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Signals From Realms of Light Bill Nelson album - 1 October 2011 Albums Menu Future Past Purchase this download TRACKS: 01) I Am The Universe 02) Past And Present (And The Space Between) 03) Beam Service 04) The Spirit That Remembers 05) Happy Realms Of Light 06) Days Of Golden Dreams 07) Dark And Bright ALBUM NOTES: Signals From Realms of Light is an instrumental album released on the Sonoluxe label issued in a single print run of 1000 copies. The album's concept was first announced on the Dreamsville forum in June 2011 having grown out of an album titled The Mysterious Echo Chamber of Priapus Stratocaste r. A change in musical direction and difficulties in realizing appropriate artwork for an album with that title led to a revised working title of Greetings from the Realms of Light . Nelson then decided that the material he had assembled for the project was best split across two quite different albums, and the tracks initially created with the Priapus Stratocaster album in mind were removed to allow the Signals From Realms of Light album to develop along the lines we know from the finished album. Pre-release copies of the album were first made available at the The Art School Ascended on Vapours of Roses event held at Leeds University along with Model Village on the 1st of October, 2011, before going on general release through S.O.S. just 3 days later. Signals From Realms of Light sold out in November 2019. CURRENT AVAILABILITY: Available for purchase as a digital download in the Dreamsville Store . IF YOU LIKED THIS ALBUM, YOU'LL PROBABLY ENJOY: Non-Stop Mystery Action , Theatre of Falling Leaves , Mazda Kaleidoscope , Palace of Strange Voltages , Gleaming Without Lights , Wah-Wah Galaxy , Dreamland to Starboard , Neptune's Galaxy , Map of Dreams BILL'S THOUGHTS: "It's a hybrid sort of album which, whilst entirely instrumental, (save for several 'found voice' samples), contains long-form, reflective, quite serene moments as well as the aforementioned psychedelic guitar thrashings. The latter serve as interludes for the longer, more introspective pieces but I think the real key to the album will be those much longer, slowly evolving, exploratory tracks... The new working title is 'Greetings From the Realms of Light' . ('Light' being a recurring theme/symbol in some of the voice samples). As always though, until the album is mastered and manufactured, this could be subject to change!" _____ "The mood is that of a series of sound paintings, gathered from a romantic, imaginary future that never arrived." FAN THOUGHTS: Puzzleoyster: Re: Which album do you consider to be Bill's Magnum Opus? "Back against the wall, it has to be Signals From Realms of Light . A complete Life-affirming 68 minute miracle, delivered sonically in the Bill Nelson Style...No words spoken or delivered - the instrumentation delivers the words if you know the language." paul.smith: "Possessing everything I love about Bill's abstract instrumental albums - absolutely stunning and full of layers - each time I have the pleasure of playing it I get something new - fantastic..." alec: "Getting pretty addicted to SFRofL . It's a deep one. Turns the mind into a cinema." Serge Ruel: "WARNING/INTICEMENT: Listening to this record will shift your consciousness. If you want an album that reflects many/many/many of Bill's recent themes and their development; this is the one. BRAVO/BRAVO - An artistic tour de force! More than worth the price of admission! Thanks for keeping on (continuing to develop)!!!" johnofdeath: "I've always loved the way Bill uses samples of voices in his music and these longer pieces contain lots of them. Really nostalgic/atmospheric...(At one stage I was a bit concerned about the repeated use of "recalculating" until I realised it was my Sat Nav telling me I'd taken a wrong turning but it did fit in with the music!!!)" tom fritz: "I've just been loving "Past and Present", from Signals From Realms of Light - 22 minutes of "pure joy". A real treat for the guitarists - we're all wired that way. At the 4:00 mark, the e-bow shines in, chills abound & the day starts over." andygeorge : "I am the Universe"...Just how f*****g good is that blistering guitar sound when it kicks in...the tone, the texture, the body...I literally stopped what I was doing when I heard it the first time, had to savour the moment and not miss a note...Bloody marvellous Mr Nelson!!!" aquiresville: "Sorry, Fellas, but it's "Beam Service" all the way 'til Friday. Such a perfect soar-worthy, slick-n-slide Bill guitar solo! Only one artist sounds like that!" mthom: "I think Bill's new stuff is truly the best. I oftentimes go back to the old stuff and think, wow, this sounds kind of primitive. But in a good way, but not so textured and...full. Signals From Realms of Light continues to amaze me, with some of the best damn guitar playing I have heard in a long time. So textured and...full. There's a lot going on there, and it seems to get better with repeated listens. Hooya!" felixt1: " Signals From Realms of Light is one of those albums with instant reward. It's got all of the attributes that Nelsonians of all vintages will enjoy. Gorgeous guitar, chimes, piano, lush synths, cool science fiction type sounds, they're all there in abundance. An absolute triumph, I am instantly hooked on this album. "The long form track in particular, "Past and Present (and the Space Between)" is a corker with many a twist and turn and lots of nice guitar...and some nice chilled ambient moments. Buy it !!!" Analog: "This has my favourite found voice piece, without doubt, (possibly my favourite track of all for a single piece of music from any artist ever!) - and when you hear it I'm sure you'll agree that it is outstanding - "Days of Golden Dreams", and my second favourite found voice piece - "The Spirit That Remembers", though my favourite could not exist in its delightful form without the other which comes first on the album. "Overall an album that is a MUST buy as it really sets a mood as only Mr. Nelson can, and what a great mood. (Listening as I type - typing ceases, listening now! THE TRACK...Ah, Yes! Repeat play for that track! Bravo Mr. Nelson. Always does it for me. Creativity in its finest. Needed that. I feel better now.)" Paul Andrews: "Bill unleashed from standard song format to a truly creative peak." Albums Menu Future Past

Modern Moods For Mighty Atoms Bill Nelson album - 20 September 2010 Albums Menu Future Past Purchase this download TRACKS: 01) One Thing Leads To Another 02) Sky Scooter 03) Speedboats From Another World 04) In An Aeroplane 05) The Dream Of The Unified Field 06) Binky And The Dancing Astronomers 07) Real Worlds And Dream Worlds 08) The Kid With A Cuckoo Clock Heart 09) What Station Is This? 10) After The Rain, Pick The Fruit 11) Binky's Blues 12) Another Slice Of Wonder Cake 13) Buddha And The Rain Cloud 14) The Day That Came And Went 15) Wing Thing ALBUM NOTES: Modern Moods for Mighty Atoms is a mixture of vocal and instrumental pieces released on the Blue Shining Fountain label in a single print run of 1000 copies. The album was born out of unused material composed and recorded at the time Nelson was compiling Fables and Dreamsongs and Captain Future's Psychotronic Circus (the album compiled especially for Nelsonica 10 ). With a number of high quality tracks that didn't fit within the style or concept of those two albums, Nelson set about the task of adding a handful of new tracks written especially for the album and soon had a third new album to master. Modern Moods For Mighty Atoms sold out in August 2019. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "These tracks were originally made for the forthcoming albums in this new series of releases [Fables and Dreamsongs and Captain Future's Psychotronic Circus] , but either they didn't fit in terms of concept, or there was simply no room left on either album to include them. So, in a sense, Modern Moods is a compilation of 'left-overs'. But the amazing thing was that these left-overs actually fitted together in an interesting way and have created a rather nice album with lots of variety." FAN THOUGHTS: BenTucker: "It really is an absolute stunner - it will blow a lot of people's minds, I suspect." BobK: "I love the variety. Rocky, poppy, jazzy, up-tempo, slow tempo, some with vocals, some instrumentals, and some 'strange ones'. My goodness, that IS variety. Well variety is nice, but it helps that every single track is very impressive indeed." andygeorge: "First impression? An absolute corker of an album! "If anybody had any doubts about Mr Bill Nelson being able to 'cut it' anymore, I defy them to listen to this and not be blown away by the sheer genius of the man. As Bob has said, variety rules here...something and more for anybody's taste buds to savour...Love it! "And these are 'cast offs' Mr Nelson?...Well, roll on the next chapter! "..."Another Slice of Wonder Cake?"...Yes please! "...enough of this, back to the music..."Sky Scooter" is playing now...Love it!" MondoJohnny: "I love it! All the tracks grab me instantly. I particularly like the vocal tracks so far." "It just gets better and better with repeat listens! "Sky Scooter" is great! I think it's greatest hit material, even though there aren't any lyrics." "I was blown away by how much energy this album had. When most artists start getting older they adopt a more "mature sound" which usually seems to mean that they throw out all the whistles and bells, and produces really low pulse thoughtful music. Bill seems able to still capture high energy pieces, but he infuses them with his working knowledge of life, and his technical mastery and restraint. It is a winning combination to be sure." Holer: "Hi Bill - Just wanted to say how much I'm enjoying the new record. It's fun to hear an album where all of your moods and styles are on display. It really confounded my expectations at every turn and that's a good thing. I am particularly enamoured of the instrumentals "What Station is This?" and "Wing Thing". I've always had a soft spot for your penchant for high weirdness, and those tunes really fill the bill. (oops pun.) I could literally listen to hours of that kind of stuff (and often do...). "Anyway, thanks once again for delivering another elpee of cracking tunes." Pathdude: "A true classic with tremendous vocals and instrumentals of all types. It seems to touch upon every mood. One of my absolute favorites." "This one is too good to miss." JMH: "What Station is This?": "I literally had to pull to the side of the road, stop the car and listen to this wondrous piece. The artist and his definitive art of perfect invention are in superb form on this track...takes me backwards and forwards in time...little does Mr. Nelson realise , perhaps, that he is the preeminent inventor/arbiter of Modern Western Musical Mysticism...I certainly got misty eyed listening to this track." "This was a stop-dead-in-your-tracks awe inspiring listen." Alan: "I can say that this one hooked me on the first listen. I love every track on it. I'm off work tomorrow and can hardly wait to listen even more closely. "If anyone is wondering whether or not to get this album, I say go for it." Albums Menu Future Past

