EXTRAS
INVESTIGATING "THE GHOST OF THE MUSE"
by Denise J. Rice
December 20, 2017
[With the November 21, 2017 release of Reanimation’s The Ghost of the Muse, Denise Rice picks up the conversation again with Michael Shanahan, more than three years after his previous release Under the Last Tree on Earth. Original interview further below.]
DR: Well here we are again, Mr. Shanahan. We last visited with you the in the summer of 2014, with the release of your remarkable album, Under the Last Tree on Earth. You’ve been busy of late, it seems – as you’ve just given us a brand new offering called The Ghost of the Muse. And available on vinyl! I’ve had the opportunity to listen, and I have to say this is quite an artistic achievement. This is, in my opinion, your best work yet, and quite a personal and emotional journey.
MS: Thank you, Denise. It has been a little while, hasn’t it? But very kind comments about the new album. Thank you, again. And you’re right about it being a very personal story. You mentioned Under the Last Tree on Earth, and that was really the springboard for what became The Ghost of the Muse. Themes that I began exploring back then only just started to get below the surface of my psyche. It was a beginning, and sort of picked the scabs off of old wounds. But Ghost ended up diving in deep and really waking up the inner spirit. Scary, that!
DR: I’m sure! But yet here you are as a result! Speaking of the spirit, the title of the new album is mysterious and intriguing. What does it mean?
MS: It’s a title that was born from the self-exploration over the last few years. With each deeper dive, I was uncovering so much about myself. Not all of it pleasant and some of it was rather painful. Many artists have their muse, their source of inspiration. But what do you do when that muse is also part of a lifelong struggle – driven by memories and regret – and shaped you in ways you didn’t even understand yourself? You go into it thinking maybe you’re exorcising these ghosts by turning over the rocks, but the reality is that it’s all just part of who you are. Accepting and embracing it has been the key. There was a lot of wonderful discovery during the process. More every day, actually.
DR: When we last met, I asked you to share with us the differences between your debut album, Giants Hide Among Us (2011), and Under the Last Tree on Earth. With the new album complete, what do you think sets this one apart from your last?
MS: I think this album is more focused and consistent in style than past releases. Unlike the previous two albums, there aren’t any instrumental-only tracks. Every song has a strong vocal component. Part of the reason is that the vinyl format limits me to about 40 or so minutes in total length. This can be a very good thing. The instrumental tracks on Under the Last Tree on Earth, a 60-minute album, were strategically placed to help break up the song flow and give the listener a “reset” or palette cleansing before the next couple of vocal songs. But if you’re planning for 20-minute album sides, that’s not as critical. And because these are longer songs, with some extended instrumental sections, it all sort of works the same way, just in shorter waves, if that makes sense.
Also, while far from a “guitar” album, the songs definitely feature the guitar more as a lead instrument and not just for the purpose of thick textures and coloring. After nearly 30 years of hacking my way through guitar parts, I challenged myself with a few lessons in an attempt to take a few more chances and execute ideas I had in my head. So you’ll hear more of the guitar being used to provide melody, some rock riffs and even solos! Not quite unleashing my inner guitar god, but it was still fun nonetheless.
Last, I think the vocals continue to show a maturation process. I feel like I’m finally getting a little more comfortable in the lower tonal ranges that used to frustrate me. I think there’s more confidence showing, and with that, more emotion. I’m able to show that emotion with vocal nuance and not just demonstrating by having to power my way through a higher register or growl. Not that there isn’t a place for it – and I do reach down into that space a few times on the album – but then I can slip back seamlessly into the lower ranges with some success. It’s all just a continuing growth path!
DR: Well, I think the development and growth shown between Giants Hide Among Us and The Ghost of the Muse is impressive. You certainly sound like you’ve become more comfortable in your skin, perhaps?
MS: Thank you. That’s very nice of you to say. Yeah, I do think that comfortability in who I am is helping to shape and define the music. Confidence in my abilities and more confidence in putting myself “out there” to be scrutinized. Music is so subjective – and everyone is a critic, to some extent. So all you can do is throw your best self – and best product – out there and hope that it connects with some listeners. It’s honest. It’s all me, for better or worse.
DR: If Reanimation had a mission statement, what would it be?
MS: [Laughs out loud] That’s an excellent question. Hmmmm. I think, more than anything, I just want the listener to take the time to absorb the journey. Stop what you’re doing long enough to listen. There aren’t any four-minute rock anthems here, and it’ll take some time to get to a chorus. But that’s okay. I’ve heard from many people that, even though the songs are long in length (by typical rock standards), they don’t “feel” long. And I have to believe that’s because somewhere along the way, the listener has given themselves permission to slow down in life long enough to let themselves get swept up. The music is often slow building and requires patience. I believe the lyrical messages, while personal, are also relatable and that a listener can place themselves into the story. If the album finishes and feels like it went by in a few minutes, then I’ve done my job.
