Ghoul - '3Mark'
This is ridiculously good. Finally this group look like living up to their name; there's a muscle and colour depth to this track that their previous recorded forays - skittish if enticing one, two minute synth scribbles and vocal snatches - lacked. One might level a 'dubstep 101' at '3Mark', but I'd argue it's offering dubstep a place to go beyond its own border, a post-dubstep if you're okay with wanky prefixes. Sure, there's the obligatory glitchy basebeat and chipmunk vocal mirror, but there's also a palpable cleanliness and determination that a lot of dubstep lacks. It's as a poppy a dubstep track that you'll ever hear in this regard, yet one that maintains the enticing schematic quality of Ghoul that always gives the song room to breathe and burrow.
There's also a sense of the arbitrary or serendipitious about it - a nonsensical title, like it was randomly culled from the lettering on the bottom of some consumer electronics item or the strings of a webpage script - a vocal hook, that never quite provides the crucial second half of its own dictum. 'Choose life, / over...', 'over...', 'over...' - the fact that Ghoul never answer their own question is an indication of the group's philosophy, their sense of experience as stochastic, of music's ability to do justice to that which cannot be worked out.
18.11.10
16.11.10
11.10.10
a minor place
Ah, moments, those little moments in music - they are the quintessence of the art, when things come together in perfect unity, expressing an emotion, an idea, a force, in the space of seconds. Often the entry of a song into the realm of the amazing hinges on such a moment, or moments, which form a fulcrum in the flow of sound and lyric that blasts open the meaning of the composition to shine forth in glorious harmony. Sometimes, though, they are disharmonious, antagonistic - they reveal the previous lines of the song to be a kind of ruse, a ploy, a trick, and split it at the seams to bare its true meaning.
Spencer Krug, of Wolf Parade and Sunset Rubdown, has always been a man of moments; I'm sure you can name your own artists or songs whose moments just slay you. But I come to this post today thinking of a different musician and a single moment: one Bonnie 'Prince' Billy, Will Oldham, and that crucial turn in his masterful 'Hard Life', the closing track of Master and Everyone.
For the first few minutes, the song ambles along, a fairly pretty, subdued country pastiche, as Oldham and his vocal partner Marty Slayton meander through platitudes such as "And it's a hard life, for a man with no wife / Babe, it's a hard life, God makes you live" in that typically country way, where the emotion behind the lyric is one step removed from the voice itself, which remains composed. This continues, the sparse acoustic - the album itself is marked by a palpable spareness - gently strumming along.
And then it happens, around 1.59 - there is little forewarning, the bars immediately preceding have followed the established structure. But there it is, the slightest of chord changes, and the most poignant of shifts in the voice of Oldham himself, as his voice, always slightly rough, takes on an unmistakeable tenderness and sense of longing, the ends of words stretching out, as he sings:
But I ain't breathing, let me breathe
Let me go, let me leave
I don't know, but I might lose
I might bum, might blow a fuse
And then on the next verse, an electric guitar - both warm and cold in its tone (think of the same sound Oldham and Matt Sweeney achieve on Superwolf) - accompanies the acoustic, as Oldham becomes more insistent and yet somehow sadder, "So let me go, lay it down / On my own, let me drown", his voice taking on a an almost canine longing. And in a few dozen seconds, Oldham has somehow turned the mood of the universe around, and this is all the more amazing for the subtlety with which he does so. There is no hystronics or abrupt gear shifts here, just a slight tilt of the scales, a shift in the breeze, that brings with it an ocean of meaning.
Spencer Krug, of Wolf Parade and Sunset Rubdown, has always been a man of moments; I'm sure you can name your own artists or songs whose moments just slay you. But I come to this post today thinking of a different musician and a single moment: one Bonnie 'Prince' Billy, Will Oldham, and that crucial turn in his masterful 'Hard Life', the closing track of Master and Everyone.
For the first few minutes, the song ambles along, a fairly pretty, subdued country pastiche, as Oldham and his vocal partner Marty Slayton meander through platitudes such as "And it's a hard life, for a man with no wife / Babe, it's a hard life, God makes you live" in that typically country way, where the emotion behind the lyric is one step removed from the voice itself, which remains composed. This continues, the sparse acoustic - the album itself is marked by a palpable spareness - gently strumming along.
