Mattroi Writes Music

Matthew roi Berger's a New York based composer and songwriter

Song Cycle 2010

Download Mattroi's Music at Bandcamp

Composition Samples:
upbeat
ballad
comedy
pop
flamenco

Mattroi is currently composing for FAT CAMP, the Best of Fest-award winner at the Fall 2009 New York Musical Festival

To contact Mattroi please email mattroiberger@gmail.com

Mattroi's bands are the Hey! and the Licks.

Mattroi's blog is the GALAXIST
[Flash 9 is required to listen to audio.]

Who is Sylvia? (c) 2011 Mattroi Berger

Here’s a track I wrote for Beth Lopes’ production on Two Gentlemen of Verona, going up next month out at UC Irvine. She asked for a Mraz-y, Mayer-ish sort of acoustic jam.  I tried to avoid slipping too far into parody, though, given the scene in which the song appears, I think I’ve landed upon an appropriate level of schmatzy douchery.

I’ve included the chords below - something I plan on doing more often - just in case anyone wants to play along.  (Do people do that?)

Also, almost exactly two years ago I wrote a handful of flamenco songs for Beth’s production of Lorca in a Green Dress.  Still pretty proud of those.  So.  You know.  Check ‘em out?

Music by Mattroi

Lyrics by Shakespeare

***

[GD]

Who is Silvia? what is she,
That all our swains commend her?
Holy, fair, and wise is she;
The heaven such grace did lend her,

[ABG]

That she might admirèd be.

[DG]

Is she kind as she is fair?
For beauty lives with kindness.
Love doth to her eyes repair,
To help him of his blindness,

[ABG]

And, being helped, inhabits there.

[GD]

Then to Silvia let us sing,
That Silvia is excelling;
She excels each mortal thing
Upon the dull earth dwelling:

[ABG]

To her let us garlands bring.

[Flash 9 is required to listen to audio.]

52 Week Song Cycle #52

Begin Again (c) 2010 Mattroi Berger

Done.

Music and lyrics by Mattroi

***

You take a breath, but are you ever to start?
You call it like you’ve known all along.
You feel the weight from 20 years above you,
The voices from forever beyond.
It’s on your arm
Just to tell you when the damage is done.
You’re all you are
And has that ever been enough to belong?

You dream of everything that ever began
But the curse is in the lack of the words
You wonder numbers like the height and the speed,
The distance to the slip of the earth
It’s not too far
When you compare it to the terrible run.
You’re all you are
When you’re screaming at the top of your lungs.

Quiet star, it set it’s head and then begin again
Liar’s heart, it detonate and then begin again
Fire spark, it never stop, it just begin again
Wild dark, you raise your head and you begin again

But when you sleep it’s all the clouds and the sea
Horizon ever echoing on
And somewhere off you know that there there must be
Exactly what you knew all along
But just how far
Will you reach until the battery’s done?
You stop; you start.
The sting is ever that which carry’s you on.

Quiet star, it set it’s head and then begin again
Liar’s heart, it detonate and then begin again
Fire spark, it never stop, it just begin again
Wild dark, you raise your head and you begin again

You laugh aloud down from your infinite height
The faces staring in disbelief
They needn’t understand the fear of the flight
For you to know your own victory
You’re wild; you’re dark
And you’re only ever what you have done
You’re all you are
When you’re screaming at the top of your lungs.

Quiet star, it set it’s head and then begin again
Liar’s heart, it detonate and then begin again
Fire spark, it never stop, it just begin again
Wild dark, you raise your head and you begin again

[Flash 9 is required to listen to audio.]

52 Week Song Cycle #51

We Go Run (c) 2010 Mattroi Berger

I kinda like that the penultimate track of the Song Cycle isn’t anything too musically overbearing or “thoughtful” - It’s certainly not my opus.  If anything, this year, I’ve been trying to push myself to do something new every week and to explore sounds I don’t normally, which leads to a lot of mis-steps and happy mistakes.  I’ve written a few ska numbers in the past few years, but I particularly enjoyed trying out a Beach Boys-esque chorus here.

