I've been a subscriber/reader of [url=Alternative Press]Alternative Press[/url] for years. I can remember when albums that were especially despised by a reviewer would, instead of simply receiving a #1, as the lowest ranking on their 5 point review scale, they'd receive a slightly grainy photo of one particluraly dreaded finger. I also remember when AP spent more time reviewing music than they did video games and movies. Now *those* were the days.
These days, I hear AP is in financial trouble... and I'm sorry to report that I am not at all surprised. AP execs, I'm sure, would site the internet as the cause for the recent decline in sales. (Ironically the same argument used by the RIAA). However, I would have to disagree. Rather, I believe AP has lost its creative vision. In the days prior to the internet, AP was the place to find music that was not receiving mainstream radio play, or to find out more about the music that your local college radio station was spinning at all hours of the day and night. Hence the title of the magazine, "Alternative Press." AP provided an [i]alternative[/i] to what corporate radio was shoving down our throats in heaping helpings. These days, AP is anything but [i]alternative. [/i]
If I see one more AP cover with Blink 182, Good Charlotte or Fred Durst, I'm gonna puke -- then I'll cancel my subscription.
Now.. don't get me wrong. It's not as though these aren't decent, even good, bands. They are. After all, these are the bastard children of alternative music's iconic fathers: REM, Iggy Pop, The Velvet Underground, The Clash, Elvis Costello... (the list goes on and on) and so, of course, I appreciate them. Nor do I lament the fact that "alternative" music has become mainstream music, or maybe I should say that mainstream music now [i]claims[/i] to be alternative. Either way, it was bound to happen. What I do lament, however, is that AP has abandoned true alternative music makers in favor of mainstream exposure. (Why should I read AP to learn about Blink182 when they are all over mainstream radio and MTV?) Sadly, rather than being a haven for great bands who may not be major label material, AP has become another corporate machine, mass producing a slightly more tattood brand of bubblegum. Case in point, I recently read that AP, who sells advertisement space to Indie labels has ceased selling ads to or even covering bands from certain genres (including goth and goth sub genres) that "do not appeal to its readers." What the ????? At this moment, Nick Cave is turning in his grave (even though, admittedly, he is not technically dead).
Luckily, there are many other quality music publications out there that have picked up the gauntlent that AP has sadly dropped. They include:
Some of these are currently just online e-zines with reviews of varying quality. But others are true gems, and some even produce actual magazines on glossy paper, with... if you're lucky, a free CD inside containing music from bands you've never heard of before -- but isn't that the point?
When I was in high school, very little spoke to me the same way that Depeche Mode did. (Ok.. maybe REM, but that's a different blog!) Even now, [i]many[/i] years later, their music withstands the test of time. It's classic and original. Specific to a time and place without being dated or irrelevant. Like all (musical) guilty pleasures, DM is easily dismissed as relating only to a certain subculture or as lacking true artistic validity simply because no one ever lost a finger grappling with their intricate guitar chords or because the bandmembers often used more hairspray than the 14 year old girls who filled seats. (And fill those seats we did). :) Don't get me wrong. Believe me, I'd be the first to unleash the same superior snobery towards today's bubblegum flavored, corporately created "musical" acts that boast fantastic abs, and very little else. The difference between today's RIAA [url=http://img23.photobucket.com/...](motto: [i]when you download music, you download communism[/i]) [/url] endorsed processed cheese and bands like Depeche Mode is that DM is an ensemble of artists who were naturally drawn together by a shared musical vision, which they then spent the greater part of their lives trying to realize. Granted, that vision may not appeal to everyone, but its existence differentiates them from modern music's test-tube babies which were created using the following patented cloning process:
Step one: Extract the DNA of last year's boy band. Step two: Add some dance lessons and/or breast implants. (Extra points for both). Step three: Invent a biography complete with a childhood in the projects and/or a stint on the Mickey Mouse Club. Step four: Sprinkle the entire mixture with words associated with legitimate music (ie: hip hop and/or punk rock). Step five: Toss in a date with Ashton Kutcher or Demi Moore (Extra points for both). Step six: Shake vigorously. Repeat
Viola! Next stop: The cover of Rolling Stone!
