The Making of -Â âDisneyâs Hyperfantasiaâ - Sal Viejo
How do you (or I) write a cathartic song? The more I look at this question the more it becomes increasingly simple and complicated in my mind. On one hand, I know how to do it. Iâve done it for three years as Sal Viejo, listened to cathartic music from other bands and watched performances that sent waves of catharsis through the room. You just do it. On the other hand, saying âyou (or I) just do itâ is an answer that is unsatisfying, and I know that there have been times where I have been unable to write a cathartic song where the advice âjust do itâ would have sent me into a rage. So, I decided to write a cathartic song, as I have done before but this time, using autoethnographic research methods, explore my process not only documenting what I was doing but reflecting on the parts of my real life that went into the song.
Catharsis as a feeling is difficult to define, especially from an academic perspective. An interesting note from some of my reading into music therapy is that the music we listen to shapes our lives and experience. (Barnes, 2013) Continuing from this idea, Barnes points out a case where a neuropsychologist was struggling down the side of a mountain with a broken leg and eleviated some of the mental strain and pain by focusing on a song. (ibid.) Looking specifically for references to catharsis I found an explanation of the phenomenon in a film text, âCatharsis is Aristotleâs term for the experience of audiences at the end of tragedy â overwhelming feelings of sorrow, pity, or some other strong emotions caused by the representation of tragic and piteous events⌠Aristotle and most of his commentators agree that catharsis, whatever it is, occurs to the beneficial effect of the audience.â (Plantinga, 2009) I feel that mainstream media has changed the meaning of the cathartic experience, in that rather than leaving stories on tragic endings, the trend is to send the crowd home happy. There has been a trend in media to end stories on more tragic notes recently, in my view closer to how things end in real life, Breaking Bad is a great recent example. Tying the two ideas together now, when looking for information on catharsis through music, there proved to be some gaps in the literature. There are discussions of how works have been performed in contexts that have made them cathartic, (Ansari, 2013) how communities use musicking to cope with their economic and social stresses (Stamatis, 2015) and even how music is being used in physiotherapy sessions, showing the role of psychology in pain treatment and management. (le Roux, 1998) My approach to this question hinges on creating a song that provides some level of catharsis, either for me or the listener. Despite my reading, coming to a clear and understood definition of catharsis seems difficult and thus, I think it makes sense to g to the original, Aristotelian definition as provided by Plantinga, overwhelming feelings at the end of a tragedy.
My understanding of autoethnography as a research method comes from some time considering it in the course of my honours and masters study up to this point. One of the core elements that draws me to it is my understanding that at the core of the research is the individual and their creative work (in the context of creative autoethnographic projects). Adams, Jones and Elis describe autoethnography as practice that; uses a researchers personal experience in describing and critiquing culture, acknowledges and values the reasearchers relationships, uses reflexivity â reflecting on the way the individual interacts with the world, shows âpeople in the process of figuring out what to do, how to live, and the meaning of their strugglesâ, balances emotional and intellectual work and strives to make the world better. (2014)
I was inspired to write in this way by David Carless whose paper Throughness was the first autoethnographic study of song writing that I came across. In reviewing the literature there were many papers focused on performance or composition of art music pieces but when looking for contemporary song writing used as autoethnography the field was sparse. In this paper Carless asks many of the same questions I face myself,
âHow do we write songs as qualitative research? What kinds of processes matter when writing a song? What can we do to support and nurture these processes? What might we draw upon when writing songs about our own or anotherâs life? And how is it that culture, politics and personal biography can become so powerfully entwined in a song?â (2018)
In answering these questions Carless submits a series of Diary entries that they call a story that details the specific moments where the creation of the song was happening as well as their personal reflection on their own song writing process. In a similar way, I have been drawing from a journal I use specifically to write thoughts I have when I am in a negative mental headspace for lyrics and ideas and building songs up around them. Unlike Carlessâ work, I will be covering not only the song writing process but also the process of cutting together a demo version of the song for release on Bandcamp. In putting together my story I will be including transcriptions of events based on my personal notes and my memory, images from my journal and other writing and personal reflections, some of which will touch on themes of self-harm, depression, and suicide. Please read in a safe mental place and look after yourself. If you need help, please seek it:
Lifeline: 13 11 14 Beyond Blue: 1300224636 Suicide Call Bank Service 1300659467 Process: In late July of 2021 I found myself experimenting with chords in open D after having uploaded a cover of Hot Mulliganâs I Fell in Love with Princess Peach. Open D feels like such a powerful tuning, so easy to get big brash sounds. I have been avoiding writing in alternate tunings because the idea of tuning on stage stresses me out, but I have a show coming up and want to play that Hot Mulligan cover to impress someone I think might be there so to justify the tuning I figured I would try and write another song using it.
I always have way more chords or instrumental parts for songs before I have lyrics. I find that I will often even have a vague melody line that I can hum or make random syllables around while I play the parts on my guitar. I have been trying to just say the first thing that comes to mind, trusting the part of my brain that knows what good lyrics sound like to figure something out under pressure, but I have found this process works best with some stimulation.
My mental health is something I have struggled with, largely in silence for my life, since probably my mid to late teens. I was on medication for a while, it didnât go so well (see twelve) and since then have been trying to come to terms with my mental health through mindfulness, mediation, and introspection. PLEASE NOTE I AM NOT A MEDICAL PROFESSIONAL AND DO NOT ADVISE THIS. GO AND SEEK PROFESSIONAL HELP BEFORE UNDERTAKING ANY CHANGES TO MEDICATION OR TREATMENT. One way I have done this is by having a specific journal to write in on nights where I feel I am having particularly negative thoughts, the idea being that when I have these thoughts, I find they tend to circulate inside my head and writing them down is a way that I can get them out of my head. Additionally, it allows me to go back and reflect on the patterns of thinking and try and figure out where they come from. On one night, Iâm going to guess late June, early July based on my memory I was having negative thoughts that led me to write down this across two pages
Transcription: Im sick of all my friends being worried.
No matter how hard I try I canât see what comes next Static the cards the stars everything Static
I wish I could still dream, maybe I could if there was a future to see
Why do I keep seeing myself in a carcrash?
When I drive around at night I think about driving into the side of the road. Not really thinking about it but it just happening. I feel Like Iâve done it. I feel like I am doing it. Itâs beautiful, its silent. I am calm. No more thinking.
I DONâT WANT TO DIE YET (the word âbreatheâ is written five times through the lines underneath the statement)
One day at a time -Next Page- (a crude single line drawing of a sunset over an ocean above the margin)
I clearly need to go talk to someone
Most of the time i feel like I look normal â
Everyone is suffering, its easier to pretend Its harder to tell the people you love youreinpainbecausetheycant⌠(I canât read what I wrote) Head feels like static
Trying to fill the noise Beniah knows too
Amy asked if I was doing ok I said yes I donât think she believes me anymore I hate the Look in their Eyes when they See me Everyone knows youre sick Canât have them know⌠(I canât read what I wrote) I think Im doing ok now
I feel like I am good at adjusting to how I feel. Didnât go for a drive
Remembering parts of this night I know that I didnât write all of this at once. The first page was written largely at the same time, the second page in bursts, idea by idea, sometimes writing new ideas in and around older ones, writing more frantically. I feel like there are two stories being told here, on the first page, an internal negative feeling, I have never told anyone about the car thing until releasing this song. The second page, the negative feelings growing and being self-aware about wanting to appear ok around my friends and housemates and feeling that pressure.