I also like that the lyrics are about leaving something - New York City, specifically, which makes sense enough given the current holiday season and my spread-out family.  On a larger scale though (and this is totally unplanned, of course), it speaks to how I’m glad to be leaving the Song Cycle behind.  This year has been my year to renew my love for exploring new things and reenforcing the need for constant improvement in my work.  I’m excited to take those things and run off somewhere in 2011.

This song also marks the last time this year that Melissa Lusk appears on one of my tracks.  She’s incredible.  This is a song about getting out of town with your best companion, and she’s certainly mine.  She’s been on more tracks than I can count, and inspired, pushed and improved countless others with her thoughts and general day-to-day presence (she also helped me name this one).  I’m at a loss for words to express how much that means to me, and I think it’s a joy to be able to share what I love with someone like her.  Anyway.  Hope you’re with someone you love in the new year.  Cheers.

Music and lyrics by Mattroi

Backing vox by Melissa Lusk

***

I got this dream that keeps a bothering me
That I’m asleep on my feet
That I’m a passing up on more than my time
It trace a funny design

I can feel the city leaning on me
I see her feeding on me
She got these teeth; they’ razors, straight through your bone
She tell me leave it alone.

Hey! Hey! Hey! Hey!

I’m only looking for a coward like me
Who got the fear of the sleep
Who wanna stay awake and run til we through
Kid, you got pretty good moves

Let’s pack up quickly cuz the city got ears
She need her dinner, I fear
The subway moaning like electric delight
We gonna leave it tonight

I’m on my way
I’m on my way
Where I’m to find
I cannot say
Let’s get around
Let’s get away
We won’t be found
Until we give it away

I see a fire up on warning tonight
Pitchforks a-warring tonight
She got a level that she want you to know
So she gone tell you it all

“I’m merely saying what you’re calling to mind
I ain’t the devilish kind
I ain’t a saint but I ain’t wasting your time”
Oh Lord, stop wasting my time.
We smell the blood on the line
And we go run for our life.
That’s right! That’s right!

I’m on my way
I’m on my way
Where I’m to find
I cannot say
Let’s get around
Let’s get away
We won’t be found
Until we give it away

Hey!

You see a phantom on the boulevard
The beaches haunted by the ancient gods
We sneak the boardwalk and we slip into the sea
If we can pass the torch we’re free

I’m on my way
I’m on my way
Where I’m to find
I cannot say
Let’s get around
Let’s get away
We won’t be found
Until we give it away

Hey! Hey! Hey! Hey!

[Flash 9 is required to listen to audio.]

52 Week Song Cycle #50

Novelty Socks (c) 2010 Mattroi Berger

When I started the Song Cycle last January, I started it on the 10th - over a week into the year.  I knew I was eventually going to have to make up for the loss of that week, but I was unsure how to do so for a very long time.  I credit my roommate Zaq for offering the suggestion that I release a Christmas single.  

For a while now, Melissa and I have been talking about recording a Christmas album of offbeat, seasonal tunes (This was partially a get-rich-quick scheme; Have you considered how many Xmas albums are released each year?  Stunning.  We’d get bought up by a Major in no time.  I think.).  One of the first (and only) songs I came up with was “Novelty Socks,” which is now, perhaps, one of the silliest, strangest additions to the Song Cycle.

I originally wanted a slamming Xmas sax solo for the break, but deadlines didn’t allow for the collaboration.  Trust, though - if I had done so, you can bet the performer’s additions would be noted as “Novelty Sax.”  Like I said - silliest (stupidest?) song in the Cycle.

Music and lyrics by Mattroi

Backing vox by Melissa Lusk

***

Novelty Socks! Novelty Socks!

Well, I bought my babe a pair of novelty socks
She wore those things up, up and down the block
She wore that pair most everywhere
She wore them ‘til her feet were bare
She loves her…
Novelty Socks! Novelty Socks!