Non-Stop Mystery Action Bill Nelson album - 25 November 2009 Albums Menu Future Past Purchase this download TRACKS: 01) This Is Like A Galaxy 02) Welcome To The Dream Transmission Pavilion 03) Yes And No 04) When The Invisible Circus Comes To Town 05) Materialisation Phenomena 06) The Departure Of The 20th Century In A Hail Of Memory ALBUM NOTES: Non-Stop Mystery Action is an instrumental album issued on the Sonoluxe label in a single print run of 1000 copies. The album is a collection of lengthy instrumental pieces, three of which are soundtracks to videograms that Nelson produced in 2008 and 2009. These are 'Welcome to the Dream Transmission Pavilion', 'Materialisation Phenomena' and 'The Departure of the 20th Century in a Hail of Memory', all of which were included on the Picture House DVD issued in 2010. Nelson's first announced the Non Stop Mystery Action album in his online diary, dated 21 July 2009, at which point the album had seven tracks, including three that failed to make the final cut: "Like a Woman Levitating", "Machines of Loving Grace" and "Stranger Flowers Now Than Ever". These were replaced with "Materialisation Phenomena" and "When the Invisible Circus Comes to Town". The final track listing was confirmed on 1 November 2009, with all artwork and mastering commitments completed ready for its pre-Christmas release. Non-Stop Mystery Action sold out in December 2020. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "I'm currently working on the assembly of what will be my next CD album release, the NON-STOP MYSTERY ACTION album. It looks like the album will only contain six tracks...but they are all 'long-form' pieces...some of them very long. It is also shaping up to be one of the strangest albums I've ever released. Nearly all the tracks have voice samples and one features my own spoken voice-over. "This is not an album for casual listening, playing in the car, (too many quiet and subtle details will be lost), or for tapping toes to. But it IS an album for those of you who appreciate being taken on strange and somewhat dark journeys. No orthodox arrangements here, just a magnetic, hypnotic continuum of sound and atmosphere, a stream-of-consciousness flow on which to sail your paper boats of dreams. "I'm trying not to underestimate my audience's capacity for enjoying a little weirdness with this one. I've deliberately kept it quite single-minded and 'pure' in that sense. There are no sops to orthodox tastes. In fact, there's little to hang on to if you're not used to being cast adrift in strange oceans without a life-belt. But, I'm going to take the gamble that some of you will be equal to the challenge. Are you up to it?" _____ "The album's style ranges from dark, industrial improvised blues loops to extended, long-form compositions incorporating found-sounds, digital noise, treated voice samples, neo-classical orchestrations, spoken word narratives, sliced n' diced samples of once popular songs, jazzy guitars, towers full of bells, bad-acid psychedelia, autobiographical commentary, subtle irony and melancholic, time-travelling whimsy." _____ "Non-Stop Mystery Action functions as a kind of 'sonic cinema'. Extended pieces that project flickering, dream-like images on the screen of the listener's imagination. In fact, three of the pieces on the album, (tracks 2, 5 and 6), were created as soundtracks to video artworks that I screened at the 2008 and 2009 annual Nelsonica conventions. These three 'long-form' pieces provided me with the starting point and concept for the album. The other three tracks were created to contrast and compliment them. So, dim the lights, sit back and let the dreams unreel..." _____ "Materialisation Phenomena": "Oh, I forgot to mention: the album also has a track that features ten minutes of digitally-delayed acoustic 'thumb-piano' improvisation. "A 'thumb piano', for those of you scratching your heads, is a small gourd with seven rusty bits of metal attached to it. These are 'sort of' tuned to a series of notes. (The 'sort of' indicates that they're not actually in-tune at all, at least in the normal sense). The notes are sounded by flicking the metal bars with one's thumbs. It sounds like a music box from hell (at least it does after ten minutes of the damned thing!) Still, in the mix, I occasionally fade it out to be replaced with a swathe of tinkling wind chimes. And a LOT of sampled windy weather and rustling leaves. "Those of you already complaining about my musical perversity and single-mindedness will be pleased to know that, at the end of the ten minute improvisation, my thumbs were actually cut and bleeding and took a few days to heal, although copious amounts of antiseptic cream were applied to counteract the toxic effects of the rusty metal. Then again, YOU, dear listeners, may require more than antiseptic cream to counteract the deliriously toxic effects of the track itself. One must suffer for one's art, don't cha know!" FAN THOUGHTS: John Spence: "Dark, scary, intense, moody, joyful, uplifting and humorous, but above all beautifully sequenced and laid out. Not an album to "dip in to" I suspect, more a listening experience from start to finish. After we'd finished mastering and Bill had gone I sat and listened to the production master all the way through again. 'Nuff said...enjoy (and I'm not on commission !)" jetboy: "I'm not very good at reviews as such, especially music reviews, but here goes...Listen to this album in one sitting, decent volume and a 'do not disturb' sign on the door, then be carried away, totally immersed in sound...imagine yourself in a dream and are walking across a landing, at the end of the landing lies a door, phosphorescent light seeping out of the keyhole and from under the door...open the door and see a figure from the back, hunched over a worktop or bench surrounded by vials, bell-jars glass tubes, brass machinery, dials, clocks, amp-meters dusty valve radio sets, all kinds of electrical paraphernalia ...there's random voices, radio broadcasts just picked up from some alternative yesterday (was it 1932 or is it tomorrow? It could be one and the same)...flashes of light, crystal guitars, shimmering keyboards touches of infra-bass...welcome to the Sound Laboratory of Professor Nelson...! Buy it and be spellbound." Martin Bostock: "You'll certainly be having some very strange, dark & wonderful dreams after listening to this! Especially with the beautifully dark "This is Like A Galaxy" and "Materialisation Phenomena"...superb stuff!!" G. Vazquez: "I must say this CD is one of the most fantastic musical trips I have ever had. It's overload with emotional power. It seems to me that every note carries a profound significance. Yes there's static, wind chimes, wind, etc. but when out of the blue comes a note, it hits like a lighting strike. Who am I to say this, but I believe those songs came from a very deep, personal chamber from Bill Nelson's heart..." Holer: " Non-Stop has been playing, well - non-stop, and it's still thrilling, chilling and fulfilling me, particularly the main piece, which has that magical ability to sound different almost every time I hear it. It is an absolute feast for the deep listener in all of us. I recently came across a copy of John Cage's book, Silence, a truly great book of essays, and in it, he talks about how, when confronted with new and different types of music, it is the listeners DUTY to strip away any pre-conceptions and experience it without our judgmental little mind chattering away in the background. Beginners Ears, I guess you could call it. I think that's exactly the kind of attention Non-Stop deserves..." "Materialisation Phenomena": "is really one of the most evocative and interesting tracks Bill has ever done - I don't think it has any precedent in his canon - I can't say - oh it reminds me of this or it sounds like an extension of that - it's just a completely different direction for Bill and one I find damned exciting. The whole album is a stunner, but that particular track has a real vapor lock on me right now - chimes, thumb piano and all." "Bill's always been able to move in multiple directions at once - I just hope that this is one direction he continues to explore. I truly think this is one of the most significant albums of his long, lustrous career." noggin: "I find myself enjoying NSMA immensely, and find the music thoroughly engrossing. I also generally prefer the more accessible (if that's the right description) music that Bill creates, but this album has got me well and truly hooked. It's also totally unique." stpetelou: "I LOVE it! It's obvious how much work and care went into "The Departure of the 20th Century in a Hail of Memory", not to mention the other tracks. I listened to the entire album early this morning while still lying in bed, and though I was wide awake, I felt as if I was floating through a dreamscape. A stunningly beautiful album." Peter: "This one is something different and genuinely special. Bill likes to paint with guitars...this one conjures a whole different mood and atmosphere. I really like it." Alan: "When I first heard about this album, it sounded like something that would interest me, but it's much more than I expected. Once again, Bill has taken us to another corner of the musical world, and has done it with style." A Kinder Light: "I'm really enjoying Non-Stop Mystery Action . It's difficult to add anything else other than to say that it's an expansive piece of work that ranks amongst the best of the Sonoluxe catalogue. And I'm not saying that just the for the sake of mentioning it. Wait 'til you all have a chance to get lost in this thing! Truly amazing, Bill...truly amazing. BenTucker: "It's an extraordinary-sounding album. Not to separate elements of it, but the guitar in "Yes and No" has to be heard to be believed (or perhaps you still won't believe it even after you've heard it), and the opening to "The Departure of the 20th Century"...is (to understate things) haunting. You'd have to be insane not to order a copy of this immediately." Albums Menu Future Past