So... where does that leave us? Since most major labels don't seem to "get" that the reason their sales are in the toilet is because their products are, in fact, crap, I say pull out those old Depeche Mode records! Blow the dust of [i]Violator[/i]. Slide [i]Songs of Faith and Devotion[/i] in your CD player! Go ahead... [i]put it on! And don't say a word. Put it on. The one that I prefer...[/i]
There's a patch of old snow in a corner That I should have guessed Was a blow-away paper the rain Had brought to rest.
It is speckled with grime as if Small print overspread it, The news of a day I've forgotten-- If I ever read it.
[b] Robert Frost -- 1920 [/b]
=http://img23.photobucket.com/...It's been snowing here like mad for the past several days. Oddly enough, I've always found the world to be more alive during winter than in the spring, when everyone traditionally babbles on about the world reborn. Maybe it's the way the cold dances on your skin and your breath takes form as it collides with old man winter's. Or maybe it is just the way that the snow outlines every curve and line in the landscape such that the eye notices parts of the world that were previously camouflaged. Either way, it's like comparing [url=http://www.washacadsci.org/me...%20monet.large.jpg]Claude Monet[/url] to [url=http://www.rosarian.com/graph...]John Singer Sargent:[/url] apples and oranges, baby.
Anyway, all the white stuff got me thinking about songs that remind me, for whatever reason, of this -- the coldest and bleakest of all seasons. Some of these songs make direct references to winter, others do not. However, for me they are all perfectly suited to dark nights alight with falling snow, or the intricate simple beauty of birches in winter.
Claire Voyant: Heaven Knows Claire Voyant: Wanderlust Natalie Merchant: Frozen Charlotte Lycia: Drifting Low: Weight of Water Low: Will the Night Low: Half Light Left Banke: Pretty Ballerina Led Zepplin: Friends Dead Leaves Rising: In The Snow Gordon Lightfoot/Sarah McLachlan: Song For A Winter's Night Love is Colder Than Death: Oxeia Depeche Mode: Personal Jesus Depeche Mode: Enjoy the Silence Ivoux: Rusalka Ivoux: Holle Innocence Mission: Lakes of Canada Innocence Mission: Beautiful Change Human Drama: Winter's Life Siddal: Oil Spills Siddal: Mystery and the Sea Rosewater Elizabeth: Red Hair Whisper The Softies: Winter Pageant
As always, I'm sure there are more. [i]Please feel free to share your favorites....[/i]
[u]Genre Defintions Take III[/u] [i]A little something heavenly... [/i]
Ethereal: This may, in fact, be the most overused term in music. Often used to describe an arrangement or a vocal style, the key to ethereal music is that it creates a sublime, heavenly or somewhat other worldly atmosphere in which the listener can get lost. The defining characteristics of ethereal music are as follows:
Ethereal arrangements are often electronic in nature, but rely on classical instrumentation. It is not unusual to hear orchestration that includes a number of stringed instruments, as well as the piano, flute, or oboe.
Although not always the case, ethereal music RARELY if ever contains the key elements of “rock” music. There will be no baseline or definite percussion. Any guitar used will be soft and swirly in nature.
The focal point of ethereal music is usually the use of an angelic female voice as the primary instrument. Although there are instances wherein male vocals are used, this is the exception rather than the rule.
Like many gothic genres, ethereal music practically drips with emotion and is often seeped in sorrow. However, it is the ethereal nature in which this music creates a heavenly, surreal, and above all, beautiful home for such dark feelings that sets it apart from other types of music. The work of such musicians as Love Spirals Downwards, Bel Canto, Rosewater Elizabeth, The Cocteau Twins and Siddal is often considered ethereal.
Ethereal-Folk: A subset of the above genre, ethereal-folk music takes what is true about ethereal music and adds, or some may say reduces it to, an acoustic level. Ethereal-folk music seeks to create the same heavenly atmosphere that defines ethereal music in general, minus the orchestral elements and swirly guitars. Unlike traditional folk music, which is often associate with social activism, ethereal-folk, in my opinion, sparks an emotional rather than political reaction. EARLY Lovespirals Downwards and some Rosewater Elizabeth fall into the minor catagory.