Well, I could ‘a bought a book for my baby on ‘a Christmas Eve
And I thought she’d like a heated pot a’ water and some Chinese leaves
Well I almost bought her tickets to her baseball team.
But I thought about it twice and I couldn’t be mean.
She got her…
Novelty Socks! Novelty Socks!

Novelty Socks! Novelty Socks!

Well, Christmas is the time for the gifting of the Novelty Socks
But the Greatest Gift of All isn’t simply for the Gentile flocks
If it’s the 2nd night of Kwanzaa or at Chanukah’s end
And your feet are feeling chilly just ‘a slip them on in
To your…
Novelty Socks! Novelty Socks!

Novelty Socks! Novelty Socks!

[Flash 9 is required to listen to audio.]

52 Week Song Cycle #49

In Repair (c) 2010 Mattroi Berger

This week I wanted to finally get around to creating that wall of rock guitars - I’ve been playing around with the distortion settings on my pedals and amp to see what I can get.  I used to think that fuzz petals sounded a bit to metallic, that they lacked the warmth I wanted in the tone.  A few years back I stumbled across the Blues Driver and now I don’t use anything else.

Once I had my wall up, though, there weren’t many other places to go sonically, so I used another sound I’ve been meaning to try out for a while - that wailing two-note drone thing David Bowie has in Heroes (and that LCD Soundsystem cops pretty amazingly in All I Want).  It has a really epic, haunting feel, and I think it adds well to the hook and choruses here.

I was about 2/3rds of the way through the lyrics (which, at one very confused point, concerned vampires) before I actually realized what I wanted to do.  I wanted to tell a story that sounds very surely one way all the way through but twists at the end to present the teller in a different light.  Pretty standard fare for better lyricists, I’m sure, but the words are always the hardest part for me.  I’m actually kind of looking forward to the end of the weekly demands of the Song Cycle, when I can work on a lyric for as long as (or longer than) I did this one.

Music and lyrics by Mattroi

***

And in the dark I’m a watch the lights a go a crisscross slowly
I get a ghost a breath and I watch it bleed
And in my head is a single song playing sideways, holy
God, it’s an old, old game and you’re a young, young thing

All right! Never come in silence!
All right! Never come in fear!

You got a way with words like a hammer has a way with windows
You got a smile that’s a part time auctioneer
You got a way to your walk that I swear to God can injure
I got a call from your friend; he was very clear

All right! Never come in silence!
All right! Never come in fear!
All right! Never come in kindness!
All right! Never come in here!

I’m in repair, I
I haunt the stairs and I
Wait for you

And in the dark I’m a watch the lights a go a crisscross slowly
You get a ghost a breath and we watch it bleed
You got a look to say you think this is a bad thing, mostly
But in the end, we do the same bad thing

All right! Never come in silence!
All right! Never come in fear!
All right! Never come in kindness!
All right! Never come in here!

I’m in repair, I
I’ll be your alibi
I’m in repair, I
I haunt the stairs and I
Wait for you

Gonna wait for you

[Flash 9 is required to listen to audio.]

52 Week Song Cycle #48

Devil At Your Side (c) 2010 Mattroi Berger

Ok.  I know I promised no more dark and dirty songs this year, but I assure you this one started out with different intentions:  I wanted to explore harmonies and mountain music in a way I haven’t since Park Slope (In the Eye), but with a bit less winking and nudging this time around.  Working in that vein, I began to enjoy buying into the Southern mythology of demons and rebels and ended up writing a pretty dark little story.

I can’t really say that I grew up in the “south” - Or, I should say, anyone that actually did would say that I didn’t.  I grew up in the suburbs, and really didn’t develop any sort of southern twang or mannerisms until I came to NYC, adopting them, most likely, in reaction to my new surroundings.  But since then, I’ve become extremely fascinated with the history and folklore of the south, and how it’s been explored in music - from Ledbelly to CCR to REM.  I don’t pretend to have the insight that “actual” southerners do, but I do let my fascinations claim a good bit songwriting time.

