Geekoid's World of Music

Geekoid · 07-23-2012, 08:27 PM

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Welcome, to anyone who cares to listen,
to what will be a personal journey through the world of music,
from the perspective of a member that some of you are just starting to get acquainted with on MB-
a fresh slab of newbie meat that goes by the name of Geekoid.

Yes, I'm still new around here; getting to know and interact with some of you a little bit, which has been nice so far. And what I've realized lately is that regular journal writing is probably the best way to get across exactly the kinds of music I'm into- all in one place, and to put myself out there a little bit. I would gladly accept recommendations from anyone who is willing.

This journal is going to be pieced together via spontaneous inspiration, so each section will be created as needed. There will probably be a mix of different things represented here over time, all from a personal and honest perspective. I hope it will be a fun little project to tend to over the next while. Something to keep me disciplined and writing regularly. Maybe it will be a mere fraction as enjoyable to read, but that all depends. Hopefully you at least find it to be easy on the eyes, even if you don't like any of the music!

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Navigation:

"Current Obsession"
The Theremin

"Roots"
Tribute to my Dad- Pt. I
Tribute to my Dad- Pt. II
Tribute to my Mom

"Spotlight"
Hauntology
Bjork- Part I
Bjork- Part II
Faroe Islands

"My Two Cents"
The Knife- Tomorrow, In A Year

"Mixtape of the Week"
Jul. 29, 2012- Urban Nu-Jazz
Aug. 5, 2012- 80s Electro Revival
Aug. 12, 2012- Adult Alternative
Aug. 18, 20102- Philly Soul
Aug. 25, 20102- 60s Pop

"The Sunday Post"
Aleixa
Leslie Phillips
Amy Grant- Heart In Motion
Sixpence None The Richer

"The Lab"
Synesthetics Experiment- Air
Synesthetics Experiment- Earth
Synesthetics Experiment- Water
Synesthetics Experiment- Fire
Synesthetics Experiment- Overview

"Junk Drawer"
Bill Nelson/Be Bop Deluxe
Tracie
Esquivel

-Recommendations & Other Comments-
Blarobbarg: Gungor, John Mark McMillan

Anteater: Telsa Boy
Anteater: Ole Borud

Trollheart: TYR
Trollheart: Narnia

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Geekoid · 07-23-2012, 10:22 PM

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The Theremin

This instrument is stellar. I'd buy one in a heartbeat. Well, you know, if I had any money, that is.

What draws me to this ethereal instrument is its ability to translate instinct and intuition into song. To play the theremin, you have to have both a good spacial sense and instinct for music, and also a good sense of exactitude. To replicate the same composition more than once, I imagine you'd need to remember each subtle movement, much like sign language, to perform the same piece over again. This is probably why many early theremin players performed classical pieces or from sheet music. Of course, in order to know for sure, I would actually have to get my hands on a theremin set, and even if I do one of these days, my lack of mechanical ability will probably do me in with frustration before I even start experimenting with the thing (why buy a theremin if you don't also build it yourself? That would just be uncool.)

But even though I can't judge based on experience, aesthetically I have an idea of what makes a decent sounding theremin piece. If you ever hear old- fashioned theremin performances, you might not always be in for the most enjoyable experience. Leon Theremin, the man who patented this awe-inspiring instrument in 1928 (I was a bit surprised to hear that), played the theremin quite nicely. But in my opinion, older theremins had a certain whine to them that made them sound a little bit irritating. Of course, it's still possible to make that whiny sound with today's theremins, but due to updates, distortion effects, and other modifications to the way the instrument is played, there has been a movement away from this whimpering violin-esque sound (nothing against the violin), and toward more "intergalactic" sound effects (which I happen to love).

Here's Monsieur Theremin himself demonstrating his creation:

Nowadays, there are a lot of artists who have been captivated with curiosity about the theremin (if you go anywhere online that discusses the theremin, there are likely some enthusiastic comments from people who are simply dying to get their hands on one; or- ahem- hover their hands over one), but I find it quite difficult to find any album releases from artists who play it, let alone ones who play it in a style of music I like.

So far I've come across some lovely atmospheric music from the likes of Pamela Kurstin and Dorit Chrysler. The latter of the two has really grown on me. She has a quirky charm, is witty and sensual and has an air of alluring intelligence you would hope to see in a thereminist. She doesn't just stand in front of the thing and slice at the air with rigid hands to produce precise notes in strict sequence; she performs with it, she lets the sound flow, she plays around with the gradient notes and the effects- it's a seamless extension of herself and her art, an ideal symbiosis as far as I'm concerned.

I would have absolutely loved to be at this show in my home province of Ontario 4 years ago when she performed this brilliant track, "You Better," which, as far as I know, isn't available anywhere online as a studio version. If I'm right, I hope things change and she decides to release it on an album. I dig the overall tone and 'tude of it, and the theremin-playing is just out of this world.

When people think of the theremin, often 2 big songs pop into their heads; "Good Vibrations" by the Beach Boys, and "Mysterons" by Massive Attack. Both songs (which I happen to love) merely emulate the sound of the actual theremin for that mysterious, spaced-out sound.

Mysterons apparently uses a monophonic synthesizer

..and the infamous Beach Boys masterpiece uses an instrument called the Tannerin.

Notice how neither has quite the same "looseness" as the actual theremin. Alternatives are often used because they are easier to control. When performing live, it's much easier to replicate the "theremin" riff your audience is used to hearing when you're not dealing with the often tempermental instrument- theremins are said to be divas.

There are more tracks I could mention that use the theremin, but I think I'll save those for later

I realize that there are some theremin enthusiasts here. I've probably just preached to the choir to most of them, since a lot of theremin lovers are nerdy people that like to do their homework. But I just find them so darned fascinating. So if there are any of you out there that know of some brilliant theremin masterpieces, I'd love to get your input!

Thanks for reading [if you have, that is].
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Trollheart · 07-24-2012, 03:28 AM

First of all, well done for making the step to journalism here: you may find that it will be a lonely project (people dont often comment, but of course your journal may be different), but my advice should you get discouraged is to watch your "view count" (beside the "posts") which will at least tell you if people are reading, though it won't reveal if they're enjoying, your articles.

Secondly, excellent design: very eye-catching indeed! Certainly draws the attention.

Thirdly: good subject, and very different. Bound to fire the imagination or at least curiosity of some members.

I know very little of the theremin, though I have noted it being used on some albums I reviewed in my journal (which, I'm afraid, I don't remember, but I think they might be the "symphonic metal" type, like Epica, Within Temptation, that sort of thing: though I could be wrong). For an instrument invented so long ago, isn't it the absolute epitome of what you would expect to find in the next few centuries? Aliens playing instruments WITHOUT TOUCHING the strings? Does this come somewhere close to the Vulcan Harp Spock played in the original Star Trek? Was that, in fact, a theremin or some derivative?

I'd be interested to hear your take on how you see the theremin developing, or not, in the next few decades.