And I really believe this with many recorded works, not just mine. There are some incredible artists out there creating unique, moving, expressive music. Don’t cheat them with your time. Sit a few minutes and listen.
DR: I would definitely encourage listeners to take some time with this album and let it sink in. I feel like every listen reveals something new!
MS: Thank you! I sure hope so. There’s usually quite a bit happening in each song, with layered atmospheric touches, additional vocal treatments, and subtle moves in tension. Hopefully this fact will make repeated listens a rewarding experience.
DR: Indeed! So finish this sentence: During the creation of The Ghost of the Muse, it might surprise the listener to know _________________.”
MS: Wow. I’m not sure what might be considered surprising [laughs]! I think there are the obvious things that people ask about. No, there isn’t any pro audio software used on this album, besides for my synth sounds. No Pro Tools or computer manipulation. It’s all just a very organic process, plugging in and playing. It’s almost entirely improvised from start to finish, with very little in the way of pre-defined song structures. It’s just me, a Korg D1600 mkII, and a bunch of guitars, drums, microphones, and miscellaneous instruments and non-instruments. I never know where a song is going until it’s done!
But beyond the recording process, I guess it’s just the fact that the Reanimation recording studio has morphed into my sanctuary of sorts. It’s not just a basement with sump pumps and a laundry room anymore. It’s where the rest of the outside world stays away and I can feel like myself for a while, whether it’s for an hour or a day. There are very few times when this happens in my life. Sometimes it’s really disappointing to be walking back up the stairs and returning to the world around me. Hmmm. I suppose I shouldn’t feel that way, should I?
DR: I suspect that’s all being asked and answered throughout some of the themes in the new album, perhaps? Getting yourself to a good place in order to face the rest of the world?
MS: That’s true. A very good point. It’s all part of the process, and finding a way to balance internal struggles with everyday expectations and responsibility.
DR: As we wrap up our time, I have to ask what’s next for Michael Shanahan and Reanimation?
MS: I’m trying to take a little time away from the recording process to focus on getting out the word on the new album. Early response has been excellent – the best I’ve ever experienced – and I just want to see if I can keep the momentum going. I’d like to try to get a video or two in process. There are reviewers to reach and some radio airwaves to penetrate.
And I’d love to be able to finally take the show out on the road a little bit, in an intimate way. Short set, a few songs, and probably reimagining the songs in a way that allows me to perform as a solo artist. It’s something I’ve been thinking about entirely far too long – and not yet acting on it.
And I have an overabundance of song ideas waiting in the wings, so eventually I’ll have to think about that next album, wherever it takes me! So perhaps we’ll be sitting here in another three years, talking about that next one?
DR: Count on it! Thank you for taking the time to catch up and share your thoughts on your new album. I just know good things are about to happen with it!
MS: My pleasure, Denise. And I sure hope you’re right!
Interested in finding out more about The Ghost of the Muse? Check out full track previews and ordering information at the Reanimation Bandcamp site here.
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Ten questions with Reanimation
by Denise Rice
August 3, 2014
Q: What made you decide you’d like to make music?
A: Even as a young kid, I had such a love for music. And while we had a couple of old guitars around the house, I really wanted to be a drummer. I’d listen to the phonograph or radio and bang pencils on the bed, desk or whatever was handy. My first real rock band exposure was to The Beatles. They were the reason I wanted to play music. I wanted to be like Ringo. I took snare drum lessons. That was probably 4th or 5th grade? But that fizzled out. I didn’t have a full drum kit and grew very bored with practicing on a single drum. I didn’t rekindle that desire to play in a band again until maybe junior or senior year in high school. Since I only had a guitar, I tried to hack through chord changes and eventually spent brief time in a couple of bands, playing songs with minimal chord changes by the Cars, Go-Gos and similar 80s acts. I wasn’t very good. But it was fun.
A year or so later – late in 1985, I think – I would connect with a couple of long-time school friends, Mark Watson and Rob Dahlgren. These were the first friends that wanted to do “original” music too. Not just covers of other songs. We formed a band called Quixotic, and after figuring out our roles, I found myself where I always wanted to be – behind the drums! From the very first practices, I knew that it’s what I needed to keep doing. I loved music. We weren’t very good at first. But it was magical!
Q: To what do you contribute the very different directions between your first CD and the new one, Under the Last Tree on Earth?