I plan to keep exploring these themes and ideas in Teen Girl Scientist Monthly, my new band, though with a perhaps less affected genre focus.  There will be harmonies though, and songs about the devil and such and such and such.

Music and lyrics by Mattroi

***

“My son, my son, oh won’t you roam,”
Said my father, as he gave to Sleep.
“My son, you must take to the road,
Before the earth does you as it does me.
My words can not apologize
For fear you see within my eyes;
My son you’re twice the man as me.”
And with that breath my father died
My hands still pressing at his side.
Done nothing t’stop the blood that wet the leaves.

My love, my love, oh won’t we run,
Find ourselves in the new country?
Our legs are sapling spritely young.
No roots are yet our company.
And though the life you hold inside
Is showing now, I think we time
To beat this winter’s march and slip the scene
Because, my love, I have this dream
That comes to me persistently
In forest dark, the voices ask of me:

“Will you work till you’re scraps
With the devil on your back
In the shadow of an earthly beast?
Will you lie on your life
While you bleed from your side
When they come for your family?
Oh, when they come for your family…”

My son, my son oh won’t you run,
Call the heavens to horizon’s knees?
And catch the subtle rising sun
In your smile as you come to me?
My son, oh won’t you sing again
Through the dirt and still my hand
That shakes with fear and rage but never stings.
And oh, my son, I have this dream
That comes to me persistently
In forest dark, the voices ask of me:

“Will you bury your pack
With the devil on your back
In the shadow of an earthly beast?
Or will you fight for your life
With the devil at your side
When they come for your family?
When they come for your wife
And your daughter with a knife
Will you lie on your side and bleed?”

That won’t be me.

Yes sir, yes sir, I’m on my feet
And begging for my just release
Yes sir, yes sir, I’m ready to be freed
Your gracious gift of my last words
Are but to say my earthly worth
Has now another’s name upon it’s lease.
Oh dear, oh my, but what a face
Your open eyes do seem to make
When one has slipped your guts down to your feet
A call is off, but it’s too late,
My legs are swift and so’s my blade
That sings the words I answer now in peace

“Will you work till you’re scraps
With the devil on your back
In the shadow of an earthly beast?
Or will you fight for your life
With the devil at your side
When they come for your family?
When they come for your wife
And your daughter with a knife
Will you lie on your side and bleed?”

That won’t be me.

[Flash 9 is required to listen to audio.]

52 Week Song Cycle #47

Little Sin (c) 2010 Mattroi Berger

I don’t want to do anymore angry or sad songs this year.  Maybe the season’s making me sappy, but I’m just getting sick of indulging my emo side.  This should be the last of the loud rage rockers for the year, so enjoy it, if that’s your thing.

The lyric’s a little convoluted, but the story’s pretty straight forward:  I’ve been arguing with this conservative Christian friend of mine of late and I’ve started daydreaming about him being a serial killer.  All fanaticism starts to sound the same after a while.

I tried to experiment more with simplicity this week, breaking down a lot of elements and avoiding the desire to dress the hussy up in any finery.  The result is pretty dirty, but, by now, I think you’ve come to realize I kinda dig that sort of thing.

Music and lyrics by Mattroi

***

I wanted something.
I wanted something to believe.
So I start my dig at the top of the spine.
We’re gonna work on up, gonna see what we fine.

I needed something.
I needed something for relief.
You got a stock car mouth and it’s out of control.
You’ve gone a too far now, you shakin teeth with the road.

A little something.
A little sun coming over me.
I got my head so light, it’s a part of the sky
And I forget your name, but you were very polite

Oh,
And what you need is a sign.
When you look at the light
Say you ever believe.

Oh,
Losing track of the time.
Waking up in the night.
Feel a terrible thing.

I needed something.
A little sun coming over me.
And I get so hot - it’s a bothersome thing.
I need a quick release, need a something to breath.

And there’s a nothing.
There’s a nothing I believe
But a one good word that I managed to save.
He put the word in me and he told me, “behave.”

