9

Greetings,

It was five years ago today that 2007 Greek forest fires started to reach its most destructive and lethal levels.  Thanks to a summer season with a strong heat wave, severe drought and some acts of arson, the Peloponnese and Euboea peninsulas had reported over 3,000 fires.  In the end: 2,700 square kilometers (670,000 acres) of forest, olive groves and farmland and 2,100 buildings (including 1,000 houses) were destroyed and eighty-four people lost their lives, including several firefighters.  It was the worst fire breakout Greece had until another wave of forest fires hit Attica two summers later.

I was aware of this thanks to a very vocal colleague who was very much in tune with news outside of the United States and particularly of Greece.  At the time, the country was fixated on Lindsay Lohan’s “one day in jail” due to cocaine use and driving under the influence.  And yet, this occurred.  The U.S. television and media outlets do have their priorities covered.  I began associating the Greek forest fires with a demo I had just made at the time, which had the working title of “Pitfall” (after the 1962 film, directed by Hiroshi Teshigahara).

Since the 2007 Greek forest fires were a starting point, I wanted the lyrics both to reflect that particular event and to be relevant to any devastating moment when it seems as though the rug was pulled from underneath your feet.  It’s that great paradox in creating art where it can reflect a particular event and yet can speak to all similar events (i.e. Picasso’s “Guernica”).  And because it was inspired by a particular event – and I have a strong interest in languages, even I feel very inadequate with them – I wanted to use the event’s language.

Originally, the Greek was going to be a repeating chorus.  But the subject and the language itself pushed it to form its own little mini-epic poem.  Thus, I hear “Firerage” as two parallel yet conjoined songs: one in English and the other in Greek.  Amy Green handled the “English side” with only general direction given by me (she knew it was inspired by a particular event).  The T.S. Eliot allusions were her idea and I approved of it gladly.  The “Greek side” was a long affair as I had first to write what should be said in English and then work with Anna Caraveli on the Greek translation.  To this day, I haven’t been able to sit down and properly “re-translate” what the Greek is and the Greek she used was a collegiate-level, highly sophisticated Greek (my cup of tea really and I’m still very grateful for that aspect of it).  But in general, it starts with complacency, then the devastation, then dealing with the aftermath, first with anger and finally with acceptance and even praise.  Like I said, “Firerage” is really two conjoined yet parallel songs: one in English and the other in Greek.

The Greek vocals were done by me in a period of haste as I was preparing to move out of my apartment in Falls Church, VA to journey north to the greater Boston metropolitan area.  If I had more time and more practice with the language, I could have come up with a better melody for it as well as a better delivery (I think some of my stresses and emphases are not authentically Greek).  Or I could have had someone else sing it for me with some direction.  But on the other hand, it was a sincere effort to memorialize something that was a blow to the Greeks that year.  Forgive me for my shortcomings.

While there were elements in the song I could have done better, I’m proud of it in terms of the music and its overall production.

And for all those who were lost … μπορεί μνήμη τους είναι αιώνια

All the best, DP

8

Greetings,

Just to reiterate, The Singles Volume 1 is available physically (and by a certain extension through Bandcamp) and digitally (through every store TuneCore distributes except for Amazon-On-Demand).  One of the recent additions is Google Play.  Right off the bat and according to them, the project is similar to Pink Floyd, Sufjan Stevens, Sigur Rós and Porcupine Tree.  Not bad for an initial pass … and hopefully more activity –both on my part and by a curious audience – will yield more comparisons.

As the project’s sixth year of existence is approaching, there is that ever-present question: “What is The Spangle Maker?”

This is a dreaded question to answer, whether it’s amongst new company or drafting band biographies.  The best succinct answer I could give is that it’s a “personal musical R&D project” where it’s basically “whatever I want to make.”  Apparently this could put me in the category of “eclectic” where it’s about playing “Genre Roulette” or when you don’t want to make “Neoclassical Punk Zydeco Rockabilly” longer than it already is.  But even with an all-inclusive label, if one exists, I hesitate to give it one because ultimately it’s personal expression.

At its core – no matter what the instrumentation, style, subject matter or execution – it’s personal, honest and sincere.  I don’t apologize for what I’ve released; nor should I.  The sentiments and ideas are genuine and reflect something of me.  And the way I approach is akin to painting where it’s about that moment of inspiration, executing it right then and there and moving onto the next one.  No matter what happens, The Spangle Maker will remain true to that standard.

I conclude with a simple request.  If you are reading this and you don’t know what this sounds like, give it a spin.  And if you do know it, please spread the word about this to anyone and everyone who may like this.

All the best, DP

7

Greetings,

It was five years ago today that at the Virginia Polytechnic Institute and State University campus – better known as Virginia Tech – a student shot thirty-two people dead and wounding twenty-five others.  It’s the deadliest shooting by a single gunman in U.S. history, the worst act of mass murder on college students and the second deadliest act of mass murder at a school campus.

I’m not going to get into the larger issues raised as 1) it’s been extensively covered at the time and since and 2) that’s not really relevant here.  This is strictly personal.

I did not know anyone who was killed or wounded that day personally.  Yet it made an impression on me for two main reasons.  The first one was that I was closer to them in terms of age (I was 26) and experience (finished college two years prior).  The second one was an unspoken bond with Virginian schools as someone who grew up there.  Obviously anyone who attended Virginia Tech was hurt by this.  But this hurt was also felt by those who attended any of the Virginian schools.  It’s an unspoken bond that became very apparent that day.  In fact, I thank Ben Lansing for expressing this sentiment visually at the time:

Another thing I remember very clearly about it was the weather.  During April, it was a spring warm.  But the sixteenth was a significant exception.  It felt like late autumn with cold crisp air and a grey overcast.  All of these things created an association with an earlier musical idea I had.  Thus was born my “musical response” to what happened.  This was – and still is – my humble tribute to what happened at Blacksburg.

