I don’t really know what possessed me, but it seems my next possible writing project wants to have an early 90s soundtrack. So here, have some non-grunge semi-obscurities that have been popping up on my mp3 player the last few days…
I’ve been thinking lately about how I want to approach Book Four in the Mendaihu Universe (oh yes, there will be more of them!) and yes, I’ve even been gathering music for the writing soundtrack. And like all the other projects, I’m searching for a specific mood that fits the story I have in my head.
Recently I’ve been listening to Kasabian’s “Club Foot”, a) because it’s got one hell of a kickass bass riff, and b) the video is an homage to student revolt against government suppression, specifically the Prague Spring in 1969 and the Hungarian Revolution of 1956. It’s also an homage to pirate radio and Radio Free Europe.
I’ve always been fascinated by that kind of rebellion. Sure, it grew out of my listening to punk and ‘that weird college radio stuff’ back in the 80s, but the fact that the whole point of that music was a form of rebellion against the norm attracted my interest. [Yeah, I’ll cop to not always outwardly showing it. But that’s for a different post.]
In the Bridgetown Trilogy, the Vigil group is there partly to play both roles: revolt against those in power, and its voice. But what of the new book? All I can say is that it’s a new game. It’s seventy years later and things have changed considerably on both sides. The rebellion shown in the Trilogy wouldn’t work this time out. Those books were all about accepting and maintaining a balance between two opposite forces.
This particular book, I think, is going to be more about Setting Things Right.
The “Club Foot” song and video got me thinking this morning, and I posted it as a tweet:
What would be today’s analogue of pirate radio as student revolt? How would people listen to it? Phone app? Internet streaming? Radio like in the past? How would its signals be secure/untraceable like a VPN?
Which brought up the next question: How would this kind of revolt happen in an age of social media (and multiple forms of media in general) that are chock full of white noise already? Is a digital/aural underground network even possible?
(Mind you, whenever I hear a question ending in “…is that even possible”, my brain immediately responds with “Of course there is. We just have to figure out what it is.” I’m an optimistic goofball that way.)
Things to think about while prepping for future writing projects.
I’ve been doing some major cleaning back here in Spare Oom thanks to buying new furniture, and let me tell you, it’s been a wild ride on the Wayback Machine lately.
One of the things I’ve been doing the last week or so is going through my old 3.5″ floppy disks; I had three file boxes full of them that have been collecting dust and slowly degrading, so I figured it was high time that I saved what I could to an external drive, deleted what I didn’t want, and recycle the whole lot once I’m done. The earliest of these date back to 1994 when my ex-gf and I were writing True Faith. Every document dated up to around 1999 was a WRI file, given that I used MS Write exclusively until I finally got a copy of MS Word.
So as you can imagine, I’ve got all these songs in my head from that era that fit nicely with The Future Is Internet. Some of the songs are from horrible-but-great SF films like Johnny Mnemonic and Strange Days and Virtuosityand Hackers, while others were part of my ongoing writing soundtracks for TF and thereafter into The Phoneix Effect.
Enjoy some mid-90s Tunage Of The Future!
At the moment, I’m focusing almost completely on the revision of Diwa and Kaffi (yes, that’s the Apartment Complex book title now), which means that my writing session playlist has shifted accordingly. Right now it’s focusing mostly on lighter fare, to fit the mood of the novel. In particular, I find myself listening to a lot of synthpop and light alt-rock. Here’s a few albums that have been spinning lately here in Spare Oom…
White Lies, Five. This album kind of reminds me of the modern pop sound of the late 80s/early 90s that I used to listen to back in the day. It’s light but has just enough heft and emotion to it that it’s not throwaway.
The Cinematic Orchestra, To Believe. Great mood music I can get lost in. It’s quiet and lovely and just kind of floats everywhere, and I love it. This is the kind of stuff I listen to when I just need background but not exactly a specific mood.
UNKLE, The Road Part 2: Lost Highway. I can never go wrong with James Lavelle’s brilliant work. It’s dark and brooding, but it’s also quite expansive. (Having Tom Smith from Editors singing a few tunes is also really cool.) I usually reserve UNKLE for my Epic Novel sessions, but I’m such a huge fan of the band that they fit in quite nicely for any book I’m writing.
American Football, American Football (LP3). This is an AMAZING album, and it’s absolutely gorgeous and dreamy. This one’s been getting some heavy replays, almost on a daily basis, since it came out a little over a week ago. It’s just enough for me to get lost in the mood of the record without it interfering with the book proper.