And then it happens, around 1.59 - there is little forewarning, the bars immediately preceding have followed the established structure. But there it is, the slightest of chord changes, and the most poignant of shifts in the voice of Oldham himself, as his voice, always slightly rough, takes on an unmistakeable tenderness and sense of longing, the ends of words stretching out, as he sings:
But I ain't breathing, let me breathe
Let me go, let me leave
I don't know, but I might lose
I might bum, might blow a fuse
And then on the next verse, an electric guitar - both warm and cold in its tone (think of the same sound Oldham and Matt Sweeney achieve on Superwolf) - accompanies the acoustic, as Oldham becomes more insistent and yet somehow sadder, "So let me go, lay it down / On my own, let me drown", his voice taking on a an almost canine longing. And in a few dozen seconds, Oldham has somehow turned the mood of the universe around, and this is all the more amazing for the subtlety with which he does so. There is no hystronics or abrupt gear shifts here, just a slight tilt of the scales, a shift in the breeze, that brings with it an ocean of meaning.
1.10.10
19.9.10
from little things...
counter-anthems
Anwyn Crawford has written a piece for The Age about alternative national anthems, and her mention of the continued misinterpretation of Cold Chisel's 'Khe San' got me thinking about what you might call counter-anthems. There are quite a few instances of this in Australian pop history that I absolutely relish; songs that speak of national injustice and the dark side of the Australian condition, but that like 'Khe San' end up being received in a state of hallucination as to their actual content. I'm thinking especially of Powderfinger's 'Like A Dog', an otherwise forgettable track thick with cliches - generic 90s crunchy guitar riff, intercom vox on the bridge - that nevertheless throws some brutally pointed lines at Howard's racist treatment of Aborigines; and Presets 'My People', that confuses dance floors and detention centres, globetrotting romances with heartbreaking political exile. It's the sight of a crowded room of inebriated revellers shouting along to this last track, in particular, that always throws me.
It's not surprising either that these sorts of songs tend to be high-spirited, chorus-driven rock and dance tracks, it's as if the force of the music itself overtakes the possibility of reflection on their lyrical musings. This itself probably makes their political impact all the more powerful, in a sense, or at least more attractive from where I'm standing. Rather than the (generally) earnest, sickly prosetylising of the traditional protest song, these songs mask their true intentions behind an insistently catchy chorus or overwhelming beat; politics by stealth, massaging the subconscious perhaps, if not it in the blissfully unaware audience then hopefully at least in that undefinable thing known as the national psyche...
Anwyn Crawford has written a piece for The Age about alternative national anthems, and her mention of the continued misinterpretation of Cold Chisel's 'Khe San' got me thinking about what you might call counter-anthems. There are quite a few instances of this in Australian pop history that I absolutely relish; songs that speak of national injustice and the dark side of the Australian condition, but that like 'Khe San' end up being received in a state of hallucination as to their actual content. I'm thinking especially of Powderfinger's 'Like A Dog', an otherwise forgettable track thick with cliches - generic 90s crunchy guitar riff, intercom vox on the bridge - that nevertheless throws some brutally pointed lines at Howard's racist treatment of Aborigines; and Presets 'My People', that confuses dance floors and detention centres, globetrotting romances with heartbreaking political exile. It's the sight of a crowded room of inebriated revellers shouting along to this last track, in particular, that always throws me.
It's not surprising either that these sorts of songs tend to be high-spirited, chorus-driven rock and dance tracks, it's as if the force of the music itself overtakes the possibility of reflection on their lyrical musings. This itself probably makes their political impact all the more powerful, in a sense, or at least more attractive from where I'm standing. Rather than the (generally) earnest, sickly prosetylising of the traditional protest song, these songs mask their true intentions behind an insistently catchy chorus or overwhelming beat; politics by stealth, massaging the subconscious perhaps, if not it in the blissfully unaware audience then hopefully at least in that undefinable thing known as the national psyche...
23.7.10
dream factory
Saw Inception last night, quite simply a brilliant, epic movie. I can't remember the last time I watched a film that captured the experience of the 'cinematic' (as opposed to the merely visual) so well, in all the aesthetic dimensions this entails. The soundtrack, with it's ominous, brass-heavy score that impresses its weight on you. The performances, in which the actors didn't really have to do much considering the scenery and narrative basically overwhelmed whatever performance they gave, but they were nevertheless lean and accomplished (plus Joseph Gordon-Levitt's star turn from teen dork (10 Things I Hate About You) to ultra-slick sidekick is inspired, perfectly cast). The plot, which is schematically complex but not so much that you're ever lost - it's spatio-temporal structure replicates the diegesis itself so at all times you know what 'level' you are on, even if Nolan can't help himself and occassionally push this question (most brilliantly, frustratingly in the final scene).
