Twitter (with its limit of 140 characters) lends itself to a genre of poetry identified by the hashtag #micropoetry – and today I was inspired by someone I follow on Twitter (whose poetry I find fascinating) to have a go. They are written quickly and can be composed anywhere – my first attempt was in the shower this morning:

The warm embrace of the water/the tingle of the shower gel/ready to face the day.

The others were composed while I was out and about, and posted online from my BlackBerry. Here they are (slight changes have been made so they scan better), do let me know what you think. You can use or reproduce them in the terms of my Creative Commons licence. Thanks.

Music blaring/lights flashing/shoppers rushing/tills ringing/people shouting/Jesus hiding.

Reindeer in a straw-filled pen/Skaters in an open rink/Salvation brass in a ring/…it must be Christmas!

Flowerbed of rubbish/discarded cardboard coffee cup/cigarette end in compost/acutely-angled ale can/symptomatic

Frozen penguins/hog roast/gourmet liquorice/mulled wine/Gregg’s pasty/random verse

xfactor/strictly/celebrity/bigbrother/ephemeral

I posted this morning about the Walk to Emmaus that’s often recalled by Christians on the Sunday after Easter. The Risen Jesus comes alongside two followers and walks with them, and when they arrived home they invited him in. The painting (showing the moment of realisation) is, like the sketch this morning, by Rembrandt and you can read the story here!

The story of the Walk to Emmaus is often recalled by Christians on the Sunday after Easter. Two followers of Jesus are walking home, and the Risen Jesus comes alongside and walks with them – a reminder that he walks with us on life’s journey. The sketch is by Rembrandt and you can read the story here! A painting by Rembrandt is featured in my next post, Supper at Emmaus.

…this is Part 2 of a post by Thomas Mathie. Click here for Part 1.

There are, however, times when a Label helps. Labels used to stand for something… they used to represent a stamp of quality… and for some… they still do. Consider Sub Pop, XL or Ghostly International, for example.

This is where netlabels come into play for me. A netlabel is a label that represents a stable of artists where the majority of interaction is done via the Internet. Most netlabels tend to give their music away for free… and some offer physical releases to compliment their digital downloads. Again… netlabels tend to deal in obscure and niche sub-genres… areas with minimal commercial appeal but in doing so… act as a stamp of quality.

Take Sutemos.net for example… they have released some of the best electronica that I’ve heard in a long, long time. I think I have all their releases on my iPods (yes… I have 2 iPod classics on the go for all the music I listen to… in addition to my iPhone) and reference them often. There are too many great netlabels for me to point to… so I won’t… but I would encourage you to check them out. Search by genre of music you like and you will find something to your taste. Are netlabels fairtrade? Yes… because, once again, you are dealing with the artist… albeit not directly but through an artistic cooperative, so to speak.

You could argue this point with traditional labels… that they are artistic cooperatives… but their overarching infrastructure isn’t conducive to giving their artists the best deal, imho. Traditional labels are in it for the money… that’s why its called the “music business”. They have to pay for their investment and fairplay to that… I’m not against capitalism, in this regard.

However, there is an alternative way… and this is where my issue comes… when the need for profit comes before the pushing of niche artists. I don’t like the majority of music deemed “popular” these days… and probably have the majority of “the classics” and don’t want to buy them again in whatever format-shifted package that they want to pimp us.

Let’s face it… and it’s a shame to say this… but the music of Ambienteer will never sell in the bucketloads. I really want it to… but it won’t. But the best thing about the music of truly independent artists such as Ambienteer is that they are working within their means… they only have their own costs to cover and don’t have to cover extensive marketing machines. They may be niche… but they have the realistic ability to breakeven or make a profit… unlike artists on the Traditional labels.

I guess they could be considered sustainable concerns, in this regards… and for me that’s a big deal. So the next time you are looking for some new music… turn to the Internet and take a stroll down Bandcamp lane or Netlabel street… and look for the truly cutting edge. They are where it’s happening nowadays.

This guest post comes from my good friend Thomas Mathie, aka @headphonaught on Twitter and elsewhere.

When John asked me to write about Independent Music… I automatically thought of all the indie bands that make up the (capital “I”… capital “M”) Independent Music scene: Oasis… Stone Roses… etc. Independent Music aka Indie is a genre… a style of music worthy of capitalisation… and not necessarily what I intend to talk about.

