the out-of-controller! I'm the Nightrider, baby, 
 [unintelligible] 
 
And we ain't never comin' back! 

-------

Forget anyhing that you thought was punk or rebellious. No band in history has ever delivered a line as utterly anarchic as "I'm a fuel injected suicide machine". I get excited just typing it.

I put this together years ago and decided to dust it off while I take an extended break from songs. Hopefully my choice of music does some justice to the venom spat out by Vincent Gil. The music is loud and saturated but it works given the subject matter. I like to think this is what the Nightrider would be listening to today had Max not driven him off the road back in 79.

For those of you who follow my music this is obviously not the norm, but I dig it.

Hope you enjoy!

The East Village Vampire




I am the Nightrider!

Hey all,

This is my first upload in almost 12 months. Hopefully you are still with me.

Thought I'd kick it off with one of my electro workouts as I’m still not ready to start writing songs - they're not too far away. On the bright side I like this one.

Nobody will believe me but the sound and idea for this track came to me in a dream. I guess I wanted to capture the universal nature of “soul” music by combining unrelated pieces of music. Not to get all spiritual on you, but soul music is soul music no matter where it comes from. Anyway, that is the idea. 

I used the following samples:

·         “Soul Power” by James Brown

·         “The Feeling Begins” by Peter Gabriel

·         “Stand” by Sly & The Family Stone

·         “I Have A Dream” speech by Martin Luther King Jr

·         A 1960’s television interview by James Baldwin

Beyond that it is all East Village Vampire.

In the end, the track comes out as some kind of Arabic, soul techno fusion. To my mind it works and has some pretty cool moments.

Needless to say, I don’t own the rights to the samples. But since I don’t intend to do anything commercial with the track I guess it doesn't matter. 

I hope you enjoy.

The East Village Vampire

Soul Power (The Feeling Begins)

You often start in one place and end up in another....

I forgot about this one, but in the interest of putting everything out here it is.

Not that many people will care because SoundCloud has turned to shit, but a little while ago I posted a really quick put together 70's glam rock style song called 'We Are What We Are'. I literally did it in a few hours. It had some honky-tonk piano and big hook chorus etc. But it didn't start like that.

Not that this is a good recording, but it is interesting to see how songs start out and what they evolve into.  This is the first version that really was done in one shot. Apart from the guitar it is completely different (probably drags a bit).

This track is just me testing out a riff and an idea. I don't even have the melody yet. It has an almost post-punk vibe to it.

Here is the final version:

https://soundcloud.com/the-east-village-vampire/we-are-what-we-are

Well, as I said. It is just me getting everything out.

Hope you enjoy!

The Vamp

Recent Stuff

We Are What We Are (A Test Pattern)

Shit man, where did that come from?

As many of you know, I haven’t been in the head space to write or play music for almost two years. But isn’t it amazing what a quiet house, a few drinks and nothing on Netflix can do.

“Side To Side” is one of those feel tunes. It doesn’t logically mean anything, but it kind of hits me emotionally. Hopefully you will dig it as well. 

It is loud. It is rough. It is out of tune. It is unfocused. It is not mixed. It is live. 

Being very rusty I just wanted to capture a spontaneous feel and get back to what I use to do. Everything is one take, the guitars are out of tune and I sound like I swallowed some razor blades. To be honest I have always liked that kind of thing. 

I’m not back but this was good fun. Who knows? Maybe there is still some music left in me. Time will tell. 

Anyway, as always I hope you enjoy.

The East Village Vampire

Side To Side (A Rough Sketch - The East Village Vampire)

Well, not dead yet.

Here is my first post for 2018. Honestly, I really thought there wouldn't be one.

This is what happens when I hit record and just play the first thing that enters my head. On that basis I guess it isn't too bad. 

Everything is one take, no mixing and no polish. I kind of like this style of working. No pressure. It is what it is.

The track is just a bit of chant and some rusty slide. Oh yeah, the percussion is me clapping and breathing. I think it is OK. Anyway, not much else to say.

Hope you enjoy!

The East Village Vampire

And If I See You Again (A Garage Mantra)

In keeping with recent efforts to resuscitate my interest in music here is a very spontaneous cover of The McCoys' classic 'Sorrow' - later made into a towering classic by David Bowie. It must be said that my take does not resemble those versions at all. It is my own melody and my own style - for better or worst!

Like most of my recent posts, I basically hit record and started playing. For some reason the lyrics to 'Sorrow' came out and seemed to fit. It is all very rough. One take per track, one mic and zero production.

I guess the percussion is interesting in this one. It is me playing the drum of a banjo whilst "beat boxing". I did it more to keep time but then decided that it was OK to keep in. I think it sounds alright.

I am a huge Bowie fan, so I hope I am not putting the great man to shame with this. Let me know what you think.

Hope you enjoy!

The East Village Vampire

Sorrow (David Bowie - A Cover By The East Village Vampire)

At the time of writing this track I was very into 60s/70s soundtracks and was listening to likes of Ennio Morricone and Lalo Schifrin. Hopefully you pick up a very filmic quality to the music - there is a very obvious 60s Sci-Fi vibe. I have always been fascinated with this style and era of music, and tried to imagine that I was providing the score for a 60s Sci-Fi film.

I also very purposely tried to base the music around a driving, uncompromising riff to create a trance like feel. To me it suits the Sci-Fi nature of the music.

In terms of the guitar playing, I am very influenced by Syd Barrett & Robby Krieger. I basically tried to weave those two distinct styles together, both the angular and serpentine styles of playing. Oh yeah, the backwards guitar parts were achieved by playing my Les Paul Custom directly into a mid-90s Yamaha SU-10 sampler, reversing the licks, adding some old fashioned FX and playing it back live into the mix - I think it works well. I also used an old Yamaha CS1x keyboard for the vibraphone and FX.