[url=www.radioparadise.com]Radio Paradise[/url] : bills itself as "eclectic rock" -- but don't let that description fool you. There's more here than meets the eye.
[url=http://www.q105radio.com/soni...]Sonic Bliss Radio[/url] :Weekly shows that include an eclectic mix of ethereal flavored dream pop. Check out some of their past play lists!
Tonight I am going to a program at Wake Forest University called [u][url=http://www.wfmynews2.com/sear...]Putting a Face on AIDS in Africa[/url] [/u]. It will highlight the work of Clive and Mary Beckingham who have served the needs of abandoned, orphaned and HIV positive babies in Kenya since 1993. Since they started, the Beckinghams have rescued more than 500 abandoned babies, and placed them in loving homes. It's amazing work, especially when you consider the fact that currently there are over 13 million orphans in Africa alone as a result of HIV/AIDS. Anyway, all of this got me to thinking about the role of music in social activisim. Over the years, there have been a number of songs that have gone onto define a social movement or change. I can think of a few off the top of my head:
Of course there are the obvious:
We are the world/Do they know it's christmas? The colaborative efforts of artists to raise awareness and monies to fight world hunger. And of course, LIVE-AID followed.
The soundtrack to the antiwar movement of the 1960s contained classics by such folk heroes as:
Peter Paul and Mary Bob Dylan Pete Seeger
The American Civil Right's movement coincided with the emergence of many powerful female African American vocalists such as:
The Shirelles The Chiffons The Supremes
In less recent history, the spirituals sung by slaves in the fields were used for inspiration and to communicate rebelions, of both a violent and passive aggressive nature.
Even as far back as the French Revolution, we can see the use of music as a backdrop for social change when revolutionaries danced in the street to La Carmagnole while raising the severed heads of aristocrats on pikes in the air!
I guess my point here is that music is powerful. Even our [url=http://www.generationvote.com...]politicians[/url] recognize this fact... spending countless hours searching for just the right campaign song. And it can be on both a micro and macro level. Music interacts with the individual and in some rare instances with society as whole. Incredible.
So... tonight, I'll sit in the audience and listen as the plight of 13 million voiceless, yet innocent, babies in a far away nation is laid out before me. And I'll wonder if there is a song powerful enough to make the world spring into action to save them... or is their music yet to be written?
------
I know I have left many bands off the list who have contributed to a social movement. Please feel free to correct me.
Recently, I was asked to put together a CD compilation of the saddest possible songs I could come up with. The exact request was "songs to kill yourself by." It's not often you get a request like that! Of course, I relished the idea, and began the task of putting together a playlist. But I'm not finished, and am interested in suggestions. So... tell me, what song(s) bring tears to your eyes?? What lyrics crush you?? What melodies make you consider the razor's edge??
[url=www.chandeen.com]Chandeen[/url] : One Last View [url=http://www.loricarson.com/]Lori Carson[/url] : I Want To Believe You Lori Carson: Twisting My Words Beck: Golden Age [url=www.beck.com]Beck[/url] : Lost Cause Trespassers William: Lie In The Sound [url=www.trespasserswilliam.com]Trespassers William[/url] : Different Stars [url=www.projekt.com]Love Spirals Downwards[/url] : Avincenna [url=www.arrogants.com]Arrogants[/url] : Will You Notice When I Gone? [url=www.arrogants.com]Arrogants[/url] : Nothing Good Can Come From This [url=http://www.swerquin.net/area....]Area:[/url] Michael Writes His Parents [url=http://www.zelmani.com/]Sophie Zelmani[/url] : I Will Remember [url=http://home.clara.net/koogy/s...]Field Mice:[/url] Willow [url=http://www.sarahmclachlan.com...]Sarah McLachlan[/url] : Song For A Winter's Night
Ok... it's your turn. Don't forget to pass the kleenex!
