Regarding the tunes.
I have a deep love and respect for traditional music from America. I am
an Australian, of English descent, who has grown up on a varied diet of
folk, blues, and contemporary music. I have adopted, mimicked, learned
to love, and reinterpreted those sounds in my own tunes. I don't read
music or tab at all, but have developed an ability to play by ear, and
reproduce what is in my head.
I love to noodle [play around] with ideas and spend many hours playing
without purpose, just to explore sounds and rhythms. The more I do
this, the more the same riffs keep coming back into my playing, like
familiar friends. They get stronger the more I play, until they become
identifiable as different from a song I have already written or someone
else's tune.
Regarding the lyrics.
The songs on this album were written as a reflection on journeys
through the USA and as a mirror to my thoughts about my current and
immediate environment, in rural and regional Victoria, Australia. I
have tried very hard to write about only what I know, and to be
truthful in my interpretations. Some of the stories are inner concerns
made more general. Some themes are personal, but have universal
interest. Some are just for fun because I like to see the funny side to serious
situations.
They were written away from the instrument as I have learned that the
tune and the words don't always come together, and making words work
requires my hands on a pen or a keyboard. This gives me time to expand,
edit and reformat the words to make sense, to say what it is that I
want them to say.
Putting them together.
From here, with words and tunes, I make decisions about what tune
might fit what lyric, loosely partnering them and trying them on with each
other. I use my capo extensively during this time to look for mood and
key differences that might bring out a good partnership. I also look at
the different tunings available to bring the right flavour to each
piece. I play a bunch of instruments, but think of them a bit like
inviting in a session musician, and don't rely on them for the song.
The song needs to feel right with just me and my instrument and a voice
and perhaps a foot tap or a harmonica.
When I have a bunch or collection of songs, it's time to record. If I
don't record, I get stuck on those same tunes and in a way, run out of
reasons to make new ones.
The recording process.
The process for this album was what I would describe as organic. I
don't have a lot of preconceived ideas when I go into the studio,
except for the songs being written and the tunes being set for each
song. Tempo and instrumentation come from this next exploration stage,
with the help of my recording engineer/producer, who looks from another
angle, and contributes thoughts and ideas, both musically and verbally.
Music is communication, and this part is like a dialogue that goes into
presentation, rather like putting a picture in a frame. I make
decisions about chorus repeats, song length, solo's, further
instrumentation, and backing vocals.
Each night I go home with a lot in my head, and listen to the days
work. It is at times rewarding and at times difficult to know whether I
am wasting my time, but somehow it all comes together, and there has to
be a time where you say, it's done.
The mastering process.
When the recordings are done, a bit of fine detail needs to be attended to. The "gap" between each song, as in the empty space, needs to be set. Each song needs to sit comfortably volume and tone wise with it's neighbour, and with other songs playing on the radio or elsewhere. It has been described to me as like a rough diamond, needing it's final polish. The recorded tunes are called rough mixes, and the finished album of "final" mixes are then mastered.
The album artwork.
To make the album and lyrics pallatable and interesting and informative
to look at, album artwork is done by a graphic artist to fit the cd
cover. This area has much creative potential and room for fun to add to
the listener's experience.
Once the artwork is done, it is sent along with the mastered album to
be manufactured at a printing plant.
I am aware of all the home versions of this process, but have chosen to produce a commercial release, that requires a high level of sound and print quality. It is also cheaper when you produce larger numbers. Each of the three albums I have completed have been done differently, but all independently, and self funded, rather than looking for a record company advance. This way, I retain TOTAL creative freedom, control and responsibility over what is produced and presented.
I would like to write more on the creative process behind each song on the album, as this album is all dulcimer driven, but that's another chapter. The album can be previewed on CD Baby, along with my two other albums, "Frozen with Intent" and "Dirty White Music"
http://cdbaby.com/cd/adriankosky3
Thanks
Adrian