Hope you enjoy.

<a rel="license" href="http://creativecommons.org/licenses/by-nd/3.0/"><img alt="Creative Commons License" style="border-width:0" src="http://i.creativecommons.org/l/by-nd/3.0/88x31.png" /></a>This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by-nd/3.0/">Creative Commons Attribution-NoDerivs 3.0 Unported License</a>.

In The Key Of Stars

This song is a good example of how sometimes as a musician you just react to a certain sound. In this case a drum sample. I accidentally triggered a sample on my computer, picked up a bass guitar and within 5 mins had worked out a song. For better or worst it kind of wrote itself.

Like the music, the lyrics also came quickly and were inspired by the unrelenting, robotic feel. I'm not saying I'm Bob Dylan, but again they seemed to write themselves and I think they suit the tone of the music. 

The song is basically a blues. Granted, it doesn't sound much like a traditional blues due to its fast tempo, whirlwind EBow guitars and double tracked vocals. But if you listen to the rhythm guitar I'm basically playing a standard blues boogie on my Telecaster - John Lee Hooker on speed. To me, the turbocharged boogie rhythm creates a real sense of motion that propels the song.



Man Machine (For Someone Else's Dream)

Like so many musicians interested in soundscapes, soundtracks and atmospheric music I was hugely influenced by Peter Gabriel's soundtrack for 'The Last Temptation of Christ'. I have no doubt that you can hear echoes of that landmark recording in this track.&#13;
&#13;
As for the track itself, I created a droning backdrop using a number of cheesy 1990's synths – you gotta use what you got. Importantly, all the little nuances that you hear throughout are me tweaking the dials - nothing is programmed (well, the constant synth arpeggio is, but that is it).&#13;
&#13;
I then used my beloved Fender Telecaster and trusty EBow and improvised in the dark just losing myself in the music. At the time I remember being really engaged and connected to the playing – hence the title of the track. Does it come through? Does it work? Does it mean something? I don’t know, but it does for me.&#13;
&#13;
I hope you enjoy the track.&#13;
&#13;
&#13;
<a href="http://creativecommons.org/licenses/by-nd/3.0/" rel="nofollow" target="_blank"></a>&#13;
This Means Something... by http://soundcloud.com/the-east-village-vampire/this-means-something is licensed under a <a href="http://creativecommons.org/licenses/by-nd/3.0/" rel="nofollow" target="_blank">Creative Commons Attribution-NoDerivs 3.0 Unported License</a>.

This Means Something...

Fighting out of the red corner we have a slide wielding Fender Stratocaster. Fighting out of the blue corner we have a traditionally played Les Paul Custom. &#13;
&#13;
Sometimes you just need to play the blues. In this case, I am playing two very different styles. I have purposely left all the imperfections, buzzing and noise in. I really think it adds to the semi-live feel of the track. &#13;
&#13;
Hope you enjoy.&#13;

&#13;
<a href="http://creativecommons.org/licenses/by-nd/3.0/" rel="nofollow" target="_blank"></a>&#13;
Trading Punches (Stratocaster vs Les Paul) by http://soundcloud.com/the-east-village-vampire/trading-punches is licensed under a <a href="http://creativecommons.org/licenses/by-nd/3.0/" rel="nofollow" target="_blank">Creative Commons Attribution-NoDerivs 3.0 Unported License</a>.

Trading Punches (Stratocaster vs Les Paul)

John The Revelator....

If only I had written John The Revelator.

Covered by everyone from Nick Cave, Beck, REM and the list goes on. There is just something about this song that lends itself to so many different interpretations. It is full of imagery and it fires the imagination. At the end of the day, a great song stands the test of time and this passes with full honors.

Obviously I don’t put myself in the class of the artists above, but I think I at least captured the religious fervor, ramshackle feeling that I was going for. And yes, that is me doing my best Axl Rose.

For the guitar sound, I ditched my usual Gibson or Guild acoustics and used a cheap Ibanez Masa acoustic. I then distorted the sound through a tiny Peavy Rage practice amp (remember those!), added some reverb and feed it into the mix. I really like the sound. 

Hope you enjoy!
 
 

IF YOU LIKED THIS SONG....

If you liked my version of 'John The Revelator (Traditional)' you might also like some of my other psychedelic blues tracks below:

1. http://soundcloud.com/the-east-village-vampire/cinders-ashes

2. http://soundcloud.com/the-east-village-vampire/in-the-year-of-our-lord

3. http://soundcloud.com/the-east-village-vampire/man-macine-for-someone-elses-dream

4. http://soundcloud.com/the-east-village-vampire/trading-punches
 
<a href="http://creativecommons.org/licenses/by-nd/3.0/" rel="nofollow" target="_blank"></a>
John The Revelator by <a href="http://soundcloud.com/the-east-village-vampire/john-the-revelator-traditional" rel="nofollow" target="_blank">The East Village Vampire</a> is licensed under a <a href="http://creativecommons.org/licenses/by-nd/3.0/" rel="nofollow" target="_blank">Creative Commons Attribution-NoDerivs 3.0 Unported License</a>.

John The Revelator (Traditional)

The other day I was driving and listened to 'The End' by The Doors for the first time in about 20 years. It is still incredible.

For some reason the line, "the west is the best" got lodged in my head and I just kept singing it over and over to myself. Later, I got home, found an old riff of mine that was gathering dust in the corner and hit record. This is the result.

All instruments are either me banging on guitar, making drum sounds with my mouth, or me just playing. Actually, I lie. That weird repetitive percussion sound is actually me hitting the strings on my banjo.

Not much to Say. It is pretty dirty and demented. 

Hope you enjoy!

The East Village Vampire

The West Is The Best!

