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Geekoid's World of Music
http://i1075.photobucket.com/albums/...ster/GWOM6.png http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ 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! http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ 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 _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...ssionsmall.png 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]. _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
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 |
Nice work, Geekoid. You are definitely one of my favorite newbies, and I'm already interested to see what you have to write.
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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! :wave: 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 :) |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...tsHeader-2.png 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 _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...tsHeader-2.png 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 :) _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/.../spotlight.png 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: _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...er/mixtape.png http://wide-wallpapers.net/wp-conten...ew-600x375.jpg 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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http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...er/SunPost.png 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" _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
Wow Geekoid, I'm really diggin' your World Of Music here, lol! You've already covered quite a bit of interesting ground in such a short time, particularly Hauntology and talking about your background a bit.
Writing, no matter where you do it, is a lonely process. On top of that, it requires discipline. I know I've had trouble maintaining some of my past threads here on MB, that's for sure. :beer: Still, this is a great journal, so keep it up! PS: In regards to Christian artists, here's one guy who's in a world all his own. Enjoy. :hphones: |
Dat Hauntology stuff is darksome, and quite wonderful. Would've included it in my scariest albums of all time list had I'd known about it back then.
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Damn, Geekoid! This thread is awesome! I loved reading about the music of your childhood, the post on Hauntology was enlightening and fascinating, and as a Christian, I sincerely appreciate your post on Christian music. Most of it sucks. But, as you said, there is a lot of good stuff out there that goes unnoticed, for the reasons you stated. I'll have to look into that Alexia band, they sound pretty interesting.
Keep it up! |
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I don't really know what to say but, well, thanks :) As much as I'd like to pretend it isn't true, I tend to go into "panic mode" with blogs and journals after a few posts, and I start doubting my direction/ self-confidence. But if I want to be a professional writer one day, I'm going to have to keep pressing on. So, yeah, thanks for the boost, guys :) Anteater- Thanks, man. More to come in my "Roots" section. I'm hoping those entries will take shape over time to provide a complete and detailed picture of my background in music, which is still a kind of fuzzy framework in my mind, begging to be solidified. Ole Borud is pretty much exactly the kind of thing I like! It calls to mind your Muzak blog. Just when I think I'm about to reach the extent of underrated CCM, something new always pops up. Awesome. Thanx. Terrible Lizard- Glad you like it. And indeed, darksome is certainly the word to describe it. I really loved your Scariest Albums of All Time thread, and was hoping there might be some Hauntology in the mix (even though it's fairly obscure, I suppose). But yeah, I checked it out a little while ago when I was trying to find some old threads that piqued my interest. Did you get around to finishing it? I don't remember. Blarobbarg It's always nice to get your input, and I'm glad you've been enjoying my posts so far. More Sunday Posts to come (hopefully there will be one for every Sunday I'm online). I'm currently dreaming up my next post, which should make its appearance some time tomorrow. Stay tuned :) |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...tsHeader-2.png A Tribute to My Mom The introduction continues... As I mentioned before, both of my parents have had a strong impact on the kind of music I'm into. But while my dad is more into music than my mom, I think she ended up influencing my tastes just as much as he did. I seem to be one of the rare few that has as much in common with one parent as the other, even though in temperament, people say I reflect more of my mom's quiet, passive and melancholy nature. My parents are opposite in so many ways, but where they meet in the middle in terms of music is their mutual love of Jazz and R&B. When we were still only a family of four and we all had more free time to spend, they would sometimes dance together (my dad is a very good dancer); accompanied by slow, romantic vocal Jazz; Ella Fitzgerald, Natalie Cole, Harry Connick Jr., Frank Sinatra... It was like watching a scene from a movie, but with a chemistry that no TV screen experience could ever match. My sister and I would sit and read quietly together on the couch before bedtime, humming along to whatever melodies we knew, and commenting on the songs we liked the best. We were never really the kinds of kids that cringed when a couple shared long stare and a kiss. Romance, it appears, is in our blood. My parents never sing or dance in public, and they haven't had the time or energy to for years now, so those memories are very special to me. This was their favorite song to dance to... My mother's vocal jazz has carved itself a home in my musical taste, and has become one of my deeper roots. Some examples... Spoiler for ...more vocal jazz...:
If there is one reference I could use to describe my parents' relationship, it could surely be likened to Beauty and the Beast. In fact, Beauty and the Beast is one of my mom's favorite movies. She loves musicals and old Hollywood films with a sophisticated feel. Dramatic art that really stirs the emotions. To me, my mom was most certainly Belle; she has that same kind of delicacy, the same thirst for adventure, and an enthusiasm for books and etiquette. Her favorite movie (and soundtrack from a movie) is probably "You've Got Mail." I keep on wishing that she'll be able to have her own Shop Around the Corner one day. The one other influence that stems from my mom's taste is probably the female singer-songwriters of the late 80s and early 90s, like Suzanne Vega, Sinead O'Connor and Alanis Morissette. I really got into the female vocalists that dominated 90s Top 40 radio, and it's mostly due to her influence. I was brought up with the values of compassion, honesty and emotional strength. These artists were the backdrop to these values. It seems to me that I have this kind of perfect ying & yang, Anima & Animus balance between my more "masculine" taste and my more "feminine" taste, with my parents being the archetypal examples of each, and myself falling somewhere in between. I've always found it to be the case that I've never really had this urge to exaggerate my "manliness" that I noticed in other boys; although I've always thought of myself as being masculine anyway; just more of a dreamer and romantic than is usual. Because I was always so close to my mom, and talked about nearly anything and everything with her, I think I always had an easier time having conversations with girls and women than most of the guys I grew up with. _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
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http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...ster/bjork.jpg _____________________________________ Part 1 I realized that in all the time I've been seriously listening to music, I've never really thought much about my 'relationship' with one of my top favorite artists. So, here it is. I've been adding to this little by little over the past few days, so this is going to be a two parter (I want it to be complete). Pt. 1 will be a sort of overview; Pt. 2 a sort of album review section. OK, so my dicovery of Bjork’s music dates back to 2007 when I still had LaunchCast radio (before they defunced it for copyright reasons), and I remember thinking; “wow, she’s a bit intimidating." and then "This must be the kind of music those super ultra-modern people listen to at big expensive parties. How pretentious.” Her music kept coming up, despite my reservations. And so, as I started to grow familiar with the melodies, the instrumentation, her distinctive, unforgetable vocal style; I started to catch the bug. So many artists that seem strange and alien at first end up not being so different from myself, and throughout the 5 years I’ve been getting to know Bjork, I seem to have found in her something of a kindred spirit. In many ways, Bjork is actually a muse for me in my artistic pursuits. Her emphasis on concept, genuine self-expression, and her one-of-a-kind style remind me that people are interested in looking at things in new ways, maybe even the iconoclastic ways that I like to look at things. As I mentioned before in the Bjork thread, and from my own experience with her music, I feel she is often misunderstood by the masses. Much of this distorted impression seems to come from the