With Pat Metheny, you simply never know what is coming next. But among the many things that make this ever-changing artist so special is the consistent level of commitment and quality that he brings to everything he does. 

Whether purely acoustic or searingly electric, powerfully intense or deeply contemplative, highly composed or totally improvised—or even with some new-fangled contraption of his own design—there is always that unmistakable Metheny sensibility at work that has stood at the forefront of music for what is now approaching four decades. 

Everything began on a green, short-pile carpet – the kind that gives you rug-burn if you slide on it. There in the living room of my childhood home stood a vinyl record cabinet. And Beethoven, Sibelius, Jimi Hendrix and Otis Redding. My parents’ records started me on a trip that is still ongoing. An inner journey – but also a physical one – including concerts, tours and a Master’s Degree in improvisation and composition.

I got the desire to create my own music, became interested in the architectonics of music, and how sound waves have the ability to stir feelings, which in turn can have physical manifestations. There were many instruments at my parents’ house, so I had wonderful opportunities for both playing and composing.

Since then many impressions, encounters, heroes and sources of inspiration have followed. Some have been with me all the way, others have been detours, but together they have built my musical foundation – my backbone. Some say you are what you eat, but for me it’s more like I am what I listen to. I am a product of my continually expanding record collection: Kraftwerk, Neil Young, Radiohead, Leonard Cohen, Stravinsky, Bartók, Debussy, Dylan, NEU!, Mingus, Miles.
My ambition has always been to compose with as little compromise as possible – but to shoot from the hip hasn’t worked for me. Frank Zappa says:
“The most important thing in art is The Frame. For painting: literally; for other arts: figuratively – because, without this humble appliance, you can't know where The Art stops and The Real World begins. You have to put a 'box' around it because otherwise, what is that shit on the wall?”
I also need a frame, and for this project I've been inspired by Impressionism. You could see Music from a Room as a homage to the Impressionists who were active in Paris around the year 1900, spiked with my diverse vinyl collection almost a century later. The sound waves from my childhood roll on. In another form. From another room.

Charles Hubbard and Andy Lawford. The Duo lives in Gothenburg, Sweden and Berlin, Germany. If you like any of our songs feel free to download them. 

Golden Rules
1. Time to write and record: 1 day.
2. The song shall not be more than 2 minutes long (except for Anthems, they may be a couple of seconds longer).
3. Handclaps on every song (We love handclaps).
4. The lyrics must be self experienced.

Rock on!

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Über

Andy Lawford und Charles Hubbard. Das Duo wohnt in Berlin, Deutschland und Göteborg, Schweden. Falls dir unsere Lieder gefallen, lade sie gern herunter.

Goldene Regeln
1. Komposition, Aufnahme: Höchstens 1 Tag
2. Der Song soll nie länger als 2 Minuten sein (Anthems durfen ein paar Sekündchen länger sein)
3. Handclaps auf jeden Song (Wir lieben Handclaps)
4. Alle die Texte unsere Songs beschreiben immer eigene Erlebnisse.

Rock on!

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