November 2020 – Email Newsletter

November 2020 – and The Lost Year 

Matt Borghi Michigan Songwriter The Lost Year

Hey there,
 
It’s been a couple months since my last email. I hope you’re doing well and staying healthy.
 
I haven’t been feeling very promotion-oriented lately, but with the release of The Lost Year and the release of the first three Dronearium series (123) recordings over the last couple months, I decided that I should probably send out a note.I am really excited for the release of The Lost Year. This is a recording that I’ve been working on intermittently for the last year. If you liked Consciousness of Light, it’s the follow-up that I promised would be out in early 2020 but, when COVID hit, work crawled to a halt. The Lost Year brings together two things I’ve been trying to successfully merge for years: My deep love for textural, ambient drone music and the other side of my artistic self, my songwriting. I’ve gotten close to merging these at times, but never quite hit it in a way that lasted, for me. Consciousness of Light marked a change in my process, formula and approach; The Lost Year continues what started there. For me it perfectly merges what Brian Eno talked about with ambient music – ‘a music that be listened to as easily as ignored’ but also a music that comes from a deeper part of my artistic self. A quick bit about the Dronearium series:
 
“Dronearium is a series of long form musical soundscapes that takes listeners into an array of ambient soundworlds, all anchored in resonant drones and treated with texture and melancholic nostalgia. Inspiration for these works come from science fiction, archeoastronomy, pre-Columbian peoples and myths, as well as landscapes, seascapes and the natural world, imagined and reimagined.”
 
The Dronearium series (123), for me, started when I wanted to take a break from the songwriting work and just make drones, sounds and textures of a sci-fi or otherworldly nature. The Dronearium series is different than my other ambient music, of late, because music for meditation and sleep has been the focus. With that music, I avoid sharp tones, dissonance, rhythms, etc. things that I enjoy in other music, Stanley Kubrick’s soundtrack to 2001: A Space Odyssey comes to mind. All told, the Dronearium series is still very ambient, but the intention behind it is different.
 
That’s all for now.

Enjoy the new music and let me know how you’re doing.
 
Matt 

The Lost Year

My new recording, The Lost Year, is out now. I am really excited for the release of The Lost Year. This is a recording that I’ve been working on intermittently for the last year. If you liked Consciousness of Light, it’s the follow-up that I promised would be out in early 2020 but, when COVID hit, work crawled to a halt. The Lost Year brings together two things I’ve been trying to successfully merge for years: My deep love for textural, ambient drone music and the other side of my artistic self, my songwriting. I’ve gotten close to merging these at times, but never quite hit it in a way that lasted, for me. Consciousness of Light marked a change in my process, formula and approach; The Lost Year continues what started there. For me it perfectly merges what Brian Eno talked about with ambient music – ‘a music that be listened to as easily as ignored’ but also a music that comes from a deeper part of my artistic self.

Consciousness of Light

I’ve been ‘woodshedding’ for the last 18 months or so, trying to find that sweet spot between ambient and songwriting that I began in 2004 with Olagra, and I’ve been exploring ever since, never quite able to capture the sound I imagined and heard in my head. Well, I’ve finally got something, a process, a sound that stands up to repeated listens. It’s ambient, it drones, it’s sonically interesting, but these are songs that I’ve crafted, words and singing that integrates my being into the music… it can be listened to or ignored, to hearken back to what Eno said regarding what an ambient music should be. 

For a while I was calling it Drone Folk, maybe it is or it isn’t… Either way, I’ve finally hit the mark, captured the lightning in the bottle and merged two sides of my creative self, successfully.

The new recording is called Consciousness of Light. It’s only on Bandcamp right now. I’ll be submitting it to my distributor soon (Spotify, iTunes, Amazon, etc.), but I wanted to give you, in my email community, first crack at this. Consciousness of Light is an EP. I believe that I’ll have a follow-up, full-length done early in 2020, as I have dozens of songs that I’m looking to work into this new process.

I’m super excited about this new recording and I plan to be performing it live as my entire new process is also something that I can recreate for the live audience; that’s really the second exciting dimension of this new direction. To that end, I’ll also be putting up live videos from time to time on my YouTube page – https://www.youtube.com/user/mattborghi

Matt Borghi – Winter Eyes

I’ve started this record dozens of times and each time I stalled, each time it fell to the wayside and didn’t go any further. There have been so many start/stops that I assumed this record would never get made. An attempt at this record was created under my own name from 2006, called Olagra… Originally, Olagra was an idea created in quiet room, then it was a band and then a record that had some allusion to the original ideas and some fragments of the band; but those were little more than sketches. After that Olagra was little more than a haunting sentiment floating in the aether nagging me, constantly reminding me of what could have been, maybe what should have been, but certainly, categorically what wasn’t… until it was: Winter Eyes.

 

Winter Eyes, is the definitive recording of songs that I was writing in 2004 and 2005, and beyond with all of the psych folk, AM 70s light rock and mellow gold that I could mine. It, simultaneously, contains allusions to all these things, while being none of those things. I can find no category to put it in. It just is. I’ve called it ‘psych folk’, but now I call it droneFolk. as good of a label as any I can find, as it’s primarily acoustic and folky, but it’s also rich, sonically, as I chose not to pursue mutually exclusive paths of acoustic conservatism or strict synthesized sonics; instead, I’ve opted to pursue both, equally, simultaneously.

That period of the mid-aughts was special for me, because after a hiatus of more than ten years focusing on sound, rather than songs, I was quite compelled to go back to songwriting, which was where I started, as a wee pup, to begin with. Once I started getting going with the songs I found that they were too personal (too precious) to commodify and bring to life as a “project” or a published recording. I couldn’t separate myself from them enough to do that with the work. Even now, I struggle with this. I think that’s why  there were so many false starts. Eventually, I made peace with the “songs” as a creative path and through that catharsis realized that I was obligated to share this music out, as I had first envisioned it, but wasn’t quite able to capture, so many years before. I’ve done that now.