Warning – If you have never read The Time Machine by H.G. Wells this blog may well spoil it for you. Not completely ruin it, just tell you a little bit too much.
So this grand plan of mine, solo album/sci-fi novel/musical/radio show/religion, is called The Further Adventures of The Spletzer Martin No.5.
I cannot just work with the Rude Mechanicals on it as it would just turn into the Rude Mechanicals. Besides Cos and Guy are sly cold blooded men, especially that Cos. He’d have slit my throat from behind by now if only he could find another blonde wigged front person like me. All smiles on the surface, he’d never show a sign. The two of them would be on the radio interview and Guy wouldn’t say a word and Cos would be saying how they miss me and how they are waiting for me to come back, whilst I’d be bleeding to death in some gutter, gnawed by flea-ridden dogs he’d been breeding and raising for years specially for the job. And Guy woudn’t rescue me.
So this project is going to take a long time.
I’ve been round recording noises, water, tunnels etc. It involved a vile poo-bathing incident with Monty which I won’t go into now, but I did get some good sounds. Now what?
Well I’ve got the story started. Its about a man called Abel, set in London during a recession, in the future, but not that far in the future. There is a mad woman in it who accidentally starts a new religion.
In The Time Machine the human race has evolved into two species: the leisured classes have become the ineffectual Eloi who live on the surface, and the downtrodden working classes have become the brutish light-fearing Morlocks who live underground.
At the same time as I was reading The Time Machine I read an article in The National Geographic about how there is a community of people in Las Vegas who live in the tunnels under the city, coming up at night to feed off the leftovers of the above-landers. The start of the split between the Eloi and Morlock? Hmmm…
So this is the basic premise of my story, but its set in London. London has many tunnels and hidden rivers.
Carnival will be very important in the piece. Some experts think the term Carnival comes from carne vale a Latin expression meaning “Farewell to Meat”. Traditionally it was a festival before Lent when rich foods such as meat had to be consumed. A meat eating festival.
And Rough Music, plenty of that sort of stuff: Noisy, masked processions held outside the home of the supposed wrongdoer, involving the cacophonous rattling of bonesand cleavers, the ringing of bells, hooting, blowing bull’s horns, the banging of frying pans, saucepans, kettles, or other kitchen or barn implements with the intention of creating long-lasting embarrassment to the alleged perpetrator. (Wikipedia).
I think I will have to have a recording session where the musicians wear masks and hit bones and frying pans. No I’m not joking.
Musicians, now there’s a tricky question. I have to use them, can’t not. I’m interested in the group, improvisation, collective action and rhythm. Slime Mold cells in sync! ( the majority of people who visit my blog seem to be looking for Slime Molds. They are great). But musicians do insist on doing music. And a lot of musicians see improvisation to be merely about individual grandeur rather than working together.
“Well”, you might think to yourself, ” Miss Roberts is very into individual granduer”, and you’d be right. That could be why The Spletzer Martin No.5 project might have to kill her off.
I went to exchange chilli peppers for cups of tea yesterday with Django Bates, and we got talking, or rather I harassed him with questions, about vocal improvising. He told me to listen to Phil Minton and played me some great stuff by Salsid Endersen ( I have probably spelt that wrong). The first one he played was just vocal noises she made in the more avantgarde album, appealing but noone would ever listen to an album of me doing that. No one would listen to more than 30 seconds. The second album was more like poetry, I may have to ask to borrow it. I like Phil Minton’s Feral Choir, will have to pinch that idea for the masked musicians.
I don’t know why I’m even interested in this vocal improvisation stuff really, but it seems I am, and Phil Minton can now be held responsible for some of the noises I am likely to make in this album/sci-fi novel/musical/film/radio show/religion/artwork. Which, although having considerble resemblance to music, will be everything but.
So first recording session end of January. Any questions?
Update – This has now been put off till May when I will be celebrating still being alive.