Friday, 11 June 2021

 






For Tony



There is a trick to his smile, something in his mischievous curling moustache and the crinkling skin, so full of promise, winking at the corner of his eyes. There is a hidden energy inside his steady step and noble posture. Up the red stairs, I see him carrying his piano, his cajon, his tashigoto, his halo, this alchemist is a wandering warrior monk, capable of dancing and singing and clapping in divisive triple time, and all the while breathing his mathematic mantras, he maintains perfect balance.


During rehearsal in the bright day-lit studio, he sits astride his box drum, surrounded by technological marvels that, like cybernetic enhancements from some sci-fi dream, grant him a vast capacity for spontaneous poly-rhythmic melodies. Here at least, some of his mystery is revealed, for one cannot hide behind one's music, it reveals all of the unspoken parts of a person's story. His music is a portrait of a well travelled man, both in the realm of countries and people and places, but also in that vast and significant inner world that is a little more difficult to describe, yet equally adventurous to explore.


We see through our mind's eye into the world of imagination. We hear through our inner ear the songs of all creation. We feel through our flesh the truth of our feelings, and this man, this multi-cultural musical alchemist and dancer, speaks to us with an inner voice, with an inner language that we all hear, and we all understand. In defiance of the count of his years, he is lifted from within by a youthful buoyancy, and we who are graced to know him, we who are blessed to work and play with this living example of a modern international man of culture and intelligence and joy, cannot help but be lifted up with him, a little closer to the sun.

Thursday, 3 June 2021

 






For Sarah (Her nature cannot be rushed)


Imagine her,

She dances slowly,

no,

slower than that,

internalise it


first, the heart must move, and then the body may follow the music, like the trees follow the wind, like flowers follow the sun, like the ocean follows the tide.


Slow,

no,

slower than that,

nature cannot rush.


Just like she cannot be rushed. The heart will not allow it. The music will not allow it. The night will not be pushed aside by the eager sun, just as the world tapping at the window will not bestir her from the ponderous precision of her turning heel, turning toe,


She perches upon a branch, a step, a stage,

a bird upon a twig,

a blade of grass,

a drop of water

upon

a petal

in the warm

summer

afternoon


slow,

no,

slower than that,

internalise it,

she turns like bird on the wing,

ruffling her feathers and floating upon the shadows beneath her,

She is silent

while her heart speaks through her body

like the wind speaks through the trees

like the moon speaks through the tides


Imagine her dancing,

slow,

no, slower than that,

her nature cannot be rushed.



Friday, 28 May 2021





 

For Regan




Summer rain makes the night beautiful, and the city is ready, eager, skipping in line to start the festival. We walk, cloaked, through crowds and past restaurants, we pause to cross the street, our conversation casual, our hard heels clicking on concrete and heads turning, eyes glancing as we pass. At our destination, we are ushered in to a private room, where we pause only a moment in preparation; everything feels frictionless, fluid, nothing goes wrong, cash on arrival, everyone polite, the staff well informed and calm...


But the crowd, the crowd were not calm.


They were cheering from the moment you entered the room, nearly on their feet, whooping and crying out with delight. They understood what they were seeing, and what they gave back was the unfiltered energy of celebration. I don't even know what they were celebrating, I was only told this was a Greek party. It seemed like there were multiple guests of honour, as you were drawn into the crowd with this gentleman, or that lady, to share the simple wonder of a coloured shawl, and a shaking hip.


I felt almost invisible; honoured to be asked to drum for you again, I watch the brightening faces of the crowd follow you as you dance from shadow into light, between tables and back again to the dance floor. They wriggle in their seats, they love to clap and to shout, and they are really good at it. They listen, they feel, they let the music run through them, I can see it all from where I sit on the edge of your light.


On the edge of your light.


