Blog Archives

“Tilden” – released today!

Hear ye! Hear ye!

TildenCoverFinal

“TILDEN” – my 7 song collection is officially released.

Oceans, fire, cello, baroque pop, NYC, my indie-rock roots – a totally new mashup.

“a slice of nautical punk poetry set to cello and performed for a drunken Marie Antoinette birthday party”

Listen here: http://mattloganmusic.bandcamp.com/album/tilden

This one’s dedicated to Ryan Messmore
Cover art by Emily Linstrom

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One week from today – “Tilden”

One week from today, February 20, will see the release of “Tilden”, my latest album of music.

Stay tuned!

tilden2

“April King” – by Snazz Mammoth

A 2-part set of songs by my solo cello-rock-electronica project –

 

we were gone

 

looking back on our regrets

playback on an old cassette

you will be blamed

for taking off too soon

waking up the neighborhood

piling in the backseat

hit the gas and

off we go

 

we’re gone

 

we were gone

none of us were wrong

 

another bridge is calling

the playing field has been

all leveled out

 

we know we’ve been untrue

never wanted you to be disappointed

 

we’ll drive on

and on

and further

 

 

A Thousand Different Sighs

 

We have been gone so long

the pull’s too strong

out here

open road

 

We don’t know when

when we’ll be

be back home again

 

We sigh

a thousand different sighs

 

We every stop we make

our mind does wake

Under open sky

 

We wish we knew

Knew when we’d

We’d be back again

 

We sigh

a thousand different sighs

 

“Undying” – the newest baroque-electronica track from Snazz Mammoth

My musical project, Snazz Mammoth, is a lot of things – sometimes it verges on the folky,

but other times it goes all out – pulling together baroque/classical, rock, and electronica.

 

Almost every track features the cello.

 

Here’s the latest!:

 

For more:

www.myspace.com/snazzmammoth

www.myspace.com/matthewloganmusic

“Ghosts of Lower Manhattan” – by Snazz Mammoth

My cello/rock/psychedelic/baroque/electronica musical project, Snazz Mammoth, has been on a bit of a hiatus lately, but finally new songs are getting done.

This is the latest, inspired by the invisible history of Lower Manhattan, where the old town has been built on top of over and over again, but where the spirits of New Amsterdam are still everyone, floating just behind the surface.

Songs of the Chelsea Hotel

I’d forgotten about the Chelsea Hotel.  Even though I’m in the neighborhood at least once a week, its presence always eludes.  Which is appropriate, because as its long-time residents age, and the NY real estate vultures circle, it’s no longer the place it once was – it hasn’t been for decades now.

And it really doesn’t matter.  The place “it once was” never really was, except in the stories it created.  And these are perpetual, as long as anyone cares to remember.

Without expecting to, I came upon it yesterday.  And out of nowhere those old legends began to tumble forth.

It is a magnificent building.  One of a kind.  Gargantuan, imposing, and gothic, but with touches of grace here and there.  If it didn’t already carry so much cultural baggage, it would have made an even more terrifying setting than the Dakota in Rosemary’s Baby,

It opened in 1884, and its roster of short-term and long-term guests and residents is a staggering cross-section of the 20th century’s creative core.  Mark Twain and O. Henry were early residents.  In 1953, Dylan Thomas died here after his famous binge at the White Horse Tavern.  Jack Kerouac wrote On the Road here not long after.  Not long after that, Arthur C. Clarke wrote 2001: A Space Odyssey in his room here.  The 1960’s and 70’s saw Janis Joplin, Leonard Cohen, Jimi Hendrix, Bob Dylan, Patti Smith, Andy Warhol, Stanley Kubrick….

In the 60’s, actress Edie Sedgwick burned her roomed with an unattended cigarette, Warhol filmed Chelsea Girls; and in 1978, Nancy Spungen was found stabbed to death in the room she was sharing with Sid Vicious of the Sex Pistols.

The litany goes on and on and on, and is the subject of more extensive research than mine.

In high school, during the late ’90’s, a couple of friends and I tried to sneak up the ornate staircase to get a glimpse of one of the rooms.  We were stopped, but had a chance to speak with a longtime resident in the lobby, who “had seen it all”.

