Is 20 Luminums Bright Enough

The Darkest Star, Love You To

confess to face to talk about these monsters who have spilled rivers of ink I was some panic, but not Calypso I can let down and let it pass.
Depeche Mode and the Beatles have in common musical use of sound unconventional treatments in the rock, both have made this a flag, seal, a manifesto.
It would certainly be nonsense to pretend that they are not heirs to the works of Boulez, Stockhausen and all that generation of electroacoustic experimentation that George Martin was quite aware, and I do not offend anyone if I think Depeche Mode owes much of its position sound to "Sgt Pepper." Thanks to them, rock sound could greatly broaden your horizon and become a more powerful vehicle of expression and profound, sometimes sublime.
this is usually associated with psychedelic and "culturalization" of drug use, but I think this is an overly simplistic view and an excuse to justify the use of psychoactive substances by several generations, as if drugs were the cause to which we must thank the talent, work and creativity.
What we have offered goes further to do with complex sensibilities who dare to peek cliffs rare emotional and expressive, but I get the same feeling when listening to Beethoven, Mahler or Bartok and would be very curious to get them to them inside the bag of psychedelia what the academicians would laugh! only see their faces would be worthwhile.
On the other hand, it would be fair to reduce the Beatles and Depeche Mode to their experimental sound, the songs work even be interpreted only with a piano or guitar. Martin Gore maintains this principle and Beatles songs have been fondled while needless to say.

The Darkest Star is a song that may go unnoticed is the last of the "Playing the Angel", and as most people can only pay attention for seven minutes, the last pieces are filled or are great.
There are many levels at which we can talk about it: its composition, sound design, his heartbreaking loneliness, his words no doubt everything will be larger than the sum of its parts.
When stripping the song and play the piano only demonstrates his pathetic and reminds me vaguely of Chopin by the decreased use of the minor mode. If there is a piano sheet music certainly ask as dynamic indication.
The B provides material for the coda and intro, a simple is overwhelming because of how well it works: chord followed by a fourth grade sforzando a flat diminished fifth grade (which ultimately is a socorridísimo investment grade declined) in which "breaks" the sound of piano with distortion rather noisy. Centuries ago as the effect of these chords automatically evokes feelings of hopelessness or sadness, to say the surface, but fortunately Martin Gore lyrics are cryptic enough to save us from sentimentality and suggest some other exercise of reflection (which I give to every one who, points whichare not mine)
Otherwise the esrtructura is typical: ABABC.
As note about the treatment of sound, the piano on the subject of guitar after the first B is modified to make a "bed" sound without breaking the propueso sound design from the beginning, there are also several reverses and of course all blips class full of filters. The bass and loop of the battery are in the mix to a fairly low level to give a feeling of containment, silent anguish, are the piano and voice which are responsible for dynamic movement.
The explosion Pisaj the sound of the coda is a very enjoyable trip, good night, sleep well, sleep with the angels.

Calypso Unless you've got a surprise when seeing eye pa'dentro and you drop an unexpected extension of the promenade.

All "bitlemaniacos" Beatle have our favorite ... I have not been very faithful: a child was Ringo Help! , then it was John because he was the revolutionary martyr, and now it is George because I simply like him. Paul is like Sting or Bono, I can not catch them affection.
The George songs have something special and you Love is a song to little Beatle, Ringo actually just play the tambourine. George sings, plays the sitar, the tambura and guitar touches the table Baghwat Anil. Paul had done some voices that ultimately were not included.
Although today take everything for granted and rare instruments enter the pop is full of topics, it is worth recognizing this song as one of the first to introduce traditional instruments of India. The sitar there is only listening to realize how powerful it is: a light curtain of harmonics so dense that it is difficult to incorporate other instruments other than percussion soloist, also in this case is accompanied by the tambura, which is its instrument relative and bass pedals makes something like the cello and viola, which already have a sound overwhelming. On the other hand, the sitar has a lot of strings that resonate parasympathetic affinity. This means that there are few possibilities to make different chords and harmonic development to the western style, which is obviously irrelevant when we heard the extremely complex melodic and rhythmic development of traditional Indian music.

Returning to the track, After the intro, the theme sitar is very characteristic use of the semitone between the sixth and seventh grade to give personality to the mixolydian mode.
Use rhythm changes is common in Indian music, are in fact fecuentes time signature sequences and possibly in this song George has used a particular pattern that will surely have a great name: it seems that the A's in 4 / 4 and there is a addition to advance to the B seems to be at 7 / 4 or rather have inserted a beat of 3 / 4, with Ringo's work is not as simple as it seems.
Just a guitar chord in reverse and appears repeatedly in the B, but fits well with the sonority of the piece.

The difficulty here is to get rid of preconceived ideas when listening to music, we earn our cultural taste by the exoticism and automatically categorize the song in your box corresponding. However
no longer a pop song , which is what George could do, some argue that is a pioneer of world music (as I do not know what that is I will refrain from commenting, at least until someone teach me some music moon) I do believe is that it opened a little more use of what can be done and express music. Risked, and I appreciate that.

