Janice D. Soderling – poems

Originally posted on The Poetry Storehouse:




1. Fissures (audio by Marie Craven & Neil Holland)
2. Autumn (audio by Nic Sebastian)
…. Still image remix by Charles Musser
3. Unnamed (audio by Nic Sebastian & Neil Holland)
…. Video remix by Marie Craven
4. What Would Jesus Say About This Wallpaper?
5. April is the cruelest month for poets
…. Video remix by Othniel Smith



Fissures
(Read by Marie Craven)

(Read by Neil Holland)

At owl-light I follow the long stone wall

through quickening green where nettles sprawl.

My thoughts are not busy with you at all.

Or the curlew crying.



Little is left of the rough-edged chill,

only clear rivulets surging downhill

where the lake’s ice cover breaks sharp and shrill.

Like the curlew crying.



Too early for coltsfoot. Too late for all-heal.

Cranes bugle and lift. Larks spiral and peal.

There’s nothing can comfort the rending I feel.

And…

View original 432 more words

One Week: ‘The Dark Science’ album release 28th August

The freedom of summer has allowed me to virtually complete an entire album in the space of two months. There have been a lot of re-writes and re-records, but it’s finally finished. I will probably look back in a month’s time and think “I should have done this or done that”, but for now, I’m happy with it.

I’m asking you to come on a journey……from post-industrial South Wales to the cinema, via the dark satanic mills and eerie pastoral landscapes of Lancashire and Cumbria. All places that have been haunts for me over the years. When I say “the cinema”, I mean the British cinema tradition of producing some genuinely sinister horror and sci-fi in the 60s and 70s (and the BBC showing these on TV in the 70s and 80s), either pastoral or dystopian. Mix all this up and you might get a flavour of the album.

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It’s not pastiche, but hopefully conjures some images. Incidentally, these are the images I came up with for the cover art.

This was the first one:

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A bit too literal and a bit too cheesy I think. Part paper, part digital collage with an imagined scene from an imagined movie.

This is what I’m using:

Dark Science Cover1

(Sorry, couldn’t resist the Peter Saville-esque colour bars!)

Anyway, I often talk (write) too much about my music and motivations so I’ll shut up. Hopefully, you’ll like the album enough to download it (minimum of £1).

Here are a couple of previews, one of which is a free download on Soundcloud (and eventually on dementio13.com, for that is where you will be able to download the album).

Thanks for reading….be safe.

A New Season, A New Album

Being a busy chap, I’ve been spending every waking hour (well, almost) recording. The new music a bit dark, a bit playful in places and quite cinematic. Besides that, I’m not going to try to describe it, as I’d prefer you to make your own minds up on hearing it. Suffice to say, there’s a lot of sampling and a lot of analogue squelchy noise going on.

As a little preview, here’s a track called ‘The Shire’.

The album is called “A Dark Science” and will be available to download on 28th August at http://dementio13.com.

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Sub Sub

Hello, it’s been a while. So now, with the summer ahead of me, here’s a missive for you to ponder, peruse and maybe ignore.

Been working on a few new tracks which will see the light of day in the next few months. Probably as a full length album (and some bonus stuff….more about which, anon).

I’ve changed some stuff around on my Bandcamp site and I’d be interested to hear your thoughts. As you know, my music has mostly been pay-what-you-want over the years and this seems to have worked quite well in getting new listeners and getting my stuff ‘out there’. People have paid for the music by choice and have shared, etc….. And I’m really grateful for this. I don’t really expect anything from my music: money or noteriety. So it’s really a bonus and very satisfying when people do download my work. I’m hoping to release actual physical albums, etc in the not-too-distant future and this will take cash. So I’ve started to try to make the Dementio13 project more sustainable (on a very limited scale, for that is my scope: I’m niche-er than niche!), thinking more in the long-term. 

Virtually all the money I make on music is ploughed back into future releases; whether that’s buying new kit, subscribing to web services, etc. My full-time job pays fairly well, but life often takes its financial toll so I’m finding it less easy to chuck cash around on bits and pieces of kit, promo, or whatever. Therefore, I’ve set all my releases as pay-what-you-want, but with a minimum of £1. This could either prove to be semi ( quarter?) – professional suicide or a good way of sustaining progress, development, ideas, whatever you want to call it. My thinking is that, a pound is pretty reasonable; £5 will buy you five albums. Whereas those loyal purchasers who buy every release, often pay in excess of £5 for one album.

However, there is an alternative too. Bandcamp have started a rather tidy new subscription service, whereby listeners/fans can subscribe to artists for a set fee and receive all future releases and back-catalogue items as part of the price. This is rather cool, I think. 

  
So, my new subscription service is up and running: pay £12 or more for a year’s subscription and you will receive all future releases for no extra cost. You will also get 8 of my back-catalogue albums/eps to download plus lots of extras: the first extras being two albums of my early, pre-internet, music. In future, there will be previously deleted albums such as the ‘Snackshack‘ ep, ‘Suburbian‘ album and lots of brand new live mixes and performances. You will have exclusive access to these as a subscriber. 

Hopefully, the income will be substantial enough to help fund merch and physical releases. Incidentally, subscribers will get 20% discount on these too. Subscribers would be solely responsible for making my music self-sustainable and enabling independence.

So, what do you think? I guess, my ultimate answer will be in the uptake. These things tend to be a bit trial and error, there being no definitive answer for any one musician/band; so, we’ll see. My musician friends may have ideas about this, or may have tried it or something similar; so may have some insights. Anyway, please take a look and subscribe if it appeals. Thanks.