normative view of the media, in which anything beyond a certain point left of center is something to be analyzed by means of simplistic deduction. Bjork herself has said that there is often some creative liberty that journalists take with her life story, (a fact that she's actually proud of). I agree with the notion that genius comes with more than a just hint of eccentricity; and most people don't really know what to make of eccentric personalities, especially in the art world. Therefore, they often risk missing the genius for the idiosyncrasy. But sometimes it takes following an artist into their own personal rabbit hole to discover their curious and impressive imaginary world. Music is an incredible medium in which to do so. For the aforementioned reasons, there is only one high quality interview that I've ever seen Bjork give; and that's because - for once - the interviewer seemed genuinely interested in her artistic perspective, instead of her artistic persona- she asked the right questions. If you watch most other interviews available online, there is usually a sense that the interviewer is treating her as a novelty- neither taking her seriously nor caring about her seemingly left-field ideas, dismissing them as mere quirky statements spoken in a charming Icelandic accent. For someone with well-developed and complex philosophies about their art, a brief appearance on the Conan O'Brien show in front of an audience expecting some witty back and forth isn't really the ideal situation. There might be some good that comes from being an artist ahead of her time. It allows Bjork to maintain a sort of enigmatic, legendary status, in which people never seem to have a good grasp on who she is. After all, most of us will never know her personally anyway. It probably also means that she can enjoy much more privacy than other artists of similar celebrity; although I could be wrong about that. In this interview, which is probably one of the longest and most scintillating I've seen her give, you get to see Bjork open up in a way she rarely ever does. There are so many insights shared, and a lot of things she says, I've been able to relate to throughout most of my life. It has become one of my favorite interviews of all time. I was particularly interested in her reminiscence about her 10 years in music school. It called to mind my own rebellious stance toward the schools I went to. Really, our upbringings were somewhat similar. I essentially lived at my nan's house on the next street over, where she taught a school for kids with learning disabilities. (I don't have a learning disability, so I went as an alternative to public school). My grandpa, who taught me about astronomy and geography, is a scientist, a former "hippie", and an environmentalist who is resolute that capitalism will be our demise. The school had a somewhat utopian setup; everyone I went to school with was either a friend of the family or a cousin. As far as we knew, there was no such thing as bullies, there was practically no schedule, and learning was almost as fluid and natural as breathing. Up until I was nearly 7 years old, I had already learned high school level geography, art theory and astronomy. The switch over to public school was rough. I had to deal with all the pressure to conform, "behave" (act like all the other kids), and stay structured. I didn't, though. I was a "good kid", but hopelessly abnormal. And teachers didn't like it. Like Bjork, I spent some time in the principal's office for my insubordination. I think one of the reasons I got so into Bjork's music is that we are both people of intuition, who like doing our own thing in our own way, even when some people don't understand, and sometimes when it's against the "rules". I realized also that both of us like to build bridges between the same kinds of opposites. In art, I like to feel that there's a sense of harmony between feelings and knowledge; the self-expressive aspect and the conceptual aspect; what is accessible and what is alien; between the ideas of technology and nature, the urban and rural, the electronic and acoustic. Like I explored in the second part of the tribute to my dad (in regard to electronic music), I've never felt a sense of alienation from the electronic world; but rather a sense of harmony with it; it sparks my imagination, and hightens my creativity. If Bjork is right, each up and coming generation will likely feel more comfortable with those more electric elements of life, which are inherently a part of our very nature. Like Bjork, I too am late to the game when it comes to breaking away from my family life and finding those people that I can identify with and learn from. It's really an act of courage to stake out your own life, and embrace maturity and adulthood in that way. Hopefully in the coming years, my art will develop into something that means as much to other people as it does to me, and expresses who I am as a free standing entity. And who knows, maybe they'll take notice in bigger ways than I could expect. _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
Umm, just wondering if my latest post got deleted somehow; or maybe wasn't approved for some reason. I hope not, since posting part 2 wouldn't be very beneficial without part 1. It's ready and waiting in the wings.
...Moderators? Any word? Thank you :) |
I think the whole site had a problem yesterday: my own posts took about a day to be approved, and last time I came here the site was taking literally ten minutes to load, and then only partially. So I'd say the guys had more on their plate trying to fix the site, and our posts just got (rightly) pushed to the side.
As you can no doubt see now, all has been restored, and normal service has been resumed. |
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It's all there :) Nothing to worry about. I put maybe a little too much effort into these posts! lol. But I've learned over the years to save my work on Word, just in case. Sorry for being impatient! haha.
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OK, so here's part 2.
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...ster/bjork.jpg Part 2 I thought it was very interesting that Bjork considers her albums to be self-contained universes waiting to be formed by intuition and instinct. When I see her discography, it makes me think of a collection of paintings or gemstones, each one very different from the other, with its own special place in time. Here are my favorite cuts from each of her most well-known microcosms, pieced together in something of a timeline of Bjork’s evolution. Doing this has given me a chance to actually understand her discography as a whole (I even looked up the albums not listed here), and it might even have started a personal paradigm shift toward listening to music album by album as opposed to track by track, since I really like having a bigger picture perspective on artists. So, here it goes... 1-DEBUT (1993) http://userserve-ak.last.fm/serve/50...t2020Front.jpg A charismatic introduction before her move to England, Debut is named, obviously, because it’s essentially her first album as an independent artist, after her breakup with the Sugarcubes. Bjork provided a splash of magic and intriguing, playful arrangements for the music scene of the early 1990s, and Debut has deservedly become a truly iconic pop album, launching Bjork to fame early in her independent career. After several years of listening, I’m still taken in by ‘Human Behaviour.’ It still manages to romp in with all the shadowy danger of a giant teddy bear at bedtime. The song has so much quirky character, and is as childlike as it is sophisticated. Bjork’s distinctive vocals are always fun to follow all over the map. I also like the eclectic use of instruments; they provide a kind of thrifty-sounding, low-key sort of atmosphere that compliments her well, and it avoids sounding overly dusty and cobwebbed, even after almost 20 years. Spoiler for My pick from Debut:
_____________________________________ 2-POST (1995) http://devonrecordclub.files.wordpre...12/05/post.jpg This album is a colorful and vivacious "posting" of Bjork's thoughts and feelings prior to her move to England. She did a lot of collaborating on this one, and the album seems to embody the various ideals of electronic music at the time, which was in the process of evolving and refining new kinds of electronic music, most notably the trip-hop movement, which is hinted at here. As usual, she would end up infusing her signature stand-bys here and there; heavy beats, glittery accents, and orchestrated backdrops. In sharp contrast to Debut, which was more shabby and low-lit; Post is vibrant, polished and exciting; and even more aggressive, but it maintains that kind of youthful quality. The energy from this album seems to have carried over to the decidedly climactic album Homogenic, the first of the archetypal "twin sisters" Bjork mentions in the interview. With Post, people often talk about how Bjork managed to exceed the success of her first studio album, as if Bjork is just as much a businesswoman as she is an artist. Her own words seem to indicate otherwise; and I think part of her success in the creation of Post has to do with her willingness to collaborate with other artists, infusing the best of what each party has to offer, and showcasing excellently produced electronic music. It’s Oh So Quiet is probably one of the wittiest and most charmingly theatrical covers I’ve ever heard, and the music video does a good job showcasing her acting skills. It also calls upon a couple of my musical influences, both show tunes and electronica; so it’s a nice kind of crossover. It might sound really weird, but it looks like so much fun to burst out in song and dance around with a mailbox and a fire hydrant. Spoiler for my pick from Post:
_____________________________________ 3-HOMOGENIC (1997) http://www.waitmusic.com/wp-content/...