A recent post on a [url=http://shadowmusic.tblog.com]friend's blog[/url] got me thinking about bands that should have been around much longer than they were. Let me clarify. There's been tons written about 'one hit wonders' and bands that didn't survive their quick rise to the top. In the case of many of these bands, when you look back at them, it's easy to see why their success was shortlived, but what I am talking about are artists who possessed talent to spare, who created amazing work, artists who may or may not have achieved commercial success, but much more inside to share with the world, but whose careers/lives, for whatever reason, were cut short. I'm speaking of the musical James Deans. The ones we think about and sigh, wondering what their next album *could* have been. So... let's create a list. I'll start:
I would say "I told you so..." but then I would essentially be talking to myself, and nothing good can come from that. However, I will say that my prediction of these "definitions" pleasing no-one has certainly come to pass... and I love it! Nothing pleases a bonafide music-nerd more than an endless discussion of what she loves best.
And so... without further adieu...
[u]Genre Definitions Take II[/u] [i]The dark side of the moon...[/i]
Darkwave: The term darkwave is another, often overused, term that has come to be associated with the “new goth,” or the evolutionary consequence of a still developing genre. Darkwave music is often described as introspective and moody, but the real defining characteristic of this genre is its shedding of the “rock” aspects of classic gothic music in favor of more atmospheric and emotional arrangements with both ethereal and electronic leanings. Probably most closely associated with artists from the [url=www.projekt.com]Projekt Label[/url] , the work of bands such as Lycia, Controlled Bleeding, This Ascension, and Thanatos is considered darkwave. You'll find an interesting history of darkwave music [url=http://netgoth.free.fr/cenacl...]here[/url] (about half way down the page).
[url=http://cyberproject.narod.ru/...]Dark Ambient[/url] : Like the darkwave genre, ambient music is also often very moody and introspective, and is very often associated with bands from the Projekt Label. Musically however, this genre is characterized by extremely atmospheric, multi-layered soundscapes that are very rich in texture and emotion. Many times accompanied by ethereal male vocals, the often obscure yet painfully familiar lyrics that make up dark ambient music seem almost to swirl around endlessly in a sea of sorrow, pain and regret. I once heard someone describe the music of Soul Whirling Somewhere as being “lost at sea… fumbling through a fog of loneliness and sorrow only to find that there is no shore.” This same sentiment could be applied to the music made by such dark ambient artists as: [url=http://www.soulwhirlingsomewh...]Soul Whirling Somewhere[/url] , [url=http://www.fortunecity.com/ma...]The Unquiet Void[/url] , [url=http://www.equilibriummusic.c...]Stay Frightened[/url] , Steve Roach and Vidna Obmana.
Ambient-Noise: (AKA: Noise-Pop, Ambient-Drone) The one thing that people who seek to define this type of music seem to agree on is that it really cannot be defined –a fact that would likely please both its listeners and composers. Like the American Jazz movement, the music of this genre is highly experimental often improvisational and defies the rules of traditional music composition. Static, heavy feedback and reverb are common tools of the trade, however, Ambient-Noise embraces music made by unconventional equipment or instruments as well. Although this is not ALWAYS the case, Ambient-Noise tends to rely very little on lyrics and many pieces are entirely instrumental. Probably the most open to interpretation of any of the genres discussed here, Ambient-Noise defies conventional thinking about music and allows its listeners to participate in its creation by removing the patterns that might influence their reaction in a specific way. Bands such as [url=http://www.science.uwaterloo....~jjvenkit/llc/llc.html]loveliesCrushing[/ur l] , [url=http://www.aarktica.net/]Aarktica[/url] and NON are all Ambient-Noise makers.
Ok... so chew on that for a bit, and let me know what you think. I know I have left lots of bands out of all the defenitions so far. If you think of bands that should be included because they help to define the genre, please let me know.
For the last year or so, I have been toying around with what is really no less than an attempt to define the undefinable. It has occurred to me recently that music has become so fragmented and splintered. Every promo CD I receive is littered with the names of one new sub-genre after another, boasting a "completely unique and utterly original" sound. (If only it were true!). And that, coupled with the kind of conversation that only true music-nerds can appreciate, inspired my journey of definition... my own attempt to make sense of all these "catagories" in which music apparently must now be compartmentalized. It's been fun in the sense that I get a kick out of letting my mind whirl around the idea of what distinguishes one type of music from another. However, it's also been frustrating in the sense that no matter how much I put into each definition, it will always be no more than an incomplete and imperfect product. Nothing I write will ever please everyone, nor will it ever be able to do more than just scratch the surface of what that music means to the people who listen to it and love it. However, despite all of this, I offer the following as just one girl's take on a world of music. Your comments and suggestions are particularly desired on this one folks. And so it begins....
