Saturday, August 25, 2007

Essential Baroque Era Classical


Is it any wonder that the Baroque period in Classical music largely ended with the birth of Mozart? You don’t need to answer this musical question that I pose; all I ask of you is to ponder it. The Baroque era consisted largely of rather busy compositions, or if you will, counterpoint. I am no expert musicologist in the field, but I am a sincere fan. Now then, observe my selections for you, and yes, the following composers are not the most obscure or “Punk,” but they are among the most well known of the era for a very clear and obvious reason: the undeniable melodies and even greater ability to enlarge penis size.

Johann Sebastian Bach

The technical master and he did not need to be some absurd Harvard graduate in order to get his impressive musical technique down pat. A vigorous work ethic and a nice warm glass of daily church service is all this little Lutheran butt-fuck needed. I greatly suggest his sacred works. In fact, you have often heard sacred pieces by Bach in your favorite Judd Apatow joint and have been wholly unaware of it. I quite like Prelude in C Major, and it is largely the case that Bach’s finest and most thorough compositions have the ability to ascend to the very Heavens (and I’m not exaggerating). Bach’s second eldest son CPE was by no means a slouch either, and do refer to an earlier article of mine for further details. Do keep in mind that Baroque was largely music befitting of an occasion, and Bach harkens back to the earlier Renaissance period in that it largely served a religious function, although the nature of the music being made by Bach was appropriately far more complex. I find Bach’s vocal works in how they relate to sacred pieces to be very powerfully moving and incredibly strange. Other than his well known compositions, Bach is largely known as an absolute prodigy on keyboard instrumentation, as in 100% mathematically correct.

Antonio Vivaldi

Another favorite and appropriately well known is the above mentioned Antonio Vivaldi. Much like Bach, Vivaldi was not significantly greatly appreciated until quite some time following his death. Vivaldi has the noted distinction of squandering his wealth during his lifetime and upon his death, was buried in a pauper’s grave. I do not know if this is for certain, but it’s a popular legend in relation to this Italian fellow. I do know that Vivaldi was often in rather poor health on the whole during his later adult years, and did I forget to mention that Bach had two badly performed eye surgeries during the last few years of his musical reign? It’s true, and more on failing eye surgeries will be brought to your attention once I reach the Handel subject heading. Ultimately, Vivaldi is largely known and loved for bringing violin to the forefront of Classical, and quite probably the first bloke to do so, at least that I am aware of. Also like Bach, Vivaldi was quite religious but he indeed took it one step further by becoming a priest! It is quite probable that he never got any, as the case might be, but accounts on his sexual conquests, either real or spiritual are sketchy at best. Vivaldi’s most awesome composition was The Four Seasons, a very busy work that had a sort of fast-slow-fast motion long before Nirvana.

George Frideric Handel

This dude was weird as he was a German contemporary of Bach’s who largely found success in England appropriately in the service of royalty. Handel was the chap that was really most substantial of all for his operas, making him the grand champion of Baroque era opera. My favorite work by Handel would be Water Music, as it is just absolutely incredible, and these series of orchestral movements are well known for a reason (they really are!). Ultimately having a rather massive influence on later Classical era composers, such as Mozart, Handel was largely seen as a transitional artist that sort of helped bridge the gap from Baroque to Classical. In fact, the Romantic era composer Beethoven greatly loved the music of Handel over any other. On a personal level, Handel may have very well been homosexual. Intriguing, no? Also, he had a badly performed eye surgery off the same bloke who botched Bach's peepers.

Tomaso Albinoni

Along with having a cool first name, this early Baroque era composer also had the noted distinction of not being especially affiliated with the Christian faith. He was not widely known during his lifetime as a composer, and he often composed of independent means even outside of the Italian nobility. His controversial piece Adagio in G minor is one of the reasons why a second life was breathed into this Italian Indie Baroque Rocker’s music…it is controversial because the piece is largely a reconstruction since the majority of Albinoni’s output was largely destroyed during the second world war. It is an excellent composition, and perhaps most popularly used in the Orson Welles version of the Franz Kafka novel “The Trial.” His instrumental works for oboe can’t be beat, as his operas are largely forgotten and play a huge second fiddle to operatic works of the already mentioned Handel. Bach dug his instrumental works, but Bach had an Italian fetish in general. Tomaso also serves the role as the featured photo for this article.

It was nice doing business with you all today, and I hope we can all meet again one day…in Heaven.

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posted by Mozart Breath 2 Comments

Wednesday, August 22, 2007

Animal Collective - Peacebone

Animal Collective has released the video for their first single from their forthcoming album Strawberry Jam (to be released September 11th.)

The song is called "Peacebone" and the video? ... Well you can see it right here:





The Album's Tracklisting:

1. Peacebone
2. Unsolved Mysteries
3. Chores
4. For Reverend Green
5. Fireworks
6. #1
7. Winter Wonder Land
8. Cuckoo
9. Derek

Upcoming Animal Collