Doug Boucher - Buy the ticket, take the ride

I went to investigate the reason for one of my favourite bloggers' recent quiet spells today (he has changed blog host before and I suspected that was the reason) to be met with some tragic news. Doug died following an incident where he was tasered by police at a store for a minor misdemeanour. Anyone familiar with his writings (and they are usually not for the faint-hearted) would recognise the events leading up to his run-in with the law, as he had described numerous similar encounters, all good-natured and almost always resulting in someone (okay, usually a teenage redhead) being left feeling good about themselves.

The fact is that Doug lived the rock 'n' lifestyle to the best of his ability; not the drug-addled, constant partying mythology, but the real, gritty, struggling musician fighting for good, live music in the face of audiences who want to hear the same crap as they are spoon-fed on x-pop-idle-factor. It took him a while, but he did find a venue for his own blend of cover versions and original compositions that took a Zappa-esque delight in mixing the serious with the absurd.

As well as music, he loved writing, most often in a style influenced by Hunter S Thompson or H P Lovecraft. His occasionally posted recipes were always entertaining to read (and yes, his Gumbo recipe is pretty damn awesome), as were his tales of how he discovered certain bands and his explanations of his own bass and guitar-playing influences.

I can say with confidence, that it was Doug's blog and his dedication to music that helped get me back playing music regularly after a break of many years. It gave me great delight to hear his enthusiasm for the piece of music I constructed around his original solo bass tune, "Requiem", which then featured on our first album, Eponymous Debut.

I had hoped that I'd get to work with Doug again in the future on another project, but that was not to be. He leaves behind him two great achievements. Firstly a small, but thought-provoking and entertaining body of written and musical work and secondly his daughter Katie, his pride and joy, whom he taught to question everything and enjoy a good fart joke.

So long, Doug, keep on rocking!

Collaborators!

Over two years ago I mentioned a re-mix that I had completed, but no more was said. Unfortunately the album it was destined for, a special re-mix version of Ninki V's album "We Can Fly", is currently on-hold, so the song, called "Count the hours, Fix the Wings", will appear on our debut album.

The song is based on Ninki V's original solo melodica piece, which has been warped and extended before adding several layers of theremin, guitar, mandolin and vocals. I have now also re-recorded the vocals and added some de Florette drums through the process of xenochrony, and so we now have another Lunacy Board track to add to the growing collection.

Ninki V's style is certainly as eclectic as our own - she composes for a Wakemanesque collection of Casio keyboards, theremin, flute and melodica, whilst her stage show includes playing the theremin with her hair and extensive use of puppetry. Jump over to her website for some samples.

In a similar vein we're pleased to be including our first foray into xenochrony on the album. "Xenochronous Requiem For A Head Laying In A Field In Butler" was based on a bass solo by Board collaborator Doug Boucher and was originally destined for the "Stockholm" soundtrack album.

Since the track fits within the style of the first album so well, and has already been regularly featured on Spellbound Radio, it has been placed where it belongs. Doug has been pretty busy writing new material for his solo shows lately, so a trip to his Myspace page is worth a regular visit as he swaps new material in and out on a regular basis.

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Tags: The Lunacy Board, Quintilis, Ninki V, count, hours, fix, wings, xenochrony, requiem, Doug Boucher, Stockholm, bass

Next, please

First of all, "Xenochronous Requiem For A Head Laying In A Field In Butler" was used to open this week's Spellbound show, with host David Vesel commenting on the unlikelihood of chart success if Casey Kasem can't even pronounce the title. That's a relief, then.

I've finished mixing all the music from our last session. Most of it is just for our own use as demo reference for future practices, but there were also some new instrumental pieces for use in the Stockholm soundtrack. One of them is available for download over at The Lunacy Board site. It is based around a simple evolving, echoing guitar riff, with synth textures, found sound samples (including some yobstick) and a meandering rhythm backing.

The big one

We're working towards a new extended piece to fit in with the repetoire we've already built up. Since we first started this project, we've been throwing ideas around towards a longer song which touches on a few topics we feel are linked around the area of evolution, mankind's journey and definitions of good and evil. I've recently come up with an idea to link these topics within a narrative setting that has the potential to be our 'big number'.

It's still in the early stages, so I can't give too much away, but the aim is to have a piece that both covers the topics of interest and also lets us demonstrate all the aspects of what we are as a band. It will have an evolving instrumentation, so we'll start off with two instruments at the start of the piece and swap around between guitar, bass, drums, keyboard, theremin and whatever else we come up with. The sections of the song will deal with different characters and reflect that in the instruments chosen and the style of the section. This will let us cover everything from ambient soundscapes and avant garde rock to upbeat pop or country and western - anything is fair game. It's going to take a while to put together and get it working fluidly, but we'll start on it at the next session and hopefully will have a clip or two to post on the web site in the not-too-distant future.

Xenochrony

One of Zappa's favourite tricks around the "Joe's Garage" era and beyond was the practice he called "xenochrony" or "strange synchronisation". This involved him taking a piece of music (often a studio backing track) and overdubbing it with a totally unrelated (usually a live guitar solo) track from a completely different song. After some fiddling about, the result was a melody that would play what appeared to be insanely complex polyrhythms over the top of the new song. It's something I've always wanted to have a shot at, but lacked the source material to work with.

Then I came across a beautiful bass solo written by Doug Boucher over on his MySpace page. It's called "Requiem For A Head Laying In A Field In Butler" and is dedicated to the very wonderful Mike Keneally. I really enjoyed the piece and tried playing some haunting theremin over the top, some of which came together quite nicely, and other parts of which were less successful. I then tried putting the piece together with some of Sean's drumming for (I think) The Winning Smile - two unrelated bits of music coming together to form something new altogether. To this new hybrid track I set about playing guitar and theremin, with pretty good results. There are places where the bass and drums drift apart to give a very laid back feeling, and others where they synchronise exactly, including some where the drums and bass reach a crescendo at the same time before gently tailing off.

As usual, you can find the track over at The Lunacy Board site.