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Hello there, fellow human.
If you’re an artist, I’d like you to stick around for this next part.
Starting this week, and continuing every week thereafter, I’m going to publish artist spotlights on my website, Down the Dark Path.
No strings attached. Just free pages highlighting new and excellent artists.
Just because I feel like helping.
If you’re interested, all you need to do is prepare a short bio, a list of your important links, and a few (2-5) quality images of your work.
Find me at any of my social media hubs and let me know you want in.
Clicking the skulls below will take you to my Twitter, the best place to reach me.
Normally, if you asked me what kind of music I listen to, I’d hit you up with the strangest of combinations. “Death metal, classical soundtracks, and more death metal,” I’d say. I might rattle off a list of obscure soundtracks, old school death metal albums, and artists from the early 90’s, and you’d probably roll your eyes.
It’s okay. That’s a normal reaction. Contemporary music just isn’t my thing.
When I get down to painting…
I sometimes get even more obscure.
So let’s dive right in.
These are my top ten music selections, whether artists or individual albums, to which I listen while painting away my days and nights.
Say her name three times fast, I dare you. So, what can one say about Hildur? Most probably know her as the Oscar award-winning creator of the Joker soundtrack. But really, that’s just the tip of the iceberg. Hildur has several albums, soundtracks, and collaborative pieces with other European artists, ALL of which are amazing. For melancholic string work, atmospheric vocals, and emotional yet subtle compositions, no one is quite like Hildur.
For starters, try her solo album, Without Sinking. The string work alone is enough to make my paintbrush move without my even touching it.
And then move right along to Saman, whose atmospheres and moods aren’t like anything else on this list.
Late at night, while the rest of the world dreams, there’s a pretty good chance I’m wide awake, painting my heart out, absorbing hours of Hildur’s work.
Ok. Let’s go a little more mainstream.
Everyone knows Hans Zimmer, right?
All credit to the master. I’m sure I’m but one of thousands who are inspired to create based on Hans’ work.
I mean…just listen to this.
Up until about two years ago, I’d never heard of this band. And then one day I devoured this album, and I knew there was no going back.
Agalloch is a bit louder and more aggressive than most of the sounds on this list. And yet…the depth and length of their albums are enduring enough to inspire plenty of art.
When trying to categorize Agalloch, I sometimes lack the words. They’re not really metal, nor classical, nor contemporary. The way they blend acoustic guitar with slower, chunkier, heavier riffs, and the sheer longevity of most of their songs allows one to fall into a creative ocean…and not need to surface for hours.
I prefer listening to these guys when creating larger paintings. I let the drums set the pace for my background brush strokes, and then I forget what time of night it is.
Sadly, they’re no longer making music. But their catalogue is more than enough to occupy your ears for days.
80’s fans will instantly recognize the name, and no further questions will need to be asked.
For everyone else, I’ll say only this. I don’t generally care for most 80’s bands. They’re much too poppy, too concerned with their hair.
But then there is Depeche Mode, one of few artists from that long ago decade capable of creating a genuine dark mood. Yes, plenty of their songs are about addiction and broken hearts. But I’m not really here for the lyrics, after all. I’ve here for Depeche’s moody beats. Their heavy sense of regret. Their darkness.
And more’s the better for painting.
Here. My personal favorite song, Waiting for the Night.
Every once in while, as many of us know, Spotify will deliver us down into a musical rabbit hole.
It was on one such night, while I patiently worked on another of my giant dark tree paintings, Johann emerged onto my playlist.
We’ve talked about Hildur Guanodottir already. Johann Johannsson is quite similar, if darker and more heavily produced. His soundtracks are truly all over the map in terms of depth, mood, and tonal range.
There are nights during which I simply set my music box to ‘Johann’ and never look back. My only grief is that he passed away recently, and thus won’t be able to create more of his wondering, ethereal music.
Type O Negative
You might ask yourself, “What the hell are these guys doing here?”
Well… Everyone once in a while… I need to add a splash of anger to my art.
And who better than Type O?
I remember being fresh out of high school. And yes, that was ages ago. I heard Peter Steele booming away on albums which seemed to last forever, and I was hooked. As an artist, and as someone who needs to set the mood…and then for it to last a while, I’m not sure there are too many better choices for angst and anger than this here album. Or this one.
Do they truly fit in with the rest of my cello-heavy, moody-acoustic choices? No. Not at all.
