Close My Eyes and Let it Go (free track)

ey up…

Here is a free English language version of ‘Cierro los Ojos y Despierto’ from my recent Spanish language record Almas Buenas.

Click on arrow pointing downwards to download it.

I’m shooting a stop-motion video for it now 🙂


Autumn, Ephedrine and Rolling Tape

Recording is complete for Almas Buenas. I know I am a lucky man to have had the idea grow over 5 months and for it to flower like this.

The idea for the record was simple: take songs from my back catalogue that lend themselves to different styles of Latin Arrangements, sing them in Spanish and record acoustic musicians live.

I wanted the recording for Almas Buenas to be completely live with a whole group playing in unison as it is a romantic and dangerous thing to do and if done right then this magic translates into what is recorded. Unless you have top quality musicians this approach can end in chaos and the truth is that most records are made using a sucession of overdubs because it is simply easier to do and runs less risk.

The studio, Moebio, is a mythical place not listed on many maps or findable on the internet due to the slightly eccentric nature of the owner but is a hidden home for acoustic recordings for those in the know. It is one of the finest studio rooms in Argentina specially designed by Carlos Piriz – an acoustic engineer recognized throughout Latin America as one of the best.

Some of the greatest artists of recent times have recorded in this room, including Mercedes Sosa, the guitarist and composer Juan Falu, the guitarist Luis Salinas, the violinist, composer and conductor Antonio Agri, Soda Stereo, Fito Paez, Luis Alberto Spinetta, Charly García, La Camerata Bariloche. The historic album “200 Years of Argentina Music” by the Salta Symphony Orchestra, was also undertaken in Moebio.

The change to Autumn in Buenos Aires caught me by surprise and three days before the recording and I foolishly left a window open at night in my bedroom which saw me waking up with a cold and lots of nose gunk. Thankfully Jorge had a special remedy including Ephedrine which instantly cleared my head but it was strong stuff.

Oscar Magariños, came recommeded as a recording sound engineer for the project, by Jorge, and it was Oscar that suggested Moebio Studios to record. Oscar had prepped the room before with layouts and microphones so when we arrived things were smooth and enginnering effort invisible to the performers which is the way it should be.

The musicians arrived and gelled very quickly. The double bass player had been changed at the last minute and was replaced by the legendary Juan Pablo Navarro who, until the sessions, hadn´t worked with any of the other musicians on the songs. Juan´s calibre was such that this didn´t matter and he anchored the rhythm and the music perfectly. Carlos Corrales on bandoneon proved to be a focal point for the group due to his outstanding musicality and charisma.

Jorge Soldera conducted the arrangements in the centre of the room and for separation I sang from the control booth.

We only had the bandoneon and piano player for one day but we managed to get all six songs they featured on recorded.

As some songs had many mid frequencies to deal with from bandoneon, guitar, piano, voice and percussion it was useful that the piano in the studio had been chosen especially to have a dark tonal quality allowing it so sit alongside some of the brighter instruments. It was a ´tango piano´. Matias Chapiro, a young pianist and composer, played extremely sensitively and framed the songs with an inspired touch.

The day was finished off with an eyeball to eyeball tango performance by Carlos and myself. Jorge and I had reworked the song Blowin´ Up Tryin´ 2B Somebody (Exploto Mientras Trato Ser Alguien) into a completely new tango variant and Carlos had written a new arrangement for it. It was a great honour for me to have Carlos undertake this arrangement as he is one of the most famous bandoneon players working in the world today with performances and credits across the world. The first time I heard the new arrangement was at the session and after a trial run we managed to get synchronicity with an explosive take. One of the tricks of tango is that it is not in strict time and the performers are expected to push and pull the timing to suit the mood. One final thing about Carlos – he used to box in the same club I have been going to in Almagro. Perfecto.

Sergio Carrera the graphic artist also came down to the session to do photo studies of the musicians for his album artwork composition.

Focus was on the guitar led tracks and with only two remaining we manged to get through them fine along with one or two percussion overdubs. The track Don´t Get All Stuck (No Te Dejes Atrapar) was electrifying. There are tonnes of words for this track and during preproduction we had to move the tempo down from 115bpm to 112bpm so I could blurt them all out successfully. However during the recording the flamenco style had the musicians excited and we did a version even higher than 115bpm. Victor Piseta, on spanish guitar, dazzled with his virtuoso playing inspired by Paco de Lucia and Astor Piazzolla. Victor´s current direction is primarily folklorico with Duo Matices although he has also toured with the trio, Guitarras de Fuego, and recorded as a solo guitar artist. There are big things to come for Victor.

