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Posts Tagged ‘Eric Randolph Rasmussen’

I am very proud to announce that my 45th album, a rock-pop work, has just hit the streaming services.

It’s called The Green, Green Gas of Home and it’s been released under the name of my musical act, Salon de la Guerre. I recorded it over the summer. It’s a New Wave-y album with environmental and apocalyptic themes that touches on issues of dementia and memory, things that have affected those near to my heart. It’s got a little soul and a little krautrock.

A lot of the album was recorded with my Logic Pro software instruments, though I snuck in a guitar performance for sonic texture. As much as I loved working with my collaborator Christina E., who did some vocals on my last album, the latest work is, once again, all me all the time in my one-man-band mode.

I describe the album this way on my Bandcamp page:

“Salon de la Guerre’s 45th album is a mix of uptempo pop, rock and electronic songs with apocalyptic overtones about environmental calamity, mental decline, and the economies that emerge from civil collapse, as well as the toll these phenomena take on our families and interpersonal relationships. It’s also got a dose of hope.”

For those of you counting, I now have 586 songs in circulation. If you’re asking, “Does this guy have some kind of weird obsession with counting his songs in the hundreds, and is he excited somehow to say that he’s written almost 600 songs?” The answer is yes and yes. Asked and answered. Sue me.

You can now find The Green, Green Gas of Home available for streaming on services such as Pandora, Amazon Music, Apple Music, Bandcamp, YouTube and Spotify, among other many other platforms both domestic and global. (I still don’t offer physical media like CDs or vinyl, though I can always dream … one day … maybe … )

As usual, the album was written, arranged, performed and produced by me in my home studio in New York City. The album’s cover photo of the child in the gas mask is by Lisa5201.

You can listen to a sample here:

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Cover photo by BogdanV.

In the next couple of months, I hope to put out my 10th novel. I guess you could also call this my eighth novel, except that I broke up one of my fatter books a few years ago into three pieces, hoping readers might be more amenable to it if it came in pieces.

The new book is called The Silly Dreams of Shallow Sleep, and it’s a follow-up to my novel Zip Monkey, which I released some years ago. The series follows the adventures of Angel Bimini, a former pornographic actress who has become a New Jersey private detective.

In the new book, she is asked to follow the business dealings of a dead cancer researcher. His ex-colleague thinks his death might have something to do with the Chinese government and its attempts to infiltrate the U.S. scientific research community. Angel is also dealing with a dependency on prescription painkillers, something she started taking after sustaining injuries in the previous book.

I haven’t written a novel in a few years. I’ve been too busy doing music, which is a lot easier for me to write, produce, and release (as you can tell from my prolific output as Salon de La Guerre). But I started tapping out a new work on Angel Bimini a couple of years ago when I remembered her story really wasn’t finished. I’ve even got sketchy ideas for a third book in the series.

I don’t write long form fiction with the same quick facility that I write music. While it’s easy for me to write dialogue and characters, it’s harder for me to keep a long plot sustained, especially a mystery story. The main thing I usually wanna do with my writing is make people laugh, but keeping the audience interested over the course of a book takes a little bit more effort.

I’m having some friends look over the latest draft before I release it. When I do, it should be available as an ebook on Barnes & Noble and Amazon. I know I promised to have paperback-on-demand versions of my books at some point, but these take a little bit more money investment and are a bit more of a design challenge, so I ask for a little more patience on that front.

Watch here for more news. And if you’re interested in any of my other nine books, you can find them here.

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Salon de la Guerre’s 32nd album is going to come out in the next week. It’s my hardest, fastest, most rockin’ album yet, full of up-tempo alt rock guitar numbers.

To whet your appetite, I’m uploading another cut from SoundCloud. The album will soon appear on iTunes, Amazon, Pandora and YouTube, as well as other music distribution sites, including one big one I won’t mention that’s been in the news for hosting rich asshole anti-vaxxers.

As always, I recorded the album at my home studio in New York City on Logic Pro. I wrote the album, sang on 10 tracks and played guitar on eight of them.

The Banality of Eva

No one ever starts out as a bottom feeder
You’re a pristine block of wood and you carve your own features
Next thing that you know you’re in the tabloid reaches
Got flashlights for eyes just like the dumpster creatures

Made in the trash but
Seeking the light
Morning caller
You’re still made of night
Doing devil’s work
To learn what’s right

Who would ever guess at the banality of Eva
Only those who knew when she was young and peevish
You only had to see she was a little bit tasteless
You only had to know she was a lot impatient

Breaking the mold, wanting to fit in
Never quite knowing what suit she’s in
Wanting to be a celebrity
Wanting to crush all her enemies

Stylish stylish stylishly late
For your for your destiny with fate
Come to be come everything you hate
Your average-ness, what you hope is great

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In the next few weeks, I’ll be putting out a crazy amount of music, including my 28th, 29th and 30th albums. The first one is another contemporary classical piece called The Black Sheep Symphony, part of a series of sorts I’ve developed around a fictional family and their individual biographies (it started in 2016 with Gravitas: A Life, followed by The Widowhood of Bunny in 2017 and Infinity Boy in 2019. The new work continues with some of those same musical themes, but also allowed me the opportunity to get familiar with my new music software Logic Pro.

