Nobody is responsible/Niemand ist verantwortlich

This is the first solo guitar feature of the album; a Les Paul, a Cry Baby Classic Wah, and the Vox AC 50 – that’s what the solo sound is made of. My Tobias four string bass provides the basis of a Hendrixian groove. The measure is 8/4 with an accent on the count of “3”.

The tune is completed by organ and driving drums. Its mood reminded me of my own angriness at people who don’t care – hence the title. Sometimes the Wah wah guitar seems to talk – sometimes one might discern furious words and phrases…

Damn Interference/Verdammte Interferenzen

This little tune of just a few seconds goes to show:

a) Children can also play music (my son is on electronic organ and analog delay) with great wit and understanding

b) Having passed the dark tune “Verfallenes Licht”, we find ourselves in a spacecraft in the middle of nowhere. None of the instruments aboard is working any more, and we have to admit there is nothing we can do now except wait for help. And curse the interference that keeps us from knowing where we are…

Psychedelic Guitar Scales (with TABs)

Since many people visit my blog to know more about scales for psychedelic guitar, I would like to explain some basics in more detail. And in tablature, this time.

As a preparation, please read this former post! I will give you a basic riff to improvise on, by using the mixolydian scale. You can either play this scale the usual way (example 1) or slide along just the G-string (example 2), maybe pretending your guitar was a sitar…

So, use some slides, bendings and so on! Scales are just a raw material, nothing more. You have to make something out of it. Go ahead now.

Psychedelic Basic Riff in A – give it a nice rhythm!

–––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––

–––––––––––––––––––––––––––––

–––2–––––4––––5–––––4––––2–––

0–––––0––––0–––––0––––0––––––

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Example 1): Psychedelic Scale (A mixolydian)

–––––––––––––––––––––––––––––––––––––––––––––––5––7––(9)–––––––

––––––––––––––––––––––––––––––––––––––5––7––8–––––––––––––––––

–––––––––––––––––––––––––––––4––6––7––––––––––––––––––––––––––

––––––––––––––––––––4––5––7–––––––––––––––––––––––––––––––––––

–––––––––––4––5––7––––––––––––––––––––––––––––––––––––––––––––

–(3)––5––7–––––––––––––––––––––––––––––––––––––––––––––––––––––

Example 2): A mixolydian on just one string (G string): use slides in a wild manner!

G –––0––2––4––6––7––9––11––12––14–––––––––––––––––––––––––––––––

Don’t forget to practice each scale either way, meaning downward as well as upward! Furthermore, it’s understood that nobody will be able to create a psychedelic sound who lacks listening experience with psychedelic music…

If so, maybe you should listen to the medley in this former post: psychedelic medley and the list of tunes

Declining Light/Verfallenes Licht

red faces devoured by the night

shattered laughs in the vine

and glowing melancholy

spirit torture! a stone falls silent

blue voice of an angel in the sleeper’s ear

declining light

declining light

This an abridged translation of a poem without title from Georg Trakl, an Austrian poet of the Expressionism Era. At a certain point in working with the music of this tune, the need for some spoken lyrics appeared, and by intuition I took out this book of poems. In my younger days I would read Georg Trakl every year in the season of fall, but this time it was neither fall nor did I feel the need for some more melancholic or dark and dreary feelings. This time the overall surreal atmosphere of the music required such a poem…

The instrumentation is different in this tune, with the first obvious appearance of  violin along with mandolin, xylophone and dark vocals without words. Then suddenly you know something will happen, and there is this spoken poem above, embedded in shivering sounds to make your blood run cold. Strangely enough, the meter is 4/4 this time!

Forlorn In Folklore/Vollkommen Folkloren

Somehow this sounds like a fiddle tune minus a fiddle. It’s my Les Paul Special. Added jaw harp, triangle and some more guitars contribute to a funny feeling of exuberance, growing towards the end. A sudden break lets you fall into a repetition loop, and then fade out.

Although less than perfect, I like this tune in particular for its ending, where we are getting lost.

Do we still reside on top of a mountain? Have we found the way down in daylight?

Erlkönig/Durch Nacht Und Wind

“Who rides there so late through the night dark and drear?”

That’s from Goethe’s famous poem, which came to my mind when listening to this. Now that we’ve reached the mountain top, it has become dark and windy, and there’s no way to climb down now. So what shall we do?