The Sound of Arrows, Stay Free. This one’s a few years old but it’s been a huge influence on the book since I started writing it last year. (So much so that the title track plays during the ending credit sequence for the anime version in my head. Heh.) It’s a lovely and quite positive album to listen to, and it fits the mood of D&K perfectly.
I’m still on the first couple of chapters of this novel right now, and I’ve purposely not given myself a deadline; I’m already damn proud of this book and think it’s one of the best I’ve written (even better than the trilogy!), so I want to give this one as much TLC as I can before I decide whether I want to self-publish it or submit it to a professional house. I’m not even focusing on that right now, to be honest — I just want to give this one my all. Establishing a writing soundtrack, then, becomes an important part of my process; writing with music helps me focus on the work at hand, and it also mutes out any background noise that might distract. Creating this kind of playlist is one of my favorite parts of the process, as the music helps me achieve the mood of the story.
Every now and again I’ll hear a new song that will just floor me. Recently I’ve been grooving to this new single by the band Bob Moses called “Heaven Only Knows”.
It’s got that mid-tempo, low-range electronic groove that I love for many reasons: it’s great chill-out music, it’s got a gorgeous melody, it sounds awesome in headphones, and it’s perfect for my writing sessions.
Sometimes when I like a song that much, I’ll zip online and check out the rest of their discography. As it happens, their entire output is currently available on eMusic, so I was able to download it quite cheaply and add it to my collection.
Come to find out, I already knew one of their songs already! I recognized their 2015 single “Tearing Me Up” from hearing it on the various indie rock stations, but always forgot who it was until now.
I gave their EPs and album a good listen today and I can definitely say these guys are going to get some serious play in the next few weeks. It’s really great mood music for the writing projects I’m currently working on, and it’s also great to listen to during my Day Job hours. And they’ve got a new album coming out in two weeks! Woot!
[Battle Lines will come out on Sept 14th.]
What’s that, you say? Is this an official follow-up to the original four compilation volumes from 1997-98? Didn’t I make a bunch of semi-official compilations for the trilogy over the next decade and a half? Am I just recycling the same damn mixes over and over again at this point?
What’s the diff, anyway?
Well, the original Songs from the Eden Cycle mixes were made when I was writing The Phoenix Effect and were used to get me inspired, rather than songs that were assigned to specific scenes (with a few exceptions). The follow-up mixes, on the other hand, were when I wrote and revised the Bridgetown Trilogy and were specifically focused on those stories.
Thus, this new “Volume 5” is a return to the original reason for the series: music to get me inspired to write the new Mendaihu Universe book(s). Like the original four, these will be mixes that will be made over an extended stretch of time, as certain tracks pop up.
Here are a few that I’ve gathered so far…
Blonde Redhead, “23”. This song popped up on my radar in 2015 when I was playing around with MU story ideas, and caught me at the right moment with its unrelenting, twisting power. Beauty and tension at the same time.
Kasabian, “Club Foot”. I’m surprised I never put this song anywhere on any of my major compilations other than a half-assed one I threw together in 2005, because it’s one of my favorite badass bass lines. Also surprised I never used it in any Mendaihu Universe stories, either. Admittedly the video (again, one of my favorites) did give me a bit of inspiration as well.
U2, “The Blackout”. Say what you will about U2’s last two albums, personally I still think they’re the best and strongest albums they’ve had in years. Pretty sure they’re both going to get a lot of play when I start writing the new stuff.
Editors, “No Harm”. These guys consistently blow my mind with each release. In Dream was quite the dark affair — not as creepy as In This Light and On This Evening, but emotionally raw — and got a hell of a lot of play when I was revising the original trilogy. Pretty sure it’s gonna get play here as well.
Dot Allison, “Message Personnel”. This track actually dates back to the original TPE/trilogy sessions and popped up on one of the “Mendaihu Universe” mixes, but I’ve chosen to add it to this one because it’s the soundtrack to one of the first scenes I’d come up with for the new story. This is one of the few exceptions where I had a perfect song in mind for a specific scene.
The Horrors, “I See You”. I think I need to look into this band more, because they totally slipped under my radar until I heard their Luminous album a few years back. I love their dark post-punk sound, which fits in quite nicely with what I’m trying to achieve with the new story.
I’m still working on this one right now, and it is in fact a mix of newer and older songs (note: the original four volumes did in fact have the same type of content as well). With the exception of maybe one or two songs, the rest of these haven’t been put on an official Eden Cycle mix as of yet.
Yes, I know…I’ve got two other novels I have to finish first before I can get anywhere serious with this new Mendaihu Universe novels, but it doesn’t hurt to get an early start with the notes and the soundtrack, right?