Creating "Majik" (The Corona Sessions)

First blog of 2020 and of course, we're all elbow deep in social distancing / isolation. A double edged sword for me as an "essential" worker as shops need to stay open (to prevent riots?) so I have been stuck in a bizarre limbo of work / home / work / home and "Backyard Gothic" is dead in the water on account.

To counteract the boredom, I embarked upon the "Corona Sessions". Creating music is never boring but I do have a very short attention span, so I've had to force myself to concentrate on creating a viable collection of music. It eventually found it's title in "Majik".

Why this title? Because most of these songs were created in a stream of consciousness, particularly the first and third songs which bear the word in their titles. They in many ways wrote themselves, before I realised I was writing them. To anyone who writes books, poetry or music - I'm sure you understand what I mean, but I can't really explain it in words. As the late, great Tom Petty said:

“Music is probably the one real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.”


Amen.

The pictures were taken by my very talented better half and I twisted and distorted them into a cover I thought suited the theme of the EP. The subject matter in the songs is almost nihilist in nature, but I assure you, a pinch of salt is never far from the lyrics I write....

It's currently in the processing stage, en route to spotify / google play / itunes etc courtesy of Distrokid. And the track listing is:

1. Majik, Pt.I: The Man In The Ivory Castle 

2. Throne Ruminations (co - produced by Denika McClean)

3. Majik, Pt.II: The End

4. Who Rules Hollywood?

5. (BANG!) Bombs Are Falling

Stylistically, it's a return to the sound on "Heresy". But with the extra six years experience in the production side (I hope!) It's bigger, more mature and sounds more professional. More importantly, I hope people get a kick out of listening to it, as much as I got creating it. 

Thanks for reading..... and listening. 

Backyard Gothic Soundtrack (A Guide)

So, I have released the soundtrack to Backyard Gothic HERE on BANDCAMP.COM.

"Even before the film is completed?" I hear you exclaim. Yes, it generally works for Christopher Nolan / Hans Zimmer and whilst I'm in no way comparing their world conquering exploits to mine - it seems to have renewed the enthusiasm I originally had for the project and sonically has influenced certain camera angles and techniques so it's a win / win. It's a necessity too.

A- It gives a little buzz and has reignited conversation about the film and ...

B - Every penny the soundtrack makes is going straight back into financing the movie.

I have been feverishly composing since August and this is the fruit of my labours. I have no doubt, there will be new pieces as the filming progresses but rest assured, anyone who has already or is planning to buy the soundtrack will receive these free as a bonus for their trouble and a huge dose of my heartfelt gratitude.

As is we have.

1: "Main Titles" - Does exactly what it says on the tin, whilst introducing us to our heroes: Charlie and his best friend, Jellybean. His trusty Cavalier King Charles.

2: "Monsters Are Real" - An ominous cautionary narrative from a grown up Charlie as we journey through a storm hit neighbourhood.

3: "Bad News" - It's rare to hear good news on the telly anymore.

4: "Beast In The Backyard" - What lurks outside in the dead of night?

5: "Silver Bullet or Holy Water" - How do you kill a monster? Ok Google....

6: "Cain Gives Chase" - A race for survival as a shocking discovery is made.

7: "A Mother's Love Vs The Big Bad Wolf" - There's someone at the door...

8: "Charlie To The Rescue" - Charlie and his Uncle Eddie attempt a daring rescue.

9: "A Hero Falls" - Not everyone will survive....

10: "Farewell To A Friend / Prepare for War" - Vengeance in the air.

11: "The Final Confrontation" - The proverbial shit hits the fan.

12: "The End" - Or is it?

Still curious, check out HERE with MASSIVE thanks to Pijus Jasaitis!

Film Scoring Update: "Charlie To The Rescue"

Filming "Backyard Gothic" is a slow and tedious task, between getting people together and working on the right dialogue, but as a labour of love, I'll get there by hook or crook.

I would consider myself a competent composer, who enjoys leitmotifs. Leitmotifs, I suppose are a character theme. As ambient soundtracks take hold - themes hold less weight. It's now more about atmosphere and sound fx. Which I've no qualms with. There are some truly wonderful examples of it out there. But for my little short film, I wanted it to be a throwback to the John Williams, Jerry Goldsmith, Elmer Bernstein sound. You know the 80's / 90's BIG sound with leitmotifs galore?

Now, I am not comparing myself to these guys, I am not anywhere near that level but as a reference, there are none better. I also want to use as little hybrid sound as possible. Keeping the electronic sound from the orchestral. I am employing at points but for a retro sound, they are kept to the bare minimum.

I uploaded a version of "Charlie To The Rescue" a little while back and surprise, surprise.....it was missing something. The entire scene is basically child vs The Big, Bad Wolf and it needed more "Oomph!". I added some trumpet triplets and the ominous bad guy motif at the start, with some marching snares deep, but noticeable, in the mix. It's a piece I'm very proud of. And I can't wait to start editing it into the scene.