A: I think Giants Hide Among Us (2011) was more of a “testing the waters” approach. It was more a “collection” of songs (recorded over four years) than a cohesive work. Giants was about me growing as a musician and gaining confidence in what I was trying to communicate. Each song was another test, another attempt to embrace the influences that had been absorbed over the last many years. I was listening to a lot of experimental music, psychedelic rock, Krautrock, prog rock and a whole assortment of non-commercial music. And my songs were exploring every musical whim I might have felt at the time. It was me trying to find my identity, I believe.
But Under the Last Tree on Earth was purposeful right out of the gate. I learned a lot during the creation of the debut CD. And I was getting positive reviews and some radio play. But I knew that I had to keep moving forward. I could now objectively (and perhaps subjectively) identify my strengths and weaknesses and I wanted to refine my craft. But my growing confidence also allowed me to take my writing to a different level and explore a realm I’ve barely attempted – looking at myself. The last song I wrote for Giants was Diffusing the Bomb. It was the first song where I started to take an inward look and try to make sense of the things I’d been feeling and experiencing for a long time. That song just scratched the surface a little. But it made me realize there was so much more digging to do. And UTLTOA did just that. From the very first song written (She Never Sleeps) to the last (Surprise Hitchhiker), it was like my own 2-1/2 year psychotherapy session. It was about trying to understand who I really was – or wasn’t. And it was revealing. And consequently, it was raw and vulnerable in spots. And that’s reflected in the moods of the songs, as well as the lyrics and vocal work. That’s quite a change for me.
Q: Speaking of changes, care to shed some light on your personal changes – the hair, tattoos...?
A: (Laughs loudly) Wow. Ummmm… I’m not sure, really. Maybe it goes hand-in-hand with the last years of self-exploration. I’ve wanted to explore body art for some years now. But I wanted anything this permanent to be something I felt passionate about. It needed to be a strong design. And I needed to get the right referral! So I decided that the one subject I’d always be passionate about is my daughter. She’s my world. So I worked with a great local artist named Noodles, who helped me with my vision. So my left arm is a beautiful arrangement of Asian-style flowers and my daughter’s Chinese name. Months later, I wanted to balance with a design on the right arm, integrating a more complex flower design and the word “love” in Chinese characters. I really love both pieces. There will be more to come!
As for the hair… I had long hair for many years – from about 1990 to maybe 2002 or so. Then when Every Part of the Animal – my band with partner Brad Allen, from 1989-1999 – dissolved and the music stopped, I think I just didn’t feel the “artist” in me quite as much. So the hair went shorter. And shorter. And it also coincided with my return to working in the corporate world. But the re-entry into the music world rejuvenated me a bit. And just the overall awakening that has occurred in me over the last few years. I just started to feel more like “me” again. And this is me.
Q: Do you have a favorite track on the new CD?
A: That’s a tough one. I like different songs for different reasons. Sometimes it was the recording experience that made it memorable. Sometimes the theme. Or even a surprise end result after experimenting. Right now, I have a couple that remain highlights. Dead Heart Souvenir just encapsulates everything I wanted in a song, from the arrangement to the overall psychedelic trance-like vibe. And it’s one of the stronger vocal performances on the album. And lyrically, it was challenging and rewarding to complete. The other is The Serpent Fire (Everything Fades). That song captured a very intense and sorrowful moment in my life. That moment almost defeated me. The music mirrors this struggle. And I feel that, instrumentally, it’s one of the better songs I’ve recorded. So many things I like in it, from the drumming to the guitar work, which is NOT a strength of mine. And probably an honorable mention to Surprise Hitchhiker -- maybe the shortest Reanimation song to date.
Q: Which song was the most challenging vocally?
A: I would have to say Growing With the Growing Light was the most challenging. In fact, it took me three different attempts at different points in time in order to get it right. It’s sung in a higher register – and singing it with conviction and control was proving difficult. Early attempts sounded somewhat fragile and lacking in confidence. In fact, even after trying again, I still wasn’t entirely convinced it was solid. I almost dropped the song from the final CD playing order. But the week I was having the songs mastered (by Trace Recordings, United Kingdom), I decided to give it one more shot. If I was going to dump the song anyway, I had nothing to lose, right? But a funny thing happened. It turned out really well. So I quickly mixed it and sent it in to be mastered and all worked out in the end! Good thing, too. It’s an important song for me. Lyrically, it speaks so much about my life – and the hope that exists despite the obstacles. A message I’m pleased to include.
Q: And lyrically?
