Here’s a pretty neat visualization of Debussy’s best known work, Clair de Lune from the Suite Bergamasque. It was composed in 1903 and is quite famous.
Though I generally prefer string arrangements of this piece, this solo piano version is more faithful to the author’s original intent. Plus it’s easier to visualize and still sounds pretty cool. Enjoy.
This music and video was put together by Stephen Malinowski and his Music Animation Machine. You can find more performances on his YouTube page and more information on his website.
Released in the spring of 1997, Songs in the Key of Springfield is the first album to feature music that appeared on The Simpsons. The songs span from seasons 2 through 7, with the earliest song being Tony Bennett’s Capitol City from Danicin’ Homer and the latest being In-A-Gadda-Da-Vida sung by church-goers from Bart Sells His Soul.
(Though technically a version of the Itchy & Scratchy theme appeared in the first season episode Krusty Gets Busted, the recording included on the CD is from 2nd season’s Itchy & Scratchy & Marge. Similarly, the Treehouse of Horror theme used on the CD is from season 5, but a version of it was used in season 2.)
At nearly an hour long, the album distills some of the best and funniest music of the franchise’s history. Classics such as the Stonecutters’ song, the Monorail Song, the Oh, Streetcar! and Stop the Planet of the Apes musicals, and Tito Puente’s tale of uptempo retribution: Señor Burns never fail to get me singing along.
The highlights for me however, are the nine excellent renditions of the Simpsons’ theme sprinkled throughout the album like toppings on a donut. These versions take their inspiration from the topic of an episode and rework, sometimes radically, the show’s familiar exit music into various styles and tributes. My favorites, just for their sheer creativity, are the Big Band, Afro-Cuban and Australian versions, as well as the “Dragnet” homage. Big kudos to show composer Alf Clausen for those.
There’s not a bad song on this record (though Lisa’s ‘Round Springfield jazz eulogy to Bleeding Gums Murphy can be grating). While listen to Songs in the Key of Springfield, long-time fans will wax nostalgic for the show’s finest days, from when The Simpsons truely was the best thing on T.V. This music goes a long way to cementing that reputation.
In the past, I’ve taken issue with the tendency in some circles to lump Ratatat’s music in with that of the 8-bit crowd. I can understand the temptation, what with the band’s programmed, electronic beats, screaming guitars and ample keyboarding. But while their tones may sometimes sound similar to those produced by the Nintendo Entertainment System, their origins are much more organic.
So it surprised me to see that Ratatat appears to be overtly embracing the 8-bit sound while simultaneously diversifiying its non-electronic sound on its latest record, the straight-forwardly titled LP3. This record is a virtual homage to the keyboard. Indeed, the album cover features three of them. The effect is that just about any sound that can be produced by playing the keys finds its way onto this record somewhere. Indeed, one of the lead tracks, Mirando, mixes the bright and clean upper register of a grand piano with the laser beam-like sounds of an 8-bit system near its crescendo.
Don’t fret though, the duo haven’t thrown their guitars away. In fact, Ratatat seems to be well on their way to finding world peace and ultimate truth, the wailing guitar, Wyld Stallyns way. But even there, the stringed instruments shows some surprising variety. Again, the cacophonous Mirando mixes Ratatat’s thrashing riffs and slide guitars with the interjection of a banjo.
Other standout tracks include the disc’s opener, Shiller, which spends most of its time as a contemplative, baroque-style dirge before exploding into a high-flying spaced-out waltz. From there, LP3 hits overdrive with Falcon Jab further demonstrating the band’s new-found commitment to diversity. The guitars talk Peter Frampton style, the percussion is accented by shakers, and the keys of a harpsichord and baby grand trade expressions.
Mi Viejo has a distinct world-music flare, like a caravan moving up and down over the crests of sand dunes. Likewise, Mumtaz Khan shows a distinct Middle Eastern flavor, like what you might expect to find in a Turkish nightclub. Meanwhile Shempi, another highlight, is a wurlitzer-powered merry-go-round spinning through hyperspace. Gypsy Threat takes on the atmosphere of a Scooby Doo chase through an abandoned carnival.
