Opening the Crypt
As I have spent much time in recent weeks revisiting the early Birdsong At Morning catalog, and with Halloween fast approaching as I write, I’ve been feeling a little like Dr. Frankenstein digging up the bones of the past in order to reanimate them.
Reworking Bound, and now Heavens, was prompted by the desire to create immersive mixes that would stand alongside the later catalog releases, all available in surround sound. A pleasant by-product of the surround mixing process is that new stereo versions are created en route to the immersive experience. “It’s been a long time,” as the opening track of Bound begins, and indeed, it’s been a long time since I listened to these recordings – partly in fear that they might sound as I imagine them – tentative, unsure, not fully formed. Well, having taken the deep breath and rolling back the stone at the entrance to the crypt, I discovered that my fears were only partially justified. The soundscape of the original stereo mixes seemed a bit unfocused, lacking confidence, burying the vocal under a big drum sound - the only thing I felt sure of since the drums were recorded in one of the best studios in the world by a well-established engineer. But the songs are strong (they still comprise a large part of my live repertoire), and the performances much better than I remembered. At first, I thought I might have to re-record my vocals. But it turns out, I just needed to make them louder and add a bit of sonic presence.
It is a rather common phenomenon for people to undermix (or depending upon one’s pathology, overmix) one’s performance. I felt a little unsure of my singing (something I’ve wrestled with since late adolescence), and about writing and playing in general, having taken over a decade off from music entirely. As has been stated elsewhere, the entire premise of Birdsong At Morning was that all of us were resurrecting long-dormant musical identities. But in the present moment, I hear a surprising degree of conviction. Somehow, we were sure, even if we hadn’t realized it yet.
The other specter that hovers over the project is the grappling with time and aging. Well, 15 years on, those questions are only more pronounced than they were when I was in my mid-40s. With 60 FAST approaching, I’m evermore cognizant of the ticking clock and the reminder that the end might come at any moment (probably by running into a bus while checking my phone in the middle of the street or some other silliness). Somewhere in the back of my mind is a voice urging me to “get your house in order.” And so, honoring these early recordings by presenting them in as strong a light as I can is one step along that path.
Like a good vampire, these recordings might be around for a long, long time. And though vampire tropes suggest longevity as a curse, the notion that these songs and performances might continue beyond my time on earth is as comforting as the occasional reminder that people continue to discover this music. What might be 15 years old for me is brand new for them. And these new refreshed versions are new for all of us.
But I also fear that I’m missing out on the present by spending so much time in the past. It might be time to switch metaphoric genres and move into science fiction, where time machines and multiverses might allow me to be in two (or two gazillion) places at once. Still awaiting a serious call to create something new, but the guitar (and piano!) is starting to feel comfortable (and comforting) under my fingertips again, so perhaps a new song is making its way to the launch pad. I can’t quite see it, but I know it’s there somewhere…
Stream Heavens (2023 Remaster) & Bound (2023 Remaster)
Immersive Audio Album
Astronomy (2023 Remaster) | Official Music Video