Posts Tagged Portishead

The Undercover Soundtrack – Chrissie Parker

for logo‘Unending feelings of loss and loneliness’

Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by Chrissie Parker @Chrissie_author

Soundtrack by Elena Paprizou, Glykeria, Beth Nielsen Chapman, Charlie Worsham, Massive Attack, Portishead, Jem, The Moxy

I love music, my ipod goes everywhere with me, and I always listen to music when I write. Everything I write ends up with its own playlist, and certain songs on that playlist define the work, and its characters. Among the Olive Groves was no different. Whilst writing it my brain filled with so many songs that I love. They saw me frantically pouring my heart out onto the page, breathing life into it, and for me they have become an integral part of the book that will always remain.

_MG_2415A magical island
Among the Olive Groves centre’s around two women, Elena and Kate, who live in two different periods of time. They are both affected by similar issues; strained relationships, uncertainty in their lives, and outside factors that control and dictate their lives. Even though parts of the book are set in Bristol and Cornwall, the majority is set on the Greek Island of Zakynthos. Αστέρια (Stars), by Elena Paprizou, is a modern Greek song that reminds me of everything I love about Zakynthos; the high cliffs, sweeping beaches, crystal turquoise seas, green mountains and the history of the island. The song binds them together perfectly.
I fell in love with the island when I first visited, it’s a magical place, and it’s the reason I chose to set the book there.

Greek friendship that turns to loneliness
Greek music played a huge part in this book, especially when writing about Elena my Greek war heroine. I listened to many traditional Greek albums writing this book, but one track stood out. Tik Tik Tik by Glykeria is a great up-tempo Greek song, it’s very like Elena’s character happy, feisty and a little mischievous. The Festival in Macherado is full of dancing and Greek tradition, and in that scene Elena longs to dance with Angelos, the man she has become good friends with, but knows that she can’t. Instead they sneak off to the outskirts of town and talk while the sounds of the festival waft around them.

Eventually Elena and Angelos fall in love, but they’re from different backgrounds and know that they will never truly be together. When Angelos’s father forces him into a relationship with another woman. It’s in this moment that Elena realises she is alone and always will be. Sand and Water by Beth Nielsen Chapman, is a hauntingly beautiful song that epitomises Elena’s unending feelings of loss and loneliness. Listening to the song, I see Elena wandering through the olive groves, sitting on the beach or standing on a cliff top staring out at the sea mourning the loss of her one and only true love.

Relationships to last for decades
Love Don’t Die Easy by Charlie Worsham is a song that belongs to Kate and Fletch and their relationship that spans over a decade. Despite spending much of that time apart their relationship remains the same. Hardship and struggles may have defined the people they have become but their love didn’t die and is stronger than ever.

There were times though when I just couldn’t get into Kate or Fletch’s head at all, and wanted to feel closer to them. I thought that maybe listening to music from the area where they lived would help and it did. Protection by Massive Attack, Glory Box by Portishead, and Missing You by Jem, really stood out and became favourites. They reminded me of all the things I love about Bristol, and the West Country. They define the young, life and surf-loving characters.

ATOG_Amazon_LargeBrokenhearted
When the Germans finally capture Elena, Angelos is heartbroken. He feels guilty and wishes that he could have done more to protect her. As he hides in the grass at Keri watching the Germans taunt her, he is completely torn. He desperately wants to save her from their enemy, but knows that if he does he will get arrested or die trying. Save You by The Moxy, was a song that really struck home while writing this scene, so much so that it’s an emotional listen. The equal guilt and fear from the two characters are so present in the music and the lyrics, it’s as if the song is saying exactly what Angelos longs to say to Elena.

Chrissie Parker lives in London with her husband and is a production co-ordinator in the TV, documentary and film industry. Her thriller Integrate was released in October 2013 and her historical novel Among the Olive Groves was released in July 2014. Other written work includes factual articles for the Bristolian newspaper and guest articles for the charities Epilepsy Awareness Squad and Epilepsy Literary Heritage Foundation. Chrissie has also written a book of short stories and poems, one of which was performed at the 100 poems by 100 women event at the Bath International Literary Festival in 2013. Her website is here, her Facebook page is here, her Facebook group is here, her blog is here and she’s on Twitter as @Chrissie_author.

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‘Unending feelings of loss and loneliness’ – Chrissie Parker

for logoMy guest this week has a historical novel with two timelines, each of them full of loss and turmoil. Music by Portishead, Jem and The Moxy defined the characters and their dilemmas, hurling her into their lives and channeling their emotions as she wrote. Modern Greek music by Elena Paprizou and Glykeria inspired the setting – the island of Zakynthos. She also writes short stories and poems and performed at the 100 poems by 100 women event at the Bath International Literary Festival 2013. She is Chrissie Parker and she’ll be here on Wednesday with her Undercover Soundtrack.