It is interesting when re-visiting old songs how you can pick up recurring themes. Until recently, I never realized how often my music focused on travel, memory and missing people. Not sure what all that has to say about me, but curiously ‘The Siren Song’ embodied all three themes.&#13;&#13;
&#13;&#13;
I wrote and recorded this song in 2006 and it has been gathering dust ever since. In fact, I pretty much forgot that it existed until I recently stumbled across a lost CD at home. I consider it a glorified throw away that has enough little bits and pieces to be interesting.&#13;&#13;
&#13;&#13;
The music is a mix of 60’s blues &amp; gospel with some touches of psychedelia. From memory it started out sounding a lot more traditional, but I enjoyed filling in space with some atmospheric keyboards, sound FX and samples. I remember really liking the second verse at the time. Also, the guitar solo has a small nod to The Who’s ‘I Can See For Miles’ ( i.e. the repetitive single note lick).&#13;&#13;
&#13;&#13;
By the way, the radio chatter you can hear is a cut up sample from World War 2. It is from a British Bomber that was flying a mission over Germany that was shortly attacked. Not that you can hear it clearly, but a lot of what they were saying seemed to fit the music. I do not own the rights to this recording (then again, it is so old that I probably don’t need to acknowledge that anyway).&#13;&#13;
&#13;&#13;
Hope you enjoy.&#13;&#13;
 &#13;&#13;
LYRICS...&#13;&#13;
&#13;&#13;
My sister when I leave I'll be walking - I'll be walking&#13;&#13;
through the gates you best believe I'll be walking - I'll be walking&#13;&#13;
I hear the sound of the siren&#13;&#13;
It got me through the sea&#13;&#13;
In 20 hours gonna be at your door there is something calling out to me&#13;&#13;
&#13;&#13;
Oh baby, it's alright when the words are stuck in your head&#13;&#13;
You know the world might tear us apart but it might bring us together again&#13;&#13;
Oh baby, it's alright I can still hear the things you said&#13;&#13;
In my head / In my head / In my head&#13;&#13;
&#13;&#13;
Was a man - I had no plan - I was falling / I was falling&#13;&#13;
I meet you so what could I do?&#13;&#13;
I was falling / I was falling&#13;&#13;
I sing a song to the siren&#13;&#13;
To guide me through the sea&#13;&#13;
In 20 hours gonna be at your door there is something calling out to me&#13;&#13;
&#13;&#13;
Oh baby, it's alright when the words are stuck in your head&#13;&#13;
You know the world might tear us apart but it might bring us together again&#13;&#13;
Oh baby, it's alright I can still hear the things you said&#13;&#13;
In my head / In my head / In my head&#13;&#13;
&#13;&#13;
Oh baby, it's alright when the words are stuck in your head&#13;&#13;
You know the world might tear us apart but it might bring us together again&#13;&#13;
Oh baby, it's alright I can still hear the things you said&#13;&#13;
In my head / In my head / In my head&#13;&#13;
&#13;&#13;
Hey I'm gonna try&#13;&#13;
Gonna try, try try&#13;&#13;
Hey I'm gonna try&#13;&#13;
Gonna try, try try&#13;&#13;
&#13;&#13;
&#13;&#13;
&#13;&#13;
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The Siren Song

From pure air. This was pretty spontaneous.

Whilst sitting at my formica table and having just re-watched all 3 seasons of David Lynch's Twin Peaks, this jam session came out of me with the fury of my own momentum. I think it captures that sense of unease dressed up as something sweet, just like intercourse between the two worlds.

Hmm, Garmonbozia...

A Cautious Slow Dance For David Lynch (Angels & Devils)

Releasing or playing a new song is always nerve-racking, especially when it is one that you really love. You just have no way of knowing how it will be perceived. Will people hear what you hear in it? Will it receive the same level of love that you think (hope) it deserves? &#13;
&#13;
Never has this been more the case for me than with ‘The Hard Road’.&#13;
&#13;
‘The Hard Road’ was written in London in 2005 and recorded back in Australia in 2007. Yes, I am reaching into the vault once again. Interestingly this version was recorded as a demo, but I liked it so much that I decided after a long while that it would be the final version. I could never make it sound better – I did try. I guess you could say it is purposely unfinished.&#13;
&#13;
The song is an acoustic folk/country track in which a dual vocal harmony melody takes centre stage (that is me singing both parts). It is a very simple song, maybe 3 or 4 chords, with some sparse sounding percussion that gradually builds. I also really like the instrumentation, especially the Celeste in the second verse and the mandolin style harmony guitar in the solo. For the record, the pinched strings were recorded with a Yamaha CS1x and I think they stand up pretty well. &#13;
&#13;
The lyrics also seem to stand up after all this time. Read into them what you will, but they were all about deciding what is really important in life. Like many of my songs imagery of travel and memory are evident throughout. I was probably picking up on the vibe of being in London and traveling a lot.&#13;
&#13;
Why I love it so much I can’t say. If nothing else it is a very honest recording.&#13;
&#13;
I really (really) hope that you enjoy.&#13;
 &#13;
LYRICS...&#13;
&#13;
Maybe I ain't got too much to show&#13;
But if that's how it goes then that's how it goes&#13;
I made some plans but then hit a storm&#13;
You never really know it comes and goes&#13;
&#13;
I've been around it's a hard road to hoe&#13;
I've wished I was home - man, it cuts to the bone&#13;
But in the end all I've got is my soul&#13;
No matter what I own / No matter what I owe&#13;
&#13;
But hey, it's alright when life brings me to my knees&#13;
Just let it all ride &#13;
Tonight the nights on me&#13;
&#13;
Baby you know all that I know&#13;
If that's how it goes then that's how it goes&#13;
These hands were strong but had to let go&#13;
So tell me does it show - was so long ago&#13;
&#13;
Sometime, somewhere, somebody I know said&#13;
"Boy don't grow old. Can't say you weren't told.&#13;
Because in the end all you've got is your soul&#13;
No matter what you own/ No matter what you owe"&#13;
&#13;
But hey, it's alright when life brings me to my knees&#13;
Just let it all ride&#13;
Tonight the nights on me&#13;
&#13;
Baby I ain't got too much to show &#13;
I've got love / I've got love&#13;
&#13;
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The Hard Road

I wrote ‘Living Under The Same Skies’ back in 2005 and recorded it in either 2008 or 2009. It is one of the many songs I wrote on my cheap no brand acoustic guitar whilst living in London. At the time I hated that guitar, but I'd kill to have it back now. Something about it always made me want write.

