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Imagery

Prosaic perhaps, but I'd be really interested to know what kind of images are conjured up in peoples minds when listening to Felt, with particular reference to the first 4 albums.

Re: Imagery

That, indeed, would be interesting. It is most definitely a gigantic area of individual and collective awareness that can be looked at with fascinating results.

The gauntlet has been thrown down Felters. My suggestion is that you mutually pick it up. I quite simply do not see how you can regret doing so.

Re: Imagery

The imagery I have when listening to the music is largely based on what little I know about its creators.

Its something that isn't quite there, that you can't quite reach, but at the same time continues to draw you back in. When trying to picture the composers working together, I cannot visualise all 4 members together, one of them is always hazy and mysterious in the background.

The time in which it was created is far removed from my own experiences, born in the late 1970s and raised in Surrey - a far cry from hitting ones young adulthood in 1980s Birmingham. The beauty of the pre-digital age is the mystery that surrounds so much. There were no mobile telephones to photograpy every last nuance, no matter how trivial, no internet to share every bit of information, no matter how irrelevant. The few photos that have emerged of early Felt show four odd looking individuals seemingly apart from the rest of the world at the time, and I think the music echos that.

It is for that reason that it is the earliest Felt releases that continues to draw me back in - not so much the imagery, but the lack of imagery and the intrigue that stirs in me.

It is also one of the reasons I am so pleased to see Nigel back on the forum and sharing his knowledge. It all forms part of the jigsaw, and for a while it looked as though that part was sadly lost to us all.

Great question Simon

Re: Imagery

For some reason I can't work out, I always associate Felt with a rural rather than urban setting, and in particular the morning. I'm not sure I can explain any further but they are, for want of a better word, bright sunshine. It feels odd writing this because there is darkness in their sound, but it fails to dim the aural effect.

Re: Imagery

"they are, for want of a better word, bright sunshine. It feels odd writing this because there is darkness in their sound, but it fails to dim the aural effect."

I am going to make an exception and add to what Tom has written because his text has such importance.

I have very little time so I cannot expatiate on this most important of subject matter. Neverteless, I shall say this.

Out of darkness comes light, because darkness cannot be a state of nothing, for nothing cannot give rise to something (light). Darkness is therefore contained within the light and is not a separate condition in its own right, but rather it is merely the opposite polarity.

Likewise, where there is predominate light, the opposite polarity (darkness) must likewise exist, and the discerning recipient (Tom) enables himself to appercieve both polarised conditions. If we consider that there is beauty within both conditions owing to the dark being inextricably linked to the nature of light, and that Felt are great masters of balancing both polarites through aggrandised sensitivity, then it can be understood how it is that a congruously attuned mind can reconcile both the light and darkness that are Felt music in its entirety.

In summation, then: light can only be percieved because of darkness, and darkness can only be recognised due to the nature of the light of which the former is a part. Delicate balance and proportion are the key; and Felt possessed it much more than other "artisits".

Well done Tom; now you are beginning to find the answers to why Felt are supreme when it comes to artistry. Do you begin to see the sort of thing that Mr. Deebank meant when he spoke last year in his address to the forum about entering into music in order to help him unerstand about life. This is the sort of thing that he taught me about in his totally superior music lessons. These are concepts he put into his music. This is why it is so interesting. Carry on. You are beginning to unlock the true secrets of Felt.

Note: I an only referring to Felt music up to and including 1985.

Re: Imagery

Again, I reiterate that this is why I said last year that one should think, feel and discuss felt music and try to understand the reasons as to why you have chosen this music as your guiding light. It is more than music; it is not even art that attempts to portray certain aspects of life; but rather it is a part of life itself - it is an integral part of each and every one of you.

And yes Tom, Mr. D is very much a lover of the countryside with no affinity for urban areas.

Re: Imagery

Matt is also correct when he talks about his image of Felt being concentrated on the band personnel and how distant they are from the rest of the world. This ties in with what has been written hiterto about this subject that Simon has asked about. I hoped that someone would at some point inititate discussions, as it is not something that I can keep talking about. I have tried to subtly point the forum in the right direction through subliminal prompts in the hope that someone would pick up on what really matters. Now that they have, please do not lose it; to do so is to lose a part of yourselves.

Keep reading these entries over and over, as they contain important truths. They are not to be read once only.

Re: Imagery

Very well spoted Tom. This is a curious discussion, because I never put my mind on the subject. In a way, there's the classic style of Maurice and his classical guitar riffs sending us back to the past. But now mix this with a kind of tribal drumming, a primitive and sacred drumming of the timbales (the bass reinforcing this sound).
On the other hand you have Lawrence's lyrics, track names, dark voice and mood with some rural content (I worship the sun, Sunlight bathed the golden glow, etc.), sends us back to Rural Romanticism (Byron)

Felt music doesn't reflect his own time and place (the 80's in Birmingham) and that's why is very difficult to catalogue. In my article on Felt (articles section) I mention coming back from hollidays in Algarve with my friends, crossing Tejo (Tagus) River in the sunset in a VW van and listening to Felt in silence.

It's still there