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 Road Less Travelled

As was started over a year ago with the release of Consciousness of Light and I continued to work on through the early pandemic lockdown, it’s all about the songs and songwriting. I’ve released a few things in that time, a new series called Dronearium (1 and 2 are out now) of mostly long-from atmospheric soundscapes – I have about ten of these that are mostly finished that I’ve worked on over the last year, as well as releasing a recording that Michael Teager and I had worked on for quite some time, Subterranean Bearings.

Through it all, through all of this crazy 2020, the songs have been a touchstone. I constantly come back to the songs. I’ve tried to create a follow-up to Ambient Guitar not less than 40 times and I have dozens of guitar-centric ambient tracks. The smart money is on an Ambient Guitar follow-up, which folks have loved and has given me no shortage of good energy inspiration, but the inspiration continues to move to the songs – Back to basics.

I’m particularly proud of this May YouTube performance, where I brought together the songs with ambient guitar in a live performance setting:

I feel like this is the future, right now, but usually no sooner than I’ve said it, the muse takes me down some other creative rabbit hole.

For the better part of this year and last, I’ve been working on a recording I’ve been calling “Within/Without” but then I found another record with that name, so now I don’t know what I’m calling it. This record is song-centric. It could be summed as songs with ambient drones and textures, like Olagra, like Consciousness of Light, but, presently, there’s only one instrumental track.

It’s been with no shortage of self-consciousness, which is likely why it’s taken me 15 years and more start/stops that I can recall, to make the songs the focal point. I’ve loved my exploration of sound and textures and raw, unbridled creativity, but I’ve also felt, at times, emotionally absent from those recordings, perhaps its the lack of ego in that music and perhaps it’s a good thing. Perhaps the songs are the ego’s way of pulling me into myself rather than focusing on a music that’s beyond myself and not about me. That’s plausible, but I have to take the journey. No shortcuts.

So, yeah, that’s where things are. I’m writing songs. I’m singing songs. I’ve called it ambient folk, drone folk and dreamt up many more marketing categories to try and relay, in a few words, what I’m trying to achieve. It just doesn’t work that way.

I hope you’ll stay with me, but I understand that, as a friend once told me as a punchline to a joke: “I’m not interested in growing with you as an artist; just play the hits.”