Like ‘Six Feet Down’, the song begins by focusing on the struggles of establishing a new life in a new city - only it's more hopeful. Strangely, there is a bit of a play on the old nursery rhyme ‘It’s Raining, It’s Pouring’ (if that doesn’t capture London nothing does). The second verse then shifts to America. Later that year, my wife and I meet some friends in NYC and decided to catch a train to Washington. Along the way I was shocked to see some really run down areas and people generally struggling in the richest country in the world. Springsteen’s Nebraska provided the perfect soundtrack to the happenings outside my window. 

In the end I just merged both experiences together. 

The music has an undeniable country rock feel to it, maybe a bit Rolling Stones, CSN&amp;Y or Allman Brothers. You can even hear me trying to make one of my guitars sound like a mandolin. For some strange reason I decided to add some keyboard trance like layers. To me it adds a bit of weight to the sound and in certain sections, like the intro, I think it feels pretty towering. Overall it is probably the most upbeat, anthemic song I have ever written. Also, I think the guitar solo is kind of cool. Just when you think it is going to take off I pull it right back, only to take off again. You guys might not think it is much but for me that was pretty inventive at the time.

If nothing else I think ‘Living Under The Same Skies’ is pretty catchy.

Hope you enjoy.
 
LYRICS...

In the morning I'm free falling
Falling in love with you every dawning
I do what I should but time ain't good to me
Now it's pouring - London's yawning
God I go to work just for you my darling
If I make it through it's the best I can do from here

Mama It's alright / It's alright
We're always close living under the same skies

New York's calling... 
I'm free falling
Interstate train through the deadbeat morning
A trailer park zoo 
I wonder if they think their free?
People crawling / music is warning
Nebraska in my ears while the wheels keep turning
The sound makes me blues - it's the best I can do from here

Mama It's alright / It's alright
We're always close living under the same skies
 
In the morning I'm free falling
Falling in love with you every dawning
I do what I should but time ain't good to me
Now it's pouring - London's yawning
God I go to work just for you my darling
If I make it through it's the best I can do from here

Mama It's alright / It's alright
We're always close living under the same skies

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Living Under The Same Skies

‘Walk And She Walk’ is a loud, psychedelic rock throw away that I recorded in 2009. It is just some fuzzed up fun.

As many of you know, I have my vault and then I really have my vault. This one is from the absolute darkest, deepest depths of my back catalogue. In fact, I have never played it for anyone up until now. 

The most obvious aspect of the song is the drum sample taken from The Door’s ‘Break On Through’. I really didn’t write 'Walk And She Walk' with the sample in mind, but I realized that the original rhythm track was basically identical to The Doors’ classic. My thinking? Surely John Densmore could do a better job than me. Needless to say, I don’t own the rights to use this sample but since I am not doing anything commercial with the track I imagine it doesn’t matter. 

The music is inspired by the many great mid-60’s garage bands – The Animals, Them, The Easybeats, The Small Faces etc. I think I have maybe 5 guitars playing at various points throughout the track (let me count: rhythm, slide, double time guitar in 2nd verse, fuzz lead, clean lead – possibly more in there). It is just me having a good time over some fuzzed up, lo-fi garage rock. I don’t know about the song, but I think I did a pretty good job making it sound like it was from the era. There is even a Vox like organ and some hand claps in there.

I actually think the most interesting part of the song is the extended jam at the end. In particular, at about 4:10 I like how it goes from loud to pretty chilled with an electric piano right at the end. Maybe I should have spent a bit more time exploring that theme. Too late now.

Anyway, it is just a bit of nostalgic fun. 

Hope you enjoy
 
LYRICS

Baby has always been on mind
Even when I was being unkind
Should I live or should I die
Can never say girl I didn't try...

Well she walks where she walks and no one understands
How she move (how she move) and still stay in command
If I leave - I bleed and never find a hand
Well she walks how she walks and they can't understand

Baby was almost all mine
Just a matter of not enough time
Should I live or should I die
Can never say girl I didn't try...

Well she walks where she walks and no one understands
How she move (how she move) and still stay in command
If I leave - I bleed and never find a hand
Well she walks how she walks and they can't understand