BACKYARD GOTHIC

Growing up, most people would have been aware of their local "haunted house" in the neighbourhood.

As a young child in what was then, a very different Jobstown in Tallaght back in the late 80's - early 90's. There was Wolfy's house. It was the house of a man that went mad, turned into a wolf and killed his family. It was said on nights of the full moon, you could hear him scarpering around the rooftops in search of his next victim.

Of course, as a child - the original story was much more convoluted and scary. Mainly due to my older sister's gift for embellishing upon it.

However it was a story that always stayed with me and recently, it resurfaced. My music has been coming to the fore in various places so why not take it to the next level? Why not create a short movie inspired by the above story, that will engage the viewer and I can add my own sonic touch to it? It's not hard to make a film, with a slight bit of know how and understanding of the various techniques, all learned through trial and error over the years - I'm confident. Not overly so. It's a low to no budget movie which will be heavily dependent on quite a bit of charity and goodwill but if I get my passion across (and guilt several family members) it is entirely possible. Full credit to family and friends, they are always game for my mad creative tangents. The star will be my young nephew, Paul. Who's cheeky, a lunatic and most important for the role -  has a big, huge heart. The premise is a well used one, hopefully with a fresh take: "What if your neighbour was a werewolf and, nobody believed you?" I'm feeling a fun Goonies meets Fright Night (the original) vibe

 I have fleshed out the story over the bones of the last year and created a poster along with soundtrack leifmotifs for the various characters. I'm looking forward to filming over the next month or so. Laois is an actual goldmine of beautiful and interesting locations that will be well suited to the story so am genuinely excited about getting this up and running.


HERE'S THE POSTER I CREATED, MAINLY FOR MY AMUSEMENT FEATURING OUR HERO IN A NO NONSENSE POSE,  CREEPILY WATCHED BY THE ANTAGONIST........

TOP TEN Result: The International Horror Hotel Film Festival Scoring Competition.

Celebrating a little victory is important!

1. It makes you feel happy.
2. It gives you motivation to keep going.
3. It builds your confidence.

And boy, is this true! To be specific, I came 9th (yet to be officially revealed) but judging by the number of last years highly commended numbering 20 outside of the top ten, I am gonna celebrate this like I made it to the podium!

I generally suffer from extreme self doubt when it comes to my work (I'm not complaining, I believe it helps me improve  every day) and this was a welcome and timely email to my inbox at a time when I'd been feeling a little jaded as regards to where I am and where I'm progressing - i.e work.

I actually submitted the work last year and immediately doubted the mix after sending it (I was right, I'm never happy) and kept half an eye on proceedings and then slowly..... forgot about it.

I received the email yesterday morning and scared my wife by almost somersaulting out of bed - she forgave me, don't worry. I'll post a link to the video here:Phil McClean - Horror Hotel Scoring 2019. 

Granted the awards presentation and subsequent screening is in Ohio, so unless I can grow money, I'll be celebrating in the Old World with a certificate and a tasty drop of whiskey come Friday when my next day off arrives. Until then I'll be grinding my teeth in retail hell and and cleaning up the loose ends for "The Last Illusion".

Thanks for reading. And more importantly, thanks for listening.

P.S. The above picture was taken by my favourite human, once upon a time in Vegas. In it I'm drinking the most expensive Jameson I ever paid for. It was the last time I felt this rich, albeit more for achievement than cash - but I'll take that anytime!

Cheers.

The Last Illusion (Final Renders & Update)

Am busy mastering the final renders of  "The Last Illusion" and am decidedly pleased with the forthcoming results. My original vision of pseudo ethnic with classical sounds has remained true. And there is metal, crushingly heavy at times but those times are rarer than I originally envisioned but as a result those times are immediate and incredibly effective.

When I started to write this piece (All 13 and a half minutes!) I had a sound in my head almost immediately - Jerry Goldsmith meets Danny Elfman sharing a pint with old school Korn. Not that I'm fit to shine the shoes of those mentioned but the core sound is in that ballpark. I even surprised myself with a cool Jazz trio sound at one point. I call it J(Ass) as I am only a pretender in the Jazz genre.

Next up is a bit of a photo shoot, nothing pro - just a bit of fun to accompany the music's eventual upload into cyberspace. For now, maybe I can pique your interest with the leif motif titles and description. Early reviews have been promising and flattering. I trust it's not just lip service!


