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What's missing in modern country is true grit. In all of the glossed-upbeauty makeover tractor hunk nonsense they've missed the true point, ascountry started as the music for poor man's plight and economic blight.There's no dirt in New Country's teeth, no black under its nails, andno liquor in its veins. Just a vacant, vapid three part harmony andsome political nonsense that can't come close to the real issues athand. So leave it to country-obsessed former Geraldine Fibbers/EthylMeatplow vocalist Carla Bozulich to bring it back by covering WillieNelson's landmark concept album in its entirety. Sure, it's notoriginal grit, but it's authentic nonetheless, so much that Williehimself guests on guitar and vocals for several songs. Bozulich has theright voice for the material, raising hairs left and right with thetale of a preacher who killed his wife and her new beau. Nels Cline,Devin Hoff, and Scott Amendola also get points for their bare butchilling instrumentation that sets the perfect backdrop for thesesongs. There was a conscious decision to make this all sound authentic,I feel, from the nylon string guitars to the minimalist production andthe sparse nature of the music. It doesn't take much to bring acrossthis raw and rusty tale, and no lavish production could have made itsound better. "Time of the Preacher" is just as gorgeous as when Williehimself sang it, and "Blue Eyes Crying in the Rain" is better than theoriginal, with Leah Bozulich providing harmony vocal. The best, though,is the impact of "Medley," where autoharp and radio buzz are joined byelectric guitar and drum shockwaves. It shook me to the bone, theperfection of it all, and I felt like I wasn't going to make it outalive. Country needs to sound like this again, to take chances and tryfor a complex thought. It says it all that a singer went backtwenty-five years to find the right music for her soul. If othersfollowed suit maybe we could be spared.
samples:
- Time of the Preacher
- Medley: Time of the Preacher/Blue Rock Mountain/Red Headed Stranger
- Blue Eyes Crying in the Rain
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It borders on impossible to reccomend a CD that pretends to be metalbut can't get past the whole "loud" aspect of the music. Sure, thewhole thing is intense and the guitars sort of wail and screech alongwith pounding and sometimes sloppy drumming, but nothing of theattention paid to particulars and subtleties by the best metalheads isto be found on this disc. The guitars don't grind and annihilate somuch as they just vomit and expend themselves in drones and whines offeedback. The drums are always quick and heavy, but they never changeand simply keep the beat flat and simplistic. There's little to novariation in the all of song's structures and the vocalist seems tohave an affinity for straining his voice in a way that is more dramaticthan it is threatening or truly violent. Speaking of the vocalist, muchof the lyrical content stays to the "nobody understands me and I'mgoing to rebel against them" theme. However, on songs like "FlophouseNightmares" and "Angel In Disguise" the lyrics seem to be nearmeaningless practices in rhyme and rhythm: their topics seemnonsensical or they are just plain boring. I know, lyrics have neverbeen the creativefocus of metal but at least the simplicity of some of the bettermaterial conveyed interesting ideas or controversial topics worththinking about. There's simply nothing like that on Halldór Laxnessand so it pounds and moans on into what seems like infinity withoutsurprising, shocking, convincing, or provoking. The puerile lyrics onlyserve to attenuate the sound of the album. It wants to be powerful andexciting, but it can't be without some kind of focus and discipline. Itdoesn't need to be calculated but to be truly angry it needs to soundmore distinct than it does.
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Generally speaking, when I listen to music that I don't like, I putsome effort into understanding why that is. It can become a kind ofSherlock Homes mystery, albeit without the humor. Sometimes it's just agenre thing and at others it's a semiotics thing. Sometimes its theemotion or attitude that's being projected that I revile—f-ing hippies,for example. But not infrequently it turns out that I just don't getit; I don't understand the language the artist is speaking in. Andthose cases can be the most interesting. It's clearly stupidity to say"this poetry sucks" if it just because it's in Finnish and soundsmeaningless to ones ears. The language must be learned before anaesthetic opinion can be formed. And so it is with Old Testament—thelanguage is deliberately obscure and the emotion, semiotics etc. aretherefore opaque. The digital sounding noise on this CD mostly hasrather little immediately pleasing quality. Track 1 is long slowlymoving low frequency noise and doesn't go anywhere at all. Track 2 ismore interesting and even fun in parts but what's appealing about itstrajectory of electronic skitter, principally its rhythm and sonority,is not found elsewhere. The remainder is just plain painful withouteither the cathartic pleasures of, say, Merzbow or the humanity of DueProcess. So I work on the language; give it many a listen; see if I canget it. And when I do, an all too common outcome to the detective workis that there isn't anything there but technical experimentation thatshouldn't have left the studio. (In this case that's not entirely fair;a reduced version of Track 2 deserves to get on a comp.) Apart fromthat, the obscurantism of the language is all there is. The underlyingproblem (and it crops all the time) is that weirdness in music is usedas a cover for lack of musical talent. There's noting inherently wrongwith the experimental approach, tinkering with equipment untilsomething of value is achieved, but novelty, weirdness, or extremeout-there-ness is not good enough. Ilios may be proud of making a verystrange sounding disk but strange isn't intrinsically good. Theeffectiveness of experimentalism as a substitute for talent derivesfrom that lingering fear one has, that possibility that one may nothave grasped the language and therefore should reserve judgment orconfer the benefit of the doubt. But give it enough time and effort andwhat you hear on Old Testament is nothing other than theprocess of tinkering with equipment and certainly not the artisticobject that should have been the process's output.
