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News

Dec 21 2017

US Winter Tour 2018

Welcome to the new website, we have lots of announcements to make but the first thing we’d like to announce are US dates that will see us visiting the coasts and Texas with a merry band of minstrels that will include Hannah Moorhead on bass and vocals, Don Piper on guitar and vocals and Olivia Willson-Piper-to-be on violin, cellolin and vocals. Our special guest on all dates will be Edward Rogers, although Austin will be just Olivia and I. Ex Spacehog drummer Jonny Cragg will join us in Seattle and Portland and we hope for other skin beaters and shakers at other shows.

This might also be an opportune moment to announce that Olivia and I will be getting married in Las Vegas tomorrow (on the 22nd December)!

We have a new mailing list and we will be sending out messages as events come to fruition. You can sign up to our mailing list on my new website martywillson-piper.com or via the indeepmusicarchive.net website. If you don’t want these notifications simply unsubscribe at your leisure.

With two new albums on the way through Schoolkids Records in 2018, that is Noctorum 4 with Dare Mason and MOAT 2 with Niko Röhlcke and another surprise release pending, we are looking forward to seeing you out there on the road at the beginning of the year. Also my involvement with Swedish Progressive band Anekdoten continues with dates already announced in Europe in 2018.

The Songwriting & Guitar Guidance sessions will be continuing into 2018 and feel free to contact me (mwpindeepmusicarchive@gmail.com) or Olivia (olivia@martywillson-piper.com) if you are interested in taking part.

They are a great last minute Christmas present!

I haven’t been able to write about music lately with travelling and with recording being a priority. If you miss reading about treasures from the collection – The In Deep Music Archive is in the steady hands of serial blogger Aram Delgado.

Happy Holidays to all and hope to see you next year!

MWP


US 2018 Gigs:

Jan 13 – Steve’s, Jackson, MS (without Edward Rogers) (SOLD OUT!)

Jan 25 – Meet & Greet at Pleasantry Lane Studio, Dallas, TX

Jan 26 – Pleasantry Lane Studio, Dallas, TX (without Edward Rogers) (SOLD OUT!)

Jan 27 – Barracuda, Austin, TX (without Edward Rogers)

Feb 08 – Highline, Seattle, WA

Feb 10 – Jack London Revue, Portland, OR

Feb 11 – Genghis Cohen, Los Angeles, CA (SOLD OUT!)

Feb 12 – Genghis Cohen, Los Angeles, CA (SOLD OUT!)

Feb 13 – Hotel Utah, San Francisco, CA

Feb 17 – Stage On Herr, Harrisburg, PA

Feb 18 – Get Hip Headquarters, Pittsburgh, PA

Feb 20 – World Cafe Live, Philadelphia, PA

Feb 22 – The Cutting Room, New York, NY

Feb 23 – Colony, Woodstock, NY

Written by Marty Willson-Piper · Categorized: News

Dec 16 2017

Aram – Our In Deep Music Archive Curator

Aram Delgado in the In Deep Music Archive
Aram Delgado in the In Deep Music Archive

Meet Aram Delgado​, blogger, music fan, knowledgable and friendly intellectual and curator at the In Deep Music Archive.

Whilst Olivia and I are travelling in America, Aram will be writing his own blogspot posts as he explores the archive, picking out old favourites, undiscovered gems and anything of interest that catches his eye and/or ear.

If you’d like to follow him and share in his discoveries, here’s the first three posts:

https://theadventuresofsenorelguapo.blogspot.co.uk/2017/12/dumb-luck-or-kismet-deep-diving-in_12.html

https://theadventuresofsenorelguapo.blogspot.co.uk/2017/12/hasse-mich-nicht-weil-ich-elektronisch.html

https://theadventuresofsenorelguapo.blogspot.com/2017/12/mulatu-astatkes-ethio-jazz.html

Follow Aram on Facebook to never miss a post.

Written by Marty Willson-Piper · Categorized: News

Nov 30 2017

Making Of Noctorum IV

The wind howls, the rain slanted, pounds into your face like sharp arrows. The rumbling sounds from the underground labyrinthian VIP Studio and In Deep Music Archive are the only hope for the dark Penzance October days. Dare and Marty, stripped off all comforts, except for the biscuits and the tea and the incense and the cushions and the guitars and the freedom to create, are bedded down in the complex simplicity of the fourth Noctorum album, yet to be named. Ideas spring, guitars chime and the mood is inhabited with serious laughter. We are evolving, we invite you to look inside our process for split seconds to watch it all grow, bud, flower into our latest and most humble offering.