A: Oddly enough, probably ALSO Growing With the Growing Light! I spent 2-3 weeks, on and off, struggling with the lyrical message of that song. I had a purpose message but really had to work hard to keep it from sounding cliché or trite in any way. I pride myself on my lyrical abilities and I really try to avoid the obvious. By writing colorfully and sometimes cryptically, I think it’s easier for the listener to place themselves in their OWN version of the story and feel what I’m singing about. But it’s not always easy. The other difficult bit of writing was for the chorus of Dead Heart Souvenir. It’s such a rapid-fire vocal delivery and I needed to write a lot of words to fill that space. They had to flow, fit the message and also not trip me up while I sang. I’ve never sung a part like that before and it had to be just right.
Q: Instrumentally?
A: Because most of my songs aren’t written or scripted ahead of time, execution isn’t always that difficult. There is hardly ever a wrong answer or solution. I improvise most of the way through the recording process. There is rarely a set pattern or chord progression. Often, it’s just an odd synthesizer sound or strange rhythm. The song Abigail’s Ashes Came Home Today was built on nothing but a rhythm I played on a 10’ length of corrugated drain pipe from the garage! The benefit of living in a flood area. After that, it was a matter of just building with additional sounds and textures – and suddenly Abigail was born! But as far as execution, I think The Serpent Fire was the most difficult. The playing on the acoustic guitar took some time, as did the electric guitar work that made up the chorus sections. I probably took the most time with that song in order to work through my finger technique. Again, guitar is one of my struggles. Nothing comes easy with it.
Q: What do you hope to achieve with Under the Last Tree on Earth? Does it differ from your goals from Giants Hide Among Us?
A: My goals with any release are generally personal. There isn’t any real focus on putting out something thinking there is going to be a hit song or that I’m somehow going to make that leap from Marketing Communications Manager to rock star [laughs]. As long as I enjoy what I do and can continue to show growth and pursue more exploration, I’m pretty happy. I enjoy the craft and the journey. And the new album was truly a journey. It’s very much a series of snapshots or a scrapbook of my life, both past and present. I didn’t set out to make it so, but that’s ultimately what was created. I’m also pleased when a song or two finds a way to new listeners. There have been strong reviews written about both albums. That’s been a pleasant surprise. It’s pretty satisfying when an astute reviewer can really pick through the details of your work and even identify influences. It means they are really listening. And I’ve been fortunate enough to have songs from BOTH albums make their way to new audiences by way of radio and podcasts. Finding that right listener isn’t always easy when you don’t create very commercial music. But with the internet, it seems as if that audience can be found if you look. There has been a very receptive audience in the psychedelic or experimental rock genre. Also, this new release has a few songs that are a bit more straightforward and suitable for more commercial or alternative rock.
Q: Do you miss being in a group?
A: Sometimes I do. It’s something I struggle with. As an artist who works like I do - improvising and often letting the songs construct themselves, it might be hard to work in a collaborative environment all of the time. Since I rarely ever know how a song is going to shape, how can I possibly explain it to other members of a band? I enjoy working alone a good deal of the time. At least for what I define as Reanimation. But with the right collaborator, I think a NEW project could be a lot of fun. I’ve had the opportunity to work tightly with collaborators a good portion of my music career – Mark Watson with Quixotic and Brad Allen with Every Part of the Animal. But even then, it was just one other person. I’ve rarely been in a full group dynamic and I’m not sure how that would feel. I would have to learn to relinquish some control. I guess it depends on if it’s MY vehicle (Reanimation) or something new. It might be nice to just be a bit player in a larger collective once in a while. To just focus on my craft, contribute where I can and have fun. Many times I’ve thought about just looking for a band needing a drummer, packing up the drum kit, and just go out there and play again – to experience the energy of live music, and interacting with other musicians on a stage. I do miss that feeling from time to time. It could be a lot of fun.
Q: Would you ever consider performing live again? And how would being a solo artist make that a challenge?
A: I’m having to think through those very issues at this moment. When I first started Reanimation, I didn’t know if there would be any response to what I was creating. I figured I would just exist as a basement studio hermit – and that was okay. But the new release is already getting a lot of great feedback. And I’ve had an opportunity already offered to me to perform. But as you alluded to – it will be a very difficult task. I have so many layers of instruments and textures in my music and the songs can’t be recreated as they appear on the album. So I have to think about how one might approach these songs as a solo artist. It will likely come down to deconstructing the songs and reconstructing them in a different way, perhaps using an array of effects and looping stations to create the cyclical rhythms – and then building on top with other instruments and some vocals. I just have to remind myself it’s okay if the songs don’t sound like the record. It will be quite a challenge. But perhaps very rewarding, too. Stay tuned for some future appearance… someday.
by Denise J. Rice
December 20, 2017
[With the November 21, 2017 release of Reanimation’s The Ghost of the Muse, Denise Rice picks up the conversation again with Michael Shanahan, more than three years after his previous release Under the Last Tree on Earth. Original interview further below.]