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Walk And She Walk

After all these years I still have no idea how the creative process works...&#13;
&#13;
I recorded ‘Moon After Moon After Moon’ at the end 2011, but I had it kicking around in my brain since 2006 (maybe earlier). For some reason I could never finish it. Then after years of toying around I quickly finished writing, recording and mixing it in one short day. &#13;
&#13;
The song is about the realization that for most of us life doesn’t turn out the way we hoped or planned. Most of us end up feeling removed from where we think our lives should be (as the lyrics go, "we watch the garden from the gates"). More than that, the song is about realizing that in the end it doesn’t matter. We live. We grow old. We die. It sounds clichéd and corny, but ultimately all that is important are the people you love. Yes, I’m also a dime-store, fortune cookie philosopher. &#13;
&#13;
As for the music, I tried to offset fairly pessimistic lyrics with an upbeat country folk sound (I tend to go for that kind of clash a lot). I also tried to strip the production right back. No effects. No frills. Just an acoustic guitar, slide guitar, vocal harmony, Telecaster and hi-hat towards the end. I wanted to create a really honest, intimate and sparse atmosphere. And on that basis I think I succeeded. &#13;
&#13;
Although it is not a live recording it probably gives you a good sense of what I sound like in acoustic mode when not shouting or hiding behind a band. &#13;
&#13;
Of course I don't know what you will think, but 'Moon After Moon After Moon' is actually one of my songs that I like. I think it is just a nicely written little piece of work (if I don’t say so myself). Oh yeah, I really like the country tinged harmonies in this one.&#13;
&#13;
Hope you enjoy!&#13;
 &#13;
 &#13;
LYRICS...&#13;
&#13;
Hey, it’s alright my friends&#13;
We can’t go back - can’t pretend&#13;
We watch the garden from the gates&#13;
Even if the sky shall fall&#13;
Love runs dry and good men stall&#13;
It’s alright you won’t feel a thing&#13;
&#13;
I’ll see you when I do&#13;
Baby I’ll be holding you soon&#13;
Moon after moon, after moon...&#13;
After moon&#13;
&#13;
“Hey, I’m alive!” I cried&#13;
“Just swallowed up by the crowd outside”&#13;
I watch the garden from the gates&#13;
And I don’t know who I am&#13;
Or where I stand on God’s grand plan&#13;
It’s alright it don’t mean a thing to me&#13;
&#13;
I’ll see you when I do&#13;
Baby I’ll be holding you soon&#13;
Moon after moon, after moon...&#13;
After moon&#13;
&#13;
Don’t walk away / don’t walk alone&#13;
You might find you miss me&#13;
Don’t say you will / don’t say you won’t&#13;
Just shut your mouth and come back home&#13;
Come back home...&#13;
Come back home...&#13;
&#13;
It’s alright when you dead&#13;
Dust and bones in your dying bed&#13;
You watch the garden from the gates&#13;
Even if the dead shall rise&#13;
Time stands still and you outlive lies&#13;
It’s alright, it don’t mean a thing to me&#13;
&#13;
I’ll see you when I do&#13;
Baby I’ll be holding you soon&#13;
Moon after moon, after moon...&#13;
After moon&#13;
&#13;
Moon after moon, after moon...&#13;
After moon&#13;
&#13;
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Moon After Moon After Moon

You know that nagging feeling when you want to record music but you have no material ready. You're in the zone, but you have nothing to say. Well, ‘Man On Fire’ was written and recorded on the fly one afternoon in late 2007 to fill that exact void.

Let me just say from the outset that this track is nothing more than a bit of fun and a good illustration of how quickly I can work. I am not saying that to be negative and I am not trying to use reverse psychology on you. It just isn't a very important track to me. That said, every time I dismiss one of my tracks people tend to respond positively. What do I know?

Anyway, I literally came up with a guitar riff, stole and slowed down the beat from ‘Man Machine (For Someone Else’s Dream)’, scribbled down some crazy lyrics and just enjoyed the recording process. Actually, in retrospect I think the lyrics are OK in a demented kind of way.

The song is basically a psychedelic rocker that at 2:53 dissolves into a pretty authentic sounding Syd Barrett era Pink Floyd space rock jam – think ‘Interstellar Overdrive’. Overall the song comes from a similar place as my other other track ‘Walk And She Wak’. Oh yeah, the 'trouble every day' lyric was a subconscious nod to Frank Zappa's classic blues track, 'Trouble Ever Day'.

My voice sounds like a razor blade in this track. I really don’t know how I got to that sound. I guess it is either cool or terrible depending on your taste. Also, the Vox/Farfisa like keyboard works pretty well. I think it is more Booker T than Ray Manzerek, but it fits OK.

I should say that I do really like the guitar tone. It is very reminiscent of Sly & The Family Stone or The Funk Brothers’ on those psychedelic soul Temptations records.

Hope you enjoy.
 
 
LYRICS...

I keep an eye on the back of mind checking thoughts as they roll on in
I got trouble every day of the week 
Now I’m a weapon but I’m free of sin
My mind is a spear and my heart is a shield so if attacked you can’t see me bleed
Just give me shelter or give the sword 
There is an animal that needs to feed

Just a man, just two hands 
Just a ring in the sand
Just a ghost, just a host 
Just a prize with the most
He’s alive, he’s dead 
There’s a man on fire
Singing songs until the end...

There’s trouble everyday

Some keep it sharp but I keep it lean – I keep it buried like some dark dead
So give me shelter or give the sword 
There is an animal that needs to feed

Just a man, just two hands 
Just a ring in the sand
Just a ghost, just a host 
Just a prize with the most
He’s alive, he’s dead 
There’s a man on fire
Singing songs until the end...

There’s trouble everyday

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Based on a work at <a xmlns:dct="http://purl.org/dc/terms/" href="http://soundcloud.com/the-east-village-vampire/man-on-fire" rel="dct:source">http://soundcloud.com/the-east-village-vampire/man-on-fire</a>.