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) October 2009 Jan Jul Aug Sep Nov Dec Monday 5th October 2009 -- 12:00 pm Have just been speaking on the 'phone with Emi who is still in Japan. She's been away for 10 days now and there's still no indication of when she'll be coming home. Today is her 61st birthday. It's the first time since we've been a couple that we've not been able to go out for a meal together to celebrate it. Before she left England, I gave her two birthday gifts. The main one, (a watch), she opened there and then. The second birthday gift was packed unopened in her suitcase, to take with her to Japan, with strict instructions from me not to unwrap it until today. It's a very nice gold and turquoise blue dress ring with a silver dragonfly set on top of the stone. She's now opened it and says that she loves it and that it fits fine. But we're missing each other terribly and the days just seem to drag and drag. Emi's back problem is still bothering her so she's visited a Tokyo physiotherapist for treatment and has booked another appointment for next week. Her mother seems to be a little better than she was on Emi's previous visit. I'm told that she is eating and communicating more than before and gives the impression of being a little more positive in her outlook. But, despite her mother's slight improvement, the general picture out there remains vague. It's a trait of Japanese culture that nothing is as clearly or directly expressed as it would be here in England. There's lots of hinting and reading between the lines but getting a straight answer is hard work. I'm still amazed that anything gets done in Japan at all, so diffused and foggy are the decision-making proceedures. Nothing is ever hit 'head-on.' I know that many western people living or working there find this facet of Japanese culture difficult to understand and often frustrating. Life here without Emi became even more stressful last week. On Thursday, I returned home from town around 6 pm to be greeted by the sight of Django, (my cat,) in the garden, waving his tail around in a very odd, agitated manner. I sensed something was amiss and as I walked towards him saw that there was something wrong with the end of his tail. It was at a strange angle and when I looked closer could see that the end section of the tail was almost cut right through. I tried not to panic but, in a state of shock, immediately 'phoned the nearby vetinary surgeon where our two cats are registered. The lady who answered the 'phone said they were just about to close but that I should call their emergency number. This connected me with a different vetinary practice which, from what the voice on the other end of the telephone told me, was in the process of 'taking over' our usual vet's business. I was instructed to take Django to a different surgery which was somewhere over the other side of town. I put Django into his transport box,which is always a struggle as he hates going in it, (and to the vets), and set off in the car. When I arrived somewhere in the general vicinity of the new vet's surgery, I parked the car and carried Django in his box along the street towards where I thought the surgery was located. My sense of panic increased when, after walking some distance, I couldn't see anything remotely to do with a vet. Maybe I'd gone in the wrong direction. I turned around and walked several hundred yards along the main road in the opposite direction with Django becoming more and more stressed inside his box. And still I couldn't find the place. I tried calling the vet's number on my mobile phone but got only an answering machine. Eventually, I asked someone passing by if they knew where the vet's surgery was and they pointed me back in the opposite direction, where I'd just come from, but said that it was quite a way further along the road than I'd originally presumed. By this time, I was as stressed as Django, my heart pounding like a drum. After an about face and further walking I eventually arrived, breathless, at the surgery which was located in an imposing Victorian town house, quite some distance from where I'd parked the car. I was instructed by the receptionist to wait in a high-ceilinged, brightly lit room until the vet arrived. When he did arrive, he very carefully examined Django's tail, indicating the protruding bone and informed me that it was almost completely severed and could not be stitched together. The only solution was to amputate the latter part of the tail. This would involve Django staying at the surgery overnight prior to an operation to remove the damaged part of the tail the following morning. Meanwhile, the vet gave Django two injections, one a pain-killing solution and the other an antibiotic to try and stop the wound from becoming infected. I explained how I'd come home to find Django in the garden with the injury and couldn't think what might have caused it. The vet said that it appeared as if someone had deliberately slammed a door on his tail, almost severing it completely. Now, Django and Tink both spend a lot of time outside. There are fields beyond our garden although we're flanked on both sides by neighbours. That afternoon, when I'd gone into town, Django and Tink were outside in the garden, lazily enjoying the autumn sunshine. Django was perfectly fine with no signs of injury. This was around 3:30 in the afternoon. Our cats have always been o.k. when I've needed to go out. They'll happily terrorise the local rodent population for a few hours and usually come home when they hear us return, or sometimes a little later when they become hungry. They're both quite independent creatures yet, at the same time, a delightfully domesticated and inseparable part of our family. Both cats are very affectionate and bring a great deal of joy and warmth into our lives and, as readers of this diary know, Django and I have a particularly magical relationship. But I'm at a loss as to exactly what or who caused this injury to Django's tail. I've been deeply upset by it and wish I knew what the cause was. Anyway, I had to leave Django with the vet and I drove back home alone, feeling shocked and concerned. I'd earlier been given an invitation to have dinner with some good friends who live just down the lane, but in the end I had to call them to apologise and explain that I was in no fit emotional state to be anything other than the most miserable of guests. That night, I couldn't sleep, worrying about Django's condition and being angry at the thought that someone may have deliberately done this to him. The next morning, I called the vets to ask how things were but they said that Django hadn't had his operation yet but would be having a general anaesthetic soon, prior to the amputation. Around 11:45 am I received a telephone call from the surgery to say that he had now undergone surgery and that I could collect him around 2:30 pm. I drove to the vets, this time knowing exactly where it was, and informed the receptionist who I was and that I'd come to collect my cat. I paid the £250 bill for the operation and was directed to a waiting area at the rear of the building where, after a few minutes, a lady nurse appeared with Django in his box. As soon as he heard my voice, he called out to me. The nurse gave me some medication called 'Metacam' and instructed me to administer this to Django orally, every day, via a kind of needle-less syringe. I was also told that he must not be allowed to lick his tail and was given a transparent plastic, cone-shaped collar which I would have to fasten to his neck if he showed any signs of doing so. I was also told that he was not to be allowed outside the house for at least ten days. Now, all of the above conditions are guaranteed to be a form of torture for poor Django. In fact, almost as soon as I got him home, he began his cleaning/grooming routine, something he likes to do at least a couple of times per day. And, of course, his tail is always part of this proceedure. Now though, because of the amputation, his tail is a sorry sight...a couple of inches shorter than before and shaved of fur. The shortened tip of the tail bears sutures and looks sore. As I expected, Django attempted to lick his wound which meant there was no option but to fix the cone-like restrictive collar to his neck. The result was most upsetting, Django desperately trying to get the cone off by banging it into doors and furniture, walking backwards as if to walk away from it, pawing at it and finally sitting stock-still with a kind of catatonic stare, gazing at the wall as if in deep shock. It was heartbreaking to watch, or at least it was for me. I'm terribly sensitive to the plight of animals and empathise with their struggles...far too emotional I suppose. I'd make a terrible vet...I'm afraid I'd be shedding tears at the first sign of an animal in distress. Pathetic, really, but that's how I've always been. After the cone collar had been on for a while, Django finally sat by the front door, crying to be allowed outside. As mentioned above, I'd been strictly told that he must remain in doors for at least ten days, so I had to refuse to let him out. He looked up at me like I was some kind of monster. Well, that was Friday and the situation continues in similar fashion. Django can't get to his food bowl with the collar on so I have to remove it at certain points in the day when he shows signs of wanting to eat something. It's then a struggle to get it back on afterwards, (and another bout of stress for both of us). On Saturday, I slipped out to the supermarket to get some much needed litter-tray material, (he normally goes outside to do his 'business' but that's out of the question for quite a while). When I got back, he'd somehow managed to get a front leg jammed into the cone of his protective collar and was limping around the house in some discomfort. I