DR: Well here we are again, Mr. Shanahan. We last visited with you the in the summer of 2014, with the release of your remarkable album, Under the Last Tree on Earth. You’ve been busy of late, it seems – as you’ve just given us a brand new offering called The Ghost of the Muse. And available on vinyl! I’ve had the opportunity to listen, and I have to say this is quite an artistic achievement. This is, in my opinion, your best work yet, and quite a personal and emotional journey.
MS: Thank you, Denise. It has been a little while, hasn’t it? But very kind comments about the new album. Thank you, again. And you’re right about it being a very personal story. You mentioned Under the Last Tree on Earth, and that was really the springboard for what became The Ghost of the Muse. Themes that I began exploring back then only just started to get below the surface of my psyche. It was a beginning, and sort of picked the scabs off of old wounds. But Ghost ended up diving in deep and really waking up the inner spirit. Scary, that!
DR: I’m sure! But yet here you are as a result! Speaking of the spirit, the title of the new album is mysterious and intriguing. What does it mean?
MS: It’s a title that was born from the self-exploration over the last few years. With each deeper dive, I was uncovering so much about myself. Not all of it pleasant and some of it was rather painful. Many artists have their muse, their source of inspiration. But what do you do when that muse is also part of a lifelong struggle – driven by memories and regret – and shaped you in ways you didn’t even understand yourself? You go into it thinking maybe you’re exorcising these ghosts by turning over the rocks, but the reality is that it’s all just part of who you are. Accepting and embracing it has been the key. There was a lot of wonderful discovery during the process. More every day, actually.
DR: When we last met, I asked you to share with us the differences between your debut album, Giants Hide Among Us (2011), and Under the Last Tree on Earth. With the new album complete, what do you think sets this one apart from your last?
MS: I think this album is more focused and consistent in style than past releases. Unlike the previous two albums, there aren’t any instrumental-only tracks. Every song has a strong vocal component. Part of the reason is that the vinyl format limits me to about 40 or so minutes in total length. This can be a very good thing. The instrumental tracks on Under the Last Tree on Earth, a 60-minute album, were strategically placed to help break up the song flow and give the listener a “reset” or palette cleansing before the next couple of vocal songs. But if you’re planning for 20-minute album sides, that’s not as critical. And because these are longer songs, with some extended instrumental sections, it all sort of works the same way, just in shorter waves, if that makes sense.
Also, while far from a “guitar” album, the songs definitely feature the guitar more as a lead instrument and not just for the purpose of thick textures and coloring. After nearly 30 years of hacking my way through guitar parts, I challenged myself with a few lessons in an attempt to take a few more chances and execute ideas I had in my head. So you’ll hear more of the guitar being used to provide melody, some rock riffs and even solos! Not quite unleashing my inner guitar god, but it was still fun nonetheless.
Last, I think the vocals continue to show a maturation process. I feel like I’m finally getting a little more comfortable in the lower tonal ranges that used to frustrate me. I think there’s more confidence showing, and with that, more emotion. I’m able to show that emotion with vocal nuance and not just demonstrating by having to power my way through a higher register or growl. Not that there isn’t a place for it – and I do reach down into that space a few times on the album – but then I can slip back seamlessly into the lower ranges with some success. It’s all just a continuing growth path!
DR: Well, I think the development and growth shown between Giants Hide Among Us and The Ghost of the Muse is impressive. You certainly sound like you’ve become more comfortable in your skin, perhaps?
MS: Thank you. That’s very nice of you to say. Yeah, I do think that comfortability in who I am is helping to shape and define the music. Confidence in my abilities and more confidence in putting myself “out there” to be scrutinized. Music is so subjective – and everyone is a critic, to some extent. So all you can do is throw your best self – and best product – out there and hope that it connects with some listeners. It’s honest. It’s all me, for better or worse.
DR: If Reanimation had a mission statement, what would it be?
MS: [Laughs out loud] That’s an excellent question. Hmmmm. I think, more than anything, I just want the listener to take the time to absorb the journey. Stop what you’re doing long enough to listen. There aren’t any four-minute rock anthems here, and it’ll take some time to get to a chorus. But that’s okay. I’ve heard from many people that, even though the songs are long in length (by typical rock standards), they don’t “feel” long. And I have to believe that’s because somewhere along the way, the listener has given themselves permission to slow down in life long enough to let themselves get swept up. The music is often slow building and requires patience. I believe the lyrical messages, while personal, are also relatable and that a listener can place themselves into the story. If the album finishes and feels like it went by in a few minutes, then I’ve done my job.