[u]Genre Definitions Take I[/u] [i]Today we go goth... [/i]
Gothic: Most people agree that gothic music began as a darker more melodramatic offshoot of the punk movement in the late 1970’s. Originally applied to certain forms of [url=http://web.kyoto-inet.or.jp/o...]architecture[/url] that did not adhere the traditional Roman or Greek form, the word gothic literally means: pertaining to the grotesque, mysterious or desolate. Some of this can be applied to gothic music. Often characterized by emotional, dramatic and often bleak lyrics, gothic music originally exposed the spookier side of the punk movement until eventually coming into its own. Bands such as [url=http://bauhausmusik.com/bio/]Bauhaus[/url] , [url=http://www.fieldsofthenephili...]Fields of the Nephilim[/url] and [url=http://www.christiandeath.com...]Christian Death[/url] are generally agreed upon as some of the pioneers of this movement. Today, the term “gothic” in relationship to music has become over-used and is often applied to a number of sub-genres including, goth-rock, goth-pop and even goth-folk: goth-rock being the most closely related to gothic music in its purest and most original form.
Recognizing that I am certainly not the first person to take a crack at this, I offer the following:
Goth-Rock: Also known as “death-rock” the term goth-rock is now most closely associated with the original pioneers of the gothic music movement or what some people call “old-school goth.” Often containing many of the key elements of traditional rock music, such as heavy guitars and a brooding percussion backbone, goth-rock’s originality lies in its theatrical nature and cataclysmic themes, which are often accompanied by deep male vocals. Not to be confused with Death-metal or doom-metal, representative bands from this genre include: Bauhaus, Christian Death, [url=http://www.the-sisters-of-mer...]Sisters of Mercy[/url] , [url=http://www.cultcentral.com/]The Cult,[/url] Sex Gang Children, [url=http://www.brainwashed.com/lp...]Legendary Pink Dots [/url] and Fields of Nephelim.
Goth-Pop: Sometimes associated with glam-rock or early new-wave, goth-pop could be considered a “kinder-gentler” form of gothic music. Characterized by softer guitars and vocals that are sometimes difficult to distinguish as male or female, (although some definite female vocalists do stand out in this category), goth-pop is a little bit more romantic in an androgynous sort of way than its goth-rock counterpart. Not unlike goth-rock, goth-pop often contains sad, desperate lyrics. However, goth-pop distinguishes itself in the way in which the music itself is often deeply emotional and rooted in the beauty that can be derived from sorrow, rather than in the apocalyptic nature of such feelings. Certain songs by [url=www.chandeen.com]Chandeen[/url] , [url=http://www.clanofxymox.com/]Clan of Xymox[/url] , [url=http://www.vamp.org/Siouxsie/...]Siouxsie and the Banshees[/url] and [url=http://www.clairevoyant.com/]Claire Voyant [/url] (well, their first album) are good examples of goth-pop.
Goth-Folk: (AKA: Dark-folk, Apocalyptic-folk, Neo-folk) It is generally agreed upon that goth-folk music is not really all that “folky” in the sense that vocal harmonies and political statements are not the focal point of this kind of music. Like all goth-music, goth-folk leans heavily on dark, sorrow-laden or apocalyptic lyrics. However, goth-folk is more vocally driven than other gothic forms, and is often acoustic in nature. Additionally, gothic-folk arrangements often include parts for the violin, cello or flute and sometimes experiment with medieval sounds and themes. The work of such bands as Sol Invictus, The Moon Lay Hidden Beneath A Cloud, [url=http://www.tonevendor.com/ite...]Dead Leaves Rising[/url] , and Death In June as well as recent outings by [url=http://www.projekt.com/projek...]Faith and Disease (Beneath The Trees)[/url] and Human Drama are all examples of goth-folk. UPDATE Ooops! And I forgot the "infamous" World Serpant Label which, as has been gently pointed out to me, was "the largest exporter (at least in the late '90s, possibly still true) of the world's goth-folk resources." [DH]
Some music labels specializing in this (particularly dark) cup of tea include:
Here are a couple of my recent reviews: not sure if they will show up in the new issue due out in May. However, to see stuff from other people, check out their site which was recently updated: (Link to Left).