When I talk of independent music… I talk of the roots of what became Indie (genre)… when folks made music that was released independently of the major music labels. I also think of one of my favourite bands… Fugazi… who are renowned, at least to me, for their frugal DIY tours and fair price policies in the late 80s through the 90s to the present. It was their stance towards their fans that got me thinking about what I wanted to talk about: fairtrade DIY music.

The whole concept of fairtrade is knowing the producers of the product you are buying have been given a fair price for their product. When it comes to music… this is vitally important for me. For the most part… we are moving from the physical to a digital environment, when it comes to the distribution of music. I still buy Records and CDs… and hope HMV doesn’t close because they own FOPP and FOPP is my favourite recordshop chain.

But things are changing… and with this change… the barriers of entry have been lowered considerably for independent musicians. Sites like SoundCloud, Last.fm and Bandcamp give the opportunity for musicians to be heard. My personal favourite is Bandcamp… because you can stream the whole recording before you download it… the formats they offer are excellent (320kpbs as default – higher than iTunes) and their tagging allows for efficient exploration of music deemed similar to that which you are listening to. It’s ideal for the one-man-or-woman-band… low cost to enter… the ability to set a price or suggest to the buyer that they can “pay what you want”… the opportunity to get heard and, hopefully, make some money.

Thing is… however… Bandcamp isn’t enough to get the message out there. I find the majority of my music through recommendations from friends… predominately on Twitter. Folks like guitarist Matt Stevens or ambient soundscape creator James Fahy aka Ambienteer have built up a real community of people (of which I am proud to be part) using tools like Bandcamp and Twitter. I love their work, found out about it on Twitter and happily paid for it once I had had a good listen to it.

Matt and James are truly independent. They don’t have a record label. They aren’t backed by one of the Majors. They aren’t backed by one of the Indies either. They are one-man-bands. Take Matt, for example… to have no one inbetween works in his favour… Matt can deal directly with his fans… react quickly and genuinely promote himself as a truly authentic independent artist. He can sell his physical CDs via his Bandcamp page (or bigcartel, if he wanted to) at very reasonable prices… because he simply doesn’t have the overheads that the labels do. What’s more… he streams concerts via his Cafe Noodle site… and brings others in. He opens the door for others to participate.

The thing is… if you are like me… you do not object to paying £5 for one of his albums… because you have a real relationship with him. This is what the labels so desperately need but can’t get their heads around… the desire for a real relationship. Dealing direct with the artists, in this manner, removes the need for a label. In essence, Matt or James are their own labels… Matt through his solo work or his work with his band… the fierce and the dead… and James through his Ambienteer work.

What is important to note, however… is that both Matt and James’ music is niche. Matt make wonderfully upbeat futuristic flamenco guitar sounds that he loops and tweaks to make a wall-of-sound. James makes droning ambient electronic soundscapes. When I say niche… I mean that the majority of X-Factor-loving drones won’t get it… but then Sigur Rós are “technically” niche and yet they’ve received mainstream acceptance… mostly for their appearance, at one time, on nearly every piece of incidental music on the BBC (see note below).

I guess it is fair to say all music is niche… with some niches bigger than others. What artists like Matt and James have done is to find their niche… and build a relationship with it… and that is extremely important to acknowledge and understand.

To be continued…

Note: Nearly every other piece not by Sigur Rós is likely to be by Brian Eno! (John)

The long-running British sci-fi television series has been a part of my life for nearly as long as I can remember, and so I’m very excited that a new series starts today! I remember watching the first ever episode on an old black and white television in 1963, and (apart from a time when it went off a bit and was dropped) it’s as good as ever. Yes, the format has changed, but the current episodes encapsulate the spirit of the original – scary episodes (hiding behind the sofa is legendary) and great humour, with the latter being far better than it ever used to be. So (I for one) can’t wait until 6.00 pm on BBC1 today!

Update after today’s episode: It had everything in 45 minutes that’s good about Dr Who! As near a perfect episode as you could get, if not perfect! Intelligent, thoughtful, surreal, scary and witty!

Yesterday I started a Blipfoto Journal for photos and thoughts. I already keep a private written journal in which I express my deepest thoughts, emotions and ideas, and this is certainly not for publication – for my eyes only! Keeping a journal can be very helpful and cathartic, and can be especially helpful for people (like myself) who have to deal with mental health issues in their day to day life. I’ll probably post more about this in due course. I also find the creative process of writing extremely satisfying and therapeutic, and feel I have a measure of talent in this area – us Brits should be more upfront with our talents in my humble opinion, good for overall well-being!

But back to Blipfoto (you’ll possibly have noticed I go off at tangents at times, but hopefully enlightening ones). Blipfoto is one of a number of websites that allow you to post a photo a day (a 365 project), and I chose it because it looks stylish and allows you to upload photos from the day you join. There are some restrictions (not really a problem), you can only upload one photo per day which must be assigned with the exact date it was taken, although you don’t have to physically upload them on that exact day. A review of four sites for uploading one photo a day says:

One of Blipfoto’s strengths is the fact that all uploaded photos are displayed as thumbnails on the front page, giving all members a chance to get noticed. And because of the strong community built around the site, members are constantly giving feedback.

And, as I suggested at the beginning of this post, I like the fact that you can add a long journal entry to the photo as well. Why not check it out?

I’d been looking forward to watching this movie for a while. I finally watched it last night and I wasn’t disappointed. It’s a moving cinematic masterpiece directed by Wim Wenders, and I’m currently working through a boxed-set of some of his best movies that’s been lent to me by a friend. This award winning film is an unusual road movie that tells the story of Travis, presumed dead, who reappears after four years wandering in the desert on the Mexico border as an amnesiac. It’s a slow-burner that holds your attention through an excellent screenplay by the acclaimed playwright Sam Shepard, great acting, lovingly crafted photography and tracking shots, and an atmospheric score by Ry Cooder that’s integral to the whole movie. The story unfolds gently, mirroring the experience of Travis (and those around him) as he seeks to reconstruct his memories, and many of the scenes are so good you’re just transfixed on the screen. This is a movie I can wholeheartedly recommend.

I love the delicate quality of light in this photograph taken in York 2008. It was part of a site-specific art installation by Keiko Mukaide in St. Mary’s Church. If you enjoy my photos, please check out my Facebook photography page and click the [Like] button, John Ager’s Art & Photography.

…this is Part 2 of a post by Adam Howie. Click here for Part 1.

Staring into the abyss

So, let’s say the idea has come, the muses have whispered their sweet musings into my mind’s eye and I have an idea, but now comes the greatest enemy of creation (well second, apathy/inertia is probably the biggest), the blank page. The void, the abyss if you will, where nothing yet exists on the page (ignoring the scientific view of the microorganisms, or the atomic structure, of the mind warping reality of the quantum world within… ahem…I digress). The blank page is always daunting I think, especially if the idea is still forming. I also do art live in stage during events and sometimes inspiration does not strike at all leading up to the event (or worse I don’t know what to expect) and as it begins all I have are paints and a blank canvas. At one of my art courses I was taught, if you have a blank canvas and no idea how to start throw down some colour, or something, to start the process and remove the blank canvas. It’s strange but sometime just putting down a background of colour or texture is enough to ignite the inspiration. Effectively it removes the nothing and replaces it with something… kinda. Once started the process fuels itself but sometimes the fuel runs out and I am slowly learning that a good habit is to sometimes stop and leave a piece for a while and then return to it later with fresh ideas.

Walk away, just walk away…

One of the biggest things that I struggle with is when to stop. When is enough, enough? With my digital works I have a bit of a security blanket as I have the undo function. With paints/inks/etc it’s a lot harder, a mistake or doing too much could result in total failure (or at least a less effective piece). I am trying to learn when, in the words of my cooking sensei Alton Brown to “walk away, just walk away” and accept that enough has been done. For me the creative process doesn’t end, I tend not to “finish” a piece; I just have to leave it. Either because there Is nothing more I can do, or want to do, but that piece will stay with me and it will be used either to inspire another piece or when I have more skill and understanding I can perhaps revisit it and recreate it inspired by the old one and bringing new life to in a new piece.

So yeah, that’s a very quick look at creative inspiration and me, it’s something that I think will change, and evolve as I do. It comes and goes like the tides, and at times it feels like it’s so very far away.

Well I should do some plugging since I am here…

If you would like to see any of my work you can. See my work at my website: www.illusionaryconstructs.com or visit my personal blog: www.realityofdreams.org.uk which has links to most of the places that I haunt on the web, including where my work is for sale, such as, Redbubble: www.redbubble.com/people/lurchkimded

Thanks to John for the space on his blog and the opportunity to write this, hope it made sense and was an enjoyable read for you. Catch ya all on the flip side, laters.