3 Hands on a Guitar, 1 Heart Expression

One of the most challenging aspects of any collective collaboration and creative ensemble is also the most rewarding, as you’re able to witness the sum of your parts being in full flexion. Everyone has to dig deep within themselves to touch something that would benefit whatever emotions a song tries to convey. It’s not about trying to find something cool, good, or remarkable, nor is it about looking for any way possible to add your self-serving signature to the mix. You are the lesser part of the whole process, your role is to be disposed to receive whatever might be floating in your unconsciousness, to carefully collect it, offer it to the communal motion, and eventually see it all being reshaped, redefined and reformed as one entirely unique entity, almost in the likes of environmental artists Tan Zi Xi, Swaantje Güntzel, and HA Schult. If you took each of their work’s components individually, you’d only find pieces of trash, commonly disregarded objects, but once assembled, it’s a completely new universe. The art piece not only projects a message from the creator’s mind but more importantly, it sparks personal sensations through anyone disposed to feeling rather than seeing. It’s a publicly shared experience lived in an individual’s utmost intimacy. That’s my perspective on crafting life with others; it’s not me, or me and them, not even us, it’s what emerges from that dug-down assemblage that truly matters…
That’s why today, as we were exploring Up Til Dawn’s nature, I went right beside Ben, who was trying to extend his emotion to his guitar while the rest of the band was deconstructing the song, to basically bang on his instrument as he was playing. I hummed a melody, mimicking how to play the part. It would be quite an interesting, or very funny, scene for you to witness. If singing has always been the most vulnerable aspect there is for me, as it’s the more exposed I am while channeling and communing emotions, I never had any hesitation to take whatever instrument – or someone else’s – to express what I may feel needs to be emphasized. I’m totally de-complexed about jumping at any moment of the process. Sometimes I don’t have any particular ideas, but bringing high positive energy to a moment that seems stuck has the empowering ability to unbind everyone from the frustration that usually comes with turning around something for a while without being able to touch it.
Everyone is accustomed to all my expressive shenanigans, so if I’m not banging on something, I will dance in front of Moose on drums to show him the human flow I want the rhythm to stream into, will be all over Miss Isabel’s station looking for how she could make the sound – or color – I hear in my head. Clarinet? No. Flute? No. Saxophone? No. Trumpet? No. Keyboards? No. Piano? Moog? Rhodes? No, no, no!!! “Oh, can you tweak your voice with an effect that you’ll loop over and over?” And after 2 seconds of trying a few notes, I will be like “That’s it!!! Yes! We got it!!!” Easy, right?

I believe that the injection of such invigorating energy will always find a way to spark all sorts of new creative trajectories, that it will provoke a real transformation, which is the reason why everyone was excited to see me gesticulating frantically in front of Ben; they knew it would seed the onset of a revived enthusiasm and therefore catalyze the necessary momentum needed to propulse the whole band out its negative orbital cycle. And it did, as Ben came out with his own measure of fire, blazing the whole song with a heartfelt blend of melodic noises, flickering aggressions, and soulful ethereal dynamics. The others joined in with their specific language. It was “it”. And despite Miss Isabel’s best effort, the saxophone was still a no!