And I really believe this with many recorded works, not just mine. There are some incredible artists out there creating unique, moving, expressive music. Don’t cheat them with your time. Sit a few minutes and listen.
DR: I would definitely encourage listeners to take some time with this album and let it sink in. I feel like every listen reveals something new!
MS: Thank you! I sure hope so. There’s usually quite a bit happening in each song, with layered atmospheric touches, additional vocal treatments, and subtle moves in tension. Hopefully this fact will make repeated listens a rewarding experience.
DR: Indeed! So finish this sentence: During the creation of The Ghost of the Muse, it might surprise the listener to know _________________.”
MS: Wow. I’m not sure what might be considered surprising [laughs]! I think there are the obvious things that people ask about. No, there isn’t any pro audio software used on this album, besides for my synth sounds. No Pro Tools or computer manipulation. It’s all just a very organic process, plugging in and playing. It’s almost entirely improvised from start to finish, with very little in the way of pre-defined song structures. It’s just me, a Korg D1600 mkII, and a bunch of guitars, drums, microphones, and miscellaneous instruments and non-instruments. I never know where a song is going until it’s done!
But beyond the recording process, I guess it’s just the fact that the Reanimation recording studio has morphed into my sanctuary of sorts. It’s not just a basement with sump pumps and a laundry room anymore. It’s where the rest of the outside world stays away and I can feel like myself for a while, whether it’s for an hour or a day. There are very few times when this happens in my life. Sometimes it’s really disappointing to be walking back up the stairs and returning to the world around me. Hmmm. I suppose I shouldn’t feel that way, should I?
DR: I suspect that’s all being asked and answered throughout some of the themes in the new album, perhaps? Getting yourself to a good place in order to face the rest of the world?
MS: That’s true. A very good point. It’s all part of the process, and finding a way to balance internal struggles with everyday expectations and responsibility.
DR: As we wrap up our time, I have to ask what’s next for Michael Shanahan and Reanimation?
MS: I’m trying to take a little time away from the recording process to focus on getting out the word on the new album. Early response has been excellent – the best I’ve ever experienced – and I just want to see if I can keep the momentum going. I’d like to try to get a video or two in process. There are reviewers to reach and some radio airwaves to penetrate.
And I’d love to be able to finally take the show out on the road a little bit, in an intimate way. Short set, a few songs, and probably reimagining the songs in a way that allows me to perform as a solo artist. It’s something I’ve been thinking about entirely far too long – and not yet acting on it.
And I have an overabundance of song ideas waiting in the wings, so eventually I’ll have to think about that next album, wherever it takes me! So perhaps we’ll be sitting here in another three years, talking about that next one?
DR: Count on it! Thank you for taking the time to catch up and share your thoughts on your new album. I just know good things are about to happen with it!
MS: My pleasure, Denise. And I sure hope you’re right!
Interested in finding out more about The Ghost of the Muse? Check out full track previews and ordering information at the Reanimation Bandcamp site here.
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Ten questions with Reanimation
by Denise Rice
August 3, 2014
Q: What made you decide you’d like to make music?
A: Even as a young kid, I had such a love for music. And while we had a couple of old guitars around the house, I really wanted to be a drummer. I’d listen to the phonograph or radio and bang pencils on the bed, desk or whatever was handy. My first real rock band exposure was to The Beatles. They were the reason I wanted to play music. I wanted to be like Ringo. I took snare drum lessons. That was probably 4th or 5th grade? But that fizzled out. I didn’t have a full drum kit and grew very bored with practicing on a single drum. I didn’t rekindle that desire to play in a band again until maybe junior or senior year in high school. Since I only had a guitar, I tried to hack through chord changes and eventually spent brief time in a couple of bands, playing songs with minimal chord changes by the Cars, Go-Gos and similar 80s acts. I wasn’t very good. But it was fun.
A year or so later – late in 1985, I think – I would connect with a couple of long-time school friends, Mark Watson and Rob Dahlgren. These were the first friends that wanted to do “original” music too. Not just covers of other songs. We formed a band called Quixotic, and after figuring out our roles, I found myself where I always wanted to be – behind the drums! From the very first practices, I knew that it’s what I needed to keep doing. I loved music. We weren’t very good at first. But it was magical!
Q: To what do you contribute the very different directions between your first CD and the new one, Under the Last Tree on Earth?
A: I think Giants Hide Among Us (2011) was more of a “testing the waters” approach. It was more a “collection” of songs (recorded over four years) than a cohesive work. Giants was about me growing as a musician and gaining confidence in what I was trying to communicate. Each song was another test, another attempt to embrace the influences that had been absorbed over the last many years. I was listening to a lot of experimental music, psychedelic rock, Krautrock, prog rock and a whole assortment of non-commercial music. And my songs were exploring every musical whim I might have felt at the time. It was me trying to find my identity, I believe.
But Under the Last Tree on Earth was purposeful right out of the gate. I learned a lot during the creation of the debut CD. And I was getting positive reviews and some radio play. But I knew that I had to keep moving forward. I could now objectively (and perhaps subjectively) identify my strengths and weaknesses and I wanted to refine my craft. But my growing confidence also allowed me to take my writing to a different level and explore a realm I’ve barely attempted – looking at myself. The last song I wrote for Giants was Diffusing the Bomb. It was the first song where I started to take an inward look and try to make sense of the things I’d been feeling and experiencing for a long time. That song just scratched the surface a little. But it made me realize there was so much more digging to do. And UTLTOA did just that. From the very first song written (She Never Sleeps) to the last (Surprise Hitchhiker), it was like my own 2-1/2 year psychotherapy session. It was about trying to understand who I really was – or wasn’t. And it was revealing. And consequently, it was raw and vulnerable in spots. And that’s reflected in the moods of the songs, as well as the lyrics and vocal work. That’s quite a change for me.
Q: Speaking of changes, care to shed some light on your personal changes – the hair, tattoos...?
A: (Laughs loudly) Wow. Ummmm… I’m not sure, really. Maybe it goes hand-in-hand with the last years of self-exploration. I’ve wanted to explore body art for some years now. But I wanted anything this permanent to be something I felt passionate about. It needed to be a strong design. And I needed to get the right referral! So I decided that the one subject I’d always be passionate about is my daughter. She’s my world. So I worked with a great local artist named Noodles, who helped me with my vision. So my left arm is a beautiful arrangement of Asian-style flowers and my daughter’s Chinese name. Months later, I wanted to balance with a design on the right arm, integrating a more complex flower design and the word “love” in Chinese characters. I really love both pieces. There will be more to come!
As for the hair… I had long hair for many years – from about 1990 to maybe 2002 or so. Then when Every Part of the Animal – my band with partner Brad Allen, from 1989-1999 – dissolved and the music stopped, I think I just didn’t feel the “artist” in me quite as much. So the hair went shorter. And shorter. And it also coincided with my return to working in the corporate world. But the re-entry into the music world rejuvenated me a bit. And just the overall awakening that has occurred in me over the last few years. I just started to feel more like “me” again. And this is me.
Q: Do you have a favorite track on the new CD?
A: That’s a tough one. I like different songs for different reasons. Sometimes it was the recording experience that made it memorable. Sometimes the theme. Or even a surprise end result after experimenting. Right now, I have a couple that remain highlights. Dead Heart Souvenir just encapsulates everything I wanted in a song, from the arrangement to the overall psychedelic trance-like vibe. And it’s one of the stronger vocal performances on the album. And lyrically, it was challenging and rewarding to complete. The other is The Serpent Fire (Everything Fades). That song captured a very intense and sorrowful moment in my life. That moment almost defeated me. The music mirrors this struggle. And I feel that, instrumentally, it’s one of the better songs I’ve recorded. So many things I like in it, from the drumming to the guitar work, which is NOT a strength of mine. And probably an honorable mention to Surprise Hitchhiker -- maybe the shortest Reanimation song to date.
Q: Which song was the most challenging vocally?
A: I would have to say Growing With the Growing Light was the most challenging. In fact, it took me three different attempts at different points in time in order to get it right. It’s sung in a higher register – and singing it with conviction and control was proving difficult. Early attempts sounded somewhat fragile and lacking in confidence. In fact, even after trying again, I still wasn’t entirely convinced it was solid. I almost dropped the song from the final CD playing order. But the week I was having the songs mastered (by Trace Recordings, United Kingdom), I decided to give it one more shot. If I was going to dump the song anyway, I had nothing to lose, right? But a funny thing happened. It turned out really well. So I quickly mixed it and sent it in to be mastered and all worked out in the end! Good thing, too. It’s an important song for me. Lyrically, it speaks so much about my life – and the hope that exists despite the obstacles. A message I’m pleased to include.
Q: And lyrically?
A: Oddly enough, probably ALSO Growing With the Growing Light! I spent 2-3 weeks, on and off, struggling with the lyrical message of that song. I had a purpose message but really had to work hard to keep it from sounding cliché or trite in any way. I pride myself on my lyrical abilities and I really try to avoid the obvious. By writing colorfully and sometimes cryptically, I think it’s easier for the listener to place themselves in their OWN version of the story and feel what I’m singing about. But it’s not always easy. The other difficult bit of writing was for the chorus of Dead Heart Souvenir. It’s such a rapid-fire vocal delivery and I needed to write a lot of words to fill that space. They had to flow, fit the message and also not trip me up while I sang. I’ve never sung a part like that before and it had to be just right.
Q: Instrumentally?
A: Because most of my songs aren’t written or scripted ahead of time, execution isn’t always that difficult. There is hardly ever a wrong answer or solution. I improvise most of the way through the recording process. There is rarely a set pattern or chord progression. Often, it’s just an odd synthesizer sound or strange rhythm. The song Abigail’s Ashes Came Home Today was built on nothing but a rhythm I played on a 10’ length of corrugated drain pipe from the garage! The benefit of living in a flood area. After that, it was a matter of just building with additional sounds and textures – and suddenly Abigail was born! But as far as execution, I think The Serpent Fire was the most difficult. The playing on the acoustic guitar took some time, as did the electric guitar work that made up the chorus sections. I probably took the most time with that song in order to work through my finger technique. Again, guitar is one of my struggles. Nothing comes easy with it.
Q: What do you hope to achieve with Under the Last Tree on Earth? Does it differ from your goals from Giants Hide Among Us?
A: My goals with any release are generally personal. There isn’t any real focus on putting out something thinking there is going to be a hit song or that I’m somehow going to make that leap from Marketing Communications Manager to rock star [laughs]. As long as I enjoy what I do and can continue to show growth and pursue more exploration, I’m pretty happy. I enjoy the craft and the journey. And the new album was truly a journey. It’s very much a series of snapshots or a scrapbook of my life, both past and present. I didn’t set out to make it so, but that’s ultimately what was created. I’m also pleased when a song or two finds a way to new listeners. There have been strong reviews written about both albums. That’s been a pleasant surprise. It’s pretty satisfying when an astute reviewer can really pick through the details of your work and even identify influences. It means they are really listening. And I’ve been fortunate enough to have songs from BOTH albums make their way to new audiences by way of radio and podcasts. Finding that right listener isn’t always easy when you don’t create very commercial music. But with the internet, it seems as if that audience can be found if you look. There has been a very receptive audience in the psychedelic or experimental rock genre. Also, this new release has a few songs that are a bit more straightforward and suitable for more commercial or alternative rock.
Q: Do you miss being in a group?
A: Sometimes I do. It’s something I struggle with. As an artist who works like I do - improvising and often letting the songs construct themselves, it might be hard to work in a collaborative environment all of the time. Since I rarely ever know how a song is going to shape, how can I possibly explain it to other members of a band? I enjoy working alone a good deal of the time. At least for what I define as Reanimation. But with the right collaborator, I think a NEW project could be a lot of fun. I’ve had the opportunity to work tightly with collaborators a good portion of my music career – Mark Watson with Quixotic and Brad Allen with Every Part of the Animal. But even then, it was just one other person. I’ve rarely been in a full group dynamic and I’m not sure how that would feel. I would have to learn to relinquish some control. I guess it depends on if it’s MY vehicle (Reanimation) or something new. It might be nice to just be a bit player in a larger collective once in a while. To just focus on my craft, contribute where I can and have fun. Many times I’ve thought about just looking for a band needing a drummer, packing up the drum kit, and just go out there and play again – to experience the energy of live music, and interacting with other musicians on a stage. I do miss that feeling from time to time. It could be a lot of fun.
Q: Would you ever consider performing live again? And how would being a solo artist make that a challenge?
A: I’m having to think through those very issues at this moment. When I first started Reanimation, I didn’t know if there would be any response to what I was creating. I figured I would just exist as a basement studio hermit – and that was okay. But the new release is already getting a lot of great feedback. And I’ve had an opportunity already offered to me to perform. But as you alluded to – it will be a very difficult task. I have so many layers of instruments and textures in my music and the songs can’t be recreated as they appear on the album. So I have to think about how one might approach these songs as a solo artist. It will likely come down to deconstructing the songs and reconstructing them in a different way, perhaps using an array of effects and looping stations to create the cyclical rhythms – and then building on top with other instruments and some vocals. I just have to remind myself it’s okay if the songs don’t sound like the record. It will be quite a challenge. But perhaps very rewarding, too. Stay tuned for some future appearance… someday.
Interested in finding out more about Under the Last Tree on Earth? Check out full track previews and ordering information at the Reanimation Bandcamp site here.