Man On Fire

Another one of my so called sketches... &#13;
&#13;
‘A Sketch Of The New Frontier’ was recorded over a few late night sessions (and a few late night drinks) in early November 2012. A close friend of mine described the track as fever dream road music. I must say I agree with that description.&#13;
&#13;
The track is very atmospheric and unrelenting. In this case, traditional song writing took a back seat to creating a mood. It is supposed to conjure up imagery of windswept highways, savagery and lawless lands. I obviously had the Australian Outback in mind, but it could just as easily be America.&#13;
&#13;
The music itself has elements of rockabilly, rock, jazz, blues and country. On a basic level I think people will compare it to bands like The Doors – granted, the influence of The Doors is unmistakable in this number. However, I was equally influenced by Miles Davis’ ‘Bitches Brew’. For those familiar with that landmark album I think you’ll know what I mean (for instance, I love the way that the lap steel and harmonica drift in and out). I know a lot people say that their music should be listened to with headphones, but this one really should be listened to with cans on.&#13;
&#13;
To be fair, the track is more of an extended jam than a song. Even the lyrics are just there to add ambiance. Think of it as an exercise in mood and let your ears go with the flow.&#13;
&#13;
By the way, for someone who isn’t a real keyboard player I must say that I was in fine form on the keys (even with my limited ability). Check out my little solo at approx 2:20 or there about. I was very proud.&#13;
&#13;
Hope you enjoy.&#13;
 &#13;
LYRICS...&#13;
 &#13;
This land turns boys into men&#13;
This land grinds men into dust&#13;
This land speaks a violent truth&#13;
Welcome to the new frontier&#13;
&#13;
Welcome...&#13;
&#13;
This land knows nothing of God&#13;
This land has blood in its sand&#13;
This land reeks of lust and revenge&#13;
Welcome to the new frontier&#13;
&#13;
Welcome...&#13;
&#13;
Welcome to the new frontier&#13;
Welcome to the new frontier&#13;
Welcome to the new frontier&#13;
Welcome to the new frontier&#13;
&#13;
 &#13;
 &#13;
&#13;
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A Sketch Of The New Frontier

I have always loved old Hollywood. In particular, I love horror films, film noir and gangster films from the 30’s and 40’s. There is something about that period of time that just fires my imagination. Everything was so cool. Everything had so much style.

With that in mind, ‘Hollywood Nightmare’ was a spontaneous, old fashion raggedy twelve bar blues that used old Hollywood as an inspiration. I recorded it one night over a few drinks with a friend. It was obviously completely unplanned. 

The lyrics were inspired by my old DVD collection - I keep them all in my home studio. As I was playing I just stared at my collection and began rambling on about the idea of taking a journey through the “Hollywood night”. It is all a bit Sunset Boulevard or something.

The music is the product of a late night and too many drinks. In a way it is a companion piece to my song ‘Dramatic Highs, Dramatic Lows’. By the way, my friend is playing the rhythm guitar. 

If nothing else, the track highlights my old fashion telecaster playing. I love that old rusty tone. Also, the vocals sound a bit Tom Waits, or at least something from the same universe. It is a bit similar to my voice in ‘Going Down...’

Anyway, it is nothing to be pondered too deeply. Just a blues jam. 

Hope you enjoy
 
 
LYRICS...

Through the Hollywood night / it’s like a Hollywood nightmare baby
Through the Hollywood night / it’s like a Hollywood nightmare baby
To have your name up in lights and be forgotten tomorrow baby

On that silver screen you cried crocodile tears for me baby
On that silver screen you cried crocodile tears for me baby
You know late at night I’ll mend your broken dreams now baby

Through the Hollywood night / it’s like a Hollywood nightmare baby
Through the Hollywood night / it’s like a Hollywood nightmare baby
To have your name up in lights and be forgotten tomorrow baby

To have your name up in lights and be forgotten tomorrow baby
To have your name up in lights and be forgotten tomorrow baby


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Hollywood Nightmare

Until a few months ago I had forgotten about this track completely.

I was on the guitar one day and started playing the riff out of the blue - hadn't crossed my mind in years. ‘A Monster With Matches’ is a lo-fi, psychedelic, minimalist rock song that I recorded sometime between 2001 and 2006. I don’t have any notes and my memory isn’t too sharp on this one. 

The song is entirely based around one repetitive anthemic guitar riff. It owes a lot to 60's proto-punk bands such as The Stooges and MC5. That said, The Beatles' track ‘It’s All Too Much’ was a big influence - something about it always fascinated me.

As for the song, it was all pretty spontaneous. It was basically inspired by people like Phil Spector. Stars that absolutely set fire to their careers, their reputations and their lives in general. I usually find the world’s fascination with stardom tedious, but I must admit that I find it fascinating when a well known star hits the self destruct button. I’m not talking about unfortunate stars like Jimi Hendrix, James Dean or Nick Drake. I am talking about those that implode by crossing a line that most normal people find abhorrent. In my opinion these people are probably fucked up to begin with and fame helps them to go up in flames – Monsters with Matches.

Not a fantastic track, but lively enough. I'll be back to uploading some higher quality in my next post.

Hope you enjoy!
 
 
LYRICS...

I’m just a monster with matches / I burnt my dreams to the ground
I’m just a monster with matches / I burnt my dream to the ground.
I could have rock 'n rolled / I could have rock 'n rolled
I’m just a monster with matches 
there ain’t no rock 'n roll anymore...

I’m just a monster with matches / I burnt this house to the ground
I’m just a monster with matches / ain't nothing here to be found
you could have rock 'n rolled / you could have rock 'n rolled
I’m just a monster with matches 
You can't rock 'n roll anymore...

I’m just a monster with matches / I burnt my dreams to the ground
I’m just a monster with matches / I burnt my dream to the ground.
I could have rock 'n rolled / I could have rock 'n rolled
I’m a monster with matches 
I can't rock 'n roll anymore...
 
 
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A Monster With Matches

A sad bluesy guitar workout.

To be honest, for someone who has barely played in almost 12 months it ain't too bad. There was literally dust on my guitar. 

Anyway, is it me or is there  something a bit strange with the sound quality on this one? It comes across a bit wonky, but it is OK.

Anyway, just a bit of blues for your shoes.

Enjoy

The East Village Vampire

Those Screaming Tears

Well after a long absence here is something.

I guess this is the kind of song a virus would write.

