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Private and commercial correspondence was carried out in Anglo-Norman or Anglo-French from the 13th to the 15th century though its spelling forms were often displaced by continental spellings. It was spoken in the law courts, schools, and universities and, in due course, in at least some sections of the gentry and the growing bourgeoisie.
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It is difficult to know much about what was actually spoken, as what is known about the dialect is restricted to what was written, but it is clear that Anglo-Norman was, to a large extent, the spoken language of the higher social strata in medieval England. This amalgam developed into the unique insular dialect now known as Anglo-Norman French, which was commonly used for literary and eventually administrative purposes from the 12th until the 15th century. Other followers spoke varieties of the Picard language or western French. I brought in Gabe Wax, the producer of No No No, who I felt shared a similar vision sonically as I do, and who I knew was as game as I was to push every sound to its near-breaking point.Īnglo-Norman, also known as Anglo-Norman French, was a dialect of French that was used in England and, to a lesser extent, elsewhere in the British Isles during the Anglo-Norman period. Soon songs began to take shape in quick and inspiring ways and I booked a three-week session at a fairly new start-up studio in Chelsea Manhattan, called Relic Room in the deep winter of that year. I started writing the first songs of Gallipoli on that organ sometime in late, as the winter started. Most of my first record Gulag Orkestar, and large parts of my second record The Flying Club Cup, were written entirely on this organ as well, where it lived in my childhood bedroom not far from downtown Santa Fe.
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I spent the next three years writing every song I could possibly squeeze out of it. I acquired the organ from my first job at the CCA the local foreign film theater and gallery space.