freed his leg and tried to adjust the collar a fraction tighter to prevent it happening again. But even so, he sneaked off into some dark corner of the house and, three times now, miraculously managed to get the collar off completely. Consequently, I need to know exactly where he is at all times so that I can guard against him getting to his amputated tail and causing more damage to it. Night times are difficult too as he's always enjoyed being 'out on the tiles' (or rather, out in the fields). Not being allowed to leave the house makes this impossible. Instead I've attempted to have him sleep on the bed with me where I can, hopefully, keep a weary eye on him. He sleeps for a while, curled up in the curve of my arm, but then wakes up and, perturbed by the cone, goes on a bender from room to room, trying to get it off. The last couple of nights I've managed but a few hours sleep, and these only at intervals throughout the whole night. I'm feeling exhausted and frustrated by it all, especially as Emiko is not here to help me deal with it. I'm confined to the house along with Django, frightened to leave him on his own for long. Both of us suffering from cabin fever. Tomorrow morning, I have an appointment to take Django back to the vet for a post-op examination. Inevitably too, the ordeal of the cat travel box once more. This unfortunate and untimely episode has brought my work, (and just about everything else, including visiting my mother), to a halt as my life now seems to centre around Django's well-being and the struggle to keep his tail from further damage. But he is a rather special cat, and worth the effort. As I've mentioned before in the diary, it seems to have been one thing after another these last few years. Nothing for it but to just keep going, I suppose....So that is what I will do. ***** The images attached to this diary entry are:- 1: Bill's Gus G1 midi guitar and his live processing equipment. 2: Just a few of the Nelsonica 09 guitars, backstage in Harrogate. 3: Poorly Django. 4: Django with post-op tail. 5: An early 1980's photo of Bill signing autographs. 6: A recent snapshot of Bill's studio. Top of page

Rooms With Brittle Views Bill Nelson single - 13 February 1981 Singles Menu Future Past TRACKS: A) Rooms With Brittle Views B) Dada Guitare ORIGINALLY: A & B) were both non-album tracks NOTES: Rooms with Brittle Views is a one-off single released by Les Disques du Crepescule. This single was initially released as a Belgian import, issued in 2 different picture sleeves. The single was a popular seller on import, and effectively became a UK 7" when the exact same record was included in the Permanent Flame box set of 7" singles in 1982. A slightly different edit of the A side was included in the limited edition double 7" single of Youth of Nation on Fire later in 1981. PAST RELEASES: A) and B) were included on The Two Fold Aspect of Everything comp (out of print). CURRENT AVAILABILITY: A) Available on the remastered Quit Dreaming and Get on the Beam CD (Mercury, 2005). B) Available on the various artist compilation: Auteur Labels: Les Disques Du Crépuscule (LTM, 2008). BILL'S THOUGHTS: "The Rooms With Brittle Views single and the track on the From Brussels With Love cassette were only ever intended as one-offs. There wasn't an ongoing deal with the label. The tracks were recorded at home, (not in Belgium), on the eight track machine I had back then." "The way it came about was that I was invited to contribute a track to a limited edition cassette titled From Brussels With Love , issued by 'Les Disques Du Crepescule', a Belgian post-punk art label. Other artists approached and included on the cassette were Michael Nyman, Brian Eno, Gavin Bryars and Harold Budd, (amongst others). I believe that Harold heard my music for the first time on this cassette...a piece titled "The Shadow Garden ", (very much in the same musical area as my Sounding the Ritual Echo album from the early 1980s.)" Singles Menu Future Past

Acquitted By Mirrors - Issue Fifteen - Published early 1990 Back to Top

Joy Through Amplification Bill Nelson album - 9 July 2012 Albums Menu Future Past Purchase this download TRACKS: 01) Ampex One 02) Sex Magic 03) Ampex Two 04) Vortexion Dream 05) Ampex Three 06) The Conjurer's Companion (Every Blessed Thing Is So Damned Fragile) 07) Ampex Four 08) Orpheus Dreams Of Disneyland 09) Ampex Five 10) Imps In The Undergrowth 11) Ampex Six 12) Arco Volta 13) Ampex Seven 14) Fire Gods Of The National Machine 15) Ampex Eight 16) To What Strange Place Will This Transport You? 17) Ampex Nine 18) Heaven Holds A Grand Parade 19) Ampex Ten 20) Weather Blows Wild Inside My Head 21) Ampex Eleven 22) Why Does It Do That? 23) Ampex Twelve 24) These Tall Blue Days (Are Lark Amazed) 25) Ampex Xtra 26) Monsters From Heaven (Flowers And Rain) ALBUM NOTES: Joy Through Amplification: The Ultra-Fuzzy World of Priapus Stratocaster is an album combining vocal and brief instrumental pieces, issued in a one off print run of 1000 copies on the Sonoluxe label. The main title for the album, Joy Through Amplification , was revealed on the Dreamsville forum in May 2011, and was intended for an album of songs written specifically for a five piece band (Combo Deluxe) that Nelson had hoped to form to undertake a UK tour in 2012. A small number of songs were completed by July 2011, but with a number of projects competing for time and material throughout a hectic year, Nelson struggled to make significant progress on the album for the remainder of 2011. Eventually the planned tour came to nothing, but Nelson retained the main title, and added an elaborate subtitle for an album that was somewhat different in content than initially intended. Most of the work on Joy Through Amplification was completed in the first six weeks of 2012, and it was during this period when the idea of alternating each song with one of the series of 'Ampex' instrumentals was formed. Nelson went on to describe the instrumental segments as "an album within an album", inviting fans to listen to these pieces in isolation from the full album. On the day the album was being mastered at Fairview Studios, Nelson decided to add an extra track, "Monsters from Heaven", which had originally been destined to appear on The Dreamshire Chronicles . The album's arrival was celebrated with its own launch party, staged on 9 July 2012. At this event, held at The Leeds Club (in Leeds), Nelson took part in a Q&A session in front of an audience of sixty paying guests, who each received a signed copy of the album and a signed limited edition art print on the night. Nelson's profile was aided by a few reviews of the album in the major publications. The album sold out on 14 October 2015. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "Just to, er, arouse your curiosity, I'm currently working on a very peculiar instrumental album with the working title of The Mysterious Echo Chamber of Priapus Stratocaster . (I kid you not!) "This album contains a weird mix of long form and shorter pieces and features odd moments of wild, madman at the helm guitar solos, (ring modulated, overdriven and wah-wahed to Alpha Centuri and back), but set into unlikely frameworks. It may trigger thoughts of the worst excesses of rock guitar imaginable but, at the same time, it's fused seamlessly with music similar in feel to some of the tracks on the Non-Stop Mystery Action , Theatre of Falling Leaves , and Captain Future's Psychotronic Circus albums. A wry blend of the sophistiCAT sublime, (meow...) and the spandex ridiculous. (And probably some of my nastiest, semi-atonal rock guitar lunacy since "The Revenge of the Man in the Burning Ice Cream Van".) "Those of you with a taste for the genuinely perverse will, I trust, love it!" _____ "Have been working somewhat intensely on Joy Through Amplification : The Fuzzy World of Priapus Stratocaster. It's turning out to be a neo-psychedelic, techno-metal album, (much as predicted). Hard, abrasive yet melodic and ecstatic too...a densely rich mix of guitar/vocal ideas with everything pumped up to the max. Headbanging for people with a library ticket? Well...hard to describe it accurately...you'll just have to wait and see... "For those of you who have been hankering for something rougher and grittier...this one may well float your leaky boat." _____ "The album is, in some ways, a response to those who have wanted a rock album from me. I could have done a '70s style, Be Bop Deluxe sort of thing, but there's little fun for me in that as I covered those bases all those years ago...so I thought I'd do something even more rock than Be Bop, but push it out of shape a little whilst incorporating some of the stylised machismo elements that real rock bands take so seriously, (much to my amusement!). So there's some chugging, deliberately dumb and dirty riffs, squalling wah-wah guitars, semi-moronic drumming and even a touch of shredding." _____ "I'm also now experimenting with another approach to the album. I'm separating each main track or song with a series of brief, (all under two minutes), ambient-ish, minimalist guitar instrumentals or soundscapes, completely at odds with the main songs. I want these to function as 'palate cleansers', a glass of fresh water between the thickly sauced meats of the main dishes. I'm giving these little miniatures a group title: They will all be called 'AMPEX' but will carry a number. (So: 'Ampex One,' 'Ampex Two,' etc.). When I have enough 'Ampex' pieces I'll try to re-sequence the songs on the album with an 'Ampex' track between each, to break up the relentless textures of the album. It might just bring the project more into line with my own sensibilities. Or, of course, these 'Ampex' tracks might persuade me that they should have an album of their own. We'll see." _____ "These little quirky guitar gems between tracks are very promising. The guitar sounds are quite processed and often un-guitar like...some people would think they're keyboard sounds, but they're not. Just filtered, delayed, reversed and digitally re-pitched electric guitars. Short and sweet. A nice contrast to the main tracks on the album. (And a gentle challenge to the more rock-oriented types who might not normally give time to such things)." _____ "The title 'Ampex' comes from the name of an analogue tape manufacturer whose reels of recording tape I used back in the '80s prior to my home studio