I have no mission statement for this music nor theory of tonal or microtonal music to discuss, just an abiding love for Prokofiev and Stravinsky and occasionally the mercurial Harry Partch.

The album that will follow this one is a 20-song collection of pop music, but I’ll leave that discussion for another time.

Like many people, my family has endured a bit of turmoil over the past 18 months (though our issues were not directly related to the Covid-19 pandemic). I even thought I might have to stop making music for a while. But then I found a lot of time at home with a new computer and new software–whose musical notation function has allowed me to compose every day and done wonders for my creative flow.

Again, if you’re into it, here’s a sample of The Black Sheep Symphony. As usual, it was composed, arranged and produced by yours truly. (Photo credit: Tatyana Maximova.)

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There’s money in your letters
There’s money in your stones
And when the angel came to collect
There was money in your bones

And he knew by the purple in your blood
And knew by the color of your woes
That you rode across the country
Driven by anger alone

Lost in the country
On the higher plains
Nothing left but ideals
And your bodily remains

It’s in the black of your lungs
And in the anger of your stew
That the desecrating angel and the revenue service
Were both out to get you

And your anger was a cross
That your children had to bear
The woman on the plains
With matted blood in her hair

Lost in the country
With a battered wife
Anger animates your bones
And gives you life

And the desecrating angel
And the government revenue knew
You were an angel of anger
And away you flew

(Lyrics for “Lost in the Country” from the 2019 album Bleed by Salon de la Guerre. Written, performed and produced by Eric Randolph Rasmussen.)

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Within the next month or so, Salon de la Guerre will be releasing two new albums. One is best described as an “art country” album. More on that later. The other is my first album dedicated to jazz and it’s mostly in the Miles Davis-John Coltrane mood, though there are a couple of curveball songs.

Why did I do this? Why do I keep straying from the garage rock that is Salon de la Guerre’s main order of business? Well, there are a few reasons. One is that playing around in different genres helps me innovate and come up with new ideas. Next, I had built up a collection of melodies that didn’t really fit into pop or punk or rock songs very well. After enough of them piled up, I decided to do the right thing with them.

Then there were a few mundane, practical reasons. As regular readers know, I’ve made a few short films; for years, I have had to hide one of my student works from 2006 because I had put a popular Louis Armstrong song on the soundtrack. It was going to be a huge burden to pay for the rights to this song every year, and so I tried to think of a way I could capture the spirit of the piece and make my own jazz song to save the film, “Scrabble Rousers,” from oblivion. I took a huge risk and tried to score it using my own saxophone playing (something I’ve done only a little of since high school). Once I had the sax in my hands, I thought I might as well go all in and record an entire jazz album.

Sorry for the long-winded explanation. The upshot is that I’m fairly proud of the result, which is called Hot Tears.

Attached is a song from the album, which is almost completed.

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Coming soon to Amazon … the last novel in my three-volume work, The Ghost and the Hemispheres.

(Cover design and painting by Corey Brian Sanders.)

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Ghost and Hemispheres Cover Vol. 2I have just released my eighth novel, also known as Volume 2 of my seventh novel. The Ghost and the Hemispheres follows several generations of a Central American family as they experience a coffee boom, civil war, ethnic strive, a communist revolution and its aftermath. As the historical drama unfolds, everybody in the small town of Ascension is suffering from some sort of existential disorder that threatens their very concept of self, being and consciousness.

Volume 2 follows Patroclus Evers, scion of a once legendary family of coffee growers, as he leaves home and goes to the city to study medicine. Very quickly, he falls under the sway of radical students, poets and priests. Yet his dedication to social change is conflicted. From childhood, he has been haunted by feelings that there is another version of himself haunting the world. This person is not only an existential threat. Patroclus also fears that this other him might be enjoying life a lot more.

Volume 2 also follows his aunt Pepa through her own version of capitalist success and downfall, as she seeks the sexual validation of wealthy men, all to spurn the one man she couldn’t have.

The novel is now available in e-book form only, and only on Amazon.com. I hope to release a paperback version through Amazon’s platform next year.

The cover painting and design are by my friend Corey Brian Sanders.

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Ghost and Hemispheres Cover Vol. 1I am proud to announce that my seventh novel, The Ghost and the Hemispheres, Vol. 1, is now available as an e-book on Amazon. This is the first of three volumes, and my plan (hope) is to release the other two later this year and then to release them all in paperback form, maybe in 2021.