The Shed Collective Radio Show – Dementio13 Special

 

Well, what can I say? Steve Kelly (aka. Douglas Deep and the Shed Collective),  a musician who’s work I’ve long admired, is performing a Dementio13 mix for his July show over on Boxfrequency.fm. Two hours of carefully selected tracks, mixed in Mr. Deep’s brilliantly cinematic style. I’m really honoured that he’s giving an entire show over to my music. Do check his old episodes over on Mixcloud and Soundcloud……always an interesting listen. 

Also check his own releases on his Bandcamp page. And, of course, my collaborations with him here and here

The show’s on at 10pm UK time on Monday 6th July. If you can’t listen then, catch-up later on his aforementioned Mixcloud/Soundcloud pages. It’s a good ‘un, I promise.

News, Interviews and Videoos

Hello again. After a protracted break from posting anything here, I thought it was about time I got the ball rolling again. I’m currently laid-up with knee ligament problems, so I’ve got a bit of time to kill to update you all with some news and stuff.

So, what’s been happening in the gleaming citadel of Dementio Towers?

Over the last few months I’ve released, in a very low-key fashion, two EPs and an album. The EPs, entitled ‘Vkhutemas Vol.1 and Vol.2‘ are collections of new tracks, recorded ‘as live’ on the fly. Sequencers were used of course, but sequences and sounds were manipulated and triggered as improvisations, of sorts. Not that you really needed to know that.

Anyway, the tracks are probably more electronic than previously, so no bass guitar or vocals. Some of the tracks are melodic and ‘progressive’ and a bit soundtracky. There’s also quite a few squelchy syncopated bass-lines on there too; with a nod to some of the old acid-house that I used to play while DJ-ing back in the day (that day being a Tuesday).

In pretty much the same vein, but in a more extended form, there’s also the new album ‘This Is Civilisation‘.

This makes fairly heavy use of my new portable studio set-up powered by some great Elektron gear. Check it.

Music blogger John Lunny contacted me recently asking to do an interview with me. In it I talk about influences and gear (inevitably!). You can read it here, if these things interest you. I’m very grateful to John for taking an interest and his blog is full of useful recommendations of new independent music.

Also, in the coming months, I’ve got new track with Marie Craven appearing on a special compilation, which I’m really pleased about. Looking forward to the release of that.

Marie’s been branching out into making video poems and has been using my music on some, which is cool. She’s taken readings of various poems and created micro-visuals to accompany them. There’s some really good stuff and they’re worth investigating.

Anyway, that’s all for now. Be safe.

HealeyIsland – ‘On Ponzi Bridge’ Release on 26th March

‘Easy Listening’ and muzak is all around us, isn’t it? We often listen to music as a means of switching-off the world, of blanking out distraction. But music used in malls, supermarkets and hotels is designed to manipulate us, to placate us. As a means of control, it’s fairly innocuous and taken for granted…because it’s been around for decades. Muzak is often cited as shorthand for corporate insincerity and a passive form of mind-control. This shorthand has been used by musicians ever since Eno came up with the notion of ‘ambient music’. Before this, The BBC Radiophonic Workshop developed a form of experimental and reactionary muzak with their bizarre little radio and TV themes, often ‘offending’ more conservative listeners.

Aaanyway, I’m starting to witter. Greg Healey has been making electronic music as HealeyIsland, as far as I know, for as long as I have been making music as Dementio13. His latest offering, the album ‘On Ponzi Bridge’ is released on 26th March on the Flicknife label. However, it is presently streamable on Amazing Tunes, so you can have a proper listen over there.

The album is very, very good; it doesn’t pander to fashion and it contains a depth and imagination in its production and lyricism. Healey’s lyrics tend towards the impressionistic and non-linear, but taken in context of the album, they start to develop a bittersweet narrative; not of relationships (as in songs about love or hate), but of politics, capitalism, image and media. That these lyrics are not polemic, but contain subtle and occasionally surreal juxtapositions and ironies, is a testament to Healey’s fine instinct for wordplay; all delivered in a vocal style that falls somewhere between that of Vini Reilly’s fragile, intimate and understated tenor and that of a nightclub crooner (I know that sounds like a highly unusual mix, but it works very well). The titles of the songs often give an indication of their lyrical content, such as with “Entertainment” and “Ayn Rand Is My Mistress”.

And so, I come full circle, to the music itself. Healey has refined a difficult-to-achieve balance between tunefulness and experimentation over the years and, with On Ponzi Bridge, we find him taking this approach to a logical conclusion. On the opening track, ‘The End Of History’, the introduction sounds like the sort of lulling muzak that accompanies the start of a Wii game (for instance) and the production isn’t jarring for the listener. It lulls you in and then, coupled with the lyrics, starts to unsettle. There is a strong sense that Healey has aimed at an ironic use of muzak as a weapon. The album is quite dark in mood, though not overtly aggressive. At the risk of drawing comparisons, there are elements of Lemon Jelly’s use of ‘easy listening’ to evoke a time and relay a message. Though, as On Ponzi Bridge progresses, it gets inherently darker and the sound slightly more harsh. There are rich synth layers, lush orchestral strings, the occasional electronic squiggle and laid-back beats. The music production is luxurious for a reason, one feels, in order to reinforce the overlying themes of politics, economics and commerce which are suggested by the easy-listening influences and the lyrics.

In conclusion, it’s easy to get carried away with hypothesizing and (possibly) reading too much into the album; but the truth is that, musically, the album stands on its own two feet as a ‘damn good listen’. This is a very individual release from an interesting and adept artist and is thoroughly recommended.