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There tends to be a fine line drawn when dealing with concept albums that separates the obvious and self-indulgent from the conveying of a general theme throughout an overall good and fair recording. With Beauty Party, the second installment in NYC poet/MC Mike Ladd's hip hop trilogy of the Infesticons/Majesticons, the line tends to be purposely blurred by the ongoing battle of style vs. substance.Ninja Tune
Tongue-in-cheek themes are exposed early on by each of the fifteen tracks titles, all of which contain the word "party" yet the tunes themselves are steady and strong with great performances. Musically, more of a mainstream hip hop/R n' B feel based around vintage synths, drum machine sounds and samples, Ladd brings aboard a plethora of male and female vocalists and MCs for some memorable tracks.
The laid back R n' B feel and rhymes of "Brains Party" revolve around a clever play on the Pet Shop Boys chorus from their "Opportunities." The steady beats of "Platinum Blaque Party" move through distant synth swells and syncopated bass lines, providing the breathy male vocal chorus that includes witty lines such as "I got so much access to excess/Words can not describe my success." A continual, arpeggiated synth line propels "Suburb Party" along to funky bass and drums, featuring Def Jux family members El-P and Vast Aire of Cannibal Ox for one of the disc's strongest tracks. Monstrous bass drum and cross-stick beats and buried bass progressions kick "Parlor Party" along with bright-sounding keyboards and female vocalists/MCs trading opposing views on the values of beauty that could be summed up with the line "Love yourself 'cuz the truth is attractive." Enjoying a concept album would include, though not necessary, an understanding of the overall theme and direction. Overstating it tends to detract from its full effect. Although a good disc of individual tracks, Beauty Party's obvious concept makes it feel like there's no room for interpretation as a listener. That and the fact the promo copy I had for gleaning purposes was interrupted with an annoying, sped up voice quoting the project name and the sound of a cash register ringing off every thirty seconds. Having to tune that shit out made it all the less enjoyable as a whole.
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It's a good thing that Sophie Rimheden is involved in several other projects at the moment because this unlistenable solo album is even more disposable than the pop music it pretends to be. The opening minute of the first song honestly sounds like the effort of a teenager in 1990 trying to recreate Depeche Mode with a casio keyboard and a drum loop on cassette. It doesn't get much better from there, as the second track is a faux-mash up (are we already to that?!) of "Cruel Summer" and the worst elements of 80's electro pop. The fact that the track derails and skips with the glitch aesthetic of an obvious 2003 production is no salvation for the utterly redundant music being fucked with. Rimheden's vocal style borders on a passable — if uninspiring — Samantha Fox impression, but even that is marred with effects that don't know when to quit and the worst misuse of a vocoder since Cher. I would guess that this album falls squarely into the realm of electro-clash/80's retro-cool, and it should be the number one example looked to when people want to know what's wrong with this forced genre. Every note of this album seems completely plastic, regrettably recalling a decade of music that was made with much more heart and integrity than this. While there is more noise and production trickery here than your typical 80's electro-diva suite, even the experimental aspects of the recording are not unique, novel, or even interesting in juxtaposition with the tired beats and Casiotone synths. Everything sounds thin and forgettable, and there's not a track on this record that I didn't skip through while trying to listen a second time. If Rimheden is trying to make 'happy music,' she's not hit on it here. V/VM bends and warps this kind of stuff into a scathing commentary on pop culture, and some of the electroclash scensters can at least turn a decent tune and recall the excess and vapid fashion of 1983 with some charm, but Hi-Fi is presented as an object of pop culture itself, with nothing to say and no where to go. It's an impressively complete failure.