-Homogenic.jpg An exploration of beats and strings. This is the extroverted twin sister, described by Bjork as being "outgoing, confrontational, and hardcore." Bjork had spent a good part of the year before the release of Homogenic listening to beats; mostly Drum’n’Bass. This album is stony, expansive, and stark, and in a way, it’s a tribute to her homeland of Iceland, with its glaciers, volcanoes, and grey drizzly weather. She wouldn’t return to her use of tectonic rhythms until she released Biophilia in 2011. This album exemplifies Bjork’s philosophy of merging opposite forces through music. One the one hand, she presents graciously flowing melodies and poignant, anthemic arrangements, which make me think of wide skies and vast silvery oceans; and on the other hand, he disrupts the flow with very sharp, angular, craggy rhythms; throwing the elegant waters into dramatic turbulence. Overall, it’s a great album for awakening the emotions and breaking out of a haze. Her masterpiece, entitled "Joga," is apparently an ode to one of Bjork's closest friends, and is an homage to Iceland. One of my absolute favourite songs, it captures feelings of dedication, patriotism, intimacy, inspiration, awe, and even romance. Just a lovely song in every way. Spoiler for my pick from Homogenic:
_____________________________________ 4-VESPERTINE (2001) http://www.israbox.com/uploads/posts...vespertine.jpg This is Homogenic's more introverted, gentle, shy and patient twin sister. The beats are smaller, and the production is more intimate, with much of the vocals having been recorded by laptops. The purpose of Vespertine is to explore those innermost feelings one shares only in a domestic, sheltered environment with only the most intimate of their confidantes. Despite my own identification with the album's concept, this isn’t one of my favourites by Bjork. Like some listeners, I just found it much too intimate, like something reserved for the affections of a married couple. In essence, it's a bit like walking in on somebody. And in a way, I think that’s what the album was intended to be- the candid discussions and experiences of an intimate pair at home alone. However, I can’t help but admiring its delicate, frost-laden beauty. This a good one to pull out during the dead of winter, when the trees are dusted with ice and snow, and you feel like slipping into hibernation under your covers. Hopefully if I ever get married, the intimacy shared in this album might feel a bit less off-limits. (Not to come off as too much of a prude). Spoiler for my pick from Vespertine:
_____________________________________ 5-MEDULLA (2004) http://www.kaleochurch.com/media/music-bjork.jpg This album is notable in that it's an exploration of vocals and a capella arrangements. The intention is to showcase the "sacred" qualities of the human voice as a universal instrument of mankind. As a result, this is Bjork's most organic sounding album. Again, though it's certainly an epic endeavor, this album is not one of my favourites. I can see what Bjork was trying to do here, but at the end of the day, it gives me the feeling that peoples’ lips are less than an inch away, blowing hot air into my ears. If I can even say it, for me Medulla is just too vocal. I generally have a problem with excessive breathiness in songs already - the anatomical reality is just too apparent; and I’m not a huge fan of the technical art of throat singing either, which is called upon in this album on occasion. With the added influence of Neopagan ritualism, it just ends up being much too physically, primitively, indulgently human for my taste. On the other hand, some tracks, like the colossal "Where is the Line" provide very interesting (and goosebump inducing) combinations of vocals and keyboard effects. "Oceania" is certainly an interesting piece of artwork- it was written for and performed at the 2004 Athens Olympic games, accompanied by a massive display. The vocal layering is lush and somewhat ethereal, creating a mystical, ancient-world kind of sound that's exotic and aquatic; like a Siren chorus from the lost city of Atlantis. Really, Medulla creates a lush atmosphere of otherworldly, aboriginal-sounding music you'd expect to hear on Avatar's Pandora. Spoiler for my pick from Medulla:
_____________________________________ 6-VOLTA- (2007) http://cdn.buzznet.com/assets/users1...0672559587.jpg After a 3 year break from studio albums (she did a movie soundtrack in the meantime), Bjork was back in '07, and all about having fun. Volta is inspired by African music, and infuses industrial-style beats to enrich the feeling of tribal dance, and to infuse electronic elements with more organic forms of music. There are lots of horns and jazz influences as well, which provides an interesting contrast between primal rhythms, and the slick jazz and classical instruments she introduces to the work. This album is neat; but it doesn’t create the same kind of compelling mystery that her previous albums did for me. In spite of that, I'll reserve my judgments for now, since I still haven’t given this album a proper listen-through, even though I really should. It takes a couple of tries for me to really get in alignment with Bjork’s music; I need to get into the right head space first. The thing is, this album is a lot coarser in its instrumentation than I usually prefer, so it will likely take some time to sink in. I was actually notified by iTunes when “Earth Intruders” came out, and to me, it represents the side of Bjork I came to love in the first place- playful, quirky, dramatic, powerful and electrifying, with her signature tongue-in-cheek wit that is both contemporary and timeless. I couldn’t get this one out of my head for the longest time; that beat is just so ingenious. Spoiler for my pick from Volta:
_____________________________________ 7-BIOPHILIA- (2011) http://c438342.r42.cf2.rackcdn.com/w...-Biophilia.jpg For me, this is one of Bjork's finer accomplishments in the past few years. Many long-time fans were disappointed with Biophilia; and after all the hype and attention that preceded its release, many people wished she had been more "groundbreaking." But knowing Bjork, she never strives for "groundbreaking" per se, but instead for honesty. And in 2011, Bjork's idea of being honest seemed to be driving home her passion for synthesizing opposites, exploring concepts and fusing science and the human experience together in a symbiotic friendship. If it wasn't clear before that Bjork is attempting to bridge the gap between nature and technology, Biophilia makes it obvious. I see this album as a culmination of most of the elements used in her previous work. There's the same almost nerdy, glittering, trinket-like quality that can be heard in Debut. There's the theatricality of Post, and the stark, elemental quality of Homogenic. There's the intimate recording methods like those executed in Vespertine, and the vocal chorus accents of Medulla. All of this comes together in a celebration of the natural sciences in a time when touch screen technology is advancing our ability to explore the ever-changing dynamics of natural processes. In many ways, Biophilia is the most perfect album I could expect from Bjork, based on what my personal interests happen to be. If I was a child today, I would have been transfixed by this album in its ability to bring life to the scientific concepts that captured my intense focus- geography, geology, meteorology and astronomy. It would have been equally fascinating to be able to study the technical dynamics of this music, which strays from the familiar 4/4 time signature. That kind of format, in my mind, is a truly inspiring way of looking at music. One thing that many people dislike about Biophilia is its use of unusual time signatures, her vocals (some people actually think she's tone deaf) and her seemingly random arrangements that sound like something "a child would make while plucking away at an instrument." But if you look at nature and its processes; the growth of a crystal, the spread of a virus, the complex double helix of DNA, a thunderstorm, a volcanic eruption; if you mimicked the nature of these things in music, 4/4 time simply wouldn't capture their true essence; the way they interact with time. The point is that these natural things each have their own kind of order, even if on superficial observation they appear to be random and erratic. Basically, that's the whole point of science to begin with- making sense out of what appears to be a realm of chaos. I enjoy almost every song on Biophilia, and have been really enjoying the recent remix series. My favorite songs from the album, in order, are probably Mutual Core and Crystalline (tying for first), Hollow, Thunderbolt and Nattura respectively. These tracks merge nature, visual art and sonic vibrations into a quite synesthetic experience. I personally consider it to be a masterpiece. Spoiler for my pick from Biophilia:
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Nice posts! I know absolutely nothing about Bjork, but she's always seemed like someone I should listen to. Reading your reviews and hearing the sample songs, I have to say, I really like it. I especially liked "It's So Quiet" and "Crystalline." I've always liked musicals and old vocal jazz and the like, so It's So Quiet was right up my alley, and I loved the crazy beats of Crystalline. Good stuff.