The East Village Vampire
   
  
LYRICS...

Fuck the rich, fuck the poor
Fuck your neighbour bleeding at your front door
Fuck the brave and all the chicken shit
Fuck you at home right in the ass that you sit
Fuck the fat and those taking the stairs
Fuck ‘em all ‘cause it all ain’t fair!
Fuck your religion and those that lack belief
Fuck your sports team, whatever brings relief

Fuck your struggles and all you strive to be
Fuck the places you’ve been saving up to see
Fuck all you do - if you succeed or you fail
Fuck the free and those rotting in jail
Fuck your politics and all sense of fair play
Fuck your voice - we don’t care what you say
And fuck your parents cause their truth just didn’t sell
Go tell grandma she can go fuck herself as well.

Fuck your feelings now you know you’re being fucked
And fuck the system, the fear of being stuck
Fuck all the blacks, the whites and all the others
Go fuck your sisters and don’t forget your brothers
Fuck all your savings, your jobs and your careers
Fuck useless medicine, equipment and gear
Fuck your tomorrows because the future is shattered
Fuck all their warnings because warnings never mattered

Give Me An F!

I like this one... &#13;&#13;
&#13;&#13;
I don't say that very often about my music which probably means I am a million miles off the mark.&#13;&#13;
&#13;&#13;
Anyway, earlier this year I mentioned that I was going to simplify my songwriting. With that in mind, here is another 3 chord number straight off the mixing desk.&#13;&#13;
&#13;&#13;
I wrote, recorded and mixed ‘I Got It All Figured Out’ literally last week - I would have posted it sooner but I have been under the weather. The song is basically about thinking you have all the answers. It is a kind of ode to pride and ignorance. Thinking that you’ve got it “all figured out” and don’t need take advice is just a huge mistake. Sums me up pretty well.&#13;&#13;
&#13;&#13;
The music is old fashion, balls to the wall rock n’ roll complete with honky-tonk piano, big chords and big chorus. Maybe it is just me but I don’t hear too much of this kind of music these days (Twitter and Facebook must deem it to be uncool). It is a very rough recording, but I think it has a bit of power at times.&#13;&#13;
&#13;&#13;
As usual, I don’t mind if you don’t like the song. But don’t say that there isn’t a bit of heart in there. If I don’t mean it then I don’t sing it.&#13;&#13;
&#13;&#13;
Hope you enjoy!&#13;&#13;
&#13;&#13;
The Vamp&#13;&#13;
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LYRICS...&#13;&#13;
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I got it all figured out before I open my mouth&#13;&#13;
It’s like I’ve lived all of this before&#13;&#13;
A yet I struggle with my dreams - articulate screams&#13;&#13;
It’s like I’ve lived all of this before&#13;&#13;
&#13;&#13;
I got it all figured out&#13;&#13;
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They say to “love somebody, can’t just be about money”&#13;&#13;
It sounds like poor man’s advice to me&#13;&#13;
Because I learnt from the start to have a diamond hard heart&#13;&#13;
It tore me apart - CAN’T YOU SEE!&#13;&#13;
&#13;&#13;
I got it all figured out&#13;&#13;
I got it all figured out&#13;&#13;
I got it all figured out - CAN’T YOU SEE!&#13;&#13;
I got it all figured out &#13;&#13;
I got it all figured out&#13;&#13;
I got it all figured out - CAN’T YOU SEE!&#13;&#13;
&#13;&#13;
You know this world is a lie with its do or die&#13;&#13;
It’s like I’ve lived all of this before&#13;&#13;
And sometimes late at night still something deep inside&#13;&#13;
Says I’ve lived all of this before&#13;&#13;
&#13;&#13;
I got it all figured out&#13;&#13;
I got it all figured out &#13;&#13;
I got it all figured out &#13;&#13;
Like before...&#13;&#13;
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I got it all figured out&#13;&#13;
I got it all figured out &#13;&#13;
I got it all figured out &#13;&#13;
Like before...&#13;&#13;
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<a href="http://creativecommons.org/licenses/by-nc-nd/3.0/deed.en_US" rel="nofollow" target="_blank"></a>&#13;&#13;
I Got It All Figured Out by <a href="The East Village Vampire" rel="nofollow" target="_blank">The East Village Vampire</a> is licensed under a <a href="http://creativecommons.org/licenses/by-nc-nd/3.0/deed.en_US" rel="nofollow" target="_blank">Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License</a>.&#13;&#13;
Based on a work at <a href="http://soundcloud.com/the-east-village-vampire/i-got-it-all-figured-out" rel="nofollow" target="_blank">http://soundcloud.com/the-east-village-vampire/i-got-it-all-figured-out</a>.

I Got It All Figured Out

Most of my friends grew up wanting to be Luke Skywalker, Indiana Jones or Rambo. Not me. I wanted to be one of John Carpenter & Kurt Russell's heroes, Snake Plissken or Jack Burton. Still do.

The great man, John Carpenter, has left a huge impact on my music and creative sensibilities in general. This track is just an ode to Carpenter's musical style. There is probably a touch of Carpenter contemporaries Goblin in there for good measure.

Just a bit of fun while I spend my time locked inside along with the rest of the world.

Hope you enjoy!

The East Village Vampire

Escape From The Wing Kong Exchange

Spooky...

Every now and then I like to have fun and write alternate soundtracks to films that I like. They are not always finished pieces, often just snippets, but some are pretty interesting. Personally I find it a good challenge to try and capture the musical essence of images. Not always an easy thing to do.

“Antonio Bay” is an alternate soundtrack (ok, snippet of a soundtrack) for John Carpenter’s 1980 film ‘The Fog’ – not the crappy 2005 re-make. I have done other alternate soundtracks based on John Carpenter films like ‘Music For The Escape’ for ‘Escape From New York’. Carpenter was a king in the late 70’s and early 80’s.