Of the thirteen songs presented here, there’s only one that could arguably be referred to as a “typical” Ratatat song. With its mid-tempo beats and harpsichord melodies, Dura would almost feel at home as the backing track for one of Ratatat’s infamous remixes if it weren’t such a compelling track on its own.
With three albums under their belt, Ratatat has consistently shown themselves to be on the top of their game. But that game keeps expanding, with each successive album adding a new layers of complexity and textures to the band’s modus operandi. LP3 shows that whatever sights they set for themselves, they’ll reach them with gusto.
Was doing some web-sleuthing this afternoon and ran across this video excerpt from the Classic Albums documentary series episode about Nirvana’s Nevermind. The short clip features producer Butch Vig demonstrating the individual mixing tracks from In Bloom, commenting on its various parts and pieces, from the awesome groove of the isolated drums and bass (which they got on the first take), to Dave’s harmonizing on the chorus.
I was actually quite surprised to learn about Dave’s singing contributions. I’ve been listening to In Bloom for 17 years now and I had no idea that Dave Grohl had performed any vocals for the song. I can clearly hear it now that its been pointed out, but for nearly two decades I thought it was just studio effects. Amazingly, after all this time, I’m still learning Nevermind’s tricks.
In Bloom has always been a favorite of mine, so I particularly enjoyed this fascinating look at its skeleton.
In Bloom deconstructed:
Here’s a Google Video of what appears to be the entire documentary. It starts with a similar deconstruction of Drain You, perhaps the most complex song on Nevermind (squeaky toys and five overlayed guitar tracks!), then continues with anecdotes by Dave, Krist and Butch recounting how the record was made.
In Bloom was the fourth and final single released from Nirvana’s Nevermind. The familiar and famous video debuted in 1992 featured the band parodying 1960’s style television musical performances (think the Ed Sullivan show). It’s a tounge-in-cheek humorous production showing a somewhat more playful side of a band whose image (and the social movement it tipified) was generally sullen and full of, you guessed it, angst.
But behold! the original video for the song. Shot in 1991, the so-called “Subpop” version is dripping with aspects of early 90s grunge zeitgeist, including the city of Seattle, flannel shirts, rockers with unkemped long hair, titled-camera angles and cheesey video effects.
Check it out, marvel at the cultural time capsule, and be glad it was scrapped in favor of a better concept.
Before the beginning of this year, I had barely heard of Kelley Polar or his music. Toward the end of ’07, I ran across one of his songs and checked out his debut album, Love Songs of the Hanging Gardens. I was hooked in short order. Color me exultant when I learned a new album would be coming out just as I was really getting into Polar’s music.
And that anticipation and excitement probably affected my initial reactions to Kelley Polar’s follow up record, I Need You to Hold On while the Sky is Falling, released earlier this month. Whereas I’ve only just begun listening to Polar’s music and at the most basic level had merely been wanting more, he’s had nearly three years to grow and change as an artist.
I must admit that I’ve been listening to this record for several weeks now and it’s taken a little longer than Gardens did to grow on me. Yes, the peculiar combination of classical, spacey electronics, disco and catchy pop gratuity that made the first album so compelling is present. I Need You to Hold On while the Sky is Falling is a very good follow up record, but in its first few moments, it becomes clear that while it is largely the same, it is also different, closer and more intimate.
Love Songs of the Hanging Gardens struck me with its expansiveness, by how much room there seems to be between its sounds. Falling, for the most part, feels like its standing right next to you. It’s also much more vocal. Kelley Polar has said in interviews that he’s spent some time actually trying to sing on this one and for the most part it works, though there are a handful of moments where it could have been toned-down a notch.
Appropriately for an album premised on the sky falling, the music feels much more serious and less carefree than an album of interstellar love songs. Chrysanthemum is downright foreboding and grim, talking about people being killed in bed.
It’s not all dour though. Entropy Reigns (in the Celestial City) is the most straight-ahead pop in the entire repertoire, while Sea of Sine Waves continues that early-career Michael Jackson danceitude that hooked me the first time.