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http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...er/mixtape.png http://24.media.tumblr.com/tumblr_lw...o1_r2_1280.jpg Lately, I've been really getting into the 80's electro/new wave/italo revival. More intensely than ever before it seems, people are really starting to embrace the electronic style of the 80s in every aspect of its uber-modern and ultra-electric splendor. This time around, people are actually starting to draw inspiration from the emotions of Italo Disco specifically, instead of just being influenced by "synthpop" in general. Italo Disco has a certain brand of beauty, evoking a certain poignant emotional tone with its romantic melodies and wistful tone. Italo/ post-disco beats and melodies are extremely catchy, and really elevate disco to a whole new level by drawing upon its best qualities and modernizing them for new, more technologically advanced generations. I took notice of the recent 80s revival when Goldfrapp released their 2010 album "Head First," which received mixed reviews from fans, mostly because some people didn't care much for the slick, commercial sound of the album, which came off to some as a gimmicky attempt to win fans. Others criticized their very obvious 80s influence, seeing it as indulgent nostalgia and not much else. But the melodies they managed to create take a great deal of talent to conceive of. I imagine it would be somewhat difficult to come up with a melody that could have been released in a past era. Goldfrapp accomplished this feat so well, in fact, that people can't help but feeling as though they're having a blast from the past. I think many people who are critical of the 80s nostalgia feel like the decade they grew up in is to be left alone; never to be dragged back to popularity as they start to reach their 20s and 30s. "the 80s is over already. Can we just forget it even happened?" What I think is very appropriate about this revival right now is that, because of its sentimental overtones, italo works well in material meant to be nostalgic, and it's a good alternative to other contemporary styles, because unlike the hard-hitting glitchy samplescapes of dubstep, or the throbbing repetition of trance arrangements, there is an elegance and subtlety in the way sounds are treated in nu-disco cuts. It's smoother, and more danceable. Not that it's necessarily better, but it's meant for a different kind of setting. This is a very opportune time to embrace the sound of italo disco, a genre which has kind of fallen to the wayside of peoples' memory over the years. There are a lot of different artists participating in the 80s revival, all with a different take on what they think the decade had to offer, in light of the 21st century. Most of the revival seems to be taking place in France, where italo disco is really making a comeback. If I have one real problem with this broad style of music, it would be that it's almost too clean with the use of modern instruments and software. There isn't that same quiver and quake that period instruments used to make. In a way, I think people have streamlined musical technology so much that it's starting to lose some of its charm and character. It would be nice to be able to hear this mixtape remastered with vintage instruments, but hey, progress is supposed to be a good thing, right? I also don't like that the genre tends to be associated with elitist rich kids who play their obscure indie electronic music at parties to look "individualistic" and "fresh." Whether or not this is true, I like to think that italo is a worthwhile format in and of itself, regardless of who happens to listen to it. Anyway, here are some of my favorite tracks that fit the new-80s vibe. Spoiler for 8 tracks de la nouvel 80ies.:
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Excellent playlist there my man! I was unaware of Goldfrapp's change in direction on Head First, but I'm really diggin' it! :love:
The 80's electro revival over the last couple years has certainly been prominent in any case, with some artists in particular having a particularly scary knack at creating some killer albums that would have fit in perfectly back in '85. To illustrate this, here are Russia's prodigal sons, the magnificent Tesla Boy. :) |
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Crystalline is just mindblowing right near the end, eh? Mutual Core has some heavy beats, too. That whole album is pretty theatrical. |
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Yeah, Tesla Boy sometimes makes its way into the mix when I'm in a faux-80s mood. They're another great example! If they backward-emulated their instruments a bit, I agree, they definitely could have made waves in '85, even if only in club culture. |
Great work, Geekoid! I'm dead-straight not into Bjork or Italian disco, nor do I ever think I would be, but the most important aspects of these journals I find is not that you're necessarily into the music (though of course that helps, or if you get into it via the journal entry/ies), but that they're written well.
The articles should be interesting, engaging, different and above all understand that not everyone is going to be necessarily into this music, and to accept that and not villify them for it. Your journal scores on all counts, and I'd almost put it on a par with Anteater's work --- high praise indeed. Keep it up! :thumb: |
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http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...er/mixtape.png http://farm7.static.flickr.com/6210/...40eb1fe8f8.jpg I've kind of let things slip a little bit over the last week. It's been tough over the last few days- low energy, a bad sleep cycle and constant headaches (nothing I'm not accustomed to, of course). But I'm slowly coming back out from the fog. Let's get this thing running again. _____________________________________ So, this time around, I'm stepping a little more toward the acoustic side of things with some 90s Adult Alternative favorites. The 90s were a gold mine for AA classics, and set the overall tone of top 40 radio then, with slower pop-rock music aimed at the 20+ age demographic. Demographics, however, aren't set in stone, and so Adult Contemporary music has also reached a lot of young people. It's the kind of music that parents can play in their cars, not needing to worry too much about the lyrics their kids are singing along to. Often the subject matter can provide some good conversations about life in all its curiosity. From the Barenaked Ladies to Sheryl Crow to The Tragically Hip to Tracy Chapman; these artists were like friends of mine growing up. What makes this genre meaningful for me is the fact that it's music with mature (or at least witty), and intelligent lyrics about everyday life, sung by ordinary-sounding people. It's peoples' feelings and experiences placed in a form that melds perfectly with things like going to the grocery store, the doctor's office, or heading back home from grandma's house, watching the countryside roll by outside your window. I'm the kind of guy who responds best to sensitivity and insight in lyrics. Too much turbulence really upsets and drains me. I tend to pull energy from low-key situations and intimate conversation instead. I'm a small town guy with interests that suit the city- quiet cafes, park benches, that sort of thing. In a way, AA music represents that kind of feeling for me- it builds a sheltered, rustic place where it's always like evening in the fall. It's like sharing my most intimate thoughts with a friend or loved one over a hot cup of cider, and everything is just casual and relaxed. Each song contains a memory of something irreplaceable and good in my life- treehouses and backyard parties, road trips and trips to the park, hiking in the woods, the people I used to know who have moved on, and people I've known for years who aren't like they used to be... Adult Alternative music is something like a home video or a polaroid camera to me- capturing those small moments that mean more and more as time passes. And so, as summer begins to wind down here in Southern Ontario, the first few leaves are beginning to change color... it's barely perceptible, but the days are getting shorter... and I'm able to pull out a long sleeved shirt or a sweater on increasingly cool summer nights. And just like clockwork, I've really gotten into the mellow mood of 90s soft rock and its popular singer-songwriters as August presses forward. Spoiler for 7 tracks of Adult Alternative:
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http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...er/SunPost.png http://i12.fastpic.ru/big/2010/1122/...17793cb9f3.jpg This week's featured Christian music is from the lovely Leslie Phillips. Leslie has a voice I would compare to contemporaries like Amy Grant and Belinda Carlisle; with the same amount of expressive charm and emotional sincerity, Leslie Phillips was an extremely popular contemporary Christian artist in her day, especially with young Christians in the United States. Many of her songs still endure the test of time on Christian radio, and she is likely one of the most popular Christian female vocalist of the late 20th Century. Her unique approach to pop music sets her apart from the often drab and generic sound of ultra-conservative CCM, and Leslie herself was never really a conventional Christian. To be honest, I don't enjoy any of Leslie's work before or after the release of "The Turning," an EP she released in 1987, which received high praise from both Christian and secular reviewers. It is still lauded by fans to this day as one of the better CCM albums of all time. This album contains many uplifting messages, mostly having to do with perseverance, waiting on God's timing, and resisting weakness and hopelessness. One of my favorite tracks from the EP, "Expectations" talks about the pressure Christians can feel to live up to the high ideals of other believers, which traps them in religious bondage. On every song, Leslie speaks from experience, as she had dealt with many family issues leading up to the album's release. I've always thought that music with spiritual themes is most effective when it's spoken from a personal perspective, instead of making generalizations and speaking for other believers. The EP also includes some very unorthodox instrumentation, and she isn't afraid to embrace quality while also delivering a heartfelt message, something Christian artists sometimes fail to do. Her dynamic vocals earned her the nickname "the Christian Cyndi Lauper" which isn't entirely inconceivable. But the cheesiness of her nickname isn't the only thing that she probably cringes at nowadays; since shortly after the release of her album, Leslie Phillips actually denounced her label for being a "right-wing propaganda machine," which makes some sense as far as I'm concerned. The thing is, a lot of Christian media, including some Christian music, is checked and double-checked by Christian record labels to ensure that the messages are in alignment with their ideology. The record label "authority" is mixed with theology and ideals of integrity. Unfortunately, there is a lot of political bias in these record labels toward right-wing agendas, even if the artist doesn't necessarily share their views. Blind acceptance of these agendas is something that does happen in Christian circles, because for many people, the Republican party or the Conservative party is considered the "Christian party," and therefore, no questions are asked and the ballots are submitted. I'm not saying this is always the case, or even usually the case; but it happens. I am of the belief that no one political party represents the ideals of all Christians, and that it's important to make all democratic decisions based on thoughtful consideration. And like faith, political agendas should not be forced, but discussed. Whether or not this was Leslie's reason for leaving her label ("Expectations" kind of hints at her frustration, I think), she nevertheless retired from Christian music to pursue a secular career as Sam Phillips, whose music I actually have not enjoyed in the least, but she remains popular with critics. I don't know whether or not she still considers herself a Christian. All I know is that the content in her lyrics after "The Turning" make the prevalence of her faith look ambiguous at most; with very few philosophical, introspective or spiritually explorative lyrics. If there was any backlash to her decision from Christians, it was probably short-lived or responded to with maturity, as many of her old fans continue to enjoy her music, and today I haven't come across even a trace of bitterness. As a Christian, it saddens me a bit that Leslie wasn't able to continue sharing her faith through her music, and that she indicated that it was a waste of her time and talent, since she really did a lot of great things on this release. Anyway, I still am a big fan of the EP, and some of her songs still receive regular circulation on my iPod. The song "Answers Don't Come Easy" is certainly my favorite; with a lovely melody and heartfelt vocals. You can hear the similarity to acts like The Go Gos and Amy Grant, and get a taste of Leslie's unique songwriting skills. Though it sounds like a lower-budget release, its charm and overall quality make it a personal classic. _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
I tend to shy from Christian music, not only because I'm no longer a believer (if indeed I ever was, and not just indoctrinated by good old Catholic Ireland) but because I really don't want to hear someone, as you mention, pushing their religious/political/personal agenda down my throat, when all I want is to listen to the music.
I managed to overcome this attitude slightly though when I came across Narnia. If you don't know them, they are (or were, think they've split up now) a Christian heavy metal band who, although they sing about God and Jesus and so on, don't push their beliefs down your throat. AND they sound effing fantastic! Try this one... |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...theticslab.png Welcome to the first edition of the new segment of "The Lab" which explores music in ways that are theoretical in nature. Basically, these are experiments I conduct which help me to understand the nature of music based on my observations and ideas. The first experiment has to do with my "synesthetic" experience of music, and the particular dynamics of music that I'm drawn to most and least. If you've used Pandora, you'll understand the basic idea of what I'm going for. This experiment is something like Pandora's music genome project, which categorizes music based on its musical properties and characteristics, such as the type of vocal, the instrumentation, the pacing, and the style. There are hundreds of tags used in the genome project, not many of which explore dynamics such as mood or atmosphere. My system is loosely based on my own synesthetic experience of music; the various images and symbolic references my mind spontaneously assigns to music. It also brings into the mix the emotional experience the song creates (at least, from my own experience, as the same song can be percieved differently from one person to the next). This experiment came about as an attempt to organize and categorize the kinds of images I associate with different music, to make sense of them and give them some kind of rhyme and reason. I noticed that with two similar sounding songs, I would experience similar synesthetic "visions" : the same kinds of images, colors, textures and symbols would present themselves in my mind's eye. To organize these images, I wanted to use an existing categorization system as a kind of metaphorical structure. The first categorization system that came to mind was the Animal - Vegetable - Mineral system, which is elegant and allows for little to no overlap of its categories. I figured that since my synesthetic experience doesn't ever produce any images of living things, I decided to find a system that addresses the Mineral Kingdom only. I began thinking of the periodic table of the elements, which led to thinking about The Four Elements- earth, air, fire and water. A ha! I have my system. The elements of earth, air, fire and water can be used as metaphors for color, movement, and emotion. From there, I assigned each element a defenition in its relationship with music. I'll start with my definitions for music I associate with the element Air. DEFINITIONS for AIR-BASED MUSIC: A (Air) AIR- Music that is calm, aloof, gentle, slow, mellow, smooth, open and spacious. This is music that is non-invasive and corresponds with the sensation of cold, coolness or softness. _____________________________________ AE (Air with Earth) Mixed with Earth, Air music remains aloof, but becomes somewhat less slick and more grainy. Any smoothness Air brings to the picture is tempered by textured instruments, or rough vocals. A lot of slow-paced jazz falls into this category, as long as it's generally detached and instrumental. This becomes the sub-element of SMOG. Images I associate with smog music tend to include greyscales and sepia tones; drab colors and dusty surfaces. A good example of "smog" music is David Brubeck's Take Five. Smooth arrangement with lots of musical textures, primarily from the use of saxophone. This isn't an emotional piece, but instead is more on the detached and aloof side in its sophistication. A true "smog" song would be less energetic than Take Five (which has elements of Fire in it, due to its somewhat upbeat tempo). Therefore this song would be tagged AEF (air - earth - fire). _____________________________________ AF (Air with Fire) *Edit: renamed from Electricity to Ultraviolet. In a lapse of memory, I actually switched the two names. Mixed with Fire, Air music remains slick and somewhat aloof, but is more energetic and electrrified. The sounds are like the sun's energy suspended in air, in resemblance to how a keyboard's electric sounds create a sense of atmosphere. This becomes the sub-element of ULTRAVIOLET. Images I tend to associate with Ultraviolet music are things like electrons, beams of light, and faded neon colors that can only be produced artificially, or by bioluminescence. "Ultraviolet" in its purest form is best exemplified by instrumental electronic tracks of low to medium pace. Because of the somewhat emotional tone of this track, it would be tagged AFW (air - fire - water), with maybe a hint of Earthy texture (AFWe). _____________________________________ AW (Air with Water) Mixed with Water, Air music becomes more human, emotional and accessible, often with sweeping synths and airy vocals; and remains gentle and subdued. Air and water together are smooth and flowing, like water droplets suspended in a fog or a cloud. Both air and water are cool, so there is still that feeling of blue coolness that makes me feel relaxed and at peace. This becomes the sub-element of MIST. Images I tend to associate with Mist music are cool blues, clouds and fogs, water droplets and gentle breezes. Amarantine by Enya is a little on the warm and passionate side (like sun shining through a thin veil of cloud), so it could possibly be tagged as AWF (air - water - fire). _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
