Musician Drogo Empedocles
Harpers Faerie Musician
Instruments: Piano, Keyboard, Violin, Drums, Native American Woodwind Flute (recorder), etc…
Styles: Organic Music, Gothic, Tribal, Modern, New Age, Abstract, Free-form, Improvisational, etc…
Bands: The Lance Simmons Quintet (Savannah, GA circa 1999-2000), Savannah Georgia Drum Circle (1997-2000), Harpers Faerie Goblins (emeritus)
Bands Collaborated with: Stellar Watson (Shepherdstown, WV circa 2003-2005), (Shepherdstown, WV circa 2001-2004), The Unfortunate Rakes (Celtic Film), etc…
Have hosted Individual Musician friends: John Henry Dale, Bruha, Bruce Wilkens, Chance McCoy, and others…
I first played piano on our Hardman Grand Piano as a child. I could read basic music notes, but preferred to learn from others and make up my own songs. Yankee Doodle, Chop-Sticks, TV Themes, and Gothic chords. Then on Keyboard I was able to add sound effects, beats, and different instrument sounds. This opened up the World of Music to me.
Violin was more intensive because i had to practice for a teacher, lessons, and public performances. The cat hated my violin playing, and I did too. If I play a violin now, I will only do free-form fiddle for fun.
When I lived in Alabama, I bought a Native American flute with an Alpaca etched into it. It was very affordable, and made of a light-weight reed (naturally hollow stalk), which makes it perfect for travel. The sound is easy to make, and ghostly. I have a variety of other recorder designs, including a “Walton tin whistle”.
My best sounding (note for note), and most expensive flute ($30-$60?) was purchased at a Rendezvous in Wisconsin, made possible by a loan from Cordite, because I didn’t have the cash on me at the time. It has a wolf head on it, and its made from an old red-wood fence. I had been waiting a long time to find a quality flute i could afford; I paid Cordite back asap.
I love to play drums. My favorite drum is a “Walton Irish Bodran” with an elaborate Celtic Knotwork Cross on it. My weekly Drum Circle in Savannah, GA was like pagan church for me.
All of my individual recordings are spontaneous improvised musical pieces. When I play with another musician, that’s where I try to have consideration for the part I play in it, note for note, pause for pause. Only with others would I consider confining myself to trying to remember how to repeat the same performance for a “song”. I prefer to imitate sounds like some birds can. When I am alone, there is no context for how to play, except what I make of my mind and environment; my thoughts are too organic to be confined in complex memorized repetition. I like to able to hit a “wrong” note without feeling like i ruined the piece for everyone.
In the Lance Simmons Pan-Ethnic Quintet, we had Didgeridoo, Piano, Guitar, Vocals, and all kinds of funky percussion. Our style was pan-ethic world music genre. We really just went at it, from our spiritual guts. It was alot of fun. We played in a SCAD Battle of the Bands, SCAD Spring Break Concert at a Dorm Pool, SCAD Sound Studios, SCAD Music Hall (huge old building), in the Parks, and the Percussion guy and I played for money on the Beach Board-Walk and at the Pavilion! He had this crazy water drum he made. That same year I also took a class on African instruments in the Park (in relation to Spiritual Martial-Arts).
LSQ Recordings: Theme for a SCAD Film, Answer, Cowbells in Savannah, Didgeridoo Bass, Clip-Clop Gallop, etc…
2008 Condo Couch Recording
Faster / Slower
2011 Flute Recording “East-West Bridge”
I call it “East-West Bridge” because I play pieces that sound both Asian and Native American, and blends of the two; plus some Celtic style European stuff. I play randomly, whatever I feel like playing when I play solo. My style has constantly evolved since the 1990’s.