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No longer can any man look me in the eye and call himself a rock fanuntil he has heard this masterpiece of magical changes. This is no mererock performance, but a curse upon the Bush clan and their corporatecronies, a fiery invocation to hasten the inevitable fall of the USEmpire. For the opening attack the hardcases gather around the tableand the game is big picture. "The Death and Resurrection Show" sets thescene with an irresistably thunderous tribal dance beat from hardcoreskinbeating primitive Dave Grohl, a simply devastating give upultimatum to false metal guitarists from Geordie and some of the mostimportant imagery to ever be transmitted via the rock medium from themuch maligned and misunderstood genius Jaz Coleman. Next, a hesitantwoman of liberty asks how we can go up against the government anddecides we must all rise at once. Jaz is up for trying to inspire us todo so, and "Total Invasion" lays it on the line for the liars whoblaspheme our names in the infinitely cancerous pursuit of profit.Fireblast riffs and collapsing skyscraper drums lumber asunder as Jazstrangles lizards from his throat to exorcise the Bush-pig demons andlay them in the dirt to perish of thirst as revenge for the third ofthe world they are slowly, meanly, inhumanly killing to keep the coldblood gurgling through their hardened arteries with seconds to go.Next, Jaz assumes the form of an "Asteroid" which crashes into theocean, flooding and laying waste to the proliferating homogenoustechnocracy. It recalls "Whiteout" amped up a zillion volts. Redefiningcyber-punk, "Implant" questions the morality of techno-genetic hybridsand mourns the inevitable loss of diversity that is plunging the racetowards eternal DOOM. Like "Asteroid," the entire song grinds to a haltseveral times for Jaz to scream his rage at the cold science fools andtheir deathsucking paymasters — "You just want to FUCKING CONTROL!"Then the headlong rush of "Blood On Your Hands" orders them to atonefor their crimes and paints a picture of a world laid waste by theiridiotic short sighted greed. It would really be a swell single, and notjust for the blessed inspiration of hearing the lyric, "Poison thewater so only your GM crops grow," infiltrating wishy washy MTV land.This is far beyond mere MALICIOUS DAMAGE. This is the most preciselydirected and accurately targeted distillation of molten rage I haveever experienced. And I've heard a lot of so called hardcore over theyears. The second half briefly drops a rung into more personal headspace. The arm waving wasteland zombie bop "Loose Cannon" recallsimagery from the dreams that inspired their seminal debut album and thecircle is completed. Both this rather odd choice for a single and thenext track reclaim and embellish the "Eighties" chug that poor CursedCobain filched in admiration. This is the only band on the planet whocould get away with a lighters in the air ballad like "You'll Never GetTo Me" probably because they have torches. Shame they didn't replace itwith the rabid "Inferno" which closes UK copies, but has been left offin other regions for obvious reasons. The next single is out this weekand is rock perfected to sum up the personal anger and despair atfalsely mediated visions of a world gone mad. Your mission is to buy"Seeing Red" from a chart return shop NOW and shake up the fakemoney-love kiddypops charts with something of substance, a song upthere with such classics as "The Wait" and "Pssyche." What feeling,loving, angry human could resist the joy of hearing a tune open withthe line, "They're dropping bombs again, and they're doing it in yourname," and continue with the ultimate condemnation of limited smalltown England tedium and ignorance. Grohl's drums shine, reverting moreto Scream patterns than Nirvana. Geordie rips the burning sky to shredswith the greatest one note guitar spears and the bass line is a massivedescending roll of thunder. The most harrowing trip is the eerie anddesolate "Dark Forces" in which Jaz trawls the mind of a desecratingcorporate ogre and survives to report the megalomaniac creep churnings.I wouldn't like to spend an hour locked inside those heads but Jaz is asterner being than I. The final report the megalomaniac creepchurnings. I wouldn't like to spend an hour locked inside those headsbut Jaz is a sterner being than I. The final battle sees the fall of"The House That Pain Built" as Zeppelin's "Kashmir" is ripped apart andrendered a mere grunt. After pain we WILL have JOY. This is one band toempower the will like no other. Our Rubicon approaches. Lets all go tothe Fire Dances once again. So be it! -