Tuesday, 30 March 2021





Arcadia: Wonderland


I am crying a little as I leave the festival. The grief and love I feel raining down inside me is only the first of many great waves of emotion that surge through me as the day passes. If I use the word connection, it is perhaps too mechanical a term to describe the union of natural forces combining inside me. If I prefer to speak of union, this reaches closer to the sense of brotherhood that I have experienced - to be in this place, at this time, with my brothers and sisters of the earth, means more to me than I could ever have expected.


A friend asked me if the festival exceeded my expectations. I replied that my expectations were shattered from the moment I arrived. The reality of Arcadia is far more than one can possibly conceive of without having experienced it firsthand. If I speak of community, one might be deceived by the common term to assume a common kind of experience, when the truth is, that experiences like these are so rare as to be nigh impossible to explain to an outsider. Yet, we who were there experienced in the sharing of common ground, a connection, union and community that does not exist outside of the festival.


I open my mouth wide and try to drink in the sky. I swallow the moonlight and never reach satiety. I find in myself the courage to risk my life in the quest for inner liberty, emotional honesty, psychological illumination, and, surrounded as I have been by such a community of experienced and sapient travellers, artists, dancers and musicians, I am held by them in the sanctity and safety of this temporary desert temple. I took the medicine. I was unsaddled completely by the power of the liquid sacrament. I fell. I threw up almost to the point of unconsciousness, heaving up more than a decade of unexpressed tension. Yet, lying there upon the dust, I called out for help, and it was given immediately, without judgement. I was watched over by the temple medic, I felt totally safe as I went through the immense transformation required in order to harmonise with the medicine.


In order to harmonise with myself, having spent so long in dissonance.


One cannot avoid looking deep into the ugly truth of oneself, and having made the choice to be open to this experience, I had only one choice. I had to open myself to the sky, to the sun, to the truth of my feelings, to the difficult and uncomfortable admission of guilt concerning my own failings, my own cowardice, aggression, ignorance and fear. Only then, having accepted the truth, was I able to release the accumulated bile of stress, anxiety and fear that have burdened me for years.


Then, the party could start.


I began by helping my fellow campers secure their tents as a strong afternoon breeze whipped tent pegs from the ground and loosened poles from their fixtures. I found my way forward through service, through humility, as I saw my own tent required similar attentions. I asked for help, and it was given, freely, enthusiastically. The remainder of the afternoon was weird for me, as I crested waves of intense revelations concerning my life and the place I have made for myself as a man with a family. These private ruminations, magnified intensely by the medicine, took on mythical proportions, and, having come to this festival alone, I found myself feeling intensely lonely as the sun began to set.


Then Dook arrived.


A lot can happen between friends over twenty years, and seated at the great dining table with Dook, Gabriel, Joel and Kate, I felt the power of our shared experiences fill my heart and soul and I cried out to them that I loved them all, that I was so grateful to be here with them, to feel the connection, the union, the community of our shared passions and we all raised our glasses in salute. In love with this moment, in love with one another, knowing that this fleeting moment will last forever.


I played games of Penta with Apoorva and Tricksy. I lost every single game, each defeat unique, each strategy finding a new way past my defences. Dook played chess with Apoorva, and we gathered around to watch, all of us thrilled, excited to witness the meeting of two great minds. Then Gabe returned, having adventured somewhere, and we played the longest, strangest game of Penta in all our years. I won, having rushed, swords flashing through bamboo groves, having smashed through doorways, thrust, parried, cut and run across the board until the footprints of our duel were muddy and confused and neither of us could read the story of our entanglement.


The conversations glow in my memory. Arcadia was a symposium, in the purest, most beautiful meaning of the word.


The wind whispered with the distant echo of Elusis.


How many days and nights we were there, I cannot guess. A whole season? It seems possible. I ate fruit, I read a book with my morning coffee, I breakfasted with my neighbours, took lunch at the great table, dined with all the denizens of Wonderland at the Mad Hatter's great table, then dressed for the evening in my best and brightest robes, masks, cloaks and coats. The festivities were an ever boiling pot of commotion, as fluidly we played the games of our lives, and saw the sun rise on a new day.


And on the last day, getting to play my music at Arcadia : what can I say?