going digital. It also fits in with the word 'Amplification'." _____ " 'Priapus Stratocaster' is, (in my feverish imagination), the ivy festooned god of loud guitars and woodland frolics...a close cousin of Pan, Bacchus and Hermes...round of belly, jovial in demeanour, cloven hoofed and upright of staff. Constantly in pusuit of the most ecstatic guitar solo and comely turn of ankle!" _____ "I've invented the persona of 'Priapus Stratocaster' for the album, Priapus being the Greek god responsible for the protection of fruit, gardens and male genitalia. He's usually depicted with a rather gargantuan erect phallus, chasing some diaphanous maiden or other. I thought it amusing to name a fictional, cartoon-like rock god after him. Adding 'Stratocaster' as his surname competed the joke as many rock guitarists weild Fender Stratocaster guitars in a crotch-humping, phallic manner. Factor in some virtual tight spandex pants, big hair and hysterical male posturing to complete the picture and there you have it: 'The Ultra Fuzzy World of Priapus Stratocaster'." _____ "Oh, and there's a sense of mickey-taking in the album's sub-title...I mean, 'Priapus Stratocaster?' C'mon, it's a jokey reference to 'cock rock,' is it not? The album is not quite as straightforward as it might at first seem...it's the work of a sly prankster. (Which is why one of the images is of a clown guitar)." _____ "I've never stopped making rock music, I've just expanded my musical base to include things on the fringe of it, and sometimes outside it entirely. And I've attempted to cross breed the form, to create interesting hybrids that might inspire the listener to listen beyond his or her 'comfort zone.' (And to get me to play outside of my comfort zone too)." _____ "Noisy as Hell and beautiful as Heaven!" _____ Bill's Listening Notes for the album: 'Joy Through Amplification' Listening Notes FAN THOUGHTS: John Spence: "Well now...what an enjoyable day with Bill. Downloading and mastering tracks for Joy Through Amplification . You people are in for a real treat. If you love guitars you'll love this. If you love songs you'll love this. I'll say no more. I have the best job in the world but days like today make it very, very special." _____ aquiresville: "It's a complex, intricate, adult guitar-bash-up, it's a swagger and a hip-shake with poetry to boot, it's a wild marathon with some lovely "breathers" thrown in (so we can recuperate, before diving in again). It IS Joy Through Amplification ." "JTA is, in my humble opinion, Bill's greatest postmillennial piece of work (so far...! We want MORE, Bill!)" "It's hard to ignore "Sex Magic" as one of the best on the album; Bill coaxes his guitar to soar and moan so freaking delightfully! Had this track a bit of crowd noise, a hardcore fan could close his eyes and hear it as a "lost" Be Bop Deluxe offering (as Bill alludes to in his notes, with the sonic DNA from "Panic")! "THIS is exactly what we want to hear, Bill. Bravo, Bill, and Thank You. More. Bring it on." GettingOnTheBeam: "The songs jump out at you, with maybe the highest energy level of a Bill cd in years. This is Bill's celebration of the instrument he loves, and a celebration of what he can do with it. And that celebration comes through loud and clear." "Unbelievable guitar work. This is why for me Bill is the best guitarist ever, and by far the best songwriting guitarist ever! (A lot of the technical guys aren't much for writing.)" "For me, JTA is the best release of Bill's career. I have not tired of it yet, and play tracks from it regularly. A high energy songwriting Masterpiece." seantere: "Utterly fantastic. Man! You can still rip the hell out of a guitar!" BobK: "The interlude pieces which commence the album and separate the songs: these are short quirky and fascinating.They serve in three separate ways. As individual soundscapes in their own right, the calm before the storm, and indeed the calm after the storm. This works extremely well. As for the songs. Wow. Enigmatic lyrics, sly references lyrically and musically to old classics. They are melodic, catchy, but frequently edgy. Well structured, but prone to going off on a tangent. Some lovely guitar tones here. A little edgier, a little angrier, but BN being BN it is always tasteful and melodic. This is a very special album that should be cranked up, (as indeed it was on Friday night!). It will appeal to those who hanker for rock songs, who love BN's guitar playing, his singing, his gift of melody and love a bit of quirky weirdness." Dar: "The alternating structure of Ampex - Rock - Ampex is unique and interesting, but this also quickly gets more interesting. I found the Ampexii (Ampexes or Ampexions?) acting like strange and wonderful dimensional portals, wormhole tunnels of sound and subtle music, transferring me from one Nelsonian realm to the next." "Congratulations on a genuine masterwork." Face In The Rain: "Imps in the Undergrowth": "wonderful grungy guitar! Had it on in the car yesterday - my teenage son was bobbing his head in approval!" Alan: "I'm really enjoying the album. Although, there seems to be a glitch in my CD, as it keeps returning to "Arco Volta"..." tom fritz: "The Conjurer's Companion": "a seriously rocking number, great drums pounding. Staggered rhythm guitars, jazzy lead fills, fantastic lyrics. Then comes one of Bill's great strengths: the magic outro. It's like a completely different tune when this happens. One of those "play that again" moments." MondoJohnny: "I've been listening to the album since I got it yesterday and I haven't made it through because I keep having to stop and replay songs!" "Bill can be very deep and artistic but he can also just rock your socks off! Sometimes he gives you a gummi bear and other times he give you a multi vitamin. They are both excellent in their own way." "I've been listening to this album, and wow! Bill's still got it. This album is rock but it's something more. I was thinking about what decade it sounded like...and my answer was...now? It sounds like right now! Not what's happening now, or what happened last week, but this very minute. I haven't heard another rock album that sounds like this one. Its really something special." swampboy: "Bill made a comment in one of his posts that this album "just barks". I have to disagree. It HOWLS!! I finally received my copy a few days ago, and it took a few listens to start absorbing it. It really is a pitbull of an album that grabs you by the ears and doesn't let go until the last note fades out. It rocks harder than anything else he's ever done, and commands your attention at every turn. Once again, Mr. Nelson manages to both surprise and satiate us once again." "After repeated listenings, I find that the ampexes remind me of rest periods between rounds in a boxing match. Bill bobs and weaves, jabs and punches with his guitar. At the end of each round, we're given a minute or two to recover before the next round. Bill wins with a TKO, and we're dazed, but happy." steviegray: "One thing I can say about Bill Nelson since he started releasing records, there is no genre to define him. His guitar playing is just incredible and he is one of those guitarists who you know he's playing, nobody can imitate and get away with it!" chymepeace: "Completely brilliant. Gets better with each listen. Simply stunning. Thanks Bill. How you keep it fresh and exciting is a mystery but I'm very glad you do." REG: "In a career featuring so many highlights, this album still manages to stand out, an absolute triumph." Albums Menu Future Past

A Certain Bridge single - 1981 Last Man In Europe Production/Contribution Menu Future Past TRACKS: A) A Certain Bridge B) TV Addict/Complications BILL: Producer of both tracks. NOTES: This was only the second record to be released on Nelson's Cocteau Records , the first being 'Do You Dream In Colour?' Production/Contribution Menu Future Past

Astroloops Bill Nelson mini-album - January 2015 Albums Menu Future Past Purchase this download TRACKS: 01) Purple Loop 02) Sky Loop 03) Slippery Loop 04) Sun Loop 05) Blue Loop No 1 06) Jazzy Loop 07) Honey Loop 08) Blue Loop No 2 09) Space Country Loop 10) Fantasmo Loop 11) Wonky Loop 12) Lazy Loop ALBUM NOTES: Astroloops is a CDR release issued on the newly established Astrotone imprint in a very limited edition (just 24 copies) to purchasers of the Astroluxe Custom Ltd. guitar produced by Eastwood Guitars. This release is a mini-album due to its relatively short playing time. News of the project was first announced on the Dreamsville forum in July 2014, with orders being taken for the guitar from 2nd September (initially only 12 were to be manufactured but this was doubled to 24 within 2 days due to the level of demand). By the 26th of September it was confirmed that all 24 copies of the guitar had been purchased although buyers had to wait until mid-late January 2015 before the goods had been delivered, with the US customers getting their hands on the music before those in the UK for a change! Fans that either couldn't afford the guitar, or couldn't play the guitar, or simply missed out in getting their order in on time, will hopefully get the chance to hear this very limited item one day. When asked of the possibility of this, Nelson indicated that it might require Eastwood Guitars to give permission for this to happen and warned fans that they may have to wait for 1 - 2 years before reissuing it as a download. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "It's an interesting set of recordings, quite spontaneous and relaxed...not concerned with being perfect, but beautifully raw and charmingly naked. It's all done using only the 'Astroluxe' prototype guitar which has the ability to sound like a soaring rock beast, a smooth n' sweet jazz archtop, or an alien twang machine, and all at the flick of a pickup selector switch plus my Fractal Audio Axe-FX unit!" _____ "Just guitar improvisations over guitar loops, with no other instruments. Recording very quietly to minimize the ear problem." _____ "Astroloops is an album of instrumental improvisations based on looped guitar patterns. It is limited to an edition of 24 copies only and is given exclusively to those who have bought one of the 24 Eastwood 'Astroluxe Custom Ltd' Bill Nelson signature model electric guitars. "My own prototype 'Astroluxe' guitar has been used to record the album and all the guitar parts you will hear are performed exclusively on that instrument. There are no keyboards, bass or percussion overdubs on these recordings, (with the exception of a couple of tracks where extremely minimal use of keyboard has been added). "All the guitar sounds were processed via a Fractal Audio Axe-FX digital device and a first generation Line 6 Pod 2 modeller, recording direct to a Mackie HDR 24/96 digital multitrack machine. "The music was created spontaneously and offers a glimpse of the raw first-take, stream of consciousness approach that often provides the foundation for my more commercially available work. In this instance, however, I've resisted the temptation to attempt perfection or modify/flatter the recording and instead allowed its inherent flaws to become a component of the music itself. I hope you will enjoy this private peep behind the magic curtain!" Albums Menu Future Past