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1. Music meant for other Christians, which is essentially preaching, that to a Christian like myself can be helpful, positively convicting, or potentially hurtful, depending on how it's delivered. 2. Music meant for everyone, which usually tones down the "you should" and "we need to" perspective and amplifies the "from my own experience" prespective, or it shies away from Christian themes in favor of "universal" ones that everyone can relate to. This is where you get crossover artists like Amy Grant and Switchfoot. and 3. Worship music intended for God only. i.e. the "Vertical" perspective. It's certainly important to know your audience, but never compromise your beliefs (no matter who you are or what you believe, honesty is important). And it's equally important to make quality music. I'll have to go check out some more Narnia! :) |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...theticslab.png DEFINITIONS for EARTH-BASED MUSIC: E (Earth) EARTH- Music that is textural (as opposed to smooth), rough, raw, rich and grainy. This is music that is rougher and more invasive to listen to, and corresponds with the sensation of texture. _____________________________________ EA (Earth with Air) Mixed with Air, Earth music becomes smoother, cooler, and more relaxed, with its texture becoming more accessible and less harsh. Often acoustic instruments or soulful vocals paired with minimal instrumentation finds itself in this category, as long as it has a dry and emotionally subtle feel to it. This becomes the sub-element of SOIL. Images I associate with soil music tend to include, obviously, soil; but also other natural materials like driftwood, bark, and smooth-textured stones, gently eroded by fresh water. A good example of "soil" music is Tracy Chapman's "Fast Car". This song has earthy vocals (as opposed to smooth or breathy vocals) and acoustic instrumentation. The slow pace and the echoing voice effect create a sense of atmosphere. In the chorus, the song kind of picks up emotional steam and passion, but Tracy's vocals maintain a mature, cool and collected feel that keep it separated from the "water" classification, as well as its arrangement, which is "dry" rather than "fluid". If someone didn't know the lyrics, the deeper feelings of the song don't come through as strongly. At least in my opinion. Therefore this song would be tagged EAWf (earth - air - water - fire). _____________________________________ EF (Earth with Fire) Mixed with Fire, Earth music amplifies its noisy, grittiness. This type of music is brash and rough-edged, and has a lot more energy than music with the "soil" classification. This type of music is usually separate from most genres of rock, in favor of more folky styles, like droning neo-folk or rootsy hip-hop. There's usually a raw quality to this music, and it can be somewhat dark.This becomes the sub-element of CHAR. Images I tend to associate with Char music are things like fire burning charcoal, sparks, ash, embers, dark browns, deep reds, and sooty blacks- the kinds of colors and textures left over from being burnt, or the less-intense carbon offshoots of a fire. Woven Hand is a good example of the kind of music I tend to associate with this overall feel; very rough, gritty, and passionate, but the emotions are delivered with subtlety, as opposed to outright emotional expressiveness. It would be tagged EFWa (earth - fire - water - air). _____________________________________ AW (Earth with Water) Mixed with Water, Earth music becomes more sensitive, emotional and accessible, but remains rough-edged and heavily textured. Earth and water together are visceral and expressive, the most inwardly felt, rich and soulful music of all the classifications, but unlike Soil or Blaze music, it includes the element of emotional expression. A lot of a capella music- in its fluid exuberance and expressiveness- tends to fall into this category, which I call the sub-element of MUD. Images I tend to associate with Mud music are rich browns and brownsih tones, leathery textures, and deep, luxurious shades of warm reds, blues and purples- images that coincide with rich, soulful feelings. Bobby McFerrin's music is a good example, which I have tagged as EWA (earth - water - air). _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...theticslab.png I'm beginning to realize that if you ever wanted to get an idea of what my World of Music actually looks like (in the imaginary world of my head), these posts are something of a field guide; a map of my musical mind in a sense. Just to put it out there. DEFINITIONS for WATER-BASED MUSIC: W (Water) WATER- Music that is emotional, and deals with vulnerable feelings such as romance, loss, empathy, etc., but also other emotional expressions like wry humor, sensuality, encouragement and earnest passion. It corresponds with the idea of feelings and emotions. _____________________________________ WE (Water and Earth) Mixed with Earth, Water music becomes richer in feeling, warmer, and more rugged, usually with smoother vocalists and acoustic or otherwise light arrangements. It reminds me of that calm, but moving feeling you get when you're on the beach or next to a river or lake. This is the category in which most soft rock, adult contemporary, alternative country, and alternative rock falls, as long as there is an overall down-to-earth feel coupled by expressive vocals or arrangements. This becomes the sub-element of SHORE. Images I associate with Shore music tend to include more organic materials like trees, moss, plants, and leaves; colors that come to mind include various greenish-browns or bluish-browns, like moss and leaves; although since this is the "everyday life" category, conventional ideas of skies also make their way into my imagination, like blue skies with fluffy clouds, starry night skies, and orange sunset skies. Because this category covers so much area, time of day and weather seem to be a big distinguishing factor. So when it comes to my world of music, the weather forecast can prove to be somewhat important. Summer Dress is a slow, laid-back example, and would be tagged as WEA (water - earth - air). It gives off the vibe of early morning or late evening, with overcast skies. _____________________________________ WF (Water with Fire) Mixed with Fire, Water music becomes passionate and boldly expressive. This is the most emotional classification, a downpour of emotion and catharsis (that to some may be a little too dramatic). The category I've come to call RAIN. This is where I'd put all those big ballads they used to play at the end of movies in the 90s- the ones by the likes of Mariah Carey and Celine Dion. Images I tend to associate with Rain are dramatic- like moving clouds, opening flowers, and rays of sunlight. Things you would normally see in dramatic time-lapse videos. Vienna Teng is a good example of the feeling I'm getting at with this category: inspirational, dramatic, poetic, and smooth; with precision vocals that dramatically express emotion. _____________________________________ WA (Air with Water) Mixed with Air (see Air mixed with Water) As it is, it becomes very difficult to tell whether a song should be tagged as Water then Air or Air then Water. Therefore, I've decided to leave Mist as a solitary entity. I at one point called WA music "Seabreeze," however, it just became a more subdued version of Rain and a more substantial version of Mist, therefore, it didn't really have any legitimate distinguishing qualities. So basically, when it comes to this element, the dividing factor has a lot to do with whether the song is emotional but down to earth and acoustic (Shore), or emotional and larger-than-life and dramatic (Rain). _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
Holy Hell! I feel like I've gone back to school, or woken up with the TV on and with BBC 2 broadcasting an old segment of the Open University, or something. :D My brain has swelled to gigantic size --- oh no wait, that's just this novelty sombrero I'm wearing!
I must admit, I didn't read the whole thing; others probably won't feel this, but I began to drown a little in definitions and sub-classes. I wouldn't say it was dry, certainly not boring, but it's a little too much of a dissection of music to me. Not that it's clinical, far from it, but I prefer just to listen to music and not over-analyse it. And you certainly have analysis down to a fine art! Did I hear somewhere you're a scientist in real life? Doesn't surprise me; you have a very analytical mind. I just prefer personally to enjoy my music, not too bothered about WHY I enjoy it, though I know that emotion plays a huge part in that, naturally, and mood. Check the "Albums you're digging II" thread for a video that literally made me cry, or look for it in "Bitesize". It's Stevie Nicks' "Italian summer". Tears were rolling down, seriously. I did wonder though about your definition of "Air" music: you say it sounds completely robotic, but surely that's not true? What about classical music, or any other soft instrumental? Can't music be "Air" without sounding industrial or mechanised? Wouldn't the very opposite be true? Did I read that wrong? I can't figure that out. Great article though, but as I said, a little too technical and scholarly for my tastes. Good luck with it though. Oh yeah, glad you liked the Narnia track: check my journal for a review of that album and more videos. Oh, and thanks so much for your kind words about me in the "Spill your guts thread": must respond to that at some point... :thumb: TH |
Haha. I'm not actually a scientist by profession (I sort of wish I was), but I definitely would consider myself a scientist and artist by heart. Those are two very important parts of who I am (which is why I relate so well to Bjork's approach to music).