“Friday, 10th November, in 20 days we leave for America and Olivia and I will be taking a break from the Noctorum project, leaving the brew to Dare to stir into a tasty soup. By spring 2018 we hope to have completed two different albums, Noctorum’s fourth and MOAT’s as yet untitled second album. Olivia has been putting together short videos of our process on the project, which not only show parts of the tunes and some of the technical challenges, but also the fun we have working on the recording. I love making music, I’m not sure its quality is determined by your attention to misery over dedication to the art itself. We have concentrated on the Noctorum record for the videos, but Niko, my partner in the MOAT project, has been down to Penzance where we have shaped the beginnings of 12 new songs that we will continue to work on in the new year to spring, also with Dare. Hopefully then we will have some amusing recording session videos for your viewing and listening pleasure and even some cool songs to tantalize you with. In the meantime, I sincerely hope you enjoy these snippets and eventually the albums themselves, presuming we can find the funds to continue to make them, manufacture them and release them next year. For updates, progress and the developments that will take these albums from a few ideas to finished records with artwork and titles, keep paying attention to the FB pages, YouTube, the In Deep Music Archive website and this spot right here. Video stars include – Richard on trumpet, Michele Drees on drums, Eddie John (Stackridge) on drums, Georgia Dulcie on vocals, Duncan Bridgeman (1 Giant Leap) on flute, Olivia on violin, cellolin and vocals, Dare on bits of everything, including taking a noise from string, wood, brass and skin and making it sound important, oh yeah and me. x MWP”

Making Of NOCTORUM IV - Part 1
Making Of NOCTORUM IV - Part 2
Making Of NOCTORUM IV - Part 3

Written by Olivia Willson-Piper · Categorized: News

Mar 01 2017

Acoustic Gigs Buenos Aires – Reviews (by Noelia Fernandez)

The lovely Noelia Fernandez from Buenos Aires wrote two beautiful reviews of our acoustic gigs in Buenos Aires in February 2017. For all you Spanish speaking people out there – you are lucky. The articles are written in a beautifully personal, poetic, tell-tale-y way and even though Google Translator messes up the translation, have a read through the English version below. For the originals, click here:

Review El Emergente 10/02/17

Review El Sol 16/02/17

The true magician among the spirits

 

Marty Willson-Piper and Olivia Dibowski, El Emergente Bar, 10th February 2017 by Noelia Fernandez. Photographs: Nazarena Talice.

I am certain of a thousand things
I know nothing of a million more
The silence will eventually ring
Just listen, just listen …
(Marty Willson-Piper. “Listen / Space”)

At about 8:30 pm that rainy Friday, I approach, anxiously, the door of El Emergente, which, as I had imagined before I arrived, was still almost hermetically closed. I sat on a step to read the newspaper when, after a few minutes, in an unexpected moment, the heavy gate opened for just some seconds, enough, however, for this chronicler to be able to recognize, backwards, the hero of the guitar, Marty Willson-Piper, who was arguing furiously with the sound technician. That was the abrupt beginning of the gap between the reality of the newspaper and the night that was waiting for me.

However, I feared, at that time, that this reality would push me back into the void and leave behind the wish that had been haunting me for decades. When we realized that, after closing the door again, the discussion continued, the few who were there wondered if, due to this conflict, the intimate concert of Marty and his faithful partner, German violinist Olivia Dibowski, would still be standing. I imagined myself taking bitterly the bus again to go home, disappointed, and with my soul empty. But when the place finally opened at 9pm, this time, to make the audience enter, all fears were dispelled. I calmed down and, at the same time, I got filled with anxiety (even more?). There, on the high stage of the obscure Emergente pub, I saw my hero, the legendary Marty Willson-Piper – former member of bands like All About Eve, The Church and The Saints; creator, in addition, of the original duo Noctorum, and architect of a beautiful and prolific solo career – tuning his guitar.

People hurry to settle in the place; some stand together around the tables, two post punk girls walk on very high heels looking for a place to stay. Marty asks them to sit down because, he says, it is not healthy to stay standing on those shoes. He also says, emphatically, that those who are speaking in the background should be silent. Just make silence “for only an hour. What important thing do you need to say while a musician is playing?“ – expresses in English language with an irritation that is immediately revealed as a passing state, but that at the beginning of the concert Marty drags from the sound check, failed because of the inefficiency and lack of interest of the technician; a true classic to which we, musicians from Buenos Aires, are almost already habituated.