Superficially, this is a book about a Central American family coming to grips with change amid political upheaval and revolution. But it’s about a lot more than that. It’s also about science, chaos, narratology, the way consciousness is created, the way memory is stored, the way history is written. It is about the ways people pursue insanity to restore reality. It’s about the ways competing narratives come to define our history, and how truth by itself never seems to be good enough in that regard. Again, superficially, it’s about somebody else’s country, but it’s increasingly about my own.

I’ve been working on some version of this book for a really long time (don’t even ask). Finishing it feels a bit like a part of me is dying. Given our fraught political landscape, I’m a bit wary of how the book and its approach are going to be received, though. I worry it could get attention for the wrong reasons. So you, Beauty Is Imperfection readers, are probably going to be the first (and only) people to hear about it from me.

From the Amazon description:

A mountain town in Central America lives half in reality and half in dream. In Volume 1, Humberto Albedo, an adventurer and thrill-seeker, tries his hand at coffee farming in the early 20th century. His success leads to the formation of a town, and though he had run away from home to escape politics, the locals force him to become their mayor at gunpoint.

You can buy the book here. The book’s cover design and awesome paint were done by my friend Corey B. Sanders.

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American BanjoThe following is a passage from my novel American Banjo, a story about several generations of an aristocratic American family. It was released earlier this year on Amazon.com.

From the diary of Sandra Eccles:

There is a simple elegance to life. There is a simple elegance to a good mystery. You jump on a ship looking for adventure, looking for drama, looking for meaning. And just as you find the object of your desire, your desire evaporates. I seek drama, and I find drama.

I think of Occam’s razor; the simplest explanation is the best one. The simplest way to write a sentence is the best way.

I wonder if I’m mature enough to live my life simply. I start to think of my father. I hate to think that he might have been right. That my defiance was a play I didn’t understand, and now that I do, the defiance means nothing. But you negotiate the paths to wisdom only through action, through praxis; you may climb a mountain only to find there is no longer a mountain to see. That is mountains. And that is philosophy. The journey was the thing. It was good you made the journey. But the wisdom isn’t what you found. The wisdom came from knowing you had to look.

I think about this after returning home and gazing upon the sleeping, topless figure of the woman who tried to steal money from me—the woman who is now my wife. How we got here is not important. I’ve walked through different rooms of life with her and the room we started in has been demolished. I can no longer know the me before Sieglinde. Nor care about who she was before or who I was.

She wasn’t a thief as I found her. She was asleep. People who sleep are innocent.

I had seen Priscilla earlier that day. Priscilla, the doyenne of my scene, the brilliant lawyer who had helped establish the intellectual underpinnings of “judicial interpretation as violence,” the woman who rebelled through textures, seemed to have become sweet on me … as a mother or something more.

“I have to say, when you were at the party the other night without Sieglinde, I began to worry.”

“About?”

“You two have been together for what … 18 months?”

“Two years.”

“What do you talk about?”

“It was a relationship born in a crisis. We emerged from that together.”

“Crisis isn’t a value.”

Priscilla pushed my hair back where she thought she saw a bruise or something. I pulled away. Evidently, she’d heard things.

“Is this an intervention?”

“I’ve come to care about you, Sandra. You’re focused. You’re ambitious. You hurt Sieglinde with a curt remark and don’t notice. She watches you talking to other women.”

“I can’t think about that. This is my book. My career. I won’t be stopped.”

“But she’s your lover. What if she wanted you to stop? For a baby, maybe.”

“I can’t be held back by that.”

“So leave her.”

I snorted a bit.

“I can’t do that either.”

Priscilla, wiser than anybody I’d ever met, waited for an explanation as she sipped her green tea.

“I can’t do it because she was the one who made me what I am. She brought me out.”

“Which makes her not even as important as your mother, who you probably wouldn’t respect anywhere near as much. You really feel as if you owe her your life? The way a child owes something to a parent?”

“Yes, a little.”

“Well, sooner or later, a child can’t owe something to a parent. She must know that what a parent gives to a child besides life is something more precious. Eventually, the parent must give that child freedom. That’s part of the contract.”

“In what law? Not the Torah?”

“In life. In love. You can’t sacrifice yourself for Sieglinde. You don’t owe her your soul. You don’t owe that to anybody.”

“Stop. I won’t do it. I won’t cut her loose.”

She didn’t talk for a long time, then finally …

“There are other people who want you,” Priscilla said. “Women who want to be with you. Who see your value. You don’t have to compromise. I found out a long time ago, even before I left my husband, what it means to be a whole person.”

“And what’s that?”

“Nobody can take on the responsibility of making you happy. And you can’t take on the responsibility of making somebody else happy. It’s too much to ask. And if you do, you’re not really allowing them to live up to being fully human.”

I drank tea and listened, and she pushed my hair back again.

“Cut her loose.”

Copyright 2012.

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