We sat together at the centre of the universe.


If I speak of community, you know what I feel.

If I speak of connection

If I speak of union


We gave all this to each other. We danced to each other's music, we listened to each other's stories, we shared food and drink and medicine and the miracle of this Arcadian revelry was not lost on us.


My thanks go to you all.


Tuesday, 16 February 2021


 

Review of Help!


I don’t like to throw phrases like ‘Punk Genius’ around for no reason, but this album, written and recorded all in one single evening, seems to deserve the label.


It’s like, a bowl of whipped cream and BBQ Shapes for breakfast,

or a 4am fire alarm that starts a party,

it’s like that weird, hot night when you went walking at sunset and didn’t stop until it rained, when you kicked the puddles and came home covered in mud and filled to the brim with the glow of your own, personal, real, sincere weirdness…


This album is weird, and really noisy, and fast, and there’s this killer riff that’s kinda like, y'know, fat and heavy but it’s been cut up and mutated and then there’s the one slow track that’s just as distorted and noisy as everything else, and then at the end when a harmonica player showed up at the bedroom studio uninvited and played a solo - holy shit it sets the song on fire.


The album is about 20 minutes long.


And that’s all it needs to be.


Grab the album on bandcamp.

Help! | Help! (bandcamp.com)


Check him out on Facebook

Help! on Facebook



His other project: Lardzard

Music | Lardzard (bandcamp.com)


One of his other bands: The Poets of Slam Society

Speed Child | The Poets Of Slam Society (bandcamp.com)


Friday, 8 January 2021

Review of Matt Stonehouse's album: 'Rosie's Point of View'


Review of Matt Stonehouse's album: 'Rosie's Point of View'

(This review first published in Australian Belly Dance Magazine)




It is summer, and as I sit on my front porch, gazing out over the golden brown hills of my farm, I am listening to Matt's new album. I close my eyes and in the music I can see a landscape that is both familiar and fantastic as I wade through the haze of my imagination. I don't know who Rosie is, but if this is what she see's, then her eyes must be beautiful. But we aren't really talking about Rosie, (whoever she might be...), we're talking about Matt, and this orchestra of magnificent melodies, this soundtrack to an Australian wandering pilgrimage is an expression of both musical mastery and elegant subtlety.


At first listen this music was so smooth, so sublime in its consummate arrangement that it felt over before it had begun. By the tenth listen I began to understand, I began to see through his eyes, to hear through his ears. This music began before I heard it, and played on long after the last note faded into silence. It is said that a sculptor removes the parts of the stone that are unnecessary in order to reveal the shape that has for millennia lain within, a shape put there by the forces that created the universe. This music has lain in wait since the birth of the world, these melodies are built from the wind and the trees themselves. Since this album is really, "Matt's Point of view", it is safe to say that he has looked deep inside himself, has looked out past the horizon of time and culture, and carved from the silence a music that has waited for his hand, waited for his ear, waited for his heart and soul to finally reveal itself to us.


The exultant crescendo, the tidal push and pull of overlapping waves of sound, the ever deepening layers of subtle notes, songs laid upon songs, melodies upon melodies, rhythms unheard upon rhythms made audible, stirring powerful images in the imagination...the rattle of trucks over cattle grids on lonely dirt roads, the chirping of insects at dusk by a creek marked on no map and remembered only in the songlines of the old ones whose country we have inherited. But is is by virtue of this country's diverse history of immigration that this album is made possible, with its blending of cultural influences too diverse to be easily traced. This album is to me, a quintessentially Australian album, made possible at this time in the history of the world through the hands of this utterly irreplaceable musician.


It was only by the time I had listened to this album twenty times that I was able to begin writing this review. How is it possible to put into words the colossal effort that must have gone into the making of this music? It seems a kind of cruel joke that someone could try to condense, to abridge such an opus into a page of writing, no matter how poetic the author of such a review. To convey the beauty of this timeless music into a soundless, brittle text frozen in time seems disrespectful...but what is poetry if not the futile attempt to describe the indescribable?