The Chelsea Hotel has inspired many a song.  Here are two favorites:

Colorform in Shakefist Magazine

This past Friday, Colorform, a band I play cello in, performed at the Greenpoint Gallery in Brooklyn.  It’s a great space – a two-story warehouse in the industrial fringes of Greenpoint – A ton of rooms to explore, great exhibits, friendly people, a great vibe, and 10 local bands on two stages. 

A great time.  The gallery does these parties at least once a month, and they are definitely worth checking out.  We’ll be back to perform on April 20.

 

Shakefist Magazine was at the event and had this to say about Colorform:

“All this was set amongst a backdrop of about 10 local musical acts who suited the event well. The stand out was Colorform, a simple act featuring a female singer with band including an excellent cellist, who sang catchy songs whilst a friend of their’s created a piece from scratch in front of the stage using pastels. A creative and inventive idea that suited the event to a tee.”

 

For music, and live art, (and to find out about future events and recordings) check out:

http://www.facebook.com/colorformmusic

http://www.myspace.com/colorformmusic

http://www.myspace.com/user/colorformmusic

 

Image

A piece of live art made from scratch at a Colorform show in December

 

 

 

Latest Baroque-Rock aria from Snazz Mammoth!

One of my musical projects, Snazz Mammoth, combines baroque, classical, rococo, and modern rock and electronica.

 

There’ll be more details  on that later, but for now check out our newest piece:

She Tore Down

 

an aria of sorts….

 

Snazz Mammoth at the Return of Rococo Party

Sacred Harp and Idumea

“And am I born to die? To lay this body down…”

The sacred harp, a musical instrument bestowed to us by Creation – our human voice.

The concept is at the core of a capella shape-note singing- a distinctively American way of music – this idea that the gift of the voice is heaven-sent and connects us to the divine.  With roots in the early 19th century, it was among the first styles of music distinct enough to be unique to the New World.  Today it is quite common around the country, but nowhere else more than in its home, the Southern United States.

Shape-note singing is so called because of its notation – to facilitate ease of reading, certain pitches receive a shape that distinguishes them from other notes.

Shape-note singing is an expression of the Sacred Harp.  There is more to it than just singing music.  Especially in the rural South, the Sacred Harp is way of spirituality and community.  There is no audience – each of the four sections face each other in a square.  The person leading is constantly changed-up.  Technique of singing is far less important than the coming together of voices.   Interpretations and embellishment of hymns are passed on aurally to the next generation.

The Sacred Harp is a great example of early America’s quest for a more perfect interpretation of Christianity and society – ideas that are still at the core of this country’s nature.

The raw open harmonies and age-old melodies tear at the soul- they make an intense prayer-  sometimes ecstatic, sometimes apocalyptic.

“Idumea” (number 47b of The Sacred Heart Hymnal) has to be one of the most chilling examples of shape-note singing.  A powerful confrontation with mortality and the transitory nature of existence.

“And am I born to die?
To lay this body down!
And must my trembling spirit fly
Into a world unknown? A land of deepest shade,
Unpierced by human thought;
The dreary regions of the dead,
Where all things are forgot! Soon as from earth I go,
What will become of me?
Eternal happiness or woe
Must then my portion be! Waked by the trumpet sound,
I from my grave shall rise;
And see the Judge with glory crowned,
And see the flaming skies!
The lyrics were written in 1763, and arranged to music in 1816.
It was featured in Cold Mountain, in a polished version, which is nice- but I prefer the more raggedly human versions of the real thing.
For more:
There are also numerous shape-note singing meetings throughout the nation and beyond.  Of course anyone can take part.

A Colorform Friday!

Greetings from the Adirondacks!  (more on that later)

Tomorrow the band I play cello in, Colorform, is rocking out with a brand new full line-up!  If you’re anywhere near NYC, you should definitely check it out.  It’s female vocals, acoustic guitar, bass, drums, cello, AND live improvised art.

The show’s at 10pm at:

The Local 269

269 East Houston Street (btw. Aves A and B)

NYC

$7 cover (for a whole night of music)

Here is a work that artist Sarah Valeri created from scratch during one of our 45 minute sets:

"Gemini" by Sarah Valeri

ALSO
2 weeks from tonight is NY RawArtists’ Illuminaire where some of my Holga and Diana pictures will be showing.  There’s a ton of great artists and creative people involved.   More details later, but check out the site, and your tickets now, as these things tend to sell out.