Proudly I can say that it is completely different to Carpenter’s brilliant piano score for the movie. To create the full effect I sampled part of the famous John Houseman opening monologue from the film. I think it works pretty well. I especially like the atmospheric harmonics on the second guitar, it almost sounds like a vibraphone. 

I recorded this track a long, long time ago – maybe even late 1990s. I don’t have any notes on it, but I do remember recording it at night with the lights down low to get into the mood. The sound quality is not fantastic but not too bad for a short snippet. 

Anyway, it is just a atmospheric, spooky piece of music that I hope you might find interesting.

I’ll be back to song writing on my next post.

Hope you enjoy!

<a rel="license" href="http://creativecommons.org/licenses/by-nc-nd/3.0/deed.en_US"><img alt="Creative Commons License" style="border-width:0" src="http://i.creativecommons.org/l/by-nc-nd/3.0/88x31.png" /></a>
Antonio Bay (Alternate Soundtrack to John Carpenter's 'The Fog') by <a xmlns:cc="http://creativecommons.org/ns#" href="soundcloud.com/the-east-village-vampire/antonio-bay" property="cc:attributionName" rel="cc:attributionURL">The East Village Vampire</a> is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by-nc-nd/3.0/deed.en_US">Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License</a>. Based on a work at <a xmlns:dct="http://purl.org/dc/terms/" href="soundcloud.com/the-east-village-vampire/antonio-bay" rel="dct:source">soundcloud.com/the-east-village-vampire/antonio-bay</a>.

Antonio Bay (Alternate Soundtrack to John Carpenter's 'The Fog')

A little while ago I was watching an amazing documentary on volcanos. So alien. So beautiful. So destructive.

Anyway, suffering from a shortened attention span due to pandemic lockdown, about half way through I turned off the volume and started messing with some synth sounds while watching. This is the result. Just some alien textures, a bit of trance without being trance maybe.

It is obviously very influenced by early 1970s synth musicians like Jarre, Tangerine Dream, Schulze, etc. I love that period of time. 

Unfortunately, I think the sound quality was much better before uploading to SoundCloud, but it is still OK. Maybe a bit quiet. 

Hope you enjoy

The East Village Vampire

Witness The New Land

Is life about the destination or the journey?

With that dime store philosophy in mind here is the very first track I ever recorded at home. Although not the first song I had written, ‘The Witch Within Me’ was the first time I sat down to record something from start to finish with some effort. I was just a baby and had no musical idea, but you can already hear some elements that I’d develop down the track. 

About the song, it was 1997 and I was armed with an old Tascam 4-track recorder, a Yamaha keyboard (can’t remember what model), a shit microphone and my guitars (most of which I still own). The sound quality is actually not too bad considering.

The song is basically an attempt at a swampy blues rock – maybe a bit Creedance Clearwater Revival like. The lyrics are atrocious and I squirm in my seat every time I hear them. I guess it does have a bit of a groove to it. 

At the time I seriously thought this track was the greatest thing ever recorded. It wasn’t. Not by a long shot. Let me re-iterate, IT WASN'T. As such, I don’t expect anyone to really appreciate it, but to me it has a naive charm. It takes me back to another place and another time.

Anyway, for those of you that have enjoyed my music to date I thought it might be interesting to highlight my evolution whilst I finish off some new tracks. Keep in mind that I was a baby at the time of recording this. Have I come very far? I leave that up to you.

So much to my embarrassment here is my first recording.

Hope you enjoy (if you can)!


LYRICS...

I got the witch within me
I know the devil’s daughter
I got the witch within me
So welcome to the slaughter
Everybody’s thinking
That the card’s on the table
And the seasons are changing
All the kids they are able...

I got the witch within me
I know the devil’s daughter
I got the witch within me
So welcome to the slaughter
Every cop is a killer
At the protest their hunting
Tie the saints to the pillars
As the titans are mounting

I got the witch within me
I know the devil’s daughter
I got the witch within me
So welcome to the slaughter


The Witch Within Me (1997 - The Very First East Village Vampire Track)

I am not really sure what to make of ‘Fine Feathered Friends’.

It is an unfinished song that I recorded back in 2006. You can tell it is unfinished as I repeat the first verse and never worked out a chorus. For some reason this song seemed to fall between the cracks and has remained neglected. I do that every now and then.

The music is a bit early 70’s Pink Floyd (an era that I don’t love, I’m much more of a Syd Barrett kind of guy). It has some nice guitar playing at times and an interesting vocal harmony. In my opinion it probably lacks a bit of excitement - maybe it is why I could never be bothered to complete it.

What lyrics the song has are basically an ode to school days. 

Oh yeah, the main drum line is a sample from Iron Butterfly's 'Soldier In Our Town'. As is often the case I loop a single beat when writing. It is also me just being lazy and not wanting to record live drums or set up a full drum sequence. Obviously I don't own the rights to the sample. 

Not much more to say about this track.

Hope you enjoy.


LYRICS...

Fine feathered friends I’ll be grateful until the end
We were young and raised the dead with the things we did and said
Now I’m sitting home along just waiting by the telephone
Did I lose my way?
Did I change from day to day?

Remember the times when we dared to cross the line
We were young and raised the dead with the things we did and said
Now show me the way 
I want to run back to those days
When we were kings of the round kicking about our piece of ground

Hey, it’s been a while...
Hey, it’s been a while...

Fine Feathered Friend

The East Village Vampire is the alter-ego of an anonymous and prolific singer-songwriter based in Melbourne, Australia. 

A multi-instrumentalist, The Vampire’s sound crosses blues, psychedelic rock, folk, country, ambient textures and electro, but is often tied together by his signature slide guitar playing, vocal harmonies.

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