“Stitches and Skin” is not only the second release from Shelley Dael Walker, but it is also a brilliant collection of skillfully crafted pop songs that hook the listener instantly. Walker’s bio claims, like so many other artists, that her music defies genre. However, unlike many of her contemporary counterparts, “Stitches and Skin” offers a collection of material that actually backs up this declaration. The opening track ‘You’re Gone’ weaves Walker’s soft yet potent vocals through a rich pop arrangement that blends both acoustic and electric guitar with a strong percussion backbone, vaguely calling to mind such artists as the Sundays or Sophie Zelmani, but with a decided edge. ‘You’re Gone’ is followed up by ‘Always Around,’ a percussion heavy pop trip that defies the listener not to tap her toes. Walker’s vocals on this track are particularly airy and perfectly juxtaposed against the heavy drum/bassline that defines the song, making for a mesmerizing and infectious sound that reminds the listener of Bon Voyage’s latest release, without being even slightly plagiaristic. Then, just when you think you have Walker all figured out, the CDs third track ‘California’ surprises the listener with its billowy and thoughtful melody complimented by Walker’s vocals, which on this track, seem even more compelling in their understated beauty. Later tracks include a remake of Icehouse’s minor hit ‘Electric Blue’ as well as ‘White Line’ and ‘Lonestar State,’ both percussion driven pop-songs that contain some distinctly shoe-gaze elements, including heavy-reverb laden guitars that blend surprisingly well with Walker’s ethereal vocals. Often compared to Sarah McLaughlan and Innocence Mission, Walker’s vocals certainly share the airy sweetness that defines both those artists, however, musically, Walker couldn’t be farther removed from either. “Stitches and Skin” is a collection of arrangements that carry a decided hook, while also sitting on an edge that is sometimes challenging and always sharp. All in all, this is a satisfying assortment of eclectic pop-driven songs that are original without being isolating and familiar without being predictable.
ATRIUM CARCERI CELLBLOCK (Cold Meat Industries) [url=http://www.coldmeat.se/]Label Web Site [/url]
Cellblock is an atmospheric concept album that leads the listener, blindfolded, through the darkened haunted corridors of an abandoned prison – still writhing with the spirits of its former occupants. To say that this release is haunting would be an understatement. By integrating classical elements and raw darkwave sensibilities with complex mixing techniques, composer Simon Heath creates an eerie and disturbing soundtrack to what can only be described as a dark and troubling journey for the senses. Like so many other ‘one man bands’ (think Soulwhirling Somewhere, Stay Frightened, etc) Simon Heath has created a deeply personal album that gives the listener a slightly voyeuristic feeling, as though we are reading the pages of his journal or somehow catching a glimpse of his most terrifying nightmare (even though the album contains no discernable vocals, save the gauzy german dialogue on the CD’s 8th track ‘Crusted Neon’) . All of this leads me to wonder where such an album fits into the music collection of the average listener. Is this an album that warrants a frequent spot in the CD changer, popping up every so often when the listener hits “shuffle?” Clearly not. Is it then an album that one should tuck away as a secret guilty pleasure or for annual play each October 31st? Not exactly. The fact is that while most music is defined by the mood that it creates, Cellblock is a CD that requires a certain mood in order to be appreciated. And really that is the key to this, Atrium Carceri’s debut: By creating a decidedly atmospheric and deeply introspective album filled with intellectual details, Atrium Carceri’s Cellbock is an album that seems to have been designed more for appreciation rather than enjoyment
I could go on and on, ad nauseum, about what makes a good lyric, but luckily these [url=http://www.warr.org/lyrics.ht...]folks[/url] have already done that for me. I'm not sure I completely agree with their assessment, but they make a few interesting points, and if you're already reading this blog, well... you might as well check them out.
I, on the other hand, will defer to my college English professor Dr. White, who looked sympathetically at my first perfectly rhymed poem and said, "Don't tell me, Jennifer... show me." A wise man that Dr. White. For example, anyone can write lyrics that [i]tell [/i]the listener that they are sad, or angry or fundamentally incapable of any emotion whatsoever, but it's in the showing of these things, through turns of phrase that we (the listener) can relate to and see/feel, that magic truly happens.
