The Real Pandemic - The Emptys Response

My website

 https://www.theemptysresponse.com/

The Emptys Response autobiography

Biography of 

The Emptys Response

I am Jamie Scott Palmer based in Wellington, New Zealand, (Te Whanganui-a-Tara, Aotearoa.) 

I have had a deep fundamental passion for music from birth. My formal training started when I was 6 years old on classical Piano and Piano theory under the tutelage of the Royal School of Music. I managed a 100% pass mark on my first ever music examination which was Piano theory grade 1. 

I basically grew up with a lot of classical music training and hearing my parents favourite records, plus what my older brother and sister listened to. My parents were into a lot of country music and 'crooners' like Jim Reeves, plus folky stuff. A lot of it was music from the '50's, '60's, and '70's. My sister liked the more mainstream music being released at the time, which was the '80's. They were some of the popular bands and solo artists of the time like Duran Duran, George Michael, Pet Shop Boys, Depeche Mode, etc. My brother was a massive doorway for me. We shared a room. He introduced me to a lot of music which became long term favourites such as Jimi Hendrix, Deep Purple, The Cure, Led Zeppelin, Pink Floyd, Syd Barrett, The Rolling Stones, Sex Pistols and many others. 

I found myself daydreaming a lot and fantasized about being a 'superstar' electric guitarist in the vein of Ritchie Blackmore or Eddie Van Halen. On my 14th birthday my parents got me a Westone Pantera electric guitar and Rockit Pro Champ 50 watt amp. It was musical chaos from then on, 1989, and my first year of High School. I practised for hours each night and by 1992 all of my 'homework' was learning my favourite songs by my current favourite bands every night and practically almost every waking moment outside of school. Predictably my grades dropped. I learned the entire 'Blood Sugar Sex Magik' album by Red Hot Chili Peppers, by ear, in 1992. To 'compete' with other High School guitarists I made a conscious decision to become a 'shredder' by learning the entire 'Surfing With The Alien' album by Joe Satriani in 1993 when I was 17. Then I became obsessed with learning the 'Master of Puppets' album by Metallica among other stuff with shredding lead guitarists. I'd already been jamming on Hendrix songs over the few previous years which technically warmed me up, skillwise, to the shredders I insatiably immersed myself in. You could say I was competitive and my opinion of what made an amazing guitarist was based on histrionics. Hey, I was a teenage boy with testosterone rushing through my body. The other school shredders and I gained a reptutation because of these rather 'deluded' (sic) beliefs. 

Anyway, after having played live at school and jamming at friends houses and the odd party, (mainly doing covers,) I realised that I was musically unfulfilled. I needed musical outlets for my original compositions. Around this time I was actually writing poems more than writing original music. So I continued to play covers with occasional improvisations in makeshift bands I ended up in. Occasionally I'd play bass guitar. Oh, one thing I forgot to mention is that I had a Flamenco guitar teacher in 1992. It was Robbie Krieger of The Doors who piqued my interest in that style of music. My teacher, Ann Ribeiro, chose me as her solo opening act for some national gigs she planned to embark on with me. I'd only been playing Flamenco for 6 months and felt the pressure immensely. She was also going to book me in for a Grade 6 practical exam. It was all a bit overwhelming and so when I went away skiing, after I got back I didn't make contact with her and immediately quit. (She didn't have my contact details.) Pretty rude of me and not very tactful and/or considerate at all, I know, however I was a shy 17 year old at the time, and really wanted to dedicate myself more to 'contemporary' music. My parents called her so they ended up dealing with it. 

I'd written some guitar music around this time but none of it got recorded or played live. 

It wasn't until well into the '90's that I really started to develop as an original musician. I added guitars and occasional bass to spontaneous bands I found myself in with friends. Slowly I realised that most of my ideas and musical expressionisms were more suited as a solo project. Eventually I ended up recording tunes I'd come up with on friends computers, a 4 track Tascam tape device, and other semi-random tools of lo-fi production. An old tape of mine had a lot of guitar stylings influenced by John Frusciante's first solo albums 'Niandra Lades and Usually just a t-shirt.' Backwards guitars became a trademark 'signature' sound of mine, inspired by George Harrison, Dave Gimour, Syd Barrett, Frusciante, and other guitarists. Having played in quite a few bands by 2009 I really started to up the ante re my solo recordings after my girlfriend at the time taught me the basics of Pro Tools. I'd taught myself how to use Reason for string emulations, drum programming, etc. To expand my music I'd uploaded to Myspace I started a Soundcloud and Bandcamp page.  My recent tracks which were becoming more regular got uploaded there. Some became EP's and albums. A lot of it was improvised first takes on the germ of an idea. My musical productivity increased dramatically. It was then that I decided to use my Bandcamp page as an autobiography in music form. If I want to be reminded of a certain period of my life all I need to do is visit my Bandcamp page. 