Acquitted By Mirrors Acquitted By Mirrors was a quarterly magazine first published in 1982, given as part of the annual subscription to Bill Nelson's fan club of the same name. Issue 1 - Published Early 1982 Issue 2 - Published June 1982 Issue 3 - Published October 1982 Issue 4 - Published December 1982 Issue 5 - Published April 1983 Issue 6 - Published August 1983 Issue 7 - Published September 1983 Issue 8 - Published January 1984 Issue 9 - Published April 1984 Issue 10 - Published July 1984 Issue 11 - Published November 1984 Issue 12 - Published July 1985 Issue 13 - Published September 1986 Issue 14 - Published Autumn 1987 Issue 15 - Published early 1990 Please reload

Sister Surprise single - 1983 Gary Numan Production/Contribution Menu Future Past BILL: Co-Producer on b-side, "Poetry and Power". Production/Contribution Menu Future Past

2005 2006 2007 2008 2009 2010 2011 2013 William's Study (Diary Of A Hyperdreamer) August 2008 Jan Feb Sep Oct Tuesday 5th August 2008 -- 3:00 pm Was my previous diary entry really six months ago? A shockingly quick passing of time and the longest gap in my journal so far. There are several reasons for this, as I'll attempt to explain, 'though some of those reasons must, for purposes of practicality and discretion, only be superficially touched upon. The really short story is that it's been a tough period, one way or another and continues to be so. Work, as always, has made it difficult for me to allocate enough time to write these pages but personal complications have contributed even more to my silence. There have been far too many depressing moments, things I haven't particularly wanted to write about... But where do I start? How can I fill in the gaps in a manner that will be quick, practical and sparing of text? Thinking back through these last six months, there has been so much going on that a brief resume would not do events justice. Nevertheless, I'll attempt to keep this entry as economic and concise as possible whilst still retaining the essence of the situation. The major topic of my previous diary entry was the death of my stepfather. Unfortunately, the aftermath of that event has caused my mother untold grief. Not only has she suffered the emotional anguish of bereavement but has since been forced to seek legal advice regarding what appears to be her late husband's lack of adequate and fair provision for her within his will. I don't intend to go into specific details here as there is now an ongoing legal dispute, a dispute that must eventually be settled by a judge in a court of law. However, I WILL say that, when my mother's friends, neighbours and family heard about the way she had been dealt with, their reaction, without exception, was one of shock and anger. The most commonly used expression seems to have been 'shameful.' Everyone said she should not ignore this, that she should stand up for her rights as a dutiful wife of long-standing. As a result, she has sought professional advice, first from solicitors and latterly from Queen's Council and has been assured that, in their experienced opinion, the 'provision' made for her by her late husband is both unfair and inadequate. Not wanting to enter into confrontation, she tried to talk reason with the beneficiaries of her late husband's estate in the hope of achieving some sort of settlement. Sadly, all attempts to negotiate have so far proved futile. In fact she seems to have been cruelly 'cut-off' by the aforementioned beneficiaries, a development which, some might say, speaks louder than words. As you might imagine, my own thoughts on the whole sorry mess are not only damning but unprintable... Everyone I've spoken with considers it unforgivable that my mother has been made to endure such stress and anguish on top of all else she's suffered in recent years. The really sad thing is that this current unpleasant situation could have been avoided if fairness and love had prevailed in certain quarters. It's not just the financial issues, but also the ethical, personal and emotional ones. It's stresfull, hurtful and absolutely uncalled for. Whatever happens, I'm determined to help mum to see things through to the end, (and, all being well, to finally resolve the problem). Nevertheless, these events have left a bitter taste in the mouth, tainting memories and relationships that, in more reasonable circumstances, would never have have been tainted at all. My mother was married to George for 28 years, helped raise his children through their teens, looked after him through various illnesses, including his final, terminal one, and much more besides. Everyone has said that she deserves far more respect, consideration and kindness than has been shown to her. Enough of this, I'll move on to other topics:- Yet another negative development in our domestic life has been Emiko's unfortunate redundancy of a few months ago. This was due to a re-structuring/downsizing of the flower business where she'd been employed for the last eight years. Her income was always basic but, nevertheless, the loss of it has created a noticable and negative impact on our finances. Her input was of tremendous help to us in dealing with the cost of living. Now things have become even more of a struggle. Finding alternative work for her has proved difficult, partly because of Emi's age, (like me, she will be 60 this year), and partly because of the lack of genuine artistry and sophistication in so many of the local floral businesses. Many people just want generic, predictable floral arrangements. Emi approaches her work as an artist and finds it difficult to dumb things down for the mass marketplace. (Sounds familiar this, doesn't it?) Of course, the current economic climate hasn't helped matters much either. Small businesses are taking a battering, particularly independent ones. Still, Emi's genuiness and natural talent will, I hope, eventually win the day. At least, that's my idealistic opinion. Right now, she needs all the support she can get. I'm trying to guide her towards setting up an independent, bespoke floral design service aimed at discerning customers who appreciate something special, a little more personal and refined than the approach offered by high street florists. But neither of us have much of a business head on our shoulders, being more focussed on creativity and quality, rather than chasing profits. Besides that, my own work is so constantly intense that it's difficult for me to find enough time to help Emi as much as I'd like. But, we'll see. Here in our home town, there seems to be more empty shop premises than ever. Locally-based firms appear to be going under on a daily basis. Walking around the streets can be quite depressing, especially when you come across businesses such as the renowned and long-established Scotts the butchers who, it seems, have finally shut up shop for good. It even seems that being featured on James Martin's tv celebrity chef show hasn't saved them. I visited a local independent music store to buy some guitar strings the other day, ('Rock-Ola Music'). Whilst there I had a conversation with the shop's owner about the outrageous rates charged to small businesses by the local council. It does seem terribly unfair. What this city needs is more independents, not less. Much more diversity and not so much of the same old chain-store, corporate, identi-kit businesses that proliferate in every town and city in the U.K. We really should buy far more regularly from these independent, local businesses than we do... and from recent experience, I can confidently point people in the direction of 'Rock-Ola Music' (in York), for helpful, knowlegable service. AND they stock 'Peerless' guitars! Talking of which, my recently aquired (and very beautiful) Peerless 'Monarch' archtop guitar continues to be an absolute delight. I've been incorporating it continuously on recent recordings. It's one of those rare guitars that immediately win a permanent place in a player's heart. My musical life has always been eclectic, incorporating many contrasting musical inspirations and aspirations and my guitar choices are subsequently dictated by a wide range of creative needs. Whilst my initial career was predominately built on whatever reputation I'd established as a rock guitarist, jazz has always been an important, if subtle, element of my style. I was listening avidly to the great jazz guitarists long before I became a professional player with Be Bop Deluxe and I've always 'had a thing' about the sound and feel of a traditional archtop acoustic-electric guitar. My recent instrumental music fuses these long-time jazz leanings with rock, avant and ambient tendencies...it's not 'fusion' music but something beyond that, something personal. The recently released instrumental albums, 'Silvertone Fountains' and 'Illuminated At Dusk,' provide particular examples of this approach. The guitar playing on them mixes more traditional, rich and luxurious jazz guitar sounds with bright n' shiny rock n' roll tones. (The former from my Peerless 'Monarch,' the latter courtesy of my Campbell 'Nelsonic Transitone' signature solid-body guitar and my Eastwood/Airline retro-styled instruments.) I've always derived a perverse pleasure from playing games with musical expectations, whether those expectations are mine or my audience's. As I've mentioned before in these diary entries, my passion for guitars and guitar-based music has been dramatically re-kindled in recent years. Not the guitar styles of current '70's revivalist