For an example, I turn to Trespassers William:
[u]Lie in the Sound[/u]
"i love you more than i should so much more than is good for me more than is good oh the timing is cruel oh i need and don't want to need more than i should.
i am falling say my name and i'll lie in the sound what is love but whatever my heart needs around.
oh my sheet is so thin so i say i can't sleep because it's so very cold but i know what i need and if you were just near to me would you go....
i am falling say my name and i'll lie in the sound what is love but whatever my heart needs around
i am falling say my name and i'll lie in the sound what is love but whatever my heart needs around
and it needs you too much now."
*sigh* Alright... put away your tissues, and let's really take a look at those lyrics. They begin benignly enough: "I love you more than I should, so much more than is good for me..." Ok, we've all heard that before. But then, in the next phrase, the song comes to life. "I am falling... say my name... and I'll lie in the sound..." With those words that song goes from merely being pleasant, to being a true masterpiece. It goes on... "my sheet is so thin... so I say I can't sleep... but I know what I need...." And so do we... because we've all felt that same cold sheet next to our skin, as we tried to sleep in that same cold, empty bed. Magic I tell you.
Here's a similar example: This time, I'll turn to Lori Carson for inspiration:
[u]Twisting My Words[/u]
"Well aren't we all grown up We were only children But who knew it then? Lovers before we knew anything more For each lesson in tenderness Learned on the floor
There was one about twisting my words To console you One about hiding the black and blue And one about leaving the back door open For the endlessly running away that I do
The rain took me by surprise Though I'd heard a wild storm Was coming that night I've learned to ignore These predictions alright Well partly it's stubbornness Some of it's spite
But mostly it's twisting my words To console you Mostly it's hiding the black and blue And always it's leaving the back door open For the endlessly running away that I do
Now you think you're here to stay It's like that joke How can you miss me if you won't go away Well darling I may still surprise you one day For each sincere goodmorning I've managed to say
There's been one about twisting my words To console you One about hiding the black and blue And one about leaving the back door open For the endlessly running away that I do from you For the endlessly running away that I do."
Ok, I admit it... I'm a sad sap. But if you are not touched by this stuff, then you have no heart. (For me the best line in that song is "For each sincere goodmorning, I've managed to say...." And then it goes into the chorus. We all know that feeling). However, for the heartless among you, I offer Rufus Wainwright:
(For the sake of space, I'm just gonna link to where you can find the lyrics).
Thanks to [url=http://www.literarycalligraph...]Jonathan[/url] , I have recently fallen in love with [url=http://www.trespasserswilliam...]Trespassers William,[/url] an indie operation out of Northern California. Their two releases include [url=http://www.trespasserswilliam...]Anchor and Different Stars[/url] . If I had to describe them, I would say shoegaze meets cowboy junkies meets mazzy star, but even that seems inadequate. Regardless, 'Lie In the Sound' is one of the most beautiful songs I have heard in a long time. If you're reading this... you should buy the CD.
[url=http:cdbaby.com]Just buy it[/url] .
More?
[url=http://www.rufuswainwright.co...]Rufus Wainwright is on tour[/url] . Yes... I know he is on a major label, but I don't hold that agaist him. His live shows are infamously wonderful. If he's coming to your town, you should definitely check him out.
Speaking of tours... Duane tells me that [url=http://www.theinnocencemissio...]Innocence Mission[/url] is returning to [url=http://www.jamminjava.com/]Jammin' Java[/url] in April. IM is one of those great bands that proves once and for all that great musicians make better music WITHOUT a major label breathing down their necks in search of a "single." IM has found a new home on [url=http://www.badman-records.com...]Badman Records[/url] , and the result (Befriended) is [url=http://www.npr.org/display_pa...]spectacular[/url] . Again... buy it.
I begin this with trepidation... as though I have already doomed it to the pile of projects left unfinished. But we will see. In the meantime, here's what you can expect to find: Music related ramblings mostly... as well as other observations about life, liberty and the pursuit of mediocrity.