All in all, I Need You to Hold On while the Sky is Falling is a worthy and eminently listenable sophomore opus.
The upbeat melody and carefree feel make this one of the Strokes’ most addicting songs. And its tragically short running time just makes you want to play it again and again. 12:51 is pure pop ambrosia with a guitar effect that is sonic ecstasy. It reminds me of the way I felt listening to The Smashing Pumpkins’ 1979 in high school: cool, relaxed, free of responsibility and immune from consequences.
Bonus points for effective use of handclaps and Tron-inspired video.
This first song from the band’s sophomore release can either be read as a reaction to a bad break up or the casting off of expectations and presumptions (or possibly both). The song lacks a traditional verse-chorus-verse structure, instead feeling like a dramatic bell curve bookended by the same plea. It opens with Jules almost begging to be left alone before breaking into a sensational mind-grabbing riff that leads straight to defiant crux before retreating back to where it started.
By the time its all done, you’ve found another song to play on repeat.
“You ain’t ever had nothing I wanted
But I want it all”
Musically and lyrically unadorned and straightforward, Barely Legal is the compellingest song from a compelling album. Composed of simple sardonic and candid one-liners, this song is a musical tirade, bitter and catchy. It’s one for the misanthrope in all of us.
Bonus points for effective use of guitar harmonics.
“Sit me down
Shut me up
I’ll calm down
And I’ll get along with you”
When Jules belts those lines, with a wailing guitar counterpoint, its a powerful moment. You Only Live Once launches the band’s third album and, from its sound, they are clearly growing up. Musically and emotionally complex, the song hits with an existential cynicism based on the notion that everything and everyone that has ever existed will eventually be gone. But even that depressing notion can’t stop the rock, so you might as well enjoy it, because you only live once.
“Work hard and say it’s easy
Do it just to please me”
The song that started it all. All the dogged hype that is. Much of the negativity that exists toward the Strokes is really more a reaction to the ridiculous behavior of the musical press at the time leading up to the release of Is This It. Hell, even I avoided the band for years because of it. But as evidence that the attention was not all undeserved obsequiousness, this song one day got stuck in my head and the next thing I know, I’ve got it on my iPod, singing along with the windows down.
“When we was young, man did we have fun
Someday is a perfect pick-me-up. If you’re feeling somewhat down, a little under the weather, or maybe just stuck in traffic, this song is guaranteed to improve your disposition, if only for about three minutes. The video makes being in a band look like so much fun that I want dust off my guitar and start my own again.
“Oh no, my feelings are more important than yours.”
Being one of the more traditional songs in the group’s repertoire doesn’t stop Razorblade from being any less catchy. Its conventionality probably contributes to its catchiness. The border-line beeping guitar effect is a new effect for the band and its emphasis in the mix really serves to pull you in.
“Why won’t you come over here
We’ve got a city to love”
The Strokes learn to grind on this first single from First Impressions of the Earth. Powered by a throbbing, revolving bassline and quick-tapping, tension-building ride on the cymbal, the song feels like a high-speed ride in a sports car changing gears as it whips through sharp turns and shoots down straightaways.
Juicebox rivals Reptilia as the band’s hardest rocking song (and perhaps their most overtly incensed).
The video features David Cross as a jerkass radio announcer who introduces the band as “Stroke.”
“In spaceships they won’t understand
And me I ain’t ever gonna understand”
A feel-good song with ironically downtrodden lyrics. Sure, it’s based largely on a (admittedly) lifted riff from Tom Petty’s American Girl, but it has its own kind of nonchalant independence. Though the song might be concerned with a disaffected relationship, the energy is such that it’s impossible not to tap your toes along with.
First Impressions’ closer is a syncopated head-bobbing melody that marches along merrily until an unexpected end that leaves your ears demanding more. The almost videogame-esque guitar treatment is a real treat here, yet the overwhelming sense of the song is trademark nihilism. The worldview here really is bleak, but as with most Strokes’ songs, you can’t help but feel a little cheerful as the invectives spew.
Then without a hint of coda, Red Light stops, leaving these words lingering: “Oh, the sky is not the limit and you’re never gonna guess what is…”