young bands but something that bridges the gap between the more distant past and a romantic, imaginary future.., anything that avoids current predictable popularisms. Difficult to accurately describe, (which makes it difficult to market), but, hopefully, it speaks for itself to those ready to hear it. Whilst on the subject of guitar-based bands, I came across an old photo of Be Bop Deluxe taken at the time when we were just a trio, prior to Andy joining the band. I was taken aback with my own appearance in it...I look like the mutant love-child of Rufus Wainwright and Prince! It WAS a long time ago but, my oh my, how the years rob us of our youthful good looks. Nowadays, I can't bear to see photos of my current self, too sad, too depressing, too worn and weary. But perhaps that's probably just vanity on my part. Daily life in my home studio has become hyper-intense in recent months, even by my usual workaholic standards. I've written and recorded a tremendous number of vocal and instrumental tracks, often working late into the early hours to keep things on course. It's been a punishing schedule and I've become acutely aware of the negative effect it's had on my health...I'm feeling physically and emotionally exhausted. Some days I feel as if my soul has been scattered across some nebulous interior universe like the atoms of an exploding star. I wonder if this kind of self-inflicted insanity can ever be justified, bearing in mind the small and specialist audience my music attracts. The practical reward, (in terms that most people would understand as a reward for such non-stop hard work), is pitifully small in comparison to the concentration and energy expended. Nevertheless, here is a list of tracks currently awaiting release in one form or another. It's up to date at the time of writing but is still being added to every few days:- VOCAL TRACKS:- 1: 'Welcome To Electric City.' 2: 'I Saw Galaxies.' 3: 'Once I Had A Time Machine.' 4: 'Oh Moon In The Night, I Have Seen Thee Sailing.' 5: 'Fountains Are Singing In Cities Of Light.' 6: 'Electric Trains, Clean Oceans, Clear Skies, Pure Air.' 7: 'Summer Hums In The Bee-Loud Glade.' 8: 'Time's Quick-Spun Globe.' 9: 'My Empty Bowl Is Full Of Sky.' 10: 'Help Us, Magic Robot.' 11: 'God Glows Green In Small Town Park.' 13: 'The Old Nebulosity Waltz.' 14: 'When Aeroplanes Were Dragonflys.' 15: 'Until All Our Lights Combine.' 16: 'Night Is The Engine Of My Imagination.' 17: 'When Rain Made Us Shine.' 18: 'The Golden Roundabout Rides Again.' 18: 'A Town Called Blue Tommorow.' 19: 'Mystery Vortex, (Oberon Touchstone.)' 20: 'A Million Moonlight Miles.' 21: 'The Sparkling Of Frosty Lawns. (Snowballs And Oranges.)' 22: 'No Time Says The Clock.' (Version One.) 23: 'No Time Says The Clock.' (Version Two.) 24: 'Yonder Gleams Your Star.' 25: 'How Many Miles To Babylon?' 26: 'Curate's Egg In Cup Of Grass.' 27: 'Strange And Wonderful, (That's My Life.)' 28: 'A Certain Thought Passed Through My Mind.' 29: 'Rain Falls Fast On Faded Ruin.' 30: 'Dig The Sparkles.' 31: 'Searching For An Island, (Off The Coast Of Dreams.)' 32: 'Just A Kid And All That Sky.' 33: 'Test Card.' 34: 'I Travel At Night.' 35: 'Signals From Earth.' 36: 'The Experimental Time Traveller.' 37: 'The Silver Darkness Whispers Yes.' 38: 'Heaven Is A Haunted Realm.' 39: 'Distant Years From Now.' 40: 'Golden Melodies Of Tomorrow.' 41: 'Cinnamon And Mint.' 42: 'The Emperor Of The Evening.' 43: 'The Rainiest Day In TheWorld.' INSTRUMENTAL TRACKS: 44: 'Mellophonia.' 45: 'Attempt To Re-Assemble My Fragmented Self.' 46: 'Rocket Billy Blues.' 47: 'Dance Of The Duane Eddy Twanglobots.' 48: 'Music For A Victorian Steam Cottage.' 49: 'Dreamland Airships.' 50: 'Artismo Loco.' 51: 'The Birthday Gift From Outer Space.' 52: 'Twang Rings True.' 53: 'Mars Welcomes Careful Drivers.' 54: 'Table Top Trainset.' 55: 'Thunder Heralds The Fairylight Parade.' 56: 'Cyclotron.' 57: 'The Phonograph Bird.' 58: 'Clear Skies A' Coming.' 59: 'The Standard Fireworks Stomp.' 60: 'Rotorbell.' 61: 'The Lost Art Of Doing Nothing.' 62: 'The Marvellous Model Kit.' 63: 'Frankie Surfs The Milky Way.' 64: 'The Walls Of Which Are Made Of Clouds.' 65: 'Ghosts Of Christmas Past.' 66: 'Teatime In The Republic Of Dreams.' 67: 'Dynatron Blues.' 68: 'The Way Things Go.' 17 of the best vocal tracks will make up a forthcoming vocal album release titled 'Golden Melodies Of Tomorrow.' 38 other tracks, (a mixture of vocals and instrumentals), will go onto a special, limited edition Nelsonica convention DOUBLE album, to be titled 'Clocks And Dials.' The left-over tracks will form the basis of a further album, (as yet untitled), to be released towards the end of the year. The majority of these pieces, particularly the vocal-based ones, (and particularly the 'Golden Melodies Of Tomorrow' tracks), are quite complex, epic works. They're constantly evolving compositions that rarely conform to standard rock or pop songwriting forms. Some pieces bring together several contrasting genres within the space of a single song, starting off in one place and ending up in an entirely different musical environment. They are not designed for quick, easy consumption but are perfect for listeners who enjoy following a progression of ideas, an interplay of details and layers. They're packed with melodies and sound textures. I was hoping to announce running orders for both projects in this diary entry but I'm still fine tuning things on 'Golden Melodies Of Tomorrow.' However, I CAN disclose the running order for the Nelsonica double album, 'Clocks And Dials.' The track listing on the two discs will be as follows:- CD 1: 1: 'Thunder Heralds The Fairylight Parade.' 2: 'Mystery Vortex (Oberon Touchstone.)' 3: 'Test Card.' 4: 'Clear Skies A' Coming.' 5: 'Rain Made Us Shine.' 6: 'Music For A Victorian Steam Cottage.' 7: 'A Town Called Blue Tomorrow.' 8: 'Searching For An Island Off The Coast Of Dreams.' 9: 'Signals From Earth.' 10: 'Frankie Surfs The Milky Way.' 11: 'I Travel At Night.' 12: 'Just A Kid And All That Sky.' 13: 'Rain Falls Fast On Faded Ruin.' 14: 'Artismo Loco.' 15: 'Dynatron Blues.' 16: 'No Time Says The Clock.' (Version 1.) 17: 'How Many Miles To Babylon.' 18: 'The Rainiest Day In The World.' 19: 'Twang Rings True.' ----------------- CD 2: 1: 'The Phonograph Bird.' 2: 'The Experimental Time Traveller.' 3: 'Dig The Sparkles.' 4: 'The Golden Roundabout Rides Again.' 5: 'Mellophonia.' 6: 'Electric Trains, Clean Oceans, Clear Skies, Pure Air.' 7: 'Yonder Gleams Your Star.' 8: 'Cinnamon And Mint.' 9: 'The Marvellous Model Kit.' 10: 'Curate's Egg In Cup Of Grass.' 11: 'Rocket Billy Blues.' 12: 'Distant Years From Now.' 13: 'A Certain Thought Passed Through My Mind.' 14: Oh Moon In The Night I Have Seen Thee Sailing.' 15: 'Dreamland Airships.' 16: 'Strange And Wonderful. (That's My Life.) 17: 'A Million Moonlight Miles.' 18: 'The Silver Darkness Whispers Yes.' 19: 'No Time Says The Clock. (Version 2.) For readers awaiting these new albums, I can say that both the 'Golden Melodies Of Tomorrow' and the 'Clocks And Dials' albums will initially be made available at this year's Nelsonica 08 Convention on Saturday November 1st. They will then be released more widely on the following Monday via the Dreamsville on-line store. As always, the quantity and availability of the convention album ('Clocks And Dials'), post-Nelsonica, will depend upon how many are left over once ticket holders have claimed their inclusive copies. This year's Nelsonica convention is meant to be a little special as it will act as a sort of early birthday celebration party, as well as a fan convention. (As mentioned above in this diary entry, I'll be 60 in December.) Preparation for Nelsonica 08 is already underway, not least with regard to the 38 track double album but also in terms of the integral concert performance and other programme events for the day. There's an increasingly strong possibility that a full band will be assembled to perform some older favourites, as well as my usual solo performance. In fact, there's just one component to put in place, band-wise, before I can confirm this as 100% certain but it does look as if there will be a SEVEN PIECE BAND performing at the convention, plus a solo set (and possibly an Orchestra Futura set too). The concert aspect of the convention has always been popular with attendees but the inclusion of a full band will make this year even more memorable. Full details of the band, its line-up and the name I'll eventually choose for it, will be announced both here in my diary and also on the Dreamsville Inn Forum and Nelsonica webpages as soon as the above mentioned final component is put in place. Those people who have already secured tickets for the event will be guaranteed a rare oppportunity to hear a live performance of some classic back catalogue songs from the Be Bop Deluxe and Red Noise era, as well as some more recent contemporary solo instrumental pieces. For those who haven't yet got their tickets it may be wise to secure some sooner, rather than later, especially if hearing me perform some old favourites with a live band appeals. Ticket numbers are limited and once capacity is reached, there will be no further opportunity to see something like this for a long time, or, who knows, maybe ever, again. As with all recent Nelsonicas, the biggest problem is how to fit everything into a single day. Once the convention's doors open, it's non-stop until closing time, around 11pm. It's always a tightly packed schedule of presentations and the live concert is just one of the highlights. So much work yet to do, for both myself and the team and time is rushing on. Before all this, there is still one more new album release in the pipeline. This is 'Mazda Kaleidoscope,' the third part of the triolgy begun with 'Silvertone Fountains' and 'Illuminated At Dusk.' The first two albums of the trilogy have been very well received by those who obtained copies. 'Mazda Kaleidoscope' carries the concept a little further with much longer pieces and a slightly more abstract approach. It is, even if I say so myself, a beautiful and mysterious set of tunes. The packaging artwork is now complete and the album should be available towards the end of this month (August). Here's the final track list/running order for 'Mazda Kaleidoscope':- 1: 'ALL THE WORLD FLIES KITES TONIGHT.' 2: 'BLUE SKIES LISTEN, THE UNSTRUCK BELL.' 3: 'THE NEBULOUS ADVENTURES OF NEWTON KYME.' 4: 'LAMPS ARE LIT IN THE LAND OF TOMORROW.' 