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Belgium's Sub Rosa label presents the first in a threatened 10-partseries of double-disc anthologies documenting more than 80 years ofdevelopments in electronically derived music. The hopelessly pedanticliner notes try to justify the inclusions and omissions, and attemptboth to delimit and enlarge the definitions of "noise," but these justseem like a complex series of overwritten excuses for what is basicallyan unstructured assortment of tracks — mostly rare or previouslyunreleased — that are not truly unified by an inclusive theme. Thecompilers have cleverly dubbed this an "a-chronology" to rationalizethe illogical continuity of the sequencing — an Einsturzende Neubautenagro-industrial track from 1998 rubs shoulders with Konrad Boehmer'scompositional avant-garde piece dating from 1966. There is no rhyme orreason to the songs chosen for this compilation, or their sequencing,which is actually somewhat refreshing in the wake of so manycompilations professing to be authoritative history lessons on a genreor time period. Sub Rosa's absurd decade-jumping and too-widedefinitions allow a lot of room for some fascinating pieces toco-exist, whether or not they all make sense together. Listening tothis double-disc anthology, I am reminded of a cerebral late-nightcollege radio DJ programming a fantasy set of his favorite abstractelectronic pieces. The compiler's choices run the gamut from earlycompositions for electronic instruments, to modern laptop-basedexperiments, but with an ear towards largely rhythmless,non-traditionally structured music. I guess that's where the "noise"bit comes in. A listener who is not familiar with the originators andrevolutionaries of electronic music and theory might find this anexcellent starting point for study. The long, academic liner notesshould have been researched more meticulously as there are severaloversights and mistakes, and plenty of typos, but nothing so bad thatit negates the value of the anthology itself. Musique concrete' is hererepresented by future Nazi propagandist Walter Ruttman's cinematictape-collage "Wochende" (1930), a truly impressive, picaresque audionarrative that presages the later classics of the form such as JohnCage's Fontana Mix and the more recent post-industrial dream narratives of Roger Doyle's Rapid Eye Movements.The atonal, sculptured minimalism of Gordon Mumma's "The DresdenInterleaf 13 February 1945" (1965) sounds strikingly modern, and shouldappeal to fans of Soliloquy for Lilith-era Nurse With Wound.Three giants of the scene come together spectacularly in Angus MacLise,Tony Conrad and John Cale's "Trance #2" (1965), a haunted, devotionaldrone piece that transcends its low-fidelity recording. The oftenfascinating Phillip Jeck collaborates with Otomo Yoshihide and MartinTetreault on an untitled live excerpt that is richly detailed andendlessly compelling. The more provocative, political agitants of noisemusic are here represented by a pair of tracks from Survival ResearchLaboratories and Einsturzende Neubauten, both previously unreleased,and both stirring exorcisms of jarring brutality. As one might expect,the contributions from classic innovators Iannis Xenakis and EdgarVarese are typically outstanding. John Cage's incredible cut-and-splicepiece "Rozart Mix" contains some of the same microcosmic drama of TheBeatles "Revolution #9," as well as one of the earliest recordedinstances of record scratching. Sonic Youth's "Audience" (1983) is aninteresting experiment in the live manipulation of sounds: in this casethe applause the band received after a performance is slowed down andstretched to sound like a room full of monstrous demons rhythmicallybanging their heads against the floor. The only really bad inclusioncomes in the form of a pointless ambient space excursion by DJ SpookyThat Submental Prick. Japanese composer Ryoji Ikeda ends thecompilation with the brief but exciting mental tones of "One Minute"(1997). Considered as a whole, or considered in part, Sub Rosa's firstvolume of Anthology of Noise and Electronic Music is a noteworthy assemblage of easily digestible bites of ear-opening sonic explorations.
samples:
- Walter Ruttman - Wochende
- Sonic Youth - Audience
- Ryoji Ikeda - One Minute
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For the second volume of these doctrinaire anthologies, Sub Rosa haswidened its already absurdly large scope even further, now alsoattempting to encompass movements in early 90's techno, 60's free jazzand early 80's industrial in addition to the already expansive universeof classic and modern avant-garde and minimalist composers thatdominated the first compilation. While I admire the tracks chosen —many of them are indeed rare and unreleased — curator Guy Marc Hinant'sthesis is getting ever more tenuous. The compilation opens with"Incantation for Tape" (1953), a brief tape composition by concretemusic innovators Vladimir Ussachevsky and Otto Luening, which seguesinto a longer tape collage by Luc Ferrari, certainly a master of theform. Listening to "Visage V" (1958-9), you may notice intensesimilarities to Jim O'Rourke's recent laptop-based work. This is not acoincidence, as parts of O'Rourke's I'm Happy, And I'm Singing, And a 1, 2, 3, 4seem to have been a direct, unacknowledged "homage" to Ferrari's work.Tod Dockstader's epic "Aerial>Song" (2002) is a gloriouscontinuation of the groundbreaking work he composed in the 1960's —amazingly elaborate soundscapes like "Apocalypse" and "Water Music".Morton Subotnick's pre-Silver Apples of the Moon "Mandolin"(1962) is a lovely, subtle piece combining bells, windchimes and warmlycomplex electronic oscillations. My favorite track by far on thiscollection is "Space travel w/changing choral textures" (1983), a briefsoundpiece by the incomparable Alan R. Splet. Splet famously designedthe sound for many of filmmaker David Lynch's best works, including Eraserhead.Anyone familiar with Lynch's films understands the indispensable impactof the densely surreal, dark and spacious soundtracks created by thenearly-blind Splet. The second disc opens with "Bronchus One.1" (1991),an early sketch of an Autechre track destined for their classic firstalbum Incunabula. It's enjoyable to hear Sean Booth and RobBrown flash back to the days when their music was still fresh, relevantand listenable. The disc also includes relatively rare contributionsfrom the early days of experimental techno, with Choose's "Purzuit ovNoize" (1994) and Woody McBride's "Pulp" (1993) — both darkly pulsatingslabs of analog minimalism. The compilation takes a nose dive into thegutters of early industrial with rare tracks from Laibach and SPK.Laibach's "Industrial Ambients" (1980-82) is a collage of fieldrecordings of actual factory machinery, complete with the murkyklingklang and coldly rhythmic atmosphere of Deutschland's industrialworld leadership. After the brief, inscrutable tangent to a thereminpiece from 1936, the collection ends with a couple of off-topiccontributions by Sun Ra and Don Van Vliet aka Captain Beefheart. It'struly difficult to understand how Sun Ra's cosmic free jazz orBeefheart's primitivist blues fit into the scheme, as neither of thesetracks contain significant electronic instrumentation. The disc alsocontains a Quicktime video clip of Beefheart performing the track circa1969, which is interesting, but ultimately irrelevant. I wholeheartedlyrecommend volume two of Sub Rosa's Anthology of Noise and Electronic Musicnot for its thematic coherence, which is nonexistent, but for the rareand unreleased tracks, which make the compilation worth the price ofadmission.
samples:
- Alan R. Splet - Space travel w/changing choral textures
- Autechre - Brochus One.1
- Laibach - Industrial Ambients
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Three excellent musicians from Australia plus three guests haveofficially crafted one of the most elegant and simple instrumental rockalbums I've ever heard. Warm waves of synthesizer tones, sunnymelodies, and a glowing aura all around mix, mash, and breathe as if anatural part of the air and form what can only be described as aheavenly cloud of radiance that is simply not of the material world.Keyboards, drums, and relaxed guitar strumming all intertwine,switching emphasis here and there but never losing sight of an overallpicture that must have taken shape in the mind of every musicianinvolved: a beach, memories of home, or nighttime in a familiar andwarm place. Every note and every second of sound effortlessly evokesfeeling after feeling. All India Radio mix sound sculptures void ofdefinite rhythms and certain melodies with more traditional songstructures and they do it so well that each second comes as a surprise.On "Voodoo Instrumental," a whistling drone underscores the open andreflective sound of a piano chiming in wandering and circular movementsuntil the reversed tones and guitars of "Moon Rise 1989" segue into themelancholy guitar playing of "Waukaringa." The movement of one songinto the next is almost cinematic and is certainly epic in scope, butthe content of each track is completely individual and unique. Featuredwith the CD is a DVD of various movies. Though not all of them aregreat, the video for "Tijuana Dream" is fantastic. It might seem alittle simple at first, but the ending makes watching the whole thingworth it. I really can't say enough about this album and I hope to hearmore from All India Radio. There's not one dull moment anywhere on thealbum and songs like "Evening Star" and "10:58" should not be missed.It's simple, almost child-like, and suffused with such an awesome moodof relaxation and inquisitiveness. This is their third album and basedon its merits I can't wait to hear more.
