Riffs

SONG-PEACE-WAR-SINS-INDUSTRY-DISCONTENT-FAME-OBSCURITY – Daniel Fardon (University of Birmingham, UK)

~ To be freely interpreted ~

WORDS

Sing a sad song

Where there ain’t nuthin’ but happy

It’s what Jesus would do

Yeah, yeah-yeah, yeah

Hate the sin not the sinner

Jump upon the peace train

In the heart of America

It’s sad but true,

When the day that lies ahead of me

Bears heavy on my mind

Y’all can’t blame it on the hip-hop

Everyone needs it baby

Fame, fame, fame, fame, fame, fame, fame, fame, fame

Fame, fame, fame, fame, fame, fame, fame, fame, fame

Fame, fame, fame, fame, fame, fame, fame, fame, fame

Discontent, you must leave

Got me looking

In the heart of America

Looking so crazy in love

Obscure as we are

Come on now peace train

Don’t throw it all away

What’s your name?

There’s only our hair’s breadth between us

You should feel ashamed

Cause they say I’ve done wrong

Blood on the floor

Sin, Sin, Sin, Sin, Sin, Sin, Sin, Sin, Sin

Sin, Sin, Sin, Sin, Sin, Sin, Sin, Sin, Sin

Sin, Sin, Sin, Sin, Sin, Sin, Sin, Sin, Sin

As sure as we be, a lovely day;

The reason I’m goin’; we’re throwing it all away

Daniel Fardon 

I am a British Composer, currently studying for a PhD in Musical Composition at the University of Birmingham under the supervision of Michael Zev Gordon. As a graduate of the University of Cambridge, and the Birmingham Conservatoire, I previously studied under the tutelage of Richard Causton, Howard Skempton, and Errollyn Wallen, partaking in masterclasses with Sir Harrison Birtwistle, Judith Weir, Colin Matthews, and Mark-Anthony Turnage.

My current research explores how musical eclecticism is understood and manifested across new music platforms, with a specific focus on stylistic construction in concert music, and the historical evolution of the relationship between composer and performer. My latest paper (on Schnittke to Zorn) was published by the University of Southampton’s Emergence Journal in Autumn 2016, and my new graphic setting of Shakespeare’s ‘When icicles hang by the wall’ was published in the Birmingham Journal of Literature and Language (BJLL) in Summer 2017. I am currently the recipient of both The Sir Thomas White’s Music Scholarship, and a University of Birmingham College of Arts and Law Doctoral Scholarship Award, which fully funds my study and research.

Daniel Fardon