Since we started work on our last CD, Oily Little Rainbows, and really since Louder Than Dirt got together, I have been in a creative frenzy. Two factors account for this circumstance, I think: first and most important is the stimulation and support I get from Adam, Joseph and Julian; second, I made a conscious decision to give my imagination free rein. That is, I tried not to censor my creativity with considerations about, primarily, public appeal. My formulation has been, “to write the songs my imagination gives me.” So, for example, “For Certain” is the only pop song I’ve ever heard that mentions the Crimean War—the joke being that one doesn’t know something about it, namely, its cause. Similarly, “Bacteria” mentions mitochondria, spirochetes and “saprophytic workers.” So I have a big vocabulary. So kill me. “He Ain’t Here” originates in a Biblical reference, although I am an egregious unbeliever. Continue reading
Yeah, this is a weird song. “For Certain” gives me a good chance to talk about theme since I think this song has a theme, but I don’t really think about theme. I remember the composition of it quite well. I guess I have to revise my earlier statement that I usually write the chorus first because here is another example of starting with the verse. Many times, I won’t say most of the time because it’ll prove false, many times I write in my head often while taking a walk or driving. But this time I wrote pretty much the whole song with a Continue reading
Yeah. Louder Than Dirt is a great rock band, if I must say so myself. “Myself” am DK, who plays guitar for LTD and who wrote the songs on the soon-to-be released CD Madness and Morals. This is our second CD; the first was last year’s Oily Little Rainbows, like Madness and Morals on the Bottom Floor label and produced by Lord Erudite. Madness and Morals is scheduled for release in mid-December, so watch Twitter, Facebook, louderthandirt.com and these pages for more info. Next up: “Disco Superman (Michel Foucault).” Louder Than Dirt: Integrity, Creativity, Loudness.
This is one of those songs that I wrote fairly quickly, but I wrote about twice as many verses as we ended up using. Beginning writers in any genre: It’s a lot easier to cut than to add. “Criminal Character” has been a joy from its inception. As I recall the genesis of its composition, I am struck by how often a song grows from the mating of two unrelated concepts, often, as in this case, a musical idea and a verbal idea. I have to speak of them in sequence, but I honestly don’t remember which came first. The musical idea springs (or sprang) from a song, “John the Revelator” by Son House, that the Lawsky Brothers and I have done since nearly the beginning. (A song that, by the way, Adam sings the hell out of.) JtR is a twelve-bar blues, but it has no chord changes. You can feel where the IV and especially the V would come, but it just drones in its home key, which for us has always been the guitar key of E. I love drone and work it in whenever I can, but a listen to Continue reading
Kind of hard to talk about instrumentals, I guess, but I will try. I know, I know, there is singing at the end of “Cigarette,” but, let’s face it, it’s an instrumental. The singing is a big choral group, an orchestral and hence instrumental sound. “Cigarette” is a two minute oratorio. Early on in the song’s genesis I came up with the chord progression, which is a modification of the old I-VI-II-V, repeating the first half, I-VI, before repeating the second half, II-V. I pretty much simultaneously came up with the melody, which I somewhat later harmonized. It was a good while, several months, before I devised the chorus. Continue reading
If “Bacteria” reaches the ideal state in which words and music came together seamlessly, “Beloved Tease” followed a far different progress to become a really good song. I think “Beloved Tease” is a great song despite—or perhaps because of—its unusual genesis. I recorded a demo as I do with pretty much all my songs, which in this case consisted of the opening riff and the verse. I presented it to the band as an instrumental. All my bandmates expressed approval [Digression: my bandmates are extremely nice people, intelligent, considerate—top notch guys. I’m always very enthusiastic when I write a song; I know they can’t all be winners, but my bandmates invariably give each new song a chance and give me boundless encouragement.] for the song, but Joseph suggested that I add lyrics to it. Now, adding lyrics is not my preferred approach. I like it best when, as with “Bacteria” words and music come together. I think you can sometimes tell which comes first or which carries greater weight in less well-composed songs. But here I faced an interesting challenge since the unusual rhythm of the verse, arising without words, differed from my usual lyrical rhythms, which tend in the direction of iambickish pentametroid. Continue reading
DK of Louder Than Dirt here. I play the guitar and sing. I wrote the songs on Madness and Morals, and I assisted Lord Erudite in the production of that album. The collection is essentially finished and will be released, to great fanfare, in December. We’ll post some samples before that time. I know that nobody has heard the songs yet. Nevertheless, I propose for the next 15 postings a song-by-song commentary. The postings will be completely mystifying, but they will provide, I hope, some insight into the process of writing songs and working them up with the band. You will see that, although the style is that of loud, obnoxious rock music, considerable care goes into the making of a record like Madness and Morals.
“Bacteria” is one of my favorite songs. It grew very, very slowly—over several years—and its personal significance for me revealed itself only gradually. As with most of my songs, I well recall the germ of the idea for “Bacteria.” I remember driving home from work (day gig, you know) without musical contamination. When I’m in songwriting mode I drive in silence except for road noise; when I’m in “post-production” mode I listen to mixes while I drive. Continue reading