When it comes to musical analysis, or any other kind of analysis, I go through the process of learning and then un-learning. Once I've come up with a logical construct and really understand it in-depth, I kind of "forget" it and let it run in the background of my mind, so to speak. So when I listen to music, I can automatically categorize it loosely without much thought at all. Precision isn't as important to me as the overall idea. It's like learning how to read or play an instrument; you learn all the letters or notes, look at how they're arranged and how they form words or music, and then once they're memorized, reading or playing music becomes second-nature. Knowing these categories helps me to keep track of all my music at once. I rarely forget about an artist if I've tagged their music. It's like tying colored strings to a bundle of balloons and pulling them down when you need a certain color. It also helps me to make playlists that go beyond the usual confines of genres or artists. I can pair songs with each other that create a cohesive feeling, and are in ways quite similar to each other, but that you might not expect to hear together. I re-read my analysis, and you're absolutely right. I edited the Ultraviolet section because I accidentally switched the definition for Ultraviolet (air+fire) with Electricity (fire+air). Air music often includes Classical or soft instrumental music, usually in the Ultraviolet or Mist categories, even though some Ultraviolet music is electrical in instrumentation (like the example I shared, which I actually got right). Thanks for pointing that out! It's comments like those that help me perfect the theory and get my thoughts straight/ errors sorted out. I think I should probably add on a mini-overview in the first Lab post for the sake of brevity. I'm really laying all this out there so that when I make playlists in the future based on these categories, there will be some background/ explanation for them. At the end of the day, these posts really show an important aspect of who I am as a person (the mad scientist aspect). So I'm glad that if it's not completely understood, at least my analytical self can be appreciated. So thanks for appreciating it. :) |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...theticslab.png DEFINITIONS for FIRE-BASED MUSIC: F (Fire) FIRE- Music that is energetic, passionate, danceable, exciting or otherwise rousing. This is music that is penetrative, loud or exciting. Upbeat and medium to fast paced, it corresponds with the sensation of heat or energy. _____________________________________ FA (Fire with Air) Mixed with Air, Fire music becomes electrified, energetic, and smooth, often with the use of fast-paced electronic instrumentation. This is the classification that coincides with most electronic dance music, the sub-element of ELECTRICITY. Images I associate with Electricity music tend to include warm, bright colors like yellows, oranges, bright pinks and luminous greens. Shapes and movements associated with Electricity are glowing lines, dynamic geometric shapes, flashing lights and pulsating entities similar to colors under a blacklight. This is highly synthetic music that calls to mind colors produced by a digital screen. A good example of "electricity" music is Royksopp's Eple, which would be tagged as FAE (fire-air-earth). _____________________________________ FE (Fire with Earth) Mixed with Earth, Fire music becomes much earthier, less synthetic and more rich and raw. This is the category under which a lot of harder rock or heavily distorted noise rock falls. When Fire and Earth alone are mixed, you get a very indulgent rock sound, with lots of loud, gritty or distorted guitar. This is the most intrusive sub-element BLAZE. Images I tend to associate with Blaze music are things like rust and various rough metallic surfaces. Colors tend to be fiery; mostly deep reds, rich browns, blacks and oranges with the occasional bright colors thrown in for contrast. This track would be tagged FEa (fire-earth-air). _____________________________________ FW (Fire with Water) Mixed with Water, Fire music becomes more expressive, with a stronger emphasis on vocals and a passionate message. This is where you find music like alternative rock, hip hop and new wave; music with energy, emotional expression and smoother vocals. The sub-element FLAME. Flame is an interesting element because Water and Fire like to mix in a lot of different ways. To differentiate these sounds, it's good to look at how they're classified using the letter codes I've assigned. FWa (Flame with Air) This is where you get the more electronic sounding Flame music, like that of electronically infused rock music. Associated colors include bright blues, greens, yellows and purples, like those seen in colored flames, highlighters or chemicals. There's an overall synthetic feel. Sorry in advance if you have a problem with Coldplay, but this is a good example of this variant of FWa music uncontaminated by elements of Earth. FWe (Flame with Earth) This is where you get the more earthy sound, like that of most mainstream or alternative rock. Associated colors are much like that of Blaze; brown-infused warm colors that are more subdued, like leaves in the fall. This is the conventional rock sound. Not too loud, not inacessible, not particularly over-the-top. FW (Just Flame) Something like Rain, with earnest or expressive themes set to up-beat music. This is where you get the smoothest variety of Flame music, like slick R&B and Hip Hop. Associated colors are mid-tones of green, purple and taupe. _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...theticslab.png OVERVIEW: Here are the definitions laid out all together. AIR AIR- Music that is calm, aloof, gentle, slow, mellow, smooth, open and spacious. This is music that is non-invasive and corresponds with the sensation of cold, coolness or softness. MIST- Music that is emotionally gentle, peaceful, and atmospheric. Often has a mystical or magical quality. Includes mostly Easy Listening and New Age music. Sub-categories Include: AWE- INCENSE (Includes lite-pop; AM pop, sunshine pop, twee) AWe/f- BOG (This is an additive micro-element that has to do with certain forms of instrumentation; harp-like instruments and twinkling keyboards.) AWF- WATERFALL SMOG- Music that is smooth in presentation and arrangement, aloof and musically textured. Refined and technical. Includes mostly Classic Jazz and Mellow Instrumentals. AEF- SMOKE (Uptempo jazzy music; Nu-Jazz, trip-hop) AEW- INCENSE (Dreamy, romantic, or vocal jazz, classic jazz with dynamic vocals). ULTRAVIOLET- Music that is smooth, atmospheric and energetic. Usually creates a gentle, yet energized atmosphere. Includes mostly Ambient/Light Electronic Music, and some Classical Music AFE- HEATWAVE (Downtempo electronica with textured instrumentation) AFW- GALAXY (Ambient electronica) EARTH EARTH- Music that is textural (as opposed to smooth), rough, raw and grainy. This is music that is rougher and more invasive to listen to, and corresponds with the sensation of texture. SOIL- Music that is rich, mature, cool and collected. Includes mostly Laid-Back, Minimal Acoustic Music. Sub-categories Include: EAW- ISLAND (Minimal Acoustic Singer-Songwriter arrangements) EAF- DESERT (Bluegrass, Alt.Country) CHAR- Music that is gritty, gristly, rough and raw. Includes mostly Rootsy Rock, Thick Folk-Rock, Blues-Rock and Americana. Sub Categories Include: EFA- BONFIRE (hard rock, rough-edged metal, gritty guitars) EFW- COAL (drone, blues-rock, roots rock) MUD- Music that is richly soulful and expressive; Includes mostly A-Capella and Deep Soul. Sub Categories Include: EWA- CLAY (a capella music, rich vocals, smoother, cooler feel) EWF- SAP (soulful music that's warmer, more passionate or upbeat; often pop/rock music with soul influences) FIRE FIRE- Music that is energetic, passionate, danceable, exciting or otherwise rousing. This is music that is invasive, loud or exciting. Upbeat and medium to fast paced, it corresponds with the sensation of heat or energy ELECTRICITY- Music that is rhythmic, electric, energetic and upbeat. Includes mostly various types of Electronic Dance Music. Sub Categories Include: FAE - BLAST (Trance, techno, other forms of mostly instrumental electronica) FAW - LIGHTNING (Standard Club