So now I had a couple of pages of personal emotional outpourings, some chords that I like the sound of and a quest to make a song cathartic. More important to me than how cathartic the song is, as with all my song writing, is that it was honest so in sorting through my scribblings I wanted to put together an accurate representation of my mind at the time. I first jotted down what felt like the most unique imagery to me, the false memories of being in a car crash and coming to terms with that. I am not sure what it means, but it is scary at times. I thought that because it is such a unique experience that detailing might be an interesting part of the song and thus the pre-chorus and chorus were put together. I had the melody of the chorus on a voice memo on my phone when working on the guitar part and I remember thinking to myself, for such happy chords the melody was lending itself to something almost being howled out, it felt like a question almost. After I had written the pre-chorus and chorus the next thing that felt natural to do was to frame the response to that statement which is the second verse. Reflecting on the pages, a lot of my worries on the second page seemed focused on how my friends and the ones I care about perceive me. I think this is a common feeling for people who struggle with their mental health and something that I am less concerned with when I am not in a negative mental space. The lyricism in the second verse is intentionally a little frantic, I wanted it to mimic in a small way how my mind can jump from idea to idea. I always find opening songs difficult; I think itâs important as a songwriter to have an impactful first few lines, especially in a song that is being made with the intent of an emotional experience in listening to it. I decided to borrow the writing style from some of my favourite US mid-western emo bands who often frame difficult to swallow truths in upbeat melodic phrasing and whimsical turns of phrase. A quite extreme example can be heard on The Front Bottomsâ âFatherâ which opens with some quite graphic imagery and is about the lead singers strained and complex relationship with his father, but I have seen people cheer and sing and dance along when the song is played live. And so, I decided to be very honest about the background of the feelings, maintaining some semblance of the narrative that I am ok while showing really that I am not, heading into the pre-chorus. The bridge was the last section to come together, both musically and lyrically. The rest of the piece was pretty much put together and being fine polished as far as vocal phrase lengths and how I would play the guitar part. The lyrics for the bridge started as what could have been a verse, describing the images but I decided that the pre-chorus was a more functional way of doing that, introducing the idea in a semi-palatable way. I knew I would close the song with the bridge (potentially put a chorus at the end) and decided to add some weight to the end of the work, almost like a Shakespearian tragedy, everyone dies at the end. I donât think I make it feel like there is death at the end of the piece but the way I stack the layers of the pre-chorus and bridge sections before cutting right at the end to the first line of the pre-chorus was designed to add to the emotional impact at the end. Initially the guitar part for the bridge was more complex, I wanted to try and show that I was a good guitar player and had been practicing. This led me to retuning the guitar to Open D to come up with a pretty and impressive riff. I had a few ideas but in the context of playing solo and recording a demo I want the core guitar part, the part I play, to be something that I can do while I sing and give an overall engaged performance, which Iâm not quite good enough to do with impressive guitar bits yet.
Lyrics: I feel well adjusted, sometimes I feel fine, or I lie which I know I shouldnât do to my friends But we all pretend, because itâs easier than admitting how scared we are Have I told you about the weird thing that happened the other night in my car?
Iâve been seeing pictures, almost like memories in my head Of me losing control, on the free way And it plays in slow motion And the strangest thing about it to me always is
I donât scream I donât scream
I know I worry you, Iâm worried too donât think I want to die yet Look at the sunset, take a deep breath, hold on for one more day Iâm ok, thatâs what I say but I donât think you believe me Static on the TV, looks like my tea leaves, Donât worry about me
Iâve been seeing pictures, almost like memories in my head Of me losing control, on the free way And it plays in slow motion But the strangest thing about it to me always is
I donât scream I donât scream I donât scream I donât scream
As I watch bumper meet divider, Sparks and metal fly up Into the night sky I wonder how it would feel I wonder how it feels toâŚ
As I watch bumper meet divider, Iâve been seeing pictures, Sparks and metal fly up almost like memories in my head Into the night sky of me losing control I wonder how it would feel on the freeway I wonder how it feels to⌠And it plays in slow motion But the strangest thing about it to me always is
As I watch bumper meet divider, I donât Scream Sparks and metal fly up Into the night sky I wonder how it would feel I donât scream I wonder how it feels toâŚ
Iâve been seeing pictures, almost like memories in my head
Once the song was structured, I began practicing it, getting ready to cut a demo to put out into the world. In practicing it, I found the song easier to engage with on some days rather than other. I make recordings of me playing new songs so I can remember how they go at later dates but also to watch back and think about melodic choices and I found on one particular day while I could technically perform the song ok, I know I had played it better in the past. I have this relationship with most of the Sal Viejo songs that are about hard things from my life. I can perform most of them at the drop of a hat, but I know the performance is better when I am in the right mental place. I find it is a fine balance between being where you were during those hard times, but still able to perform. I feel like âSal Viejoâ almost acts like a mediator sometimes, an outside observer who can sing about these things because they didnât live through them, they saw them happen.