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The Undercover Soundtrack – Yasmin Selena Butt

for logo‘Music is fuel to take me where the characters go’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold  a moment still to explore its depths. This week my guest is Yasmin Selena Butt @YasminSelena

Soundtrack by Jeff Buckley, Death in Vegas, PiL, The Smashing Pumpkins, The Pixies, Nine-Inch Nails, Skunk Anansie, Garbage, Portishead, The Cure, Interpol, Cocteau Twins, Editors

If I hadn’t have become a novelist with a 36G chest, I would have been a rock star. I’m serious.  You try learning electric guitar when you can’t see the strings, it’s dead tricky. Music is huge for me, HUGE. When I was 15, I made a decision not to live abroad because you couldn’t buy Smash Hits in Pakistan. Music back then was the only thing keeping me alive. It fuelled me. I couldn’t risk losing it.

P1000839CropIt was a huge, creative fuel when penning my debut, Gunshot Glitter.  The title might be familiar to you if you’re a fan of the singer, Jeff Buckley.  If you’re not, it was a bonus track released on his posthumous album Sketches for my Sweetheart the Drunk. I loved the song, and, if I’m honest loved the title more. The song itself is lo-fi, distorted, wobbly but utterly impassioned.

Crime drama morality tale

In my novel, Gunshot Glitter is the name of an infamous London burlesque club. How would I describe the story?  It’s the genre-bending story of an incinerated boy who never quite goes away; a morality tale, broadly a crime drama. I was thrilled it was shortlisted as a self-published read by The Guardian last year, along with the tome of my kind blog host Roz Morris. (Thanks! – Ed)

This year, I hope to give it the launch it deserves. It hasn’t had that yet for good reasons. Last year, I almost died of anaphylactic shock at a club on the launch of the print edition. It was a surreal way to discover you now possess a lethal shellfish and nut allergy. This year I hope to do the novel justice.

While writing it, I used mainly alternative music as a fuel to take me to the places where the characters go, especially Celine, the protagonist. And some of the songs I played also feature in the novel.  When I listened to them, I got so immersed in the music, the songs become little stories within themselves, almost like an operetta with tragedy and pathos in spades running riot in my head. I made two CD compilations ‘Black Glitter’ and ‘Angry Glitter,’ depending on where I needed to go creatively, each featuring 18 songs.  Black Glitter was achingly emotional, gut wrenching and tender.

Angry glitter

Bands featured on Angry Glitter included Death in Vegas, PiL, The Smashing Pumpkins, The Pixies, Nine Inch Nails, Skunk Anansie. Garbage’s Vow from their debut album is amazingly powerful. I played this song literally on repeat when writing some of Celine’s pivotal scenes when she made some of the darkest decisions of her young life. Portishead’s incredibly sexy Strangers ended up featuring in a bittersweet memory for Cornelia:

She had been obsessed with Strangers with its melody full of dark, sexy suggestion. It turned her on. She even choreographed an examination piece to it. Cornelia put it on and, when it kicked in with its sleazy, dark electronic riff, she winced. Now she hated it. It reminded her of all she’d lost. It’s just music, she said fiercely through gritted teeth, ‘just music!’ Music could never punish her like her own guilt could.

The Cure is a band that bonds lovers Anis and Celine. I played Disintegration heavily when writing their more intense scenes. And Interpol’s Narc rears its head in the aftermath of their sex, like a shadow in the background on the wall.  Other songs such as Blind, Dumb Deaf by The Cocteau Twins, was just powerful, no intelligible words as Liz Fraser doesn’t use them, but you can’t help but feel a strong sense of foreboding when you hear it, and, when I was getting inside protagonist’s Cornelia Friend’s twisted head  this track made me think of her.  It made me think of someone splintering on the inside, as did  Editor’s Munich.

GG front cover resized promo(808x1280)There is a darkness, intensity, danger, sorrow, passion and fury that dominates the music that literally leaches out onto the pages. When you have great music, fuelling your fingertips, you’re almost obliged to create an impressive result to justify the privilege of what you’re listening to.

When you read the behemoth or listen to the soundtrack, I’ll let your ears and eyes decide if the fifteen year old girl who grew up to write that novel, made the right call to coming home to grow up in London. I hope you believe that she did.