Again, welcome: good journal. I'll be watching...

TH

Blarobbarg · 07-24-2012, 08:48 AM

Nice work, Geekoid. You are definitely one of my favorite newbies, and I'm already interested to see what you have to write.

Geekoid · 07-24-2012, 03:08 PM

I'll use the default font for discussion

. It's like talking with a different voice! haha. Part of the reason for using Book Antiqua is to make the actual journal entries visually separate from the discussion.

Blarobbarg-
Thank you for the feedback!

Much appreciated.

Trollheart-
On your first point, thanks!
Your advice means a lot, just because I know how involved in the journals section you are (I read your journals regularly and really enjoy them, btw. I just don't want my comments to seem forced. I like to keep things natural). I'll be prepared for loneliness, just because I thrive in solitude anyway. I'm kind of a loner.

On the second, I was really inspired by how you and Pedestrian make use of graphics in your journals. Working with images gives me a chance to use and improve on my photoshop ability.

On the third, well, you kind of exposed two Achilles' heels of mine that make me kind of a black sheep here on MB- my lack of knowledge about any kind of metal, and my ignorance when it comes to Star Trek. However, I'm aware of the Vulcan Harp (aka the Vulcan Lyre), which in many ways is even more fascinating than the theremin. From what I know, the Vulcan harp is often played alongside the theremin, and is actually played using physical strings to produce electronic sounds (much like an electric guitar, but with effects kind of like a synthesizer).

The video directly below this sentence includes a really great overview/ history.

As far as the evolution of music goes, I certainly hope the theremin becomes more mainstream, and more intensely awesome, in my lifetime.

It seems to come back to peoples' attention when the space age is in style. Notably, this occurred in the late 90s and early 2000s when theremin-like sounds were used by trip-hop artists; because space age lounge music was a key influence of the genre. It's my theory that when space travel and sci-fi are popular, like in the 90s, that's when you start hearing more "sci-fi" and "alien" instruments.

But the theremin is an "ambient" instrument, and is naturally suited to downtempo music. Right now, the electronic music climate is very energetic and upbeat, so theremin music tends to stay rather obscure. There's also a focus on "world music" instruments more than sci fi ones. But I think that hands-free instrumentation might be on the rise, since wireless technology seems to be the next stage in technological advancement.

If alien instruments ever do become the music of tomorrow, I'm sure it will be because they'll be more versatile (and they're becoming more versatile all the time with the addition of new programmable effects). If you can play a theremin or vulcan harp as the main instrument of a song, without it having to be a slow-paced atmospheric piece, then I think it certainly could be music's next step. Guitars and keyboards/synths have all the attention right now. If you can viably replace them (the vulcan harp could probably do the job, being somewhat of a hybrid), then maybe the alien takeover will occur. Hopefully in the next few decades.

So basically, it all depends on how interested people are in making science fiction into science fact, and then into a popular trend. Maybe the current Star Trek movie series will have an influence...

Thanks again for your input, TH

Geekoid · 07-25-2012, 03:24 PM

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A Tribute to my Dad (Pt. 1 - R&B)
This section is devoted to exploring my roots- my influences up until today.

Of course, for most people, it's our parents who decide what some of our first musical influences will be. Whether our memories of these days are for the better or the worse; every one of our experiences helps to shape the kind of person we will become. This is why our tastes tell us so much about who we are. They aren't arbitrary or random- not just an excuse to be picky about what we like- they, in a sense, tell our story.

Out of both of my parents, I feel that it's most appropriate to start with my dad. My dad is someone who I've always admired; and to an equal degree, I've respected (and feared). He's a dominant presence, a tireless worker, and an impressive survivalist. He makes anyone he's with feel safe; that is, when he's not squeezing them until they can't breathe (his way of saying he loves us). He treats every day like a challenge that's just begging for ingenious solutions. At times it seems like there's nothing he can't do.

One thing my dad decided to share with me recently is that the only good memory he has of his father was their mutual love of music. It was a rare occurrence that they would sit down together an listen to records. Otherwise, his life was characterized by daily, horrifying abuse on the wrong side of the tracks in Detroit. Since that time, through his work as a counselor at a bible camp, which resulted in his dedication to Christianity, he has walked away from the anger and resentment that had delineated our family legacy, and instead of greeting the world with hate and murderous animosity like his forefathers, which was certainly where he could have fallen, he learned how to love beyond that hate, and create a better future for his family. I take it as a personal challenge to do the same.

The music he connected with in his childhood holds a special place in my heart. For me, it represents strength, dedication and love in a world where hate, violence and abuse can seem overbearing- and it also represents an attention to quality and genuine soul. Many Motown artists faced similar struggles to what my dad went through as a child, and yet the recurring themes that seem to characterize the genre are love and dedication. It reminds me of where I came from, and that what I choose to do with my life leaves a legacy. It's my responsibility to make it count.

My dad grew up in 1970s Detroit, so that means soul, funk, motown and smooth R&B.

His theme song:

Al Green

Stevie Wonder

The Jackson 5

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Geekoid · 07-26-2012, 05:20 PM

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A Tribute to My Dad (Pt. 2 - Electronic)

On a typical Saturday morning in 1995 (the first year I can clearly remember), the house was filled with House. Club jams from 1988 shook the living room floor as I would lay there on the carpet transfixed, immersed in the vibrations. ,my eyes on the digital VU meter. My parents' cardio workout was in full swing. Big beats meant we were in for an energized (and sweaty) start to the day. I joined in the workout when I pleased. Surrounded by pulsating rhythms and corporeal beats, the atmosphere was electric, and the hooks were irresistible.

Back in those days, I had absolutely no sense of what was "contemporary." I didn't even know what a year was until 1998. All I knew was what I was captivated by; and for me, House music was monumental. I wondered how the songs we listened to every week came about. If there were actual people or instruments making the sounds, or if they were all done some other way, perhaps by robots or other intelligent machines. When you're 2 or 3 years old, it seems like magic. House music brought to my mind the idea of vibrant digital sound; images of lightning, sparks, and green and black computer-generated images from primitive computers came to mind. It was music to imagine to; with all its textures, shapes and layers. And it was fun. Before I could even realize what I was listening to, I was developing a love for electronic music. Probably one of the strongest of my roots.

The main album we listened to on workout Saturdays was a compilation album my dad brought home by a company called PolyTel. They released a series of electronic and dance compilations of popular club music in the 80s and 90s, often with seamless fades between each track.

Probably the most legendary song of my childhood began with the epic first words "Американская фирма "Transceptor Technology" приступила к производству компьютеров "Персональный Спутник"
which translates to: “The American company Transceptor Technology has started production of the ‘Personal Companion’ computer,” which was a computer for people with visual impairments.

...then - BAM! The Power.