Separate from my grandiose sonic solo expressionisms some of the bands I've been in are Smash Face, (a heavy covers band specialising in Black Sabbath, Metallica, Ministry, and others,) Divine Felony, (a 'punk opera' 'oblivion rock' 'psychedelic noise' band,) Sunshine Suite, (playing guitar and keys for my friends solo music, though he let me come up with my own guitar parts,) The Phrenologist, (an opiated sounding 2 piece in which I helped my friend make his songs come to fruition live. He also let me come up with my own parts, mainly on keys,) The Plastic No Band, (a psychedelic pop band in the vein of Velvet Underground, early Pink Floyd, Brian Jonestown Massacre, The Beatles, etc. I played mainly bass and electric guitar in that band,) Dreams are Like Water, (in which I was initially asked to play keys, add atmospherics, co-write, and add occasional guitar. A dreamy, ethereal, gothy band with mainly female vocals,) Buffalo Bunny, (a 2 piece band in which I made most of the music on guitar and keys, with some drum machines, samples, and female vocals. Kind of David Lynch ish sounding,) and a band doing a tribute to The Smiths called 'Salford Lads Club' from 2003 - 2005. Salford Lads was a very fulfilling project as Johnny Marr had recently become one of my all time favourite guitarists. I auditoned and got the job only knowing one Smiths song, 'Reel Around the Fontain.' We ended up with a manager, sponsor, our own sound guy and lighting guy (in our hometown of Wellington,) interviews, radio appearances, TV appearances, and a brief national tour, plus loads of fans packing out venues. It was a beautiful experience and I made life long friends from it. Oh, we also used to have a website and were known internationally by many dedicated Smiths fans. There were some recordings on the site. 

In more recent times I formed a 2 piece band, Lornch, with my dear friend and drummer Steve Cochrane who also drums for 'Vorsen.' Lornch is a 'P.O.R.N' band, ('Psychedelic Oblivion Rock Noise') mainly improvisational experiment. Vorson is the solo music outlet for dear friend John Halvorsen of 'Bailterspace,' 'The Gordons,' and 'Skeptics' fame. 

I have performed my solo music live outside of my home nation more than within. Some cities I have perfomed in are Berlin, Budapest, Prague, Amsterdam, Belfast, and London. 

I am currently taking a semi-hiatus from making more solo music as I intend to focus on Lornch and other creative pursuits. However, I do have some rough solo recordings sifting in folders awating their much needed attention for being shaped into their finished state for future release. 

Overall I consider my solo expressions my most personal music as an outlet for my varying moods and emotions. Visual fantasies and longing for travel inspire some of my recordings as does sentimentality, current events, philosophy, existentialism, esotericism, and catharsis. 

Thank you for your valuable time in reading this waffly-burbling-rant. 

Much appreciation. 

Jamie Scott Palmer. 

6th March 2022. 

 

Nový Den 

About recording and release:

This EP was created very quickly with each recording layered with synths and keyboards upon pre programmed drums apart from the last track which was initiated with ambient soundscapes layered subtly and in a subliminal hynagogic state, then drums programmed and additional keys added in the last tracking process.
I felt like I was in a trance while making the final track.

Mixing each track took about 5 minutes as the recorded volumes were near finished already. Fades and panning was done during the mixing process. 

Mastering was unnecessary due to volumes sounding adequate 

after mixing. 

Track order: 

1. The Drive Home     7:48

2. Terraforma              6:24

3. 11:11                       11:11

The Drive Home 

I had just visited a close friend and had to drive home about 45 minutes north after leaving. As I left I mentioned to her that when I get home I'll record something inspired by the drive. It's a scenic drive along a coast road with beautiful views of the sea and mountains in the South Island. 

As soon as I got home I set up my recording equipment and immediately programmed drums which were layered in 3 tracks. I wanted to achieve a sound evoking a rhythmic driving beat in a cruisy way. I then added keys subtly at first, then with a low end 'driving' beat. Towards the end I added arpeggiated keys which are a bit more abrasive than the smooth textures already added. I faded them in and harmonized them with pans coming in on the left side. As mentioned earlier mixing was done super quickly due to my being happy with the recorded volumes. I am happy with the result as I think the music depicts the drive accordingly, which was cruisy and at a consistent speed and mood throughout. I also intended for this first track to be like an 'introduction' piece setting a kind of mellow mood for the 'harder' sonic exploration which was coming on the next track..

Terraforma 

My next track felt like it needed more intensity after the 'low key' electronic mood and style setting of 'The Drive Home.' 

I'd been listening to a duo from Bristol called Fuck Buttons and consciously wanted to emulate an ear-catching and consistent beat throughout, just like they managed to do so brilliantly on their incredibly intense and dynamically layered track called 'Stalker' from their album 'Slow Focus.' 

So in came the drums programming, then an additional layer of hard panned hi-hats. 