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There's something about the picture of Paula Kelley on the back of hernew release. She's staring out at you with deep, dark eyes, her handobscuring the rest of her face but revealing a coy, coquettish natureto her. I can't help but think of this image as the trailer poster forsome grand Broadway production, especially with the album's title withsubtitle. The music within only deepens the imaginary conceit, as it isreplete with lush orchestration and soaring vocals. Ladies andgentlemen, Paula Kelley, spotlights please. She's ready for her closeup, so everybody quiet down. "A New Time" begins with a clippingacoustic guitar and Kelley laying down the exposition of love like"warm August breezes" and starlight filling her face with possibility.But there is also another side to the story, one of doubt andmiscommunication that threatens to bring the strings out of theirgentle harmony, all-crashing down in dissonant cacophony. Luckily, thesong never falls apart, but rather perseveres through its delightfulduration. "Could There Be Another World" comes on in a full BurtBacharach attack, with a full orchestra of strings, horns, harp and aten-person choir to accompany Kelley's majestic voice that slips overevery lyric in warm, breathy tones. "I will take myself more seriouslythis time," she declares, as we all should. I see Kelley as the femalelead, who's relentless struggle to succeed through adversity andresolve the bonds of a lost love has still not dampened thebright-eyed, glorious optimism that lies beneath the stormy head, andcomes out in the immense walls of sound that her players (yes, it's herorchestra as denoted in the liner) weave along her world-weary yetpassionate words. When Paula sings the chorus to "I'll Fall In LoveWith Anyone" and the band pauses for a series of drawn out staccatonotes, the heart just breaks right in half from how gorgeous it sounds.The tune pushes the emotion to its climax and delves deep inside for apersonally affecting performance. "How Many Times" takes the big bandaspect to the background letting Paula showcase her own abilities. Thisis the true spotlight song, as the house lights can almost be seendimming as the pit fades to black and the singer becomes ringed by thebright, white bulb. Her raw vocal capabilities are wonderful on theirown, and coupled with an impeccable knack for phrasing and reallycasting feeling and power into those words, she has the potential to beamazingly uplifting or evocatively devastating. She sounds like amodern Dusty Springfield on the end of "The Rest of You," modulatingthose notes with remarkable song craft. It's a blend of original talentand musical appreciation. Of all the tracks, "My Finest Hour" appearsas the most straightforward rock song, though it is still supported bydueling trumpets and choral background vocals that give tremendousweight to the speed and impact of the song. Enough cannot be said ofhow well this album achieves its goals, with every piece of this largeundertaking finding their roles and relishing in them. The Trouble With Successis an absolutely stunning display of musicianship and ambitious conceptdone right, reaching as high as can be reached and pushing it evenhigher. Paula Kelley's the star of this show, and I'm starting to thinkthat underneath that hand, she's hiding a little smile.
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There's a certain art in scoring an effective soundtrack; enhancing thevisual drama by heightening tension and emotions to set the overalltone of a scene. At best, it's either a standout composition or elseit's blending so effectively with the visual that you wouldn't recallthe music specifically. You just knew it was there. Unfortunately, aswith most original score soundtracks, you tend to hear more on the discthan you would in the film. For Scottish director David MacKenzie'supcoming film, Young Adam, David Byrne has composed fourteen semi-brief pieces of cinematic based music to complement the visual. For Lead Us Not Into Temptation,Byrne kept with the film's background by recording the soundtrack inScotland using members of Belle and Sebastian, Mogwai and Appendix Outto help convey a Glaswegian vibe. In hearing the music prior to seeingthe film, track titles such as "Body in a River," "Seaside Smokes," and"Warm Sheets" automatically conjure up their appropriate scenes, playedby nicely arranged strings, plucked upright bass and wispy drums. Theeerie piece "Mnemonic Discordance" is based around treated guitarsweeps which feature the clang of tuned metals and sampled screeches ofthe New York City L-train's brakes. The classically-influenced"Inexorable" moves along to rhythmic intervals, weaving piano andswooping, melancholic strings which dramatically build in intensity.Going in a totally different direction that the rest of the disc, theHung Drawn Quartet of saxophones are recruited to bop and swing throughCharles Mingus' punchy "Haitian Fight Song." The musicianship is great,although I'd have to see the film to truly appreciate the piece'scontext. For the longer pieces "Speechless" and "The Great WesternRoad" Byrne adds his distinct voice to the mix of laid back grooves,distant strings and keyboards to wind down the disc. Although veryeffective in conveying emotions, Lead Us Not Into Temptationtends to focus a fair bit on the use of strings, which nowadays tendsto unfairly and automatically be associated with being cinematic.However, for Byrne's compositions and their context, anything elsewouldn't do them justice.
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