Heading into the day of recording I was a little stressed. Not only was I recording something still pretty fresh with the intention of sharing it to the world, but I also had just moved, had just gotten out of quarantine due to a secondary covid contact, was working a new job and had lots of uni work to do. I started the day by going and getting a coffee, thinking about the song as I went on my morning walk. My thoughts were mostly about the melody, the chords, the rhythm but also, I was beginning to make some mental adjustments to get me to the place I felt like I needed to be. When I got home, I had the intention of going slowly, setting up at my own pace and warming up but I felt the compulsion to just get it done. I started with guitar tracking, taking a signal from a mic set up near the body of the guitar and a line from the guitar, through an acoustic reverb pedal. It was during the guitar tracking process that I realised I had to simplify the line in the bridge. To get the timing right, I was playing to a metronome and singing to myself to figure out where the chord hits were and realised that I couldnât actually play the part and sing, making it useless for live shows. After I finished the guitar did a quick mix and took lunch. I decided that I would try some vocals, but I didnât know how they would go. I started singing and quickly realised that the phrasing would prove difficult and so I would have to punch in some of the sections. I found this really challenging because a part of the emotional engagement with the song comes from singing whole phrases, not just particular lines. What I decided to do was do multiple, full length takes, each one hitting the entrance of a section and cut it together. This meant that I could stay in the right emotional place while performing for recording and worry about the engineering side later. I wanted the mix to be fairly transparent for the demo, wanting people to hear the emotion and the story without too much distraction. I cut the vocals together and did a mix that I felt like let the vocals pierce through enough while still feeling tied to the guitar. There is a charm in the small amounts of string buzz and mic popping in the demo for me, in the mixing process I tried to get rid of some of it but decided that macro level edits would take away some of the human delivery. One decision I did make at this point was editing the lryics. The original lyric in the bridge was, âI wonder how it would feel, I wonder how it feels to dieâ I thought that the impact of that phrase would be increased if that word was censored, as subtly as possible but in a way that leaves listeners hanging on what the end of the phrase is. There are clues in the rhyming structure and content around it and you can figure it out if you listen to it, also I donât know that I necessarily want a song in the world where I am explicitly asking what death feels like, I donât know that I am at that level of openness as a songwriter yet.
In the rush of creative energy, I also cut a DIY, proof of concept music video which I attached the master of the song to which can be watched and heard here.
View this post on Instagram
A post shared by Sal Viejo (@sal_viejo)
Reflections: Digging into my song writing process has proved an interesting and at times challenging experience. In many ways I think I was fortunate to already have the bones of the song together before I started approaching the writing and making of the song as research as I donât know that I could have been as honest in my lyricism knowing that I might have to explain where it came from. One observation I made is, through digging through the emotional distress that lies at the heart of this song, I found myself having cathartic emotional responses, forcing myself to consider where my songs come from. Also, as I practiced I found that having the research idea and the goal of catharsis beneficial as I made performance choices. I am unsure whether or not I have definitively answered the question, âhow does one write a cathartic song?â But in conducting this autoethnographic study of my process of writing a song with catharsis in mind I think I have answered, here is one way that I can do it.
References:
Adams, T. E., Holman, J. S., & Ellis, C. (2014). Autoethnography. ProQuest Ebook Central
Ansari, E., A. (2013) âVindication, cleansing, catharsis, hopeâ: interracial reconciliation and the dilemmas of multiculturalism in Kay and Dorrâs Jubilee (1976). American Music, 31 (4), https://go-gale-com.saeezproxy.idm.oclc.org/ps/retrieve.do?tabID=T002&resultListType=RESULT_LIST&searchResultsType=SingleTab&hitCount=1&searchType=AdvancedSearchForm¤tPosition=1&docId=GALE%7CA401094780&docType=Critical+essay&sort=RELEVANCE&contentSegment=ZEAI-MOD1&prodId=EAIM&pageNum=1&contentSet=GALE%7CA401094780&searchId=R1&userGroupName=saeinstitute&inPS=true
Barnes, H. (Ed.). (2013). Arts activism, education, and therapies : Transforming communities across africa. ProQuest Ebook Central
 Carless, D. (2018). âThroughnessâ: A Story About Songwriting as Auto/Ethnography. Qualitative Inquiry, 24(3), 227â232. https://doi.org/10.1177/1077800417704465
le Roux, F. (1998). Music: A new intergrated model in physiotherapy. South African Journal of Physiotherapy, 54(2), 10-11. doi:https://doi.org/10.4102/sajp.v54i2.593
Plantinga, C. (2009). Moving viewers : American film and the spectator's experience. ProQuest Ebook Central