Emulating distorted electric guitars via keys kicks off proceedings with the aforementioned initial and repeated beat. I tweaked modulation settings on the distorted guitar emulations via MIDI keys knob manipulations. Other, more industrial (sic) sounding percussive sounds were subtly brought in at times. Arpeggiated synths were brought in and I made slight variations on what notes I played on the 'electric guitar' to break any potential monotony overkill. I also added a noise coming in to kind of surprise listeners. 
Finally, we get back to the earlier sonic 'structure' and additional percussive noises come in towards the end to round out the piece with the distorted 'guitar' ending it all. 

11:11

This is the track which I recorded while visualizing a video I had already made for it. I had plenty of shots of our Christmas lights dangled in the bush in our front yard and steps area. Those lights were filmed at night to achieve the full effect of the lights. Basically this recording is a soundtrack. In order to follow the theme of the EP I deemed it necessary to introduce drums programmed with low end keys added as a sort of 'bass' line. These drums and low end keys don't enter until after the extended dark ambient section which I wanted to sound a bit like a horror film soundtrack. My plan was to move us away from the long, horror sounding intro via the introduction of the drums and 'bass' keys. However, to make the final section sound congruous with the dark intro I mixed up some haunting 'vocal' keys and ended it all abruptly for added initial surprise and tension. 

Final note:

I have been typecast as a guitarist for a long time which could be fair enough because it's the main instrument I play in front of other people and in bands I've played in and in a band I am currently in. However, it kind of annoys me because I use other instruments in my solo recordings to achieve the fruition of my sound. So as a protest against such typecasting I purposefully used no guitars on this EP at all. 

Haiku

Impermanence NOW!

lost and Found without a Sound.                                           

Silence aWaits You....

_____________________________________________

run rings 'Round Circles.

Diametric Opposites.

climbing to Fall Down.

_____________________________________

Leaves fall like No Thought.

A rising Kaleidoscope.

The Cycle’s Constant.

_____________________________________

She Flows through the Clouds.

Whistles among the Spring, Leaves.

the Wind Cries Sighing.

_________________________________

Suns' Rays hit the sand.

We cooled our feet in Water,

with transcient Air.

___________________________________

empty silence with you

.

I know

absolutely nothing.

somehow between us

                                                         memories.

You and I both know absolutely nothing.

Ripped sea riding.

Seemingly life pretending to die

in each other.

Rediscover the mirror.

Thinking  can't explain anything.

So tired of explaining.

(zzzzZZZZzzzzzzzzzzzzz..)

______________________________________________________

Gibberissshh.

somehow

some

 one

suddenly

trees

breathe

me

somewhere 

dreaming

said

you’re

ready

pre

born

memories

while

smiling

clouds

crowd

destiny

grey

slay

ego

scene

ending

terror

bites

you

me

us

trust

never

ever

pillow

dust

gone

bang

when

Automatic Writing 2.

out your window glimpses seeming dreaming meaning breathe 'til next memories relapse collapsing nature calls falls emptiness quest sneezed dimensions over reaching mined mind nevermind time waves greetings relate like eclipsing every nothingness extrapolations sedate automatism scisms divisions oneness us we smiling while all synchronised no time circles spiral cries benevolence!

Automatic Writing

feisty hearts beat passion sense spent bent twisted circle knotted symbiosis gnosis prognosis cured dis-ease please mannerisms spasms nervous system automatism gone next disorderly order pizza bread dead still night crying dreams scene webs bleeding nothing seems went out of space displaced traces maze spanning no time

Kingston, 2013/2014

There's somewhere I go to escape my thoughts to think. (The doorway in the laundry room,)and smoke two thirds of a cigarette to escape the gloom of former lapses trapping me like daisies screaming murder at the lawn mower. Usually crouched like some misdemeanor I mean no hidden guilt arisen, suddenly upstanding my heads hair hits a newly formed spiders web. Why "hello there" Mr. or Miss splendor. I mean you no harm, in fact I attest  to your nature. Excuse me while I empty this bottle upon my spleen and discern you the pleasure that I will not do this again. Upon arrival on the scene (s)he weaves away in nightmarish fantasy wondering, wandering. Sure, your life depends on me remembering whence I came here with respectful intention unknowingly.
So now I feel a new responsibility and connection has allowed itself invention via the universes subtle mention whispering in my ear silently.
I've gained a new friend the spider home maker doorway keeper and blow the smoke well outside. 

We Aren't Monsters Anymore.

Sneak a peek roadside.
See the dead piece of meat.
The smiling family bent again.
We grew together yet blink so out of time.

My tiredness is in your eyes.
Caved in memories like truncheons banging cruel nature.
Time carried us to battleships sinking.
Think we must share laughter before it's too late.

Disaster in knowing the mirror.
Washed up faces trace this body of errors.
The world said test me.
Run away happy and wondrous like kites skiting.
Suddenly winding down that recess of your mind.
Time so slyly slipped on by and left. '
Gasped breath death bespoke you.

Somehow someone smiled somewhere.
Because.
Nothing left to say.
No more trying.
I need you and can't be bothered.

Let it burn.

Fall from the line.
Polyrhythms duo us.
Ashes are what I want.
Slow.
Burned.
Embers of what ought to be gone.