music with a pop aesthetic; House, HI-NRG, Italo-Disco...) MOLTEN- Music that is rich, rough-edged and energetic. Includes various types of Mainstream Rock and Alternative Rock. Sub Categories Include: FEA - GRILL (Alternative Pop Rock, Noise-Pop/ Noise-Rock, Shoegaze) FEW- PAINT (alternative pop/rock with bright and/or rough instrumentation) FLAME- Music that is passionate and upbeat. In its pure form, this genre encompasses Hip-Hop and Urban Pop, but the sub-categories are quite different, as seen below. Sub Categories Include: FWA - CHEMICAL (Electronic Rock, New Wave) FWE - MAGMA (Often Classic Rock, AOR, some Progressive Rock) WATER WATER- Music that is emotional, and deals with vulnerable feelings such as romance, loss, empathy, etc., but also other emotional expressions like wry humor, sensuality, encouragement and earnest passion. It corresponds with the idea of feelings and emotions. SHORE- Music that is emotionally rich and warm. Includes mostly Adult Alternative and Soft Rock music. Sub-categories Include: WEA- ZEPHYR (Mellow and emotionally moving acoustic music, slow ballads) WEF- FIRESIDE (Slightly upbeat adult alternative that is warm and inviting) RAIN- Music that is poignant or emotionally passionate. Includes mostly Big R&B Ballads and Dramatic Alt Pop Ballads. WFE-THUNDERSTORM (Rock ballads or emotionally passionate pop tracks with a ballad-like feel) WFA- GEYSER (Dramatic ballads with more classical arrangements. Larger than life and inspirational) SEABREEZE- Ambiguous and interchangeable with Mist, Seabreeze provides further variants. Includes Adult Contemporary and Lite Pop. WAF- SPRAY (Includes adult contemporary and mainstream pop with electronic instrumentation, light hits) WAE- RAINFOREST (Includes adult contemporary music with a dense, heavy, lush and expansive atmosphere; especially vintage music produced by Sting, Peter Gabriel, Phil Collins, Toto, etc.) _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
http://i1075.photobucket.com/albums/...mpassRose2.png _____________________________________ http://i1075.photobucket.com/albums/...roeseFinal.png As long as I can remember, I've always had this burning desire to travel the world; especially to those places that are often overlooked by North Americans. I am primarily fascinated with the rocky terrain and friendly culture of Scandinavia. If this were the 15th Century, I'd love to be a hired cartographer for travellers and explorers seeking new and unexplored territory. In modern times, of course, there are few places in the world that are "unexplored," this being the age of high definition satellite imagery. But now in the 21st Century, virtually every place that exists in the world, habitable or uninhabitable, is literally at one's fingertips. People can Google a country they've never heard of, and then sometimes they eventually decide they want to live there. The Faeroe Islands is one of those places that captures my imagination, as small island nations tend to do. The Dutch archipelago is by no means obscure, although they have a relatively tiny population of only just under 50 000 people. But the islands are often forgotten or overshadowed; just a tiny and peaceful nation protruding modestly from the Norwegian Sea. A shame, as the music the Faeroese people create has a character all its own. Often, their songs are written in their native tongue, a Norse language which has been handed down through the generations by spoken word, and hadn't been written down until the 1800s. They have a very active music scene, and Faeroese musicians tend to create a sound which is quite dark and ethereal, which seems to be a common characteristic of Nordic music. There are also some excellent vocalists who call the Faeroe Islands home. HEIDRIK One such vocalist is the popular singer and songwriter Heiðrik. He's a very dynamic and dramatic singer, with an aptitude for creating a theatrical atmosphere in his music. Heiðrik is a dreamer and a poet; reflective and introspective, with a kind of novel charm in his theatricality and idealistic longing. I really enjoy the use of string instruments in his work, which combine nicely with his vocal style and use of electronic basslines; much like the musical dynamics of Homogenic. I don't often listen to Heiðrik's music, since it can come off as a little bit too over-the-top and dramatic; but when I'm in the mood to travel off to the foggy, cliff-lined shores of the Faeroe Islands, he offers up an interesting, somewhat escapist perspective to the music scene there. ORKA Another popular Faeroese act is ORKA; an electronic industrial quintet that was inspired by the use of farm equipment to create musical textures, taking industrial music with folk elements to a different place altogether. Their music can be menacing and mechanical, but it's also catchy, singable and stunningly beautiful in its dramatically stark instrumentation. The harsh mechanical sounds all seem to have a definite place, and it ends up sounding like organized chaos; working like an efficient machine. As a pop enthusiast, I like my industrial music to be hummable and melodious, but also to possess that harsh metallic sound that provides a deep and resonant feeling. I like to stand on that bridge between the experimental clangs of industrial music and the accessible musical structure of more commercially viable pop. They manage to bring both sides together successfully. ORKA, like most Faeroese acts it seems, are renowned for their originality and inventiveness. And the fact that they choose to sing in their mother tongue just adds even more interest as far as I'm concerned. On the other hand, they are still technically a folk group, and therefore they have also produced some lovely tunes that contribute to the wealth of traditional string music from the Faeroe Islands, like "Hon leitar." But the overall mystery and character of the Islands remains in tact in every one of their songs. Here is one of their industrial works; just blows me away with the musical environment they are able to create. EIVØR PÁLSDÓTTIR It's a wow moment when you find a talent like Eivør. It seems that versatility is one of the things the Faeroese have a propensity for. Eivør is a formally trained artist who sings everything from traditional folk music to jazz to pop to classical. Basically, this was the girl all the other singers on the archipelago would have been jealous of. A true performer, Eivør not only knows how to sing basically anything on the planet you could throw her way; but she's not so intellectual about it that her performance quality suffers. Case in point, she dropped out of formal training early; likely because she realized she had already learned everything she needed to know to start a highly successful career. I am frequently awed by her vocal prowess and personal magnetism. In this traditional song, entitled Trøllabundin, Eivør demonstrates a stellar vocal range, as well as what sounds like Inuit throat singing, which doesn't sound at all out of place. The magical and mysterious feel of Faeroese music endures. To give an idea of her versatility, check out this lovely and luxurious jazz number, Rósufarið. TIETUR Tietur creates some quality folk pop tunes. He creates that "daydreaming on a rainy day" feeling on every album he releases, and his songs are very domestic and subdued, with lyrics that paint beautiful pictures of everyday life and relationships. Tietur has won over his homeland and many fans around the world with his charm and wit; but also his ability to make folk pop that's smart and well produced. I would say h's something like Jack Johnson, if he was less generic and wrote nicer melodies. It really seems like Faroese artists take singing more seriously than most Canadian or American artists do, since they all seem to do it really well. One of Tietur's most winning qualities is his pleasant tenor voice. And of course, you can't really talk about Scandinavian music without metal. One of the more popular acts from the Faroese Islands is Týr, a viking metal band. If you're interested in that kind of thing, metal fans seem to think they're something special, so they might be worth checking out. _____________________________________ http://i1075.photobucket.com/albums/...mpassRose2.png |
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