Vocals. Ephedrine. Honey. Lemon. Spanish language Gods were looking down on me on this day.

Trumpet track for Let the Credits Roll (Que Pasen los Créditos). This track needed a muted trumpet to give it a New Orleans funeral procession inkeeping with the sentiment of the song. I wrote this song a few years ago after my band The Good Hurt broke up.

Patricia Zania, a BsAs fashionista, took photos and video footage leading up to and during the recording. I hope to get some of it edited and translated back in London.

Thursday night was strange. My whole calendar had been focussed around this record and it was only after finishing at the studio that I realised I would be leaving in a week. The mixing will be done over the next few days and before I know it I´ll be back in London.

At least my girl and the sun will be there 🙂

All is Calm?

Dear Reader,

Hoping you are having a good December so far!?

I’d like to invite you to download, for free, my version of Silent Night.

Silent Night – mp3 version

This version of Silent Night was recorded when I was living in Kerala for 2 years recording with Carnatic musicians. When I recorded it the backdrop was the unfolding US policy as a result of 9/11 and it seems all these years later there are still problems all over the world.

Recently in Bombay there were terror attacks and there still continues to be demonisation of whole ethnic groups on all sides across the world. This track, from the album 100 Fields, was made with 2 Hindus, 2 Christians, 2 Muslims, 1 agnostic, 1 spiritualist and a Drongomala – it’s easy to make music really.

The track Silent Night will be free to download from this blog post or from all through Dec 08 until 2009. A notably wonderful Veena part played by Biju is a must listen on this track.

  • Drongomala : vocals, acoustic guitar and arrangements.
  • Balu – mridangham
  • A.R. Biju : veena
  • Jon Thorne : double bass
  • Ian Holmes-Lewis : percussion
  • Sanjay/Merlin/Lenoy/Sandra/Ramesh/Sujith – choir


Album Title : 100 Fields

Artist : Drongomala

Catalogue : FMCDA003

Label : Flying Mountain

For more information

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Louis Oak Anderson – Up North in the Coalshed

Drongomala on Louis: At a stag party up on the Scottish island of Jura a friend of mine played me some demo tracks by Louis ‘Oak’ Anderson that he wanted me to hear (the island of Jura was where the KLF burned a million pounds).

I liked Louis’ fragile voice and it reminded me of the tightrope romance of Tindersticks. I ended up producing this EP for him and was lucky enough to get Iain Dixon on flute. Iain’s Flute runs from Macbeth to Puck and he does things like turn down touring with Van Morrison. Iain has played with artists as diverse as Joni Mitchel and Primal Scream and is a leading light in the UK jazz scene.

I sang harmony to Louis and played ‘gypsy’ percussion on pizza boxes and Oxo canisters. I produced it using old BBC ribbon microphones for that warmth and natural sound.

The first mixes were ready. This was in 2006 and then the master tapes were stolen by a skaghead in Salford, Manchester.

I’ve finally managed to recover the sessions and mix it a couple of years later. Louis’ voice has the sound of loss, anger and tenderness. His insistent metronomic guitar pushes the music forward yet the sound remains relaxed. Louis has a car boot full of songs and these are just the ones I wanted him to record.

The songs on this EP are predominantly about people and the simple lyrics delicately capture moments in his life. Louis’ mobile phone messages to me often says he’s moving into a new caravan soon and he’s always heartbroken about a girl. When he came to Manchester to meet me it was the furthest North he’d ever been.

It’s was done Up North In the Coalshed
Drongomala, April 2008

Available at Gigs Now – in iTunes in May 2008’ish.

We’re doing a gig this w/e in Devon to mini-launch it.

Buy Now

EP: Up North in the Coalshed

Artist: Louis Oak Anderson

Flying Mountain Records FMCDA005
songs written by Louis Oak Anderson
arranged and produed by Drongomala
louis website:

louis oak anderson – voice and guitar, Ian Dixon – flute and clarinet, Drongomala – voice and percussion

genre: true folk
sounds a bit like: Incredible String Band, Nick Drake
check it: Ian Dixon has played with Primal Scream and turned down Van Morrison and is featured on another release we have coming up in the summer 2008 – 12000 Miles as the White Crane Flies