Oh,
And what you need is a sign.
When you look at the light
Say you ever believe.

Oh,
Losing track of the time.
Waking up in the night.
Feel a terrible thing.

A little sin.

[Flash 9 is required to listen to audio.]

52 Week Song Cycle #46

Why Do You Bother? (c) 2010 Mattroi Berger

Heard a band in a bar playing the same 4 chords over and over again the other day and I thought I could do it better.  If you’re interested in learning it: GDFC (with some variation on the keys).  Enjoy.

Wanted to focus on lyrics more this time around (how could I not when the music is the same four chords on 4-minute repeat?) and I had quite a bit of fun with internal rhymes and wordplay.  Taking a note (or a number of notes) from the defunct Welsh group ‘mclusky,’ I focused more on the impact of words as opposed to a greater story or aim.

Song Cycle’s winding down, but I got a few more tricks and ideas to throw out there.  Thanks to those of you who’ve been checking in weekly - I hope it’s been worth your while.

Music and lyrics by Mattroi

Backing Vocals by Melissa Lusk

***

I don’t see what they’re saying ‘cept I know that they’re right
And that they’re singing through their teeth with an envious eye
Cuz the kindness in their signs doesn’t bleed from the heart
And every kid has got good reason for his passionate scars

They got a letter to editor – They’re begging a better her
But they never sever ties – they got the eyes of a predator
Only try’n’ to get next to her, endeavor to tether her
And she’s warning me about their aims! She say.

She got a taste like an anthrax outbreak mismatched
Body like a battle-ax, blinding like a cataract
So try to get your facts straight, send em off to Christ Camp
Come home for the Holidays, won’t look you in the eye again

I don’t see what the point is – I’m incredibly fine
Like a pencil or a suit
And the terrible parable isn’t half as unbearable
As their chorus of disheartened abuse:

Why do you bother? Why?
Why do you bother to be in love?
Why do you bother to try?

She got a voice like a shark bite, sugar-covered knife fight
Molotov cock tease, aching for a spit shine
The science of her kindness doesn’t bleed from her heart
She got a hundred open credit lines in passionate arms

And the terrible terrible terrible terrible terrible
Terrible terrible terrible truth
Is that I’m honest to a fault line digging at a grave site
Hanging by a trip wire tapping on a landmine

Why do you bother? Why?
Why do you bother to be in love?
Why do you bother to try?

Oh my God.

Why do you bother? Why?
Why do you bother to be in love?
Why do you bother to try?

[Flash 9 is required to listen to audio.]

52 Week Song Cycle #45

Bad Luck/Good Luck (c) 2010 Mattroi Berger

Tried something (almost) completely different this week.  Only once before in the Cycle have I worked completely without guitars (SC#29:  Faith).  Only once before have I worked without lyrics (SC#3: Timeblazer).  And really only once before have I tried writing by sequencing music, rather than recording live takes (SC#23: I Resolve, sort of).

Truth be told, though, those really weren’t the reasons why I wrote Bad Luck/Good Luck this week - though it was nice to revisit some methods I rarely use.  The party that inspired SC#27: Maya Dances Trees last summer was sound-tracked by my friend Stevo, and he was playing a lot of great, new-to-me dance music - classic stuff from the early 90s, extended programmed stuff, and some modern, spacey cuts.  What really caught my ear were the tunes that fell into that last category - the sort of rave/trance tracks (I’m not sure what they would officially be called) that build slowly and surely to epic sizes.  They have far out, treated hooks that repeat until they’re totally familiar and then layer on top of each other, creating a almost palpably thick jungle of sound.  It was the first time in my adult life that I found something other than rock and roll to be the perfect music for the middle of the night.