It is high summer as I sit listening to this album over and over, and it is Matt's point of view that I am being immersed in. I can feel his respect, his devotion, his dedication to making something that will last in our hearts and minds. I can hear his love of this country, and of all countries.


This music, with its inarticulate descriptions of indescribable beauties is a gift to this nation, and to the world, and we who have the opportunity to listen to it, can only now bear silent witness to magic of Matt Stonehouse's soul.


The album can be purchased digitally, or as a limited edition vinyl.

https://mattstonehouse.bandcamp.com/album/rosies-point-of-view

 

And his drum teaching website is here:

https://fingersoffury.com.au/

 

Tuesday, 22 December 2020

Review of the new EP from Omados

 


There is something rather unhelpful about genre terms like Traditional and Folk, words that seem to imply a certain sleepy old fashioned style, as if people from the olden days didn't know how to have a good time, or to dance like wild anarchists between the boundaries of social conventions. Scratch the surface of traditional folk music, however, and you will find bands like Omados, who from the opening notes of their new EP, seem to shout from the rooftops the truth that the wild old ways are still alive and dancing. Omados is much more that a folk band, comprised as they are of individual performers of such high calibre that their coming together seems a gift from the muses, their music elevates the listener, educates, illuminates...I go so far as to say that they, with their decades of study and passion, illustrate the timeless magic of ancient traditions, made new through the lively spirits of young love. Love of dance, love of singing, love of life.


Joseph Tsombanopoulos, George Athanasakos, Katerina Stevens and Paddy Montgomery are all worthy of long biographies of their own, and fans of the band will no doubt know of their individual efforts. In the band's own words, they play regional Greek music from Thrace, Macedonia, Epirus, the Peloponnese, Crete and Ikaria.


For those of you who are not versed in ancient Greek history; Thrace was once home to some of the most fearsome barbarian tribes who fought in the Peloponnesian War, with male and female warriors, covered in tattoos and wielding brutal curved swords. The historian Thucidides makes particular mention of them. Macedonia was the home of Alexander the Great, conqueror of the Achaemenid Persian Empire. Macedonia is a mountainous and rocky region, and like Thrace, was known for its hardy warriors. The Peloponnese, famous in the ancient world for their warrior class who were considered the best trained and most fanatical warriors of all the ancient world – the Spartans.


I do not know for certain how similar the music of Omados is to the music of the ancient world, but, as we like to say in the study of history, everything is connected. As a student of oriental music myself, I recognise some of the rhythms, and I ask, how ancient is the Chiftatelli? Or the Ayub? How far back do these folk traditions reach, and how far forward, and how deep into our flesh are these rhythms, and the melodies they support? Omados are living representatives, diplomats from another era, time travellers from a never forgotten past that continues living through us, the listeners, the dancers, the writers and the musicians.


These Hellenic cultures who have such proud heritage, and such well documented histories, fascinate me for the passion they display in both military and civil cultural achievements. Folk music, and the continued upkeep of traditional forms, while being a development of ancient roots, still contains the seeds of their ancient passions. Omados are the modern battle cry of an ancient and ongoing cultural experience that represents and contains all of the same complications – love, regret, excitement and loss – that we continue to experience in the modern world.


So while terms like traditional folk music might be misleading, or even unhelpful, if you dig a little deeper, you will find that everything old is new again, in the hands and hearts of those who keep the spirit alive. If you want to dance – listen to Omados. If you want to swoon, or to sway with your sweetheart – listen to Omados. See their live shows (in person or online). Discover the individual musicians and their other music. Omados might be traditional, but tradition does not remain static, painted upon crumbling stone walls, or kept in museums. Tradition is something that we dance with, sing with, and run shouting through the streets, electrified and excited by. Tradition paints a picture of the past, with colours mixed in the present, but always pointing the way forward to the future.

 

Their album can be downloaded from Bandcamp:

 https://omados.bandcamp.com/album/omados-2