What a busy month! We’re organising concerts in Finland and in Europe (more info on this once we get some dates sorted out) and promoting Mascot Moth in the hopes of reaching more people who are sure to like it but don’t know about it yet – because that’s what promoting is all about, isn’t it?
We want to thank all you sweethearts who have sent us lovely feedback – we love to hear your thoughts, sentiments and impressions! You can drop us a line to contact(at)cafedeabejas.net, our Facebook or Twitter, or leave a comment below. If you’re shy, speechless or pressed for time, here’s an easy way to give us a word. Just because we’d love to know:
If you don’t know your favourite yet, you can listen to the entire album here:
And to those who wish to help, yes you can: Share your favourite song, tell a Film Noir cabaret -loving friend about us, write about us in your blog, tweet about #MascotMoth or @cafedeabejas, ask your radio station to play a song. We raise our glasses to your health and take pride in our fabulous sweethearts!
I just ran into the original version of Boulevard of Broken Dreams, and it’s fantastic in so many ways I can hardly begin to tell you. Yes, it has it all – Constance Bennett’s dress, her hat, the delicious French accent, and the future superstar Lucille Ball as one of the choir girls.
But on top of that, the song is presented in such a scrumptious way – many ways in fact – that although just about everyone has sung it since, it has never been quite this plush since its first appearance in Moulin Rouge (1934). This is a great way to use music in cinema – to weave the entire flashback sequence into the song and vice versa. It’s also a reminder that a great song will be a great song no matter in what manner and on what instruments it might be played – on one guitar, an entire symphony orchestra, as a waltz or a tango.
I do have album-related news too: I just approved the final artwork proofs, which means that the production is starting very soon indeed!
We are working in close harmony, arranging some of our songs for the cello. First Jere gets an idea for a phrase. It’s perfect, but one note should be flat instead of sharp because that brings new spice into my melody. Ah, but then it should move against the rythm slightly on that note to bring it out. He does something amazing and I note it down. And there it is!
More often than not, harmony is not about being able to keep your own pitch perfect. It’s about being able to listen, seeing the whole, and being open to new contrasts. I’m happy about our flexibility, and the way we’re excited about each other’s ideas instead of clinging onto our own. The songs turn out better for it: Instead of making compromises and concessions, we’re both aiming for a harmonious mélange where the song comes first.
We’re also listening to close harmony girl trios from the Thirties, because we want some of that vintage sound in one of the songs. Somehow, I find this piece particularly engaging, both because of the lyrics and the wonderful wah-wah effect at the end:
This was discovered via Radio Dismuke, a gold mine of 20´s and 30´s music. It´s a free web radio treat for a real Sunday afternoon.