As the audience comes in (“Are there any people out yet?” he asks in Spanish), Marty prepares the strings. He is anxious to play all the songs he has rehearsed, since there is little time because another band will play, later, on stage. He cares about making everyone understand him when he speaks, so that he makes big efforts to express himself in Spanish and, in the middle of the show, asks the audience for the words he does not know. He wants to know how many of those who fill the place understand English. He concludes, after complaining about the complexities and absurdities of Spanish grammar, that “sobre” (“about”) is a very important word that he must not forget, and the crowd laughs at the witty joke. He assures that English is easier than Spanish, to which I answer “nooo!” loudly. That would be the beginning of a friendly, spontaneous and fun exchange between the audience and the musician throughout the short show. Olivia, meanwhile, stands erect and silent. It is because she speaks through her violin; an original piece of the XVIII century that looks as if it was, almost, part of her slender figure.
As soon as the first arpeggiated notes of “Water” sound, I break down and cry, alone, sitting at the table that’s in front of the stage, but hidden. It was a moment that I had imagined a thousand times, but no one had been able to convince me that it would ever happen. The legendary 12-string acoustic Takamine –a classic instrument of Marty’s gear that I still could not believe I was seeing in the real life – sounds penetrating, powerful and deep like a waterfall, as if it were two guitars playing in unison; typical and very functional effect of guitars with duplicated strings.

Marty announces that the next song belongs to one of his favourite bands: Big Star. He seeks to inquire how many people know them. He wants to share his favorite music with the world. The encyclopedic project he created, In Deep Music Archive, has been precisely intended for this purpose. But the hesitant response he receives from the public disappoints him, and then he does not hesitate to urge emphatically the audience to buy Big Star albums next day, “at ten o’clock”, when all record stores in Buenos Aires are open. People, of course, burst into a laugh of as many, as if the intimate concert frequently became in a sort of stand up comedy in between songs. 

Just after the show starts, this chronicler shouts: “You whisper !!!”; one of the songs that are part of the precious second solo album by Marty -Art Attack. He graciously reproaches my impatience and assures me that this is how heavy metal fans behave. We all laugh again immediately.
After a while, Olivia looks at me and smiles complicitly from the stage. She points to the set list that’s on the floor and, with a silent gesture, looks at me to notify that this so wanted song (but if it’s just one of all those that I dare to ask, only temporarily overcoming the embarrassment and throwing momentarily overboard my eagerness not to invade!) is next. “Where’s the Metallica fan?” Marty asks, following the joke started earlier. I raise both hands: “Here!” I shout joining him in the fun. Then he tells an imaginary and absurd story about the title of the song – always while mocking my anxiety – to conclude that, as a matter of fact, he ended up titling it “You whisper.”

While the song was playing, I perceive, down the stage, that Marty almost keeps his view on me, as if he wanted and could know what were all those invisible feelings that were happening inside me, or what I was feeling and thinking with that song that I had so often enjoyed and hummed in my loneliness for the last twenty-five years. Later, during the pleasant and interesting talk that we shared in a nearby restaurant, he would say, about himself and his experience as an inveterate music lover: “music pierces my soul”. I realize that this visceral description could also define me, and that it is what my face or expression, it seems, does not stop to make evident, because of the way I think he looks at me from above, even when I try to resist or dissimulate … It is as if, without words, he was saying: “you see? It was just a question of being patient: here you have what you asked for”. Anyway, maybe it’s just part of the epiphany in which I’m immersed due to the strings of the instruments and the typical raspy voice of my hero. This is how my mind, my heart and even my body flow as the warmest versions of Church classics like “Tristesse” and even “Into my hands”are playing, before which announcement a wide sigh is heard among the audience. Clearly; It’s me, who can not contain the thrill of being able to hear that perfect piece of Remote Luxury. The audience is also ecstatic, now, and silent before the deployment of songs.

The set continues with “After Eight”, the melancholic “Ugly And Cruel”, “High As A Kite” and “Chromium”; another classic of The Church that is in After Everything Now This, album that, according to Marty, nobody bought. Several people from the audience proudly contradict him – “I have it!”- we say. He then begins to count, as if it was a class at school, how many are the ones who raise our hands. “Five,” says, funny.

During the show, both musicians make eye contact and kiss each other like two teenagers between the songs. This is felt and perceived down the stage as a greeting, as gratitude, or perhaps as a mutual reward for a well done work or the shared pleasure for music. The connection between them is immediate and total, and he is in charge of lovingly complimenting his companion commenting with the audience how much he admires her beauty and talent as a musician. “She has great ease to learn the songs” he says, emphasizing her natural gift to interpret and adapt in violin all those classic guitar solos that, for example, in Church albums, were played by Peter Koppes, or Marty himself, who is in charge of the most rhythmic part tonight. But, above all, the host’s praise points to Olivia’s extraordinary and complete understanding of the music they play. The lady wears a beautiful evening dress that was bought in Buenos Aires that same afternoon – according to Marty himself tells in another of his enthusiastic comments during the show. I pondered myself her outfit when I greeted the violinist. She commented that it was “too long to dance tango”.