Indeed, space and time are probably the two main preoccupations of the film as a whole, thematically and stylistically. The film flips and flops between conceiving of the subconscious as a mindscape or as a series of memories and events, and beyond that as a horizontal expanse or a vertical one. Regardless, within the experience of the film itself what is most fascinating is that the audience awareness of time alternatively telescopes and dilates in the exact same way that the characters explain dreamtime - five minutes of sleep feels like an hour in a dream, and if an agent pushes into a dream within a dream time exponentially increases, and so on. This effectively replicates the effect of cinematic time and space - many have realised that sitting in a darkened theatre, immobile, with giant sound and light filling our perceptual field is quite similar in many ways to a dream state, and in the two and half hours of Inception we effectively undergo many more hours and days of experience - through the usual editing but also through the more complex editing of different temporalities in the film - the plot of most of which takes place in the few seconds it takes for a van to fall off a bridge - a slo-mo shot that Nolan periodically returns to with great relish.
In many ways, one might conceive of Inception as an allegory of the process of filmmaking itself, about which I might have more to say later, but for now, why not read a highly technical and enlightening interview with Nolan and cinematographer Wally Pfister on the making of the film:
http://www.theasc.com/ac_magazine/July2010/Inception/page1.php
Indeed, space and time are probably the two main preoccupations of the film as a whole, thematically and stylistically. The film flips and flops between conceiving of the subconscious as a mindscape or as a series of memories and events, and beyond that as a horizontal expanse or a vertical one. Regardless, within the experience of the film itself what is most fascinating is that the audience awareness of time alternatively telescopes and dilates in the exact same way that the characters explain dreamtime - five minutes of sleep feels like an hour in a dream, and if an agent pushes into a dream within a dream time exponentially increases, and so on. This effectively replicates the effect of cinematic time and space - many have realised that sitting in a darkened theatre, immobile, with giant sound and light filling our perceptual field is quite similar in many ways to a dream state, and in the two and half hours of Inception we effectively undergo many more hours and days of experience - through the usual editing but also through the more complex editing of different temporalities in the film - the plot of most of which takes place in the few seconds it takes for a van to fall off a bridge - a slo-mo shot that Nolan periodically returns to with great relish.
In many ways, one might conceive of Inception as an allegory of the process of filmmaking itself, about which I might have more to say later, but for now, why not read a highly technical and enlightening interview with Nolan and cinematographer Wally Pfister on the making of the film:
http://www.theasc.com/ac_magazine/July2010/Inception/page1.php
17.6.10
26.5.10
but then i find, just the right thing
Music always meets us at a certain time in our lives, and sometimes it's the perfect time. There was a time when I needed Children of the Wave's Carapace, when I needed Wilderness, and lately Noah Symons' Great Earthquake has just found me and lifted me right where I needed to be. It's not like I'm some narcissist when it comes to everything I listen to (though I wonder who isn't to some degree), but that certain kinds of chance encounters between one's mood and the music one finds to listen to at a particular time are often the times when I get most out of my relationship to it.
Great Earthquake's Drawings is an album of a similarly nocturnal, restrained and mainly 'instrumental' mood to the music I mentioned above, and it's resonated perfectly with my current feelings of ambiguity, of quiet solitude and a small, almost comfortable melancholy - a word I've always associated with a kind of happy sadness, a sadness that is never quite grief, or a happiness tinged by the realisation of what it lacks. Drawings is the perfect music for my current time of coming and going, of beginnings and endings, and it helps me feel my way - not think - through the things I'm currently going through. It illuminates - that is, throws a light on - my situation, my feelings, and for that I'm eternally grateful. In its cyclical drum patterns I find a kind of resigned drive, in its piano accordion that very bittersweetness that so grips me, in its plaintive guitar a plaintive state. It's that kind of later, quieter post-rock that isn't quite post-rock that I've always been drawn to, felt emotionally nourished by - a post-rock with far more heart and sense of wonderment than the serpentine and po-faced technicality the genre often descended into. Recalling expatriates Because of Ghosts in its evocation of the very slim distinctions between hope and sadness, a song like opener ‘Clap Clap’ has that very Australian sense of tone that always rests in melancholy. It's where I rest my head tonight.
Great Earthquake's Drawings is an album of a similarly nocturnal, restrained and mainly 'instrumental' mood to the music I mentioned above, and it's resonated perfectly with my current feelings of ambiguity, of quiet solitude and a small, almost comfortable melancholy - a word I've always associated with a kind of happy sadness, a sadness that is never quite grief, or a happiness tinged by the realisation of what it lacks. Drawings is the perfect music for my current time of coming and going, of beginnings and endings, and it helps me feel my way - not think - through the things I'm currently going through. It illuminates - that is, throws a light on - my situation, my feelings, and for that I'm eternally grateful. In its cyclical drum patterns I find a kind of resigned drive, in its piano accordion that very bittersweetness that so grips me, in its plaintive guitar a plaintive state. It's that kind of later, quieter post-rock that isn't quite post-rock that I've always been drawn to, felt emotionally nourished by - a post-rock with far more heart and sense of wonderment than the serpentine and po-faced technicality the genre often descended into. Recalling expatriates Because of Ghosts in its evocation of the very slim distinctions between hope and sadness, a song like opener ‘Clap Clap’ has that very Australian sense of tone that always rests in melancholy. It's where I rest my head tonight.
19.4.10
donkey peacock goose
At first it was very difficult as we really didn’t know anything about opera. We’d never been to one. I didn’t even know what the word libretto meant. But after some studying, and just getting used to opera’s essence of pretentious and dramatic gestures, I found that there is a lot to learn and play with. In fact, our ignorance gave us a positive respectless approach to making opera. It took me about a year to become emotionally moved by an opera singer and now I really do. I really like the basic theatrical values of opera and the easy way it brings forward a narrative. We’ve approached this before in The Knife but never in such a clear way -- Olof Dreijer.
For the most part, The Knife's Tommorow, In a Year opera is an admirable failure. One cycle, however, stands out most clearly as a brilliant achievement, a synthesis of all that makes The Knife and opera and experimentalism worthwhile - 'Colouring of Pigeons' (available to stream here). This 11-minute epic recombines operatic voice, Karin Dreijer Andersson and Olof Dreijer's unmistakeable voices, alternatively gamelan-esque and martial percussion, and deeply moving cello and halldorophone into what is more or less a classical opera song refracted through the structures and dynamics of dark house. This is what makes the track so gripping - The Knife force all the melodramatic elements of an opera song through the prism of their equally melodramatic and atmospheric electronica. It's a perfect match, made all the more perfect by the formal experimentation and minimalist arrangements the track is formed in. Each genre illuminating one another in perfect symbiosis.
8.4.10
The artistic arc Joanna Newsom has displayed across her three albums is just beautiful, each work builds on and consolidates her aesthetic whilst introducing some amazing new element. I've heard lots of people arguing that Have One Me is a caricaturing and popularising of her style (i.e. she's sold out) but I actually think it's quite distinct. Anyway:
- The Milk-Eyed Mender's defining element was just that every song is timeless and amazing, and how it creates absolute beauty out of odd smallness. It's just this chick who sounds like nothing we've (but others probably have) heard, playing on a harp these beautiful songs.
- Ys was brilliant for the decision to do an album of extended songs, that spun out into cohesive, holistic musical and literary tapestries - just try not to get lost in Emily.
- The best thing about Have One On Me is that it's really composed of a series of little and intensely exciting to listen to moments - the songs are good, sure, but they are good because they are peppered with these bristling moments - that line, that vocal change, that progression, etc. Take 'Have On One Me', whilst it's of similar length to the songs on Ys, it's really quite different, it's just like a little treasure chest of moments: .50 as the harp starts to wind up; 1.10 'in the night, in the niiight'; 1.26 as harp resolves itself; 1.38 as the 'chorus' (?) comes in!; etc. etc.
There's very little else I wanted to say, just to get this down here. Joanna Newsom: amazing.
- The Milk-Eyed Mender's defining element was just that every song is timeless and amazing, and how it creates absolute beauty out of odd smallness. It's just this chick who sounds like nothing we've (but others probably have) heard, playing on a harp these beautiful songs.
- Ys was brilliant for the decision to do an album of extended songs, that spun out into cohesive, holistic musical and literary tapestries - just try not to get lost in Emily.
- The best thing about Have One On Me is that it's really composed of a series of little and intensely exciting to listen to moments - the songs are good, sure, but they are good because they are peppered with these bristling moments - that line, that vocal change, that progression, etc. Take 'Have On One Me', whilst it's of similar length to the songs on Ys, it's really quite different, it's just like a little treasure chest of moments: .50 as the harp starts to wind up; 1.10 'in the night, in the niiight'; 1.26 as harp resolves itself; 1.38 as the 'chorus' (?) comes in!; etc. etc.
There's very little else I wanted to say, just to get this down here. Joanna Newsom: amazing.