With a little extra time on my hands, I wanted to try and replicate that feeling - my specific goal being to create a “trance” track that would be solid enough to make it on to Stevo’s ipod.  I started with a simple bass line that I distorted to thicken up the low end (I’m pretty sure most folks consume the Song Cycle via their tinny, less-than-bass-friendly laptop speakers), and looped it to infinity while experimenting with hooks.  When I found something I liked, I’d record it into the loop, so that anything else I wrote would need to build on top of it.  Once I had that “jungle of hooks,” I took a few steps backwards, splitting them up and sequencing them into a build.

I worked with one section of the song until I got bored and then started over to create a second section (the ‘Good’ and the ‘Bad’ lucks).  I linked them together with as many tricks as I could remember from last summer - the drop out and slow rebuild, the EQ switch from bass to treble for the drum track, etc.  I had fun imitating the sounds I remembered - some of which I simply stumbled across while experimenting with rhythms and audio treatments.

I faced a few problems that I never quite figured out.  Most importantly was the repetitive and pretty boring drum track - I wish I’d done a bit more research on how to program and treat the drums in this case, especially since they’re so important in this genre.  I also had some trouble trusting my hooks for the build.  I love dancing, but I wasn’t dancing while I wrote this - That means I was constantly second guessing how long I could trust a hook to last before it got boring.  I’ve been to clubs before where they hang the same groove up for minutes on end with very few changes.  I wonder if this track’s a bit too spastic with it’s build and changes to really get into a groove at all.

I do know that I had a blast trying this style out.  I still very much felt I was doing my “thing” (hooks, builds, dance), but also fell in love with the form’s freedom in a way I haven’t elsewhere in a while.  I think I’ll be giving this another try soon.  And I’ll be sure to post an update on whether Stevo approves. 

UPDATE:  He likes it!  He said it sounds like early House music (so I was off with all that “Trance” stuff).  Mission accomplished!

Music by Mattroi

[Flash 9 is required to listen to audio.]

52 Week Song Cycle #44

Motorcade (c) 2010 Mattroi Berger

Brandon Uranowitz is back in town, which means my mind is back to the project we’re preparing together - a bare bones, 3-piece rock outfit.  Voice, Guitar, Drums.  I like the idea a lot for two reasons.  First, I’ve been listening to a lot of old Yeah Yeah Yeahs and White Stripes and I’m always amazed by what huge walls of sound they can churn up with so few elements.  Second, Brandon has one of the fiercest voices I’ve ever heard, and a stage presence ten times his size.  I’m really looking forward to getting this on stage.

Listened to the Strokes’ Is This It earlier this week.  I love that LP, and a lot of it has to do with how they take very familiar, classic rock elements and build them into something modern and angular.  Motorcade owes a bit to that (and the borrowed Kinks riff), as well as the Hives, whose lyrical howls are in my vocals.  Fun little rock and roller this week.

Music and lyrics by Mattroi

***

You wanted something for nothing
But no you ain’t too smart
Ain’t got a face worth trusting
Naw

And it’s a sign sign sign
Oh you called it a vision
And it’s a nigh high time
That you figured it out
And it’s a fine fine line
Between business and submission
Well you can’t
You gotta think about it

You wanted just what I needed
You got a sensitive mind
You got no sense for believing
It’s mine

And oh, you’re blind blind blind
But you called it a vision
And it’s a nigh high time
That you figured it out
And it’s a fine fine line
Between business and submission
Well you can’t
You gotta think about it

Time
Oh and it isn’t on your side
You got a swift quick hole at the top of your neck
You get swift quick hole in the side of your head

You wanted something for nothing
But no you ain’t too smart
Oh I can see that you’re bluffing

And oh, you’re blind blind blind
But you needed a vision
And it’s a nigh high time
That you figured it out
And it’s a fine fine line
Between business and submission
Well you can’t
You gotta think about it

Oh no don’t play with a flame that’s too big for your lighter
Oh no don’t toy with boy who’s no time for your game
You got an eye for the prize and and tongue that can cut
And a fuse you just won’t snuff cuz you’re tough enough
But how you gonna count the money when we’re holding your hands?

Time
Oh and it isn’t on your side
You got a swift quick hole at the top of your neck
You get swift quick hole in the side of your head