Its subtitle is “an elegia in memoriam 16.04.2007 – ut prosim” (using the school’s motto).  Yet I still feel that this can be – and should be – seen as a comfort during any time of mourning, whether it’s for one or for many.  Furthermore, as this anniversary coincides with Bright Monday (or “Easter Monday” for those use the Julian calendar to determine the Pascha date), I affirm and testify that death has been and is still conquered.  Death does not have the final say, even when it seems that way.

May God grant rest to all Thy servants for as much as He is merciful and loves mankind.

Memory eternal.

All the best, DP

6

Greetings one and all,

It was five years ago today when The Romantic Dysthymia was first released into the great wide open.

The concept behind it was providing an “emotional narrative.”  Basically it’s about a young man who goes into the city to try to have a “night out on the town.”  He however feels alone and alienated.  Consumed by this depression whilst walking on the city streets, he reaches the “conclusion” that he should end his internal suffering by jumping into the nearby river.

It accomplished two major goals I had at the time.  The first one was to make a continuous and cohesive work with multiple sections/parts and that could be played from beginning to end.  This reflects a lot of artists I personally like where the focus is more on albums than on individual songs.  Thus I wanted to do the same thing with my own music.  The second one was to channel a lot of internal emotions and thoughts that were bothering me even before I had the idea of The Spangle Maker.

Looking on it now, I still stand behind it because it represents both what I felt and what I could do at the time.  There are some things that I did in it that I wouldn’t do now.  However, unlike other artists I know (both directly and indirectly), I don’t dismiss the early work just because it’s early.  While the Derek Power of 2012 is different than the Derek Power of 2007, they are both the same person.  Furthermore, I’m experimental in the dictionary sense: I test out an idea and produce a result, and as long as I obtain data from it, I consider it a success.

Finally, I appreciate greatly both Natalie Garland and Andrew Thompson for their contributions to this particular release … the release that started it all and not just The Spangle Maker.  Thank you.

All the best, DP

5

Greetings one and all,

Four years ago today, Rand Abdel-Qader was killed by her own father “in the name of honour.”  He felt his honour stained because she was seen conversing – and allegedly had an affair – with a British soldier.  It didn’t matter to him that it was done in public and at a relief centre where she volunteered her time.  It didn’t matter to him that the interactions were pleasant, cordial and even affirming.  It didn’t matter to him that it was, in spite of any feelings she may have felt, very innocent and platonic.  Simply being in the same company as an foreigner, an occupier/invader and an infidel, was enough to murder her, ask that his sons to help her, insured that the rest of the family – with the exception of her mother – disown her and insists that he would have killed her immediately after birth had he known then what he knew now.

It was this story that prompted me to make The Rose of Al Basrah.

This work is the funeral Rand never had.  It affirmed her character as someone who seem to love ideas like beauty and truth in the way seventeen year olds do … with wide-eyed passion.  This is not a declaration of a fault.  On the contrary, it’s something that most who have lived through that age can understand, myself included.  This work also called what happened to her what it truly was: a brutal, selfish, childish and inexcusable act you could do within your own family.  Her father only demonstrated conditional love toward her daughter.  Furthermore, I could see other ages besides the age he actually was at the time (46).  And finally, it provided a means to wail and mourn for the loss of someone who was created by God and called very good.  If her family couldn’t do it – again with exceptions – someone else should.  That responsibility fell onto me.  My constant hope is that what I could do was done in good service to her … and by extension, to her mother.

I also see this work as a means of calling an “honour killing” in general what it really is: a brutual, selfish, childish and inexcusable act you could do within your own family.  It does not serve any high ideal like justice … there’s nothing just in killing someone within your own family.  And even if you could make a case of an actual transgression against a higher and broader law, i.e. adultery, it neither does nor should warrant a “death sentence.”  All “honour killings” do is make the family patriarch feel better after feeling “stained” due to someone else’s actions.  Consequently, it destroys a life without any semblance of love, compassion, mercy or remorse.  It is simply murder.

And so this work is and shall remain dedicated to all who have been killed in this way … “in the name of honour.”

For you, Rand (23.06.1990-16.03.2008)

All the best, DP

4

Greetings one and all,

Again, my apologies for the silence.  But you know that when I do say something, it’s worth it.

I’ve included the option to get a digital copy of the album direct from Bandcamp when you purchase the CD.  When you purchase it – either in the flesh or via the Internet æther – you will get instructions, including the code, on how to redeem it.  Obtaining it from Bandcamp allows you the option to choose pretty much any format you want such as FLAC, Apple Lossless and OggVorbis.

(Those who have purchased them from me before have already received their instructions.)

This free download is only available in conjunction with the CD purchase.

Thank you and hope to talk soon …

All the best, DP

3

Greetings one and all,

My apologies for not updating frequently.  On any given day, my life – personal, creative and otherwise – is not that interesting to report and I believe in reporting on things that are worth reporting.  There are a few things I would like to address.

You can connect with the project through Facebook and Twitter.

There’s also a basic artist page set up in the following sites: Discogs, iLike, Last.fm, MySpace, PureVolume, ReverbNation.

There is a channel on YouTube where any future videos will be posted as well as high quality versions of the complete TSM discography thus far.

And of course you can purchase music at many of the major digital music sites and Bandcamp.

I still have plenty of physical CDs of The Singles Volume 1 and look here for purchase information.

Thus I raise a glass for the conclusion of 2011 and the arrival of 2012.

All the best, DP