5: 'YES AND ALWAYS AND FOREVER.' 6: 'EVENING ILLUMINATOR.' 7: 'MAZDA KALEIDOSCOPE.' 8: 'THE TRACE WE LEFT WHEN ALL WAS GONE.' Despite my heavy work schedule and time spent helping my mother, there have been a couple of snatched moments where I've been able to get away from my studio, if only briefly. I actually managed to attend two concerts in June. The first of these was a celebration of the work of composer Ralph Vaughan-Williams who passed away 50 years ago this year. The concert was held at York Minster on June 21st and was performed by the York Musical Society Choir and Orchestra, (A full orchestra of strings, brass, woodwinds, harp, percussion, etc plus a choir of 115 singers.) The programme featured Vaughan-William's 'Five Mystical Songs' as well as the evergreen 'The Lark Ascending, (A Romance For Violin And Orchestra)'. Well, what can I say that might do the experience justice? It was simply stunning, achingly gorgeous, wonderfully performed and rapturously received by a packed minster audience. Emi and I were both moved to tears by the poignancy and sheer beauty of the music. Unmissable. The second concert was an open-air affair, Eric Clapton in concert at Harewood House near Leeds on June 29th. Emiko and I had generously been provided with guest tickets by Eric's management and we had a very enjoyable evening despite it becoming a little chilly once the sun had dropped to the horizon. Our guest status allowed us to use a separate hospitality enclosure with bar and toilets which made matters a little more comfortable. We're both unused to festival type concerts so anything that made it a little more comfortable for such 'old folks' as us was most welcome! Our friends Steve Cook and Sarah had bought tickets for the concert too and we met up with them, pre-show, for drinks and a snack at a nearby pub. When Eric took the stage, we joined Steve and Sarah in the audience to enjoy the concert. Eric was an important inspiration to me in the 'sixties, from his Yardbirds period, through John Mayall, Cream and Blind Faith. My band 'Global Village' actually covered a couple of Blind Faith songs, back in the day! We'd also cover Cream numbers, literally learning them from the albums on their day of release. We'd be playing them in local blues clubs the following night, before many people had actually heard the album that they were taken from. I'd last seen Eric perform 'in the flesh' at 'The Last Waltz' in San Francisco in the 'seventies. My band, Be Bop Deluxe, were playing the same venue the following night and we were booked into the Miyako Hotel where all the musicians involved in The Last Waltz seemed to be staying. I was given guest tickets to that event and a backstage pass too. I've documented my experience before in this diary and on the Dreamsville Forum so won't repeat it here, other than to say it was a fabulous show, as anyone who has watched Martin Scorcese's film of the event will know. At Harewood House, Eric's playing was sublime and his band were faultless. A great choice of numbers too, not purely blues but some other items including a standout performance of George Harrison's 'Isn't It A Pity' and a wonderful rendition of Hoagy Carmichael's 'Old Rockin' Chair.' Eric continues to inspire musicians and does so with dignity and grace. It was also my pal Steve's birthday so the concert was an apt way to celebrate. One particularly nice surprise in recent weeks was receiving a lovely letter from Robert Douglas, author of the marvellously atmospheric and moving autobiographical book 'Night Song Of The Last Tram.' Regular readers of this diary will be aware that the book became the inspiration for a track of the same title that I composed and recorded for my 'And We Fell Into A Dream' album. Mr. Douglas had been informed of this fact by his publishers and they'd sent him a copy of the album along with my diary reference to his book. He then wrote to me to tell me how flattered he was. The truth is it is me who is ultimately flattered as I was absolutely bowled over to receive Mr. Douglas' generous and kind letter. I've been meaning to write back to thank him but, due to pressures of work and family as mentioned above, I'm deeply embarrased to say I have yet to drop him a line. I MUST try to do this very soon and also see if I can dig up a spare copy of my published diary to send him as a thank you. But it was a great and extremely pleasant surprise. Moments like that are rare jewels in this 'business' of making music. I treasure them. Whilst on the subject of literature, I continue to slowly inch my way through a mountain of books at my bedside. A few minutes of reading every night, before my eyes close, is all the time I've been able to spare, book-wise, of late. Here are a few of the ones I've attempted to digest: 'The Best Of Jazz' by Humphrey Littleton. 'Duke Ellington And His World' by A.H. Lawrence. 'The Longest Cocktail Party' by Richard DiLello. 'The Secret History Of The World' by Jonathan Black. 'Music Downtown' by Kyle Gann. 'Considering Genius' by Stanley Crouch. 'Moondog, the authorised biography' by Robert Scotto. I've been particularly impressed by the 'Music Downtown' book, a collection of published articles and essays on various American contemporary composers and musical artists. It's one of the most perceptive, passionate and entertaining critiques of modern music I've ever had the good fortune to read. I found it stimulating, informative and intelligent but would dread laying my own work in front of this fellow for his assesment! He has good things to say about my pal Harold Budd though. Supposedly the height of summer here in the u.k. but rain hitting my studio window as I type. It's been a very poor summer so far. I did manage to take my mother out for a day at the Yorkshire coast, just over a week ago, when the sun actually shone allday long. It was a glorious day...we drove first to Reighton Gap, a place my mother hadn't visited since the 1950's when we used to holiday as a family there. I've written about this place in earlier diary entries but the basic story is that my mother and father were good friends with a couple called Herman and Ada Ackroyd. They owned a wooden, pre-war seaside bungalow at Reighton Gap. They allowed Mum, Dad and me, and later Ian when he was born, to have holidays there in the 1950's. There are photos of that time in my 'Memory Codex' video. Anyway, I have very fond memories of those holidays and thought I'd take mum back there to see how little or how much it had changed over the intervening years. The old wooden bungalows on the clifftop have long gone, replaced by large, static caravans but the line of the surrounding landscape is just the same. We wandered a little further along the clifftop to a fairly isolated spot and gazed out at the sea for a while. Just before we were about to drive away, I spread my map open on the car boot to plot our next route. A car pulled up nearby and a man got out and walked towards the cliff. As he passed by he looked over in my direction, then paused and came over to me. I thought he may be needing directions and perhaps, as I had a map in my hands, presumed he was about to ask me the way. I was totally surprised when he spoke. He said: "Excuse me, aren't you Bill Nelson?" When I replied that I was he then said, "I'm a huge fan of your music. Your music changed my life!" Well...what an amazing compliment and how nice to be recognised in such an out-of-the-way spot! It made my day. Later, Mum and Emi and I drove to Flamborough Head and had ice cream at the little cafe nearby the lighthouse before taking a gentle stroll around the surrounding cliffs. The sky and sea were a wonderful blue, so warm and delicate. It was a tonic for mum, and for me. I've spent far too much time indoors this year and being out in that east coast sunshine, albeit briefly, really lifted my spirits for a while. From there we drove to the village of Sewerby and to an unfortunately fly-infested pub called 'The Ship' where we ate fish and chips for dinner before driving back to Wakefield via the Yorkshire Wolds. Since then, it's been back to the busy work schedule, solicitor's meetings and associated concerns, and helping my mum with her supermarket shopping. I travel over to Wakefield a couple of times per week to take her out and I telephone her every morning and evening to check on her well being. My other pre-occupation is finalising the running order for 'Golden Melodies Of Tomorrow' and working with David Graham on the packaging artwork for the album. Next up will be artwork for 'Clocks And Dials.' Looks like this one will be a digipak. Then I'll need to master the 38 tracks for 'Clocks And Dials' and the 17 tracks for 'Golden Melodies.' This will mean booking studio time at Fairview with my friend John Spence. There's also a long list of work I need to do in preparation for Nelsonica 08. Plus, I'm hoping to put together a compilation album for release early next year, focussing on some of my favourite instrumental guitar tracks, an album I may place with a distributer to put into shops and out for review. I plan to call this album 'Plectrajet,' something to attract possible listeners who may not have previously been aware of my work in this area. I'll maybe do the same with a vocal compilation album too. Try to spread the music a little wider? So still no proper respite or chance to take a decent break. A proper holiday would be wonderful but it is a luxury I cannot afford, either time-wise or economically at the moment. Maybe next year. Yet another long diary entry...and still I haven't told the whole story of the last six months. This will have to do for now...I'm all typed out. ***** The images included with this diary entry are as follows:- 1: Some of Bill's favourite archtops from his collection. The Peerless Monarch is lower centre. 2: A 'Golden Melodies' flyer. 3: Bill with his Peerless Monarch jazz guitar. 4: Be Bop Deluxe in trio form. (1970's.) 5: Bill and his Mum at Reighton Gap, 2008. 6: 'Plectrajet' teaser ad. Top of page

Code album - 1987 Cabaret Voltaire Production/Contribution Menu Future Past BILL: Guitar on five songs: "Don't Argue", "Here To Go", "Trouble (Won't Stop)", "White Car" and "No One Here". Production/Contribution Menu Future Past

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