And yet here they are.
Speaking of moody, here’s a little something.
Max Richter is the master of one thing – long, enduring, ethereal soundtracks. Yes, he has shorter works, such as this beautiful piece. But primarily he deals in songs that seem unending, songs with a limited range but a very striking hook. There are no words (literally everything he does is instrumental) to describe some of his albums, one of which, at 8 hours, 24 minutes, he created with a theme and mood so simple, one could put it on in the background and fall into a waking dream for days.
If I want calm, and if I want to paint with slow, serene strokes, Max is my choice.
But then again, if I want raw, dark power, I turn to no other than the evil side of Elvis, Glenn Danzig.
Look, say what you will about Danzig’s newer works (which aren’t very compelling) his older music is unparalleled. Yes, he has the one soundtrack-ish album, Black Aria, but for my deep, dark art nights, I turn to his original four compilations, Danzig 1-4.
And my paintbrush and I will never look back.
Robert Rich / Alio Die
Ok, let’s go completely off-grid.
If someone had asked me ten years ago, “Do you like New Age music?” I’d have slapped them in the jaw and shot fire out of my eyes. “New Age, you say? Are you out of your mind?”
Fast forward to today, and I get it now.
There’s something meditative about certain albums I’ve (accidentally) unearthed, and after lengthy experimentation, I’ve decided Robert Rich (and Alio Die, but primarily Robert Rich) is my go-to as far as shadowy, murky, atmospheric music. For example: this. And this. I’ve found myself listening to these and others not only while painting, but while driving long-distance, and finding inspiration whether standing before my easel or riding the long, lonely road.
How far will I follow my New Age curiosity? I suppose time will tell.
At times, I find myself craving the most classical of classical music, the purest, simplest form of human noise-making.
And that, my friends, is chanting.
I don’t have a favorite album for this sort of thing. In fact, other than the Tallis Scholars (whom I adore) I don’t know the names of most of the artists/monks who create this wonderful expression of voice.
But on some afternoons, if the sun is shining just so, and if the mood so strikes me, I’ll put on an hour or five of Gregorian chants and forget I live in the 21st Century.
If you haven’t guessed by now, pretty much all I do is listen to music and make art.
My art is here.
I hope it makes music for your eyes.
J Edward Neill
Hello there, dark art lovers.
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The coupon is good through midnight on Sunday, November 8th.
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Happy art hunting!
Hi there, everyone.
It’s been one hell of a year so far.
I’m not talking about the ‘Rona, the fires, the hurricanes, the end of the world.
I’m sticking to art, with which I’ve been obsessed for many years, but none so much as this one. While the world has been busy destroying itself, I’ve been locked away in my house, making a mess of things.
So today I want to share with you five of my favorite pieces. And with each piece, I want to talk about how it came into being and what the painting means to me.
It’s true…for some of the things I create, I don’t assign any specific meaning or purpose. I paint them as experiments, as challenges, or sometimes simply to keep my brush busy as I wait for true inspiration to strike me.
But for these five I’m sharing today, I really felt them. To me, these five are anything but meaningless. They define the last year of my life.
Painting # 1 – The Unheaven
It was a dark and stormy night. No really, it was. I’d just finished a long week of painting huge, complex pieces, and frankly I was worn out. You know that place your mind goes when you’ve hit a creative wall? Or really, a wall of any kind? Yeah. That’s where I was at. I was tired. I was dead.
To take a few days off, regroup, and come back to the canvas with a refreshed sense of inspiration.
But it’s funny how the universe works. Sometimes, while wandering the shadowed realm between exhaustion and furious self-examination, we stumble upon rare moments of insight. It happened to me that night. The windows and doors to my little house were wide-open, and the sounds of the night pouring in. My young son was fast asleep, and I, weary and wanting to rest, wandered blearily to my painting cabinet.
It was then a question struck me. What if…all our preconceptions set aside…the idea of Heaven isn’t what we think? What if Heaven is not what we want it to be? What if, instead of angels and sunshine, feasts and Valkyries, the afterlife is something else entirely?
Out came the reds, the bronzes, the blacks, the golds, and the muted ivories. Within a few hours, well past midnight, I’d manifested an alternate view of Heaven. It was a lonely place. A place of eternal waiting. A place in which the souls of the departed rested alone, longing for the Heaven they’d been promised in life.