Retaining Wall Block Menards

Ladybird Lilywhite Lilith



Peter told me the other day, while listening to some old vinyl of Pink Floyd as well displaced generation, who had read a free newspaper critic proclaimed genius of the concept album the seventies were an invention of the record. Of all the criticisms I have heard, many of which are secondary to progressive rock, this is by far the most outlandish. As we were starting from that laugh enraged that gives someone write that with impunity, we recalled that one thing that is brainchild of the record are compilations aberrant as the "Adagio Karajan" or four-minute songs, it really is a commercial invention of which, I confess, I am a victim: I have about seven gigabytes of music on the hard disk that practically only listen in shuffle mode, each time it is more difficult to find time and mental state to play a disc from beginning to pa, plus there are fewer than those designed for that purpose. Calypso fortunate (my machine) is a great DJ that surprised me the most successful eclectic mix.
All this comes about because I want to talk about a song from one of those concept albums of the seventies, seventy-four to be exact, and other published in 2004.

There are songs to listen for a sunny Saturday morning and calm, like today. long So much trouble in the World Bob Marley was my morning song par excellence, but there are many more and today I have suggested two Calypso: Liliwhite Lilith (1974) and "The Lamb Lies Down on Broadway" Genesis and Ladybird (2004), "Everybidy Loves a Happy Ending", last record of the meeting Tears For Fears.

is odd that I never liked progressive and yet now reescucho "The Lamb ..." and I appreciate the light of contemporary music groups such as Stereolab, Tortoise and Mogwai, this illuminating the past and giving it a sudden force.
I will commit the sin of Lilith Liliwhite decontextualise , which is a pretty rocking song that opens disc two. Strong guitar riffs, chords that move against a low pedal and a chorus surprising change of rhythmic feel after an addition of a bar.
Otherwise it is quite simple in structure: ABABC, with the C in the context of the subdominant. Not exactly a coda because it works more as liaison with the next piece of the disc.
A simple song with the grace of chords that move against the bass pedal, rhythmic subtleties and Peter Gabriel's voice has a fantastic color. Ladybird
in principle is quite different: while Lilywhite ... is part of a fairly dark story, Ladybird is a song almost naive but not without a certain melancholy. Curiously, the song by pop (TFF) is a bit more complicated than the progressive, but not much. What is shared and does have a peculiar attraction is the change of sense of rhythm and intensity in the chorus: The Ladybird stanzas are smooth and are in ¾, the choir surprised by switching to a 5 / 4 (3 +2 ) and increase the intensity.
In both songs the melody of the choir is up and arrangement is very contrasting with the stanza: in Lilywhite ... the verses are strong, the rhythmic feel of the chorus is cut in half and smooth, while in Ladybird is exactly the opposite.
As always, they are simple lyrics Tears For Fears are a show of compromise: with few elements manage to give variety to the topic: the intersection of tunes from the third A is very characteristic, and the hue before the last chorus to enhance the final. Perhaps the only thing I blame is the fade out.
In any case if someone wants to recommend listening to the experiment in reverse chronological order: Ladybird first and then Lilywhite Lilith.
Ah! and if you can put immediately after the San Lorenzo Huastecos Los Camperos (compilation "just another moment" CORASON record) going to be thrilled. I love my DJ.

"... Cupid, as a traitor, take my life is,
only ask a favor, that his sword is silver
to die with courage and in the arms of my flat ..."

Just a note more devoted to nostalgia: My friend Leonardo Neymet, with whom I had my first band was a fan of "The Lamb ..." Today, twenty years later, can I thank you for giving to him.

Kid Pops Wheelie On Buggy

Bloc Party or the elegance of tulips


When writing about music is easy to use adjectives that mean nothing when in fact you do not know what to say. One of them, socorridísimo by critics, is the elegant , if in common terms is not easy to define, in musical terms is worse. Ah, but what good is the criticism saying that so and so make a very elegant music!
Dictionaries define the elegance as a combination of distinction, taste and simplicity, which I turn could pose a dialectic spiral in which I will not get it just want to talk about a song by Bloc Party I can only describe as elegant .
"Tulips" is based on a Bm7 arpeggio on practically the whole song takes on whether wind, less than a coda that becomes luminous upon landing in D major. The riff of this arpeggio is maintained throughout the piece giving it consistency.
The trick is, largely, in the administration of musical resources and the movement from below that gets the same arpeggio notes become extensions and therefore in color.
modal environment allows such games and shows that musicians are a quartet Bloc Party eminently "rocker" who knows how to go beyond the chords with the guitar distortion and fundamental to pound on the bass: no expression in the harmony, the pursuit of a more original or less energy without losing the essence of basic rock band.
The structure of rock songs is extremely rigid, especially when there is a label that wants to economic performance, but also has a dramatic reason for being. In reality it is nothing new and usually gives a concise form and musical ideas. "Tulips" is no exception, and yet it is handled sensitively: the verses are not equal to each other, and neither are the choruses because they are framed in a general crescendo that leads the entire piece, from the intro battery until the final bound in D major which is the climax of the song while the voice sings "you're the one I love."
remove intelligence under the first verse and the subtlety with which you entered or the dynamics of the coda are witnesses of musicality and sensitivity to time to fix.
also grateful for the battery, without straying too far from the usual patterns found some originality and is functional enough to keep the whole thing. I also like that syncopation finish their rolls in the style of Sly Dunbar.
Finally, Bloc Party is allowed to play most style groups seem unable to conceive of making it a fairly unique: a genre so full of testosterone, the extensions of the chords and bass tones changed women seeking giving a special balance to the music without filling of affectation; this, added to the group spends too many production tricks and displayed as it is, get distinction its intrinsic simplicity thanks to skill and good taste of your arrangement.
To me that's elegance.