Yasmin Selena Butt was born and lives in London. She has worked in the Maldives as an English language trainer, freelanced in marketing and been published by The Times as a music writer.  She has also written over a thousand poems, exhibited her fiction and photography and performed her debut reading at Proud Galleries in Camden. She adopted ‘Selena’ as her middle name in 2000, after meeting a concierge who told her the story of the naming of his own daughter, Yasmin Selena. She has since repaid the favour by naming a character in Gunshot Glitter after him. Gunshot Glitter is available from Amazon, Kobo and Smashwords and in print from her website. Tweet her as @YasminSelena

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The Undercover Soundtrack – Dan Holloway

for logo‘Neon, nostalgia, regret and joy’

Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week, spoken-word poet and novelist Dan Holloway @agnieszkasshoes returns with the soundtrack to his latest collection

Soundtrack by Bernard Herrmann, Mamas and Papas, Pink Floyd, Garbage, Red Hot Chilli Peppers, The Kills, Nine Inch Nails, Portishead, Tracy Chapman, Eagle Eye Cherry, Melanie Pain, Emily Barker

i cannot bring myself to look at walls in case you graffiti them with love poetry is, according to the blurb I put together for it, ‘a lyrical, heartbreaking, but ultimately joyous picaresque across the neon-soaked night cities of the world in search and celebration of lost friends’. It is about a feeling – one that blends joy and nostalgia and sorrow and celebration and neon piercing the night sky and damp bridges and lives that spring fully and tragically formed from the concrete. The times I’ve seen that done best have both been through powerful connections between image and soundtrack – in the 70s, Bernard Herrmann’s oppressive industrial backdrop to Taxi Driver, and from the 90s the marrying of the dazzling colour of East Asian cities and the Mamas and Papas classic piece of nostalgia California Dreaming.

Dan and DiSo music was right at the front of my mind from the start as I was putting it together. It’s also an accompaniment to my first solo spoken word show, which will premier at Cheltenham Poetry Festival on 24 April. So rhythm, cadence, pulling the audience through sound through a rollercoaster ride of the emotions were all right there at the fore. And with the multimedia background to the book, that initial draw towards the neon, nostalgia and grime of the cinematic city soundtrack was the perfect place to begin getting myself into the right place to construct and compile the book.

Rhythm is all

The thing about a collection – and a show for that matter – is that at every level rhythm is everything. Not just within the pieces but within the whole. Every dazzling, intense, searing effect you create is diminished by the wrong amount of repetition, enhanced by the right number of carefully placed repetitions, burnished or dulled by what comes before, after, a similar distance from the beginning, from the end. Every piece must hang together and flow effortlessly just like a perfectly-constructed album. This sense of flow, rhythm, shape is essential to all forms of the written as well as the spoken word, but it amazes me how little I see writers refer to beautifully-crafted albums as their exemplars.

Prog rock and poetry

Being the age I am, married to whom I am, of the musical persuasion I am, and someone who calls himself a prog rocker of the poetry world, there really is only one album to turn to for the perfectly constructed emotional and sensual journey. Pink Floyd’s Dark Side of the Moon is perfect in just about every way, and makes as great a live show as it does an album. From helicopters to gloriously crashing waves of sound via alarm clocks and lunatics on the grass, every step is in just the right position in relation to every other to make the journey an almost mystical path to enlightenment.

And yet, steeped in Bernard Herrman and Pink Floyd, I have the path mapped out before me but it’s still not enough. Still not the mix of anger, desolation, joy and nostalgia and, well, neon-soakedness all in one that I’m looking for. Which is why playlists are so fabulous.

I’ve always loved playlists, ever since as a seven-year-old I’d endlessly sort through my dad’s 45s making little stacks to play in order. And there is nothing better for keying you into the rhythms of whatever you are writing than a playlist the follows your work’s rhythms. So, get your headphones and have a listen to what is, in essence, my latest book.

limited ed cover frontEach track manages to blend the urban and the nostalgic, painting a constant backdrop as it were whilst the foreground moves with the rhythm of the collection’s picaresque.

We begin with the wistful recollective regret of Garbage’s You Look So Fine and the haunting Red Hot Chilli Peppers classic Scar Tissue we find the brutal, angry, relentless drumbeat of The Kills’s No Wow as the reality of loss loses its romanticised edge and gives way to a despair that becomes exhaustion at the nadir of Nine Inch Nails’s stunningly dissonant Hurt and Portishead’s Roads with its pitch perfect association with the film Requiem for a Dream. From that low point we emerge to appreciate the preciousness of the memories with Tracy Chapman’s Fast Car and Eagle Eye Cherry’s celebration of the intense, fleeting joyfulness of life, Save Tonight. But the celebration is only temporary and gives way to the bitterness and desperation of the pounding beat in Portishead’s Machine Gun before, exhausted and scarred but unbowed we emerge with Melanie Pain’s Bruises and finally lay down our heads, our lives and lost friendships streaming ever slower before our eyes as we fade into the night with Emily Barker’s Pause.

Dan Holloway is a novelist, poet and cultural commentator. He runs 79 rat press through which he publishes his own conceptual books and will, in June 2013, be publishing debut collections from five of the most groundbreaking new voices in poetry and prose. In the picture he appears with Diophantus, one of the 79 rats. He blogs at Authors Electric and is a member of the League of Extraordinary Authors. Find him on Twitter @agnieszkasshoes

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