Then, the most waited moment for many people in the audience comes. The first chords of “Under the Milky Way” make their appearance, but Marty stops abruptly and threatens – always joking with the audience – not to play it. However, this Church superclassic so classic that it was even integrated into the soundtrack of the film Donnie Darko and has been, very often and unfairly, the only song that audiences know takes its road back and glides with no pauses or new practical jokes along with the voices of the audience that sings the well-known chorus. The excellent harmónica solo offered by the studio version is brilliantly performed by Olivia’s strings, which also improvises on the end, where originally Koppes played a dark and somber ride of a Fender Floyd Rose.  

And the end is coming. The show is – or is made – extremely short for everyone. It’s not possible! Just one hour? It was true, then … Good things last little. Naturally, the school children of the audience protest and kick, but the teacher Marty makes clear that he cannot keep on playing because the other band is coming… And promises a new show for the next few days, which is, of course, celebrated by everyone. “Come. I can play some other songs; I have many! “he proposes, as if he was a seller trying to place on the market a product that is not really good at a glance … And as if it was necessary to convince someone to live such an unforgettable and incredible experience again! Obviously, after this announcement, we all left more or less quietly. An interesting, warm and entertaining conversation with Marty and Olivia was waiting for us at the door of El Emergente and the nearby restaurant.

After two o’clock in the morning, having said goodbye to the lovely couple and to all those people who had the privilege of sharing that night with them, I got on the bus which took about forty minutes to come still wondering if what I had experienced had really happened. I put on the headphones. Gold Afternoon Fix sounds from start to finish. The same raspy voice that I heard a while ago sings the most rocker song of the album; “Russian autumn heart”. I watch the view from the bus window and I see a madman at a corner playing some Beatles music with a beautiful replica of a Rickenbaker, alike to one that Marty lost in a robbery. I conclude that it did happen: what I had waited for so many years, really occurred that night. I smile gladly as I understand that reality is not (just) what the newspaper tells.

I am not sleepy. As I come home, I sit and write.

Noelia Fernandez

Written by Olivia Willson-Piper · Categorized: News

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Look what's on its way to us to be signed! #moatpo Look what's on its way to us to be signed! #moatpoisonstream #schoolkidsrecords #martywillsonpiper #nikoröhlcke

Photo by Aram Delgado
Album Cover Photograph by @januddenfeldt
Celebrating becoming a Portuguese resident today 😎
3 Years 🏹 3 Years 🏹
Follow Marty's daily musings at martywillson-piper Follow Marty's daily musings at martywillson-piper.com/category/blog
Thanks to Mark Bundy for sending us this picture f Thanks to Mark Bundy for sending us this picture from the National Portrait Gallery in Canberra and to Neal Rogers for reminding us to share it.

This from Mark: "It was printed onto the column...it looked amazing, it was positioned right at the start of the exhibition and is one of the first pieces you see...only a few artists were given columns."

#nationalportraitgallery #canberra #rickenbacker
たけみね たけみね
The classic 🎸 #fender #fendersix #fendersixstr The classic 🎸

#fender #fendersix #fendersixstringbass #viploungestudio
Today we're celebrating the ONE YEAR anniversary o Today we're celebrating the ONE YEAR anniversary of the release of Atlantaeum Flood's debut album ONE DAY. 🌑

Grab a copy here (CD or vinyl): https://schoolkidsrecords.com/UPC/634457831216

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"These are awesome sessions that I highly recommend for guitar players of all levels. Very informative, frank discussions on everything related to guitar and music in general. Definitely a must for anyone pursuing songwriting."
(Stephen G., VA, USA)

"Marty knows how to bypass scales and get to the heart of feel and timing. His musical knowledge spans multiple cultures and genres. Perhaps most importantly, Marty is a cool dude. I highly recommend his guitar guidance." (Jed B., MN, USA)

"Ok, so you’re sitting in your home and Marty is across the world but is actually right here teaching you how to play guitar and write songs. He is a delight to talk to and he is your teacher, meaning he wants to see you get something out of his lessons. You know he’s paying attention and wants to steer you in the right direction. I am so grateful and humbled that he offers his time in this manner. This is an amazing opportunity for anyone who admires anything from his enormous body of work. How often do you get to learn from somebody that inspired you in the first place? Amazing." (Ann S., CA, USA)

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