1. A THEME FOR HARRY D'AMOUR / MAGIC TRICK (0.00)
2. SECRET MEETING / DEATH FROM ABOVE / INTO THE MOUTH OF MADNESS (2.08)
3. MEETING DOROTHEA / DEAD MAN'S LETTER (3.47)
4. HARRY'S NIGHTMARE (5.31)
5. VALENTIN / SWANN'S BACKSTORY (7.03)
6. ALLEYWAY CHASE / INTO THE MOUTH OF MADNESS II (7.51)
7. BYRON THE POET (9.31)
8. THE BETRAYAL (10.33)
9. D'AMOUR VS HELL (11.06)
10. THE LAST ILLUSION (12.10)

1. Experimental, Gothic, Ethnic.
2. Classical / Electronic Hybrid
3. Gothic / Classical
4. Gothic / Epic / Choral
5. Piano / Ethnic
6. Gothic / Epic / Metal
7. Cool Jazz
8. Classical
9. Gothic / Epic / Metal
10. Classical / Electronic Hybrid

For The Love Of Woodwinds.

The venerable Woodwind section. I've never really used it in my pieces, but I do love listening to them. Especially when they are used well. Media-wise Ennio Morricone and Jerry Goldsmith do them the most justice. It takes a certain talent and subtlety to bring them to the fore (and well) but being I do love a good brass section, I've overlooked them.

Let's be honest, a loud enough brass instrument on it's own could probably demolish and entire orchestra, and seeing as I don't do "subtle" well, it's been a learning curve both writing and producing a piece which utilises two woodwind instruments as the lead. Namely the Oboe and the Flute.

I've actually employed an older piece (Magpies & Rockstars Pt. I) to create this piece and I've kept it true to the original but I've replaced the guitars with Violas & Violins and the two above instruments. I didn't want to copy it exactly as regards melody and the two Woodwinds both compete and harmonise with each other throughout the piece, but never impeding each other. I hope. I through in a restrained trumpet duo just to add a little "ooomph" in the final third. I hope you enjoy this as much as I enjoyed producing it. Thanks for listening.

Opus Pica Pica: An Insight

This piece of music is split into three sections and it is an aural study of the relationship I have with my better half. The first piece was originally written for a film I was in talks to score. This fell through, not through animosity - more so lack of communication. I hope the film makers in question treat those who choose to work with them in a more respectful way than ignoring them completely as they wont be going too far in the industry based on what I've experienced.... Rant Over.

I was thrilled with this piece of music. I was also afraid it would never see the light of day in context to the above. It was written to convey fear, dissolution but ultimately, hope. I realised it was merely a reflection of everyone's journey and it was only the beginning......

My wife is a fantastic muse - so much personality, so much passion. She fuels almost everything I do, musically. So I took the first peace and rejigged it a little bit. This is the first instrumental track in which I've not used any synth sounds to stay true to a more classical sound.

Part I: Ups & Downs. The story of how the road in life is never straight for us or indeed anyone.

Part II: Silver Linings. This is signalled by a playful bass line and grows into a choir led crescendo with flutes and some unexpected glass armonium.

Part III: When We Soar. Violas and Violins duel in opposing but complementary melodies while accompanied by big drum ensembles in stereo which grow in intensity towards the end whilst the glass armonium returns in a more rhythmic, less chaotic fashion this time.

For the curious "Pica Pica" is the latin for the Eurasian Magpie. "Magpie" is a playful name I call my wife for how easily distracted she is. Like a magpie to a shiny object....

The Standing Stone.

Quite some time ago, a great friend of mine mentioned the possibility of me composing a short composition to accompany some podcasts he was looking towards producing for his website - THESTANDINGSTONE.IE, Naturally I was intrigued and jumped at the chance. Tom is very passionate about history and to watch him find even the most obscure, tiny, off the beaten path site is akin to watching a child on Christmas morning and it's highly infectious.

I naturally wanted to produce something that he would approve of, so when I asked what "sound" he was looking for, I was informed a "from the mists of time" sound would be sufficient. I know this guy pretty well, so I knew this advice was far from blase. Tom's a musician himself. He'd expect more than a drone and a few pipes. But I was also aware that it might be a good place to start and he generally lets me run wild, musically, when I'm producing something!

I produced a demo and he liked it. Phew! The blueprint was laid. So I set to work on a professional version and it sounded....shit. I tried again, no joy. I couldn't define what was wrong. It just didn't sound right. So I buried it and began my "GUNSLINGER" journey, all the while being tormented by my inability to complete "The Standing Stone".

Coming into Easter is a pretty special time to be Irish, as regards to the 1916 rising and the centenary has awakened a wonderful sense of pride in many Irish people, myself included. The old songs are being played again and have heavily inspired me lately. So I revisited the piece that I'd long promised my old friend and it still sounded....shit! The difference this time was I stuck at it. I added brass - French horns, trumpets - "Sounds promising, Phil". Uilleann pipes..... nope, bad idea - reverse! And then I added the marching snares and bass drum. Finally, it sounded .... grand. He seemed genuinely pleased with the result, though my ears hear all that's wrong. Sure, it'll pass. One day I'll pat myself on the back and say I did a good job. And never compose again!!

Some day soon, it will hopefully accompany one of Dr Nelligan's podcasts - but for now, here it is in all it's glory (or lack of). I give you THE STANDING STONE: