Posts Tagged Radiohead
The Undercover Soundtrack – Kerry Drewery
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on July 28, 2015
‘The planes, the explosions, the dust, the calm’
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’s guest is award-winning YA author and creative writing tutor Kerry Drewery @KerryDrewery
Soundtrack by Radiohead, The Streets, The White Stripes
Music has always been an important part of my life. Growing up the television was never on until after teatime, yet the radio always was. Born in the ’70s, I remember singing along to my parent’s new Blondie album, going to Radio One roadshows in Cleethorpes, Lincolnshire, and listening to chart run-downs on hurried Tuesday lunch-times in school (as it was then).
My brother’s music choices of heavy metal would pound through the house, and perhaps had some influence on my turn from a Buck’s Fizz and Duran Duran fan to teenage goth listening to bands such as The Cure, Joy Division, Echo and the Bunnymen, The Cult – I listened for the lyrics, but even more so the mood.
My goth years are waaay behind me now and I’ll listen to any genre, yet it’s still the feel and the mood of the music that’s more important to me rather than the lyrics, and that’s mostly how it affects and ties in with my writing.
Unfortunately I’m not one of those writers who can listen to music as they work (I wish I was!) because I find my brain latches onto the lyrics and instead of thinking about what’s happening in my novel, I start singing along, much to the disgust of anyone in earshot.
However, when I leave the computer at the end of the day, when I go for a run, when I’m in the car or reluctantly doing housework, or even when I’m planning, the music will go on and the volume will go up. If I’m listening on my iPod, I’ll find myself skipping through tracks to find the ‘right’ one – ‘right’ being whatever provides the correct mood.
I was doing this when writing A Brighter Fear, and latched onto Radiohead’s Fake Plastic Trees. It reminded me of the novel; it made me feel the mood of it. The track begins very quietly, Thom Yorke’s voice lilting with some melancholy accompanied by acoustic guitar, yet as it progresses a crescendo builds, his voice more forceful, higher and with electric guitar, before fading away again.
For me this mirrors the bombing scenes in the novel – the quiet and calm beforehand, slowly building as fear spreads throughout the communities, then the sounds of planes overhead, followed by the bombs exploding around them sending rubble, bricks, homes to pieces, before finally the dust settles, the planes disappear and calm, quiet, returns.
It was never the lyrics, but on listening now, I’m aware of the repetition of a phrase talking about being worn out by what’s happening, which is exactly the mood of my character struggling to survive this.
Another song that helped me to write A Brighter Fear, but in a different way, was The Streets, Dry Your Eyes. Although this again gives the perfect mood and places me as a writer in exactly the right frame of mind, it’s far more about the lyrics – and for a very particular scene where two characters who’ve become supportive friends, are forced to part.
The whole song is a story of a girl breaking up with a boy, and the lyrics are very directional, telling how he moves his hands towards her to touch her face, or how she turns away but takes one last look back, and this allow you, the listener, to see exactly the scene the writer intended. I encourage you to listen, to close your eyes and let the picture form in your head of precisely what’s happening between this distraught couple. That’s what I wanted to do with the scene I was writing – I wanted my reader to see it as I saw it in my head; this showed me how effectively it can be done.
I could bleat on all day about tracks that have affected, helped and supported me as a writer, but I think they’d fall under the same category as these – putting my head in the right mood, or showing me how well something can be done. To finish on one that is different, though, and takes me to my second novel – A Dream of Lights…
This novel saw my character going through some tough times in North Korea, and there were days when the research got to me (I discovered some truly shocking things), and there were times when stepping away at the end of the day and leaving it in my office rather than letting those things stay in my head, was difficult. This track though, with the volume high and my eyes closed, would melt all that away on its guitar; it helped me smile at the end of the day or face the next chapter afresh. I love it…The White Stripes, Ball and Biscuit.
Kerry Drewery is a YA writer of the novels A Brighter Fear and A Dream of Lights (published by HarperCollins). A Brighter Fear is about a teen growing up in Baghdad when war breaks out in 2003, and was short-listed for the Leeds Book Award. A Dream of Lights follows a teenage girl in North Korea as she discovers the truth about her country and struggles to survive with her family. It was awarded Highly Commended at the North East Teen Book Awards and nominated for the CILIP Carnegie Medal. Kerry lives between the countryside and the sea in the north of England in a house full of books, films and dogs. She’s a Patron of Reading, creative writing tutor and co-organiser of UKYAX. She’s currently walking around with tape over her mouth as she has news of her new novel but isn’t supposed to tell yet… She’s repped by Jane Willis at United Agents. Find her on Facebook, Tumblr and Twitter @KerryDrewery
The Undercover Soundtrack – Paul Adkin
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on April 22, 2015
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 former actor and theatre director Paul Adkin @AdkinPaul
Soundtrack by Paco de Luia, Oasis, Mike Flowers Pops, Miles Davis, Schubert, JS Bach, Natalie Imbruglia, David Bowie, Stockhausen, Robert Schumann, Clara Wieck, Brahms, Leonard Cohen, Radiohead
When Sirens Call is replete with musical references, but the real musicality of the novel is in the writing itself. Through my work in theatre, as a writer and director, I very quickly saw the relationship between theatricality and music. In the composition of the novel When Sirens Call, I wanted to create a juxtaposition between its two protagonists and music helped me find it. In musical terms, the plot was a seductive struggle between the classical and the contemporary. Between the traditional and the actual.
Protagonist A is Belinda Babchek. A young Australian traveller, in Madrid, on her way to Greece. It’s summer. To locate the mood of the foreigner in Spain I listened to a lot of flamenco (Paco de Luia Entre Dos Aguas). I live in Madrid and frequent the flamenco bars, but I wasn’t listening to it to imbue Belinda with it. Quite the contrary. Flamenco is an alien concept to the young Australian. She is displaced and floundering before the backdrop of the Spanish guitar. Flamenco isn’t a music that one can lie back and relax with. It’s stirring and passionate, but also a disturbing symphony.
And this is Belinda’s mood in Madrid. She is walking a knife-edge between her own pop-culture of the here-and-now and a yearning for something deeper. Even though she has no idea what that deeper thing could be.
In Madrid she befriends Charo, who is more sensual than Belinda and full of jazz as well as flamenco. Charo has an American boyfriend, Troy. He is completely superficial. When drawing him I thought of Oasis’s Wonderwall, but in the cheesier, Americanised Mike Flowers Pops version.
Through Charo and her American lover I wanted to create a crossing. A little bridge inspired by Miles Davis, bleating his deeply sad Solea . Even at the beginning, the final tragedy can be sensed. Belinda, like the Solea is intense and suffering.
Protagonist B is Robert Aimard. A middle-aged British writer and hotel owner on a small Greek Island. As an antithesis to Belinda he is a classical man. A lover of Schubert and Bach. He reads Schopenhauer and like Belinda he has his demons. He is separate from a wife and daughter he still loves. Nevertheless, he is comfortable in his island exile. At home in the timelessness of it. The Greek music that flows around him is traditional, a sad drinking song , the perfect theme for his own melancholy.
The melancholy is what will eventually unite Belinda and Robert, and to bring them together I had to build another bridge over that which naturally separates them. A music connection. Although at the first glimpse, their tastes are completely different. Belinda’s own pop is Australian and 90s. She is Torn by Natalie Imbruglia and disturbed by her Australian boy friend’s Bowie. Is she running into life on her world trip or away from it?
Between Madrid and Greece she goes to Cologne in Germany. Suddenly the double mask of contemporary Europe confronts her. A mask of pop and a mask of heritage manifesting itself in the monstrous music of Stockhausen. Is this heaven or hell? In Germany she is reminded of her own musical training. Her piano classes. This was the vital detail I needed to construct that musical bridge between her and Robert Aimard. So, I made a classical bridge via the Schumanns. They had their own bridges: Schubert inspires Schumann who inspires Clara Wieck who inspires Johann Brahms. Art rolls into and through itself and the music flows and gushes through the entire process. There are other connections as well: Schumann was a manic-depressive and Belinda is a manic-depressive. She fears death by water like Schumann, like Shelley. A strong romantic theme now grows in this undercover sound track. Meanwhile Robert Aimard’s bridge to the romantic and unto Belinda is in his passion for Leonard Cohen.
All of this sounds so sad and it is, but the landscape is the Aegean. It sparkles full of life and love, and a profound simplicity. The backdrop is the life of the Greek taverna and the spectacle of the traditional Greek wedding. For the most part When Sirens Call is set on this Greek Island and its spirit is the bouzouki , grilled octopus and a glass of ouzo with ice.
Music as sublime tragedy
It is essentially a Greek book and it does end in its own Greek tragedy. For the final scene I turned to Radiohead for inspiration and their Pyramid Song. The piece is bleak but also ethereal and sublimely poetic. Both lyrics and music were perfect to set the mood for my own finish. When Sirens Call is that song.
Paul David Adkin was born in England and grew up in Melbourne where he obtained a degree in literature and drama from Rusden. Since then he has worked in the theatre, directing and writing plays. Paul moved to Madrid where he has formed three theatre companies. He his wife holiday in the Greek Islands. His short story Kalimera won the Eyelands competition in 2012 and was translated into Greek. He has three novels published: Purgatory (2012), Art Wars (2014) and now When Sirens Call. His website is here. Find him on Facebook and on Twitter as @SirensCallNovel @AdkinPaul