It might be that you look at this piece and see nothing so deep. You might see just a tree, some curtains, a stony floor, and a horseshoe crab-looking moon thing. That’s fine by me.
But personally, I dreamed of a place in the afterlife none of us would ever dare anticipate.
And so it was – The Unheaven.
Painting # 2 – Grove of Many Moons
It was the opposite of a dark and stormy night… 🙂
Long after finishing The Unheaven, I awoke on a pleasant summertime Saturday. Again, the windows were open and the air flowing in, but this time the sunshine was glorious, and the rain entirely absent. It was the kind of morning everyone enjoys, even me, the dark Bob Ross. (Credit to Twitter for the cute nickname.)
For Grove of Many Moons, I created a background of greens and blacks, empty but for a few distant trees. The process took several hours, many of which were me waiting for the acrylic layers to dry in the sun. While soaking up the warm air wafting into my kitchen, I started thinking about the many phases of life, the many places we go not physically, but in our minds. And I pondered how, even though we may wander far and wide of where we intended to go, we always tend to return home. Home being our personal center, our individual sanctuary of thought and imagination.
We move in phases, we humans. We roam in our dreams. We change even as we remain the same. Our roots are our bodies, but our minds are as free as the wind, as limitless as the night sky.
In a way, we’re like the moon.
I finished this one late at night the next Sunday, but the weather never changed. It stayed warm and glorious until I was done. And then the rain arrived.
Painting # 3 – Furnace of the Fallen
Now let’s get dark again.
People who know me know I’m not a political or religious human. At all. What goes on in the larger world largely generally doesn’t concern me. If we as a people are going to thrive, destroy ourselves, or something in-between, it’s ultimately not up to me (or any one person.) That’s not to say I don’t care, just that I acknowledge my smallness. Like Carl Sagan said of humanity on Earth, the pale blue dot… ‘That’s us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives … on a mote of dust suspended in a sunbeam.’
Not being involved doesn’t mean I don’t notice things. And naturally, how I express and process the workings of the larger world is done on canvas. With paints. Usually dark colors.
And so arrived Furnace of the Fallen. This piece is how, for at least the space of one weekend, I imagined our future. The great dark towers of our vast, powerful cities, hollowed out and left to decay in shadow. The fumes of our manufactured world, choking out the sun. The blues and greens of nature, muted and turned to metal.
You get the point.
I’m not always a nihilist, but when I am, I paint it.
Painting # 4 – Moonbringer
What if we could close our eyes and go anywhere? Not just in our minds, but literally.
Where would you go?
What would you do?
Moonbringer came to life one evening when I was completely alone. My son was away, the music was softly playing (no midnight death metal-a-thon this time) and the ideas flowed like wine. I tried to think of a place I’d want to go, and of a means to get there. The idea of a portal and a fantastical forest immediately came to mind.
From the start, this large piece felt utterly fantastical. The color scheme, the twisty trees, the totems with runic writing…it all felt otherworldly. And on that night, otherworldly was exactly what I wanted.
Where would I go? Probably another planet.
What would I do? Probably wander the forest and look for food.
Of all the paintings from this year, Moonbringer was probably the one during whose creation I had the most fun. I really let my brush do as it willed. No rules. No structured plan. I really imagined myself leaping through the portal and into a world that hasn’t yet been discovered.
Painting # 5 – Seizing Heaven
What if every plant, tree, and blade of grass on earth reached not for the sun, but for something much higher?
This was the question I asked myself while creating one of my biggest ever pieces, Seizing Heaven. My state of mind on the morning I began work on it was focused. Typically, I’ll let the brush do what it wants, but with this painting I hunkered over the canvas for endless hours, obsessing over every detail, every pinprick of light, every shadow.
These trees aren’t just reaching for the light. They want to conquer it. Earthbound for millennia, they’re grasping skyward with glorious aim. They’re impeded by the wind, the clouds, and the sheer magnitude of the vast power for which they hunger.
But no matter. They, like so many living, breathing people, have a desire that is unquenchable.
The trees are us.
The great light in the sky? It’s the thing for which we all reach, whether a goal, a place, or a state of thought. It’s different for every one of us.
* * *
Hopefully you enjoyed this sliver of insight. I don’t always feel deeper meaning when I touch brush to canvas, but sometimes I do…and it overtakes me until I finish.
Until next time…
J Edward Neill