It's annoying to me that Snap!'s The Power has been reduced to a mere novelty hit of the early 90s, along with the equally iconic "Pump Up the Jam" by Technotronic. I know I'm biased, but I can't help but wonder how dance music enthusiasts can fail to see the masterpiece this song is, beyond the fact that it's "dated". You've got some instantly memorable hooks, an awesome, strong female vocal, and a powerful beat that just makes you feel pumped. In the context in which it was released, it would have been cutting edge. I say would have been partly because they decided to base much of the song on samples, most notably from another rap artist, Chill Rob G., who did a version of the song on his own (I think as part of the agreement not to drop charges against Snap! for using unauthorized samples). Plus, the rapping is pretty good for a German group's English-version recording. Much more witty and articulate than most italo and euro disco contributions.

Either way, it's a timeless classic to me, no matter how cheesy some might think it is.

Next up was another song that I would consider to be a legend- Soul II Soul's Grammy award winner, Back to Life.

I think this is probably my favorite House and New Jack Swing hit, hands down.
Nowhere have I ever found a song so jazzy, suave, and ultimately danceable than from Soul II Soul. The level of sophistication they show puts them a step above many of their contemporaries. They have managed to create something that both embodies and transcends its native era, and sounds almost as fresh 20+ years later as it did when it was released. Its elegant urban strut is just so infectious.

Unfortunately, Soul II Soul shuffled through several vocalists throughout its existence. Caron Wheeler's vocals in Back to Life, and on Keep On Movin', their two most successful (and imo most listenable) tracks, were excellent, and had she stayed with the group, I think they might have broken their status as a virtual one hit wonder.

Beyond those two mammoth hits, the PolyTel compilation included other, lesser known hits, which were much more popular in parts of Europe than in the states. They are also the most dated sounding today, but nonetheless, well orchestrated. Almost as a rule, they contained fantastic vocals.

The hyperactive, italo-disco influenced track "Numero Uno" was a hit in Britain in 1989. I just love it's epic sound, exciting atmosphere, and the oh-so-amazing retro music video that goes along with it. They don't do graphics like they used to. *sigh* But it really gives you an idea of the aesthetic at the time.

Higher quality audio:

The last notable song from the album was probably "Dirty Cash (Money Talks)" by Adventures of Stevie V . At the time, I had no idea what the song was about (I probably also sang along to "Jack to the Sound of the Underground" *facepalm*) but it brings back good memories. Again, catchy hooks and retro rap.

The music I listened to then planted the seed that led to some of my greatest discoveries concerning Synthpop, Italo Disco, House, and German electronic music, including 3 of my favorite artists- Yazoo, Kraftwerk and Propaganda.
All thanks to my dad bringing home a club mix from Costco

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Geekoid · 07-27-2012, 10:54 PM

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If you grew up in the 1970s, you might recognize the feeling. The weird, musique-concrete experimental noises of Moog technology; that late-summer, early fall feeling when school comes around; the tired atmosphere that lingered on and on throughout the year, each day as redundant as the last. And every hue seemed to have more than just a hint of orange blended into it.

It was the cold war, and the low-budget media and mass produced textbooks had a certain paranoia attached to them. Danger seemed to be lurking invisibly in the background, a daily backdrop to keep the everyday citizen a tad off base in preparation for nuclear war; in the vacant halls of austere, mid-century block buildings, one could feel disoriented, and borderline schizophrenic. And in some countries, notably the UK, children were well acquainted with the dangers of everyday life from Public Information Films, in which the deadly mishaps and misadventures of life were introduced to children of all ages, from what to do in the event of a nuclear attack, to what not to play with on a farm.- watch your step, kid, it could be your last.

I of course, was not subjected to the apparent dreary drone of the 70s, but because I went to a school with next to no funding available for the convenience of the new and exciting media available, I got a chance to experience the educational productions of the 70s and 80s. Science videos would feature voice overs akin to the guy that does those retro public alert systems. Processes like mitosis and photosynthesis were backed by odd electric bleeps and blips. The overall tone was unsettling, yet oddly relaxing. No wonder it put half the class to sleep, and seeped into their subsequent nightmares like radioactive waste.

What does this have to do with Hauntology?

Hauntology is the idea that "the present exists only with respect to the past," and that society "will begin to orient itself towards ideas and aesthetics that are thought of as rustic, bizarre or 'old-timey'; that is, towards the "ghost" of the past"

Pretty much everyone knows that trends go in cycles. How at any given time, we are essentially pulling inspiration from the past. But what sets Hauntology music apart is that it takes the "haunt" in Hauntology and amplifies it sevenfold. This is intentionally creepy music which is inspired by the library music (mass-produced experimental production muzak used in documentaries and concept films) of the 70s and 80s; especially through the use of the Moog synthesizer.

Here's an example of the aesthetic Hauntology artists tend to pull from:

The record company which specializes in "Hauntology" (as it loosely applies to music) is Ghost Box Records, which produces much of the music with this kind of mentality. Their goal is to create music that makes you feel like you remember it from somewhere, like you've been haunted by it before. I gotta say, the stuff they put out is some of the most compelling and unsettling music I've come across. I'm drawn to creepy aesthetics, especially ones that come across as creepy unintentionally. It's only by looking back at the Cold War era that people realize just how paranoid the media came across, and I love trying to identify with that feeling.

Why the fascination?
I'm the kind of person who, when they are afraid of something, they tend to investigate it almost to the point of insanity until it makes sense- until it has context. Even as a toddler, I wouldn't be satisfied until my questions were answered, no matter how harsh the answers would be. Once I've established a good, working knowledge of something scary, it doesn't seem nearly as threatening. This kind of music reminds me of how conquering the fear of what lies out there in the world is as easy as putting it in context. We can never be fully prepared for disaster, but with faith and knowledge, we can roll with the punches, and in the meantime, we have expanded our minds and our character. And often, we look back at what seemed to be a world of unprecedented chaos and danger, and reduce it to the novelty it deserves to become.

Here are some of my favorite hauntology artists:

The Advisory Circle is good at taking old library music and video clip audio and making it into something terrifying yet domestic. On their excellent album Other Channels, they manage to create that feeling that what you're "watching" is completely normal and placid, until it slowly gives way to something distorted and downright malicious. It's as if you're home alone watching a TV set in 1978, and you flip to a channel you weren't supposed to have; a channel from a ghostly dimension.

The even lines are good
The odd lines are evil!

if you're in for a really creepy treat, check out "Eyes Which Are Swelling"
Eyes Which Are Swelling by The Advisory Circle on Other Channels - Free Music Streaming, Online Music, Videos - Grooveshark

Belbury Poly, named for a horribly dull and miserable school mentioned in one of the Chronicles of Narnia novels by C.S. Lewis, attempts to capture the playful, childlike 'library music for children' aesthetic. Catchy and upbeat, but with a sinister, spectral undertone. It captures the dreary feeling often associated with sitting in a classroom or in front of the TV in the mid century.

They infuse this vibe, periodically, with progressive rock leanings.

Then you have the clearly sinister intentions of the Moon Wiring Club.