This is one of the songs in 6/4 measure. I always do riffs in 6/4 unintentionally – it seems to be my natural measure… The wind sound is created by a pink noise generator through a wah wah pedal. I recorded the basic track with my ’80s Tobias four string bass. Solo guitar is a Les Paul Special, and my wife added three layers of recorder at the end. (Originally this was called “Afro Bass” when there was only a rhythm track with lots of percussion.)

Sleep well, and don’t let the strange sounds of the night disturb you…

Uphill All The Way/Immerzu Bergauf

:Immerzu
The opening instrumental of the album, featuring my Fender Jaguar as well as an Italian flea market organ from the Seventies. I bought a vibra slap specifically for this song!
The title (as all the other titles) came by intuition, capturing the track’s feeling of incessant straining movement, leading to exhaustion in the end (note some whispering voice there). Well, to reach a plateau, some initial effort seems necessary. And I never promised any Easy Listening!

Intro

Dear listener,

at some point last year I decided I had to make an album. Too many musical ideas, sheets with sketches and outlines for songs had gathered.

That’s when I disappeared from here. Albums need my undivided attention – well, besides family, lessons and housework.

This is the third album I’ve done, and the last one. It took me more than three years to make this music in my head audible for others: as sound is my main focus now, preparations included extensive research and much experimenting with amps and effects. Some 26 songs developed from there. Some had to be omitted along the way.

23 songs remained to form an album of about 69 minutes. I myself played most of the instruments, including guitars, bass, drums, percussion, organ and violin. This has been a challenge! So my last album is also the longest one, considering playing time. It’s name is “Winterlese”, a German word containing my surname Winter and something like “vintage” or “crop”.

I hope I succeeded in conveying my idea of a Contemporary Psychedelic Sound, which was realized with strictly analog equipment. Except for recording everything on my computer, no digital means were used. Any sound you hear is a real sound, and there are many guitar parts that do not sound like a guitar…

The order of songs came very naturally this time. I wonder why I didn’t have to think about it too much, which I had expected to be one major problem. Listen to the introduction now, which sets the mood for the album, but lasts just a few seconds. Until next time, see you!

Restart!

This blog will be resumed within a few days.
All the recordings I did in the meantime will be published here.
All my announcements and promises of last year will be fulfilled.
You will hear the album I completed – track by track. 69 Minutes altogether.
Plus some new collaborations.
Sorry folks, I’ve been very busy over the last months…

An Interlude For Veronica

Fast Track (original version)

An Interlude for Veronica

Stephen from England for sure had a hard time completing this tune. Unfortunately the first version that I had recorded on my own, containing my first ever drum playing on a recording, had already been quite complete, to avoid the term busy…

And unfortunately, we both had lots of other things to do and our collaboration took a lot of time meaning that most of the time we didn’t collaborate.

Fortunately, though, this post is to present the happy ending – fortunately I may present the outcome of a new collaboration. As I said, Stephen was confronted with a hard task, and I doubted for weeks, feeling it might have been a mistake to begin with such a difficult piece of music. Difficult in that it was surely hard to find anything still fitting in.

But then he surprisingly came up with a fine solution: he added kind of a permanent guitar melody dwelling on top of the rest. It’s a beautiful, exotic sounding melody, based on a harmonic minor scale. That’s exactly what parts of my track had provoked, and now there is the REAL Stephen instead of my vague notion of his agile playing style by which the original version had been inspired. Also his guitar parts add some craziness to what had been a rather plain track…

Furthermore, he found a new name:

“I’ve renamed the song “An Interlude For Veronica”, after a trashy 60’s spy novel called “The Dolly Dolly Spy” – It has a chapter called “Personal Interlude”, where the hero of the novel describes his girlfriend Veronica… which is quite poetic.”

For no apparent reason, I have added a picture of a Gibson Les Paul deprived of its pickups, with a strange light effect looking like wings, one of them blue, one of them white.

I am publishing both tracks here, for I think listening works better with the original version in mind. You may better separate what each of us did with this music. You may better appreciate Stephen’s playing. Due to our way of sending us mp3s, making it impossible for the other to have separate tracks, there will always be slight problems to achieve a satisfying sound and level balance.

But if you can overcome this, it might be great fun to listen to “An Interlude for Veronica!” Thank you, Stephen – you surprised me. The next one will be easier, promised.