Steven Stark's The Twin or the Seed
I just got done listening to Steven Stark’s short album The Twin or the Seed a scant thirty seconds ago. I just had to get down what a beautiful song “Here or There” is.The whole album is very pleasant, with acoustic guitar and cello, but the melancholy of the penultimate song in particular made me a little weepy. I’m horrible at processing lyrics but I think it’s about death and saying goodbye. When you combine those themes with Steven’s penchant for the unexpected, harmonically-speaking, well, let’s just say he was on top of his game with this tune.
You can get this album at: http://cdbaby.com/cd/stevenstark4 or on itunes.
Steven, if you’re reading this, leave me a comment. I’ve got some questions:
1) “When I Hear the Message”—lots of layers, which reminds me of your first album. Are you ever hesitant to really go crazy when recording arrangements for fear the song won’t translate in a solo setting?
2) I’m curious about your compositional process. You seem to straddle two worlds: chamber music and some sort of folk-pop idiom. How do tunes start for you? Sitting around experimenting on the guitar or cello or isolated melody lines that you later harmonize?
3) “I Love Thee” sounds like a theme and variations on a tune that could easily be a hym from the 1700s. Is that what you were aiming for?
posted by Mike @ 1:29 PM
5 Comments:
First of all, I am honored to have my album as the subject of a Sic Semper Tyrannis blog. You may laugh, but these are the types of things that really thrill me! Thank You.
1. "When I Hear The Message" definitely started as a melody line, which spawned the opening guitar riff to accompany it. I was really intent on expanding my harmonic palette on this album-ette and on the top of my list was anything diminished. I use a half-diminished as a pivot chord back into the verse and into the key change. This song was all about layering and building it organically for sure. (This is getting into question 2). But as far as arranging and layering....Yes. I tend to dislike sound to be there purely for padding. My ear craves counterpoint. If I can a achieve a bit of fullness, yet retain clarity then I'm really happy. I love to have just 2 or 3 parts that lock into together and all stand up melodically. Of course, like anything, this idea can be taken too far, so there are definitely times for a nice 4/4 guitar strum.
2. I have tried many many ways of songwriting. I will start with anything, a cello melody (Night and Day and On and On) a chord progression (Here or There) or an opening vocal melody (Message). Then I usually proceed to get a skeletal form to the song from there. From that point I begin filling in what is needed. I struggle to find something in the tune that I didn't expect, make something happen that is unexpected but hopefully works. like Paul Simon said, it's like driving home, but deciding to take a different route. Of course, anything must be judged as "satisfying" to a thoughtful listen. I am always reaching for the listener who wants to meet me halfway I think. I like artists like that. The ones who find that right balance. It might take me a little bit to get in to, but then it's my favorite record for a month.
3. "I Love Thee" is a hymn. It was one of my Dad's favorites and he asked us to sing it at his funeral, which we did.
Thanks again, Mike. I look forward to any additions to this discussion on songwriting/arranging that you or your readers might have.
I'm a sucker for unexpected harmonies. (I wish I was a better guitar player. I can't ever seem to grab fully diminished chords in time.)
It's interesting to me that you wanted to expand your harmonic palette on this album because I've always heard pretty sophisticated progressions in your music. It's one of the things that makes your music interesting for me.
Counterpoint/fullness--I never considered this distinction before. But now that you say that, I can hear your fascination with counterpoint. That's another thing that sets your sound apart and the reason for my associating you with a "chamber pop" sound. It's the "composer" coming out!
It's a modern temptation we have to over-arrange, isn't it? "I've got unlimited recording tracks- why not use them, right?"
Speaking of counterpoint-- I've got a tune in homage to Reich I'll be posting in a couple days or so...
Cool! I look forward to hearing your Reich inspired piece! You could be the Second Reich! (much better than the Third one....)
I think by expanding the harmonic palette, I meant trying to incorporate more than major and minor. exploring diminished, augmented and more extensions. Plus trying to change keys in a very functional way (building tension, getting more chromatic, secondary dominants and stuff) instead of just the abrupt switch! A lot of this stuff is more about my current project, which I go in to start mixing in about 2 weeks.
I have always enjoyed the unexpected in harmony, but I'm trying to combine that with a greater understanding of the more sophisticated harmony of the pre-rock and roll era in pop music.
Steven-
Another album already? Geez! Mr. Prolific!
"the pre-rock and roll era in pop music."--who exactly are you talking about here?
There is something to the PREPARATION of modulation and all that which I guess is where the real "Art" of it all lies, huh?
I've never been able to incorporate an augmented chord in a natural way. (Well, I guess "Sweater Party" had one stuck in the pre-chorus. I think that's the only recorded evidence that I even know how to play an augmented chord!:-)) The Beatles used to do it pretty well, especially early on.
One thing about artists who compose on the piano is that the chromaticism like you're talking about seems to be more subtle. I'm thinking of Randy Newman and Freddie Mercury. There's a sophistication that just comes easier on a keyboard I think.
Or I could be full of crap and justifying the fact that I can't grab these chords quickly enough on guitar! :)
I couldn't agree more. The elements of harmony are much easier to play with on piano. All the frets look the same on guitar!!
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