"You see, we found this tape in a cabin, and decided to watch it. It was really weird. Right after it was finished, the phone rang, and in my ears trickled the mysterious, whispering words... ssseeeven daysssss....." **cuts to STATIC**

Enjoy:

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Geekoid · 07-28-2012, 10:08 PM

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Chillaxing after a long day at the beach with some urban Nu-Jazz with a lounge-like feel. Sometimes I find that the best way to shake off the heat of the day is with some cool rhythms, jazzy hooks, and laid-back vibes.

I came across this particular vein of Nu-Jazz about 2 years ago after I was recommended Zero 7's "Another Late Night" through iTunes. I like Nu-Jazz that has a good mix of breaks and colorful instruments, tied together by a smooth, casual groove and flow. Represented here are some of the most chilled out tracks of mine that fit that criteria. I tend to play these on quiet evenings, reclining on the couch with a magazine and the lights down low. I'd love to settle myself in tastefully decorated New York apartment right now, with the glow of the city lights to set the tone.

Here are this week's picks:

Spoiler for 5 tracks of Nu-Jazz...:

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Geekoid · 07-29-2012, 10:29 PM

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Before I make this post, I just want to say that journaling has proven to be a little harder than I expected. Admittedly, I'm a self-conscious writer (a self-conscious person, really). That has really come across in my first few posts, especially because I haven't been sleeping regularly in the past few days.

I'm used to going through the mental process of getting a good sense of my audience before I share my writing- to look at their faces and listen for verbal cues. All I have to work with here is text and smileys. I need to remember that. I usually don't share my writing at all. I often feel somewhat alienated, in that my word choice and perspective aren't what most people would consider 'relatable.' I tend to expect that whatever I have to say isn't even worth saying. I know I'm not alone in my feeling this way, but honestly, it is what it is.

I've noticed that consistently, other people feel distant from my point of view; and it keeps me at arms' length most of the time. I need to look at what I want to accomplish with this journal, so that there's a chance that it might help me to become a more "readable" writer; and that instead of being stand-offish or alienating, maybe I can become more inviting.

So here are my goals (breaking down the 4th wall a little with this):
By 2013, I hope to improve on the following faults and habits-

1. I will do something about my lack of knowledge about music. I've realized that I have some fatal gaps in my knowledge, which comes across as quite redundant and naive. I need to read other members' reviews. It's like asking for help. I'm not so supernaturally talented that I couldn't use some outside inspiration.

2. I will overcome self-doubt with dignity and self-respect. Instead of writing and re-writing the same sentence over and over, searching for the right words, I will simply speak my mind, and say what I mean to say. Let the words flow. It makes for better conversation, so it should work in making better writing. It will take time, but soon enough, I want to make it look easy.

Note to self: Write like you're talking to a confidante; as if each sentence comes at the spur of the moment, not a future event to be prepared for (that "Submit Reply" button)

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Anyway, back to ...
The Sunday Post

This is a section that discusses the Christian music I like. (No, I'm not gonna preach at you) This is the music I grew up with, the music I really have a good grasp on, and looks at life from a perspective I can relate to, even though it's presented differently by different people. Christianity can be a very difficult subject of conversation, and has been for as long as its existence; shrouded in controversy, both within and outside of the Christian body. That pains me. For a bunch of people who preach words of peace, many their actions (and often my own) fail to bring about the very things they preach. The news likes to headline the outspoken, angry, and hateful Christians whose fire and brimstone plants the seeds of war between people. But what bothers me more than our reputation is the fact that the idea of prideful conformity appears to reign over the principle of humble honesty. At the end of the day, we are all human beings, deserving of compassion. There is no "them" and "us," there are only people- equalized by our imperfection.

Much of the mainstream Christian music over the past few decades has been tailor-made to fit the churchgoers' aesthetic. It's mostly been Adult Contemporary, Pop-Rock and Easy Listening music with earnest messages and easily quotable verses (which more often than not are plastered all over my Facebook timeline by friends of mine). I'd put a lot of Christian rock in that category, like Switchfoot, Relient K and Hawk Nelson. Probably 50+% of my music fits that profile, and radio-friendly CCM (Christian Contemporary Music) has meant a lot to me over the years. But it hasn't been until recently that I started to ask myself if there wasn't more to it than the daytime radio perspective, since I've met a lot of Christians with very different views than my own. Turns out there was.

I personally think that in our current society, most people who end up attending church regularly are, well, "church people". People who like to take a simple, practical, optimistic view of life, and enjoy community and social events; the little old lady, the conservative soccer mom and white collar dad next door, your substitute teacher; But then there are some who the regular "church people" sometimes have a harder time relating to, who are complex and introverted, philosophical and ruminative, maybe even scientists, tattoo artists, goths, etc.,. I'm talking about the ones on the fringes who were misunderstood, like Galileo or Sir Isaac Newton; the so-called heretics of their day. These artists, pushed to the fringes of popularity due to their inability to fit in, have something meaningful to say- but unfortunately their voices often go unheard.

Whether you're into Christianity, religion or spirituality; whether you hate it, don't know what to think about it, of it makes you feel uncomfortable; I'd hate to see perfectly good music go unheard- so many peoples' art and ideas going to waste seems like a tragedy to me. All because Christians won't listen to it because it's weird, and non-Christians won't listen to it because it's Christian.

Aleixa is one my current favorite examples of a Christian band on the fringes. They received a lot of negative feedback on their album from Christians because, in their eyes, instead of focusing on hope and happiness; "making a joyful noise" ; they chose to "wallow in misery".

I see what they mean, but my view is quite different. In the liner notes, aleixa describes their whole-hearted belief in hope and redemption, and the point of their album is that they are being honest about their feelings of depression, hopelessness, rage, self-loathing, and crippling anxiety (all things I have experienced and overcome on a regular basis). Instead of running from these feelings and repressing them, they face them head-on and submit them to, what they have found to be, a higher authority. My favorite aspect of their music is that sense of raw honesty; when they're in a rut, they discuss it, they deal with it, they don't sweep it under the rug. These are the kinds of things that many Christians I know resist talking about their deeper issues because they worry about what people will think. That's a problem. aleixa reminds me that it's natural to feel what I feel, that I can talk about it, and that I don't have to be defined by my struggles.

They also have a really great EBM sound; a kind of house/pop/metal hybrid (labelled by most underground CCM sites as "industrial") that's been described as "Debbie Gibson in a blender." The synths are very well orchestrated, the vocals are dynamic and skillfully executed (I love their harmonies). They have a healthy dose of heavy guitar spliced in as well, giving the whole thing an edgy feel.

If you feel so inclined, give 'em a listen.

"pain of the mind can often be worse than pain of the body"

"sometimes strange things can be very beautiful"

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07-23-2012, 08:27 PM	#1 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	Geekoid's World of Music _____________________________________ Welcome, to anyone who cares to listen, to what will be a personal journey through the world of music, from the perspective of a member that some of you are just starting to get acquainted with on MB- a fresh slab of newbie meat that goes by the name of Geekoid. Yes, I'm still new around here; getting to know and interact with some of you a little bit, which has been nice so far. And what I've realized lately is that regular journal writing is probably the best way to get across exactly the kinds of music I'm into- all in one place, and to put myself out there a little bit. I would gladly accept recommendations from anyone who is willing. This journal is going to be pieced together via spontaneous inspiration, so each section will be created as needed. There will probably be a mix of different things represented here over time, all from a personal and honest perspective. I hope it will be a fun little project to tend to over the next while. Something to keep me disciplined and writing regularly. Maybe it will be a mere fraction as enjoyable to read, but that all depends. Hopefully you at least find it to be easy on the eyes, even if you don't like any of the music! _____________________________________ Navigation: "Current Obsession" The Theremin "Roots" Tribute to my Dad- Pt. I Tribute to my Dad- Pt. II Tribute to my Mom "Spotlight" Hauntology Bjork- Part I Bjork- Part II Faroe Islands "My Two Cents" The Knife- Tomorrow, In A Year "Mixtape of the Week" Jul. 29, 2012- Urban Nu-Jazz Aug. 5, 2012- 80s Electro Revival Aug. 12, 2012- Adult Alternative Aug. 18, 20102- Philly Soul Aug. 25, 20102- 60s Pop "The Sunday Post" Aleixa Leslie Phillips Amy Grant- Heart In Motion Sixpence None The Richer "The Lab" Synesthetics Experiment- Air Synesthetics Experiment- Earth Synesthetics Experiment- Water Synesthetics Experiment- Fire Synesthetics Experiment- Overview "Junk Drawer" Bill Nelson/Be Bop Deluxe Tracie Esquivel -Recommendations & Other Comments- Blarobbarg: Gungor, John Mark McMillan Anteater: Telsa Boy Anteater: Ole Borud Trollheart: TYR Trollheart: Narnia _____________________________________ Last edited by Geekoid; 10-05-2012 at 10:58 AM.

07-24-2012, 03:28 AM	#3 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	First of all, well done for making the step to journalism here: you may find that it will be a lonely project (people dont often comment, but of course your journal may be different), but my advice should you get discouraged is to watch your "view count" (beside the "posts") which will at least tell you if people are reading, though it won't reveal if they're enjoying, your articles. Secondly, excellent design: very eye-catching indeed! Certainly draws the attention. Thirdly: good subject, and very different. Bound to fire the imagination or at least curiosity of some members. I know very little of the theremin, though I have noted it being used on some albums I reviewed in my journal (which, I'm afraid, I don't remember, but I think they might be the "symphonic metal" type, like Epica, Within Temptation, that sort of thing: though I could be wrong). For an instrument invented so long ago, isn't it the absolute epitome of what you would expect to find in the next few centuries? Aliens playing instruments WITHOUT TOUCHING the strings? Does this come somewhere close to the Vulcan Harp Spock played in the original Star Trek? Was that, in fact, a theremin or some derivative? I'd be interested to hear your take on how you see the theremin developing, or not, in the next few decades. Again, welcome: good journal. I'll be watching... TH __________________ Trollheart: Signature-free since April 2018

07-24-2012, 08:48 AM	#4 (permalink)
Blarobbarg Do good. Join Date: Feb 2011 Location: Minneapolis, Minnesota Posts: 2,065	Nice work, Geekoid. You are definitely one of my favorite newbies, and I'm already interested to see what you have to write. __________________ https://rateyourmusic.com/~Blarobbarg ｡･::･ﾟ★,｡･::･ﾟ☆　^my RYM^　｡･::･ﾟ★,｡･::･ﾟ☆ (◠‿◠✿)

07-25-2012, 03:24 PM	#6 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ A Tribute to my Dad (Pt. 1 - R&B) This section is devoted to exploring my roots- my influences up until today. Of course, for most people, it's our parents who decide what some of our first musical influences will be. Whether our memories of these days are for the better or the worse; every one of our experiences helps to shape the kind of person we will become. This is why our tastes tell us so much about who we are. They aren't arbitrary or random- not just an excuse to be picky about what we like- they, in a sense, tell our story. Out of both of my parents, I feel that it's most appropriate to start with my dad. My dad is someone who I've always admired; and to an equal degree, I've respected (and feared). He's a dominant presence, a tireless worker, and an impressive survivalist. He makes anyone he's with feel safe; that is, when he's not squeezing them until they can't breathe (his way of saying he loves us). He treats every day like a challenge that's just begging for ingenious solutions. At times it seems like there's nothing he can't do. One thing my dad decided to share with me recently is that the only good memory he has of his father was their mutual love of music. It was a rare occurrence that they would sit down together an listen to records. Otherwise, his life was characterized by daily, horrifying abuse on the wrong side of the tracks in Detroit. Since that time, through his work as a counselor at a bible camp, which resulted in his dedication to Christianity, he has walked away from the anger and resentment that had delineated our family legacy, and instead of greeting the world with hate and murderous animosity like his forefathers, which was certainly where he could have fallen, he learned how to love beyond that hate, and create a better future for his family. I take it as a personal challenge to do the same. The music he connected with in his childhood holds a special place in my heart. For me, it represents strength, dedication and love in a world where hate, violence and abuse can seem overbearing- and it also represents an attention to quality and genuine soul. Many Motown artists faced similar struggles to what my dad went through as a child, and yet the recurring themes that seem to characterize the genre are love and dedication. It reminds me of where I came from, and that what I choose to do with my life leaves a legacy. It's my responsibility to make it count. My dad grew up in 1970s Detroit, so that means soul, funk, motown and smooth R&B. His theme song: Al Green Stevie Wonder The Jackson 5 _____________________________________ Last edited by Geekoid; 07-26-2012 at 03:24 PM.

07-26-2012, 05:20 PM	#7 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ A Tribute to My Dad (Pt. 2 - Electronic) On a typical Saturday morning in 1995 (the first year I can clearly remember), the house was filled with House. Club jams from 1988 shook the living room floor as I would lay there on the carpet transfixed, immersed in the vibrations. ,my eyes on the digital VU meter. My parents' cardio workout was in full swing. Big beats meant we were in for an energized (and sweaty) start to the day. I joined in the workout when I pleased. Surrounded by pulsating rhythms and corporeal beats, the atmosphere was electric, and the hooks were irresistible. Back in those days, I had absolutely no sense of what was "contemporary." I didn't even know what a year was until 1998. All I knew was what I was captivated by; and for me, House music was monumental. I wondered how the songs we listened to every week came about. If there were actual people or instruments making the sounds, or if they were all done some other way, perhaps by robots or other intelligent machines. When you're 2 or 3 years old, it seems like magic. House music brought to my mind the idea of vibrant digital sound; images of lightning, sparks, and green and black computer-generated images from primitive computers came to mind. It was music to imagine to; with all its textures, shapes and layers. And it was fun. Before I could even realize what I was listening to, I was developing a love for electronic music. Probably one of the strongest of my roots. The main album we listened to on workout Saturdays was a compilation album my dad brought home by a company called PolyTel. They released a series of electronic and dance compilations of popular club music in the 80s and 90s, often with seamless fades between each track. Probably the most legendary song of my childhood began with the epic first words "Американская фирма "Transceptor Technology" приступила к производству компьютеров "Персональный Спутник" which translates to: “The American company Transceptor Technology has started production of the ‘Personal Companion’ computer,” which was a computer for people with visual impairments. ...then - BAM! The Power. It's annoying to me that Snap!'s The Power has been reduced to a mere novelty hit of the early 90s, along with the equally iconic "Pump Up the Jam" by Technotronic. I know I'm biased, but I can't help but wonder how dance music enthusiasts can fail to see the masterpiece this song is, beyond the fact that it's "dated". You've got some instantly memorable hooks, an awesome, strong female vocal, and a powerful beat that just makes you feel pumped. In the context in which it was released, it would have been cutting edge. I say would have been partly because they decided to base much of the song on samples, most notably from another rap artist, Chill Rob G., who did a version of the song on his own (I think as part of the agreement not to drop charges against Snap! for using unauthorized samples). Plus, the rapping is pretty good for a German group's English-version recording. Much more witty and articulate than most italo and euro disco contributions. Either way, it's a timeless classic to me, no matter how cheesy some might think it is. Next up was another song that I would consider to be a legend- Soul II Soul's Grammy award winner, Back to Life. I think this is probably my favorite House and New Jack Swing hit, hands down. Nowhere have I ever found a song so jazzy, suave, and ultimately danceable than from Soul II Soul. The level of sophistication they show puts them a step above many of their contemporaries. They have managed to create something that both embodies and transcends its native era, and sounds almost as fresh 20+ years later as it did when it was released. Its elegant urban strut is just so infectious. Unfortunately, Soul II Soul shuffled through several vocalists throughout its existence. Caron Wheeler's vocals in Back to Life, and on Keep On Movin', their two most successful (and imo most listenable) tracks, were excellent, and had she stayed with the group, I think they might have broken their status as a virtual one hit wonder. Beyond those two mammoth hits, the PolyTel compilation included other, lesser known hits, which were much more popular in parts of Europe than in the states. They are also the most dated sounding today, but nonetheless, well orchestrated. Almost as a rule, they contained fantastic vocals. The hyperactive, italo-disco influenced track "Numero Uno" was a hit in Britain in 1989. I just love it's epic sound, exciting atmosphere, and the oh-so-amazing retro music video that goes along with it. They don't do graphics like they used to. sigh But it really gives you an idea of the aesthetic at the time. Higher quality audio: The last notable song from the album was probably "Dirty Cash (Money Talks)" by Adventures of Stevie V . At the time, I had no idea what the song was about (I probably also sang along to "Jack to the Sound of the Underground" facepalm) but it brings back good memories. Again, catchy hooks and retro rap. The music I listened to then planted the seed that led to some of my greatest discoveries concerning Synthpop, Italo Disco, House, and German electronic music, including 3 of my favorite artists- Yazoo, Kraftwerk and Propaganda. All thanks to my dad bringing home a club mix from Costco _____________________________________ Last edited by Geekoid; 07-27-2012 at 08:30 PM.

07-23-2012, 10:22 PM	#2 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ The Theremin This instrument is stellar. I'd buy one in a heartbeat. Well, you know, if I had any money, that is. What draws me to this ethereal instrument is its ability to translate instinct and intuition into song. To play the theremin, you have to have both a good spacial sense and instinct for music, and also a good sense of exactitude. To replicate the same composition more than once, I imagine you'd need to remember each subtle movement, much like sign language, to perform the same piece over again. This is probably why many early theremin players performed classical pieces or from sheet music. Of course, in order to know for sure, I would actually have to get my hands on a theremin set, and even if I do one of these days, my lack of mechanical ability will probably do me in with frustration before I even start experimenting with the thing (why buy a theremin if you don't also build it yourself? That would just be uncool.) But even though I can't judge based on experience, aesthetically I have an idea of what makes a decent sounding theremin piece. If you ever hear old- fashioned theremin performances, you might not always be in for the most enjoyable experience. Leon Theremin, the man who patented this awe-inspiring instrument in 1928 (I was a bit surprised to hear that), played the theremin quite nicely. But in my opinion, older theremins had a certain whine to them that made them sound a little bit irritating. Of course, it's still possible to make that whiny sound with today's theremins, but due to updates, distortion effects, and other modifications to the way the instrument is played, there has been a movement away from this whimpering violin-esque sound (nothing against the violin), and toward more "intergalactic" sound effects (which I happen to love). Here's Monsieur Theremin himself demonstrating his creation: Nowadays, there are a lot of artists who have been captivated with curiosity about the theremin (if you go anywhere online that discusses the theremin, there are likely some enthusiastic comments from people who are simply dying to get their hands on one; or- ahem- hover their hands over one), but I find it quite difficult to find any album releases from artists who play it, let alone ones who play it in a style of music I like. So far I've come across some lovely atmospheric music from the likes of Pamela Kurstin and Dorit Chrysler. The latter of the two has really grown on me. She has a quirky charm, is witty and sensual and has an air of alluring intelligence you would hope to see in a thereminist. She doesn't just stand in front of the thing and slice at the air with rigid hands to produce precise notes in strict sequence; she performs with it, she lets the sound flow, she plays around with the gradient notes and the effects- it's a seamless extension of herself and her art, an ideal symbiosis as far as I'm concerned. I would have absolutely loved to be at this show in my home province of Ontario 4 years ago when she performed this brilliant track, "You Better," which, as far as I know, isn't available anywhere online as a studio version. If I'm right, I hope things change and she decides to release it on an album. I dig the overall tone and 'tude of it, and the theremin-playing is just out of this world. When people think of the theremin, often 2 big songs pop into their heads; "Good Vibrations" by the Beach Boys, and "Mysterons" by Massive Attack. Both songs (which I happen to love) merely emulate the sound of the actual theremin for that mysterious, spaced-out sound. Mysterons apparently uses a monophonic synthesizer ..and the infamous Beach Boys masterpiece uses an instrument called the Tannerin. Notice how neither has quite the same "looseness" as the actual theremin. Alternatives are often used because they are easier to control. When performing live, it's much easier to replicate the "theremin" riff your audience is used to hearing when you're not dealing with the often tempermental instrument- theremins are said to be divas. There are more tracks I could mention that use the theremin, but I think I'll save those for later I realize that there are some theremin enthusiasts here. I've probably just preached to the choir to most of them, since a lot of theremin lovers are nerdy people that like to do their homework. But I just find them so darned fascinating. So if there are any of you out there that know of some brilliant theremin masterpieces, I'd love to get your input! Thanks for reading [if you have, that is]. _____________________________________

07-24-2012, 03:08 PM	#5 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	I'll use the default font for discussion . It's like talking with a different voice! haha. Part of the reason for using Book Antiqua is to make the actual journal entries visually separate from the discussion. Blarobbarg- Thank you for the feedback! Much appreciated. Trollheart- On your first point, thanks! Your advice means a lot, just because I know how involved in the journals section you are (I read your journals regularly and really enjoy them, btw. I just don't want my comments to seem forced. I like to keep things natural). I'll be prepared for loneliness, just because I thrive in solitude anyway. I'm kind of a loner. On the second, I was really inspired by how you and Pedestrian make use of graphics in your journals. Working with images gives me a chance to use and improve on my photoshop ability. On the third, well, you kind of exposed two Achilles' heels of mine that make me kind of a black sheep here on MB- my lack of knowledge about any kind of metal, and my ignorance when it comes to Star Trek. However, I'm aware of the Vulcan Harp (aka the Vulcan Lyre), which in many ways is even more fascinating than the theremin. From what I know, the Vulcan harp is often played alongside the theremin, and is actually played using physical strings to produce electronic sounds (much like an electric guitar, but with effects kind of like a synthesizer). The video directly below this sentence includes a really great overview/ history. As far as the evolution of music goes, I certainly hope the theremin becomes more mainstream, and more intensely awesome, in my lifetime. It seems to come back to peoples' attention when the space age is in style. Notably, this occurred in the late 90s and early 2000s when theremin-like sounds were used by trip-hop artists; because space age lounge music was a key influence of the genre. It's my theory that when space travel and sci-fi are popular, like in the 90s, that's when you start hearing more "sci-fi" and "alien" instruments. But the theremin is an "ambient" instrument, and is naturally suited to downtempo music. Right now, the electronic music climate is very energetic and upbeat, so theremin music tends to stay rather obscure. There's also a focus on "world music" instruments more than sci fi ones. But I think that hands-free instrumentation might be on the rise, since wireless technology seems to be the next stage in technological advancement. If alien instruments ever do become the music of tomorrow, I'm sure it will be because they'll be more versatile (and they're becoming more versatile all the time with the addition of new programmable effects). If you can play a theremin or vulcan harp as the main instrument of a song, without it having to be a slow-paced atmospheric piece, then I think it certainly could be music's next step. Guitars and keyboards/synths have all the attention right now. If you can viably replace them (the vulcan harp could probably do the job, being somewhat of a hybrid), then maybe the alien takeover will occur. Hopefully in the next few decades. So basically, it all depends on how interested people are in making science fiction into science fact, and then into a popular trend. Maybe the current Star Trek movie series will have an influence... Thanks again for your input, TH

07-27-2012, 10:54 PM	#8 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ If you grew up in the 1970s, you might recognize the feeling. The weird, musique-concrete experimental noises of Moog technology; that late-summer, early fall feeling when school comes around; the tired atmosphere that lingered on and on throughout the year, each day as redundant as the last. And every hue seemed to have more than just a hint of orange blended into it. It was the cold war, and the low-budget media and mass produced textbooks had a certain paranoia attached to them. Danger seemed to be lurking invisibly in the background, a daily backdrop to keep the everyday citizen a tad off base in preparation for nuclear war; in the vacant halls of austere, mid-century block buildings, one could feel disoriented, and borderline schizophrenic. And in some countries, notably the UK, children were well acquainted with the dangers of everyday life from Public Information Films, in which the deadly mishaps and misadventures of life were introduced to children of all ages, from what to do in the event of a nuclear attack, to what not to play with on a farm.- watch your step, kid, it could be your last. I of course, was not subjected to the apparent dreary drone of the 70s, but because I went to a school with next to no funding available for the convenience of the new and exciting media available, I got a chance to experience the educational productions of the 70s and 80s. Science videos would feature voice overs akin to the guy that does those retro public alert systems. Processes like mitosis and photosynthesis were backed by odd electric bleeps and blips. The overall tone was unsettling, yet oddly relaxing. No wonder it put half the class to sleep, and seeped into their subsequent nightmares like radioactive waste. What does this have to do with Hauntology? Hauntology is the idea that "the present exists only with respect to the past," and that society "will begin to orient itself towards ideas and aesthetics that are thought of as rustic, bizarre or 'old-timey'; that is, towards the "ghost" of the past" Pretty much everyone knows that trends go in cycles. How at any given time, we are essentially pulling inspiration from the past. But what sets Hauntology music apart is that it takes the "haunt" in Hauntology and amplifies it sevenfold. This is intentionally creepy music which is inspired by the library music (mass-produced experimental production muzak used in documentaries and concept films) of the 70s and 80s; especially through the use of the Moog synthesizer. Here's an example of the aesthetic Hauntology artists tend to pull from: The record company which specializes in "Hauntology" (as it loosely applies to music) is Ghost Box Records, which produces much of the music with this kind of mentality. Their goal is to create music that makes you feel like you remember it from somewhere, like you've been haunted by it before. I gotta say, the stuff they put out is some of the most compelling and unsettling music I've come across. I'm drawn to creepy aesthetics, especially ones that come across as creepy unintentionally. It's only by looking back at the Cold War era that people realize just how paranoid the media came across, and I love trying to identify with that feeling. Why the fascination? I'm the kind of person who, when they are afraid of something, they tend to investigate it almost to the point of insanity until it makes sense- until it has context. Even as a toddler, I wouldn't be satisfied until my questions were answered, no matter how harsh the answers would be. Once I've established a good, working knowledge of something scary, it doesn't seem nearly as threatening. This kind of music reminds me of how conquering the fear of what lies out there in the world is as easy as putting it in context. We can never be fully prepared for disaster, but with faith and knowledge, we can roll with the punches, and in the meantime, we have expanded our minds and our character. And often, we look back at what seemed to be a world of unprecedented chaos and danger, and reduce it to the novelty it deserves to become. Here are some of my favorite hauntology artists: The Advisory Circle is good at taking old library music and video clip audio and making it into something terrifying yet domestic. On their excellent album Other Channels, they manage to create that feeling that what you're "watching" is completely normal and placid, until it slowly gives way to something distorted and downright malicious. It's as if you're home alone watching a TV set in 1978, and you flip to a channel you weren't supposed to have; a channel from a ghostly dimension. The even lines are good The odd lines are evil! if you're in for a really creepy treat, check out "Eyes Which Are Swelling" Eyes Which Are Swelling by The Advisory Circle on Other Channels - Free Music Streaming, Online Music, Videos - Grooveshark Belbury Poly, named for a horribly dull and miserable school mentioned in one of the Chronicles of Narnia novels by C.S. Lewis, attempts to capture the playful, childlike 'library music for children' aesthetic. Catchy and upbeat, but with a sinister, spectral undertone. It captures the dreary feeling often associated with sitting in a classroom or in front of the TV in the mid century. They infuse this vibe, periodically, with progressive rock leanings. Then you have the clearly sinister intentions of the Moon Wiring Club. "You see, we found this tape in a cabin, and decided to watch it. It was really weird. Right after it was finished, the phone rang, and in my ears trickled the mysterious, whispering words... ssseeeven daysssss....." cuts to STATIC Enjoy: _____________________________________ Last edited by Geekoid; 07-28-2012 at 08:03 PM.

07-28-2012, 10:08 PM	#9 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ Chillaxing after a long day at the beach with some urban Nu-Jazz with a lounge-like feel. Sometimes I find that the best way to shake off the heat of the day is with some cool rhythms, jazzy hooks, and laid-back vibes. I came across this particular vein of Nu-Jazz about 2 years ago after I was recommended Zero 7's "Another Late Night" through iTunes. I like Nu-Jazz that has a good mix of breaks and colorful instruments, tied together by a smooth, casual groove and flow. Represented here are some of the most chilled out tracks of mine that fit that criteria. I tend to play these on quiet evenings, reclining on the couch with a magazine and the lights down low. I'd love to settle myself in tastefully decorated New York apartment right now, with the glow of the city lights to set the tone. Here are this week's picks: Spoiler for 5 tracks of Nu-Jazz...: _____________________________________

07-29-2012, 10:29 PM	#10 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ Before I make this post, I just want to say that journaling has proven to be a little harder than I expected. Admittedly, I'm a self-conscious writer (a self-conscious person, really). That has really come across in my first few posts, especially because I haven't been sleeping regularly in the past few days. I'm used to going through the mental process of getting a good sense of my audience before I share my writing- to look at their faces and listen for verbal cues. All I have to work with here is text and smileys. I need to remember that. I usually don't share my writing at all. I often feel somewhat alienated, in that my word choice and perspective aren't what most people would consider 'relatable.' I tend to expect that whatever I have to say isn't even worth saying. I know I'm not alone in my feeling this way, but honestly, it is what it is. I've noticed that consistently, other people feel distant from my point of view; and it keeps me at arms' length most of the time. I need to look at what I want to accomplish with this journal, so that there's a chance that it might help me to become a more "readable" writer; and that instead of being stand-offish or alienating, maybe I can become more inviting. So here are my goals (breaking down the 4th wall a little with this): By 2013, I hope to improve on the following faults and habits- 1. I will do something about my lack of knowledge about music. I've realized that I have some fatal gaps in my knowledge, which comes across as quite redundant and naive. I need to read other members' reviews. It's like asking for help. I'm not so supernaturally talented that I couldn't use some outside inspiration. 2. I will overcome self-doubt with dignity and self-respect. Instead of writing and re-writing the same sentence over and over, searching for the right words, I will simply speak my mind, and say what I mean to say. Let the words flow. It makes for better conversation, so it should work in making better writing. It will take time, but soon enough, I want to make it look easy. Note to self: Write like you're talking to a confidante; as if each sentence comes at the spur of the moment, not a future event to be prepared for (that "Submit Reply" button) _____________________________________ Anyway, back to ... The Sunday Post This is a section that discusses the Christian music I like. (No, I'm not gonna preach at you) This is the music I grew up with, the music I really have a good grasp on, and looks at life from a perspective I can relate to, even though it's presented differently by different people. Christianity can be a very difficult subject of conversation, and has been for as long as its existence; shrouded in controversy, both within and outside of the Christian body. That pains me. For a bunch of people who preach words of peace, many their actions (and often my own) fail to bring about the very things they preach. The news likes to headline the outspoken, angry, and hateful Christians whose fire and brimstone plants the seeds of war between people. But what bothers me more than our reputation is the fact that the idea of prideful conformity appears to reign over the principle of humble honesty. At the end of the day, we are all human beings, deserving of compassion. There is no "them" and "us," there are only people- equalized by our imperfection. Much of the mainstream Christian music over the past few decades has been tailor-made to fit the churchgoers' aesthetic. It's mostly been Adult Contemporary, Pop-Rock and Easy Listening music with earnest messages and easily quotable verses (which more often than not are plastered all over my Facebook timeline by friends of mine). I'd put a lot of Christian rock in that category, like Switchfoot, Relient K and Hawk Nelson. Probably 50+% of my music fits that profile, and radio-friendly CCM (Christian Contemporary Music) has meant a lot to me over the years. But it hasn't been until recently that I started to ask myself if there wasn't more to it than the daytime radio perspective, since I've met a lot of Christians with very different views than my own. Turns out there was. I personally think that in our current society, most people who end up attending church regularly are, well, "church people". People who like to take a simple, practical, optimistic view of life, and enjoy community and social events; the little old lady, the conservative soccer mom and white collar dad next door, your substitute teacher; But then there are some who the regular "church people" sometimes have a harder time relating to, who are complex and introverted, philosophical and ruminative, maybe even scientists, tattoo artists, goths, etc.,. I'm talking about the ones on the fringes who were misunderstood, like Galileo or Sir Isaac Newton; the so-called heretics of their day. These artists, pushed to the fringes of popularity due to their inability to fit in, have something meaningful to say- but unfortunately their voices often go unheard. Whether you're into Christianity, religion or spirituality; whether you hate it, don't know what to think about it, of it makes you feel uncomfortable; I'd hate to see perfectly good music go unheard- so many peoples' art and ideas going to waste seems like a tragedy to me. All because Christians won't listen to it because it's weird, and non-Christians won't listen to it because it's Christian. Aleixa is one my current favorite examples of a Christian band on the fringes. They received a lot of negative feedback on their album from Christians because, in their eyes, instead of focusing on hope and happiness; "making a joyful noise" ; they chose to "wallow in misery". I see what they mean, but my view is quite different. In the liner notes, aleixa describes their whole-hearted belief in hope and redemption, and the point of their album is that they are being honest about their feelings of depression, hopelessness, rage, self-loathing, and crippling anxiety (all things I have experienced and overcome on a regular basis). Instead of running from these feelings and repressing them, they face them head-on and submit them to, what they have found to be, a higher authority. My favorite aspect of their music is that sense of raw honesty; when they're in a rut, they discuss it, they deal with it, they don't sweep it under the rug. These are the kinds of things that many Christians I know resist talking about their deeper issues because they worry about what people will think. That's a problem. aleixa reminds me that it's natural to feel what I feel, that I can talk about it, and that I don't have to be defined by my struggles. They also have a really great EBM sound; a kind of house/pop/metal hybrid (labelled by most underground CCM sites as "industrial") that's been described as "Debbie Gibson in a blender." The synths are very well orchestrated, the vocals are dynamic and skillfully executed (I love their harmonies). They have a healthy dose of heavy guitar spliced in as well, giving the whole thing an edgy feel. If you feel so inclined, give 'em a listen. "pain of the mind can often be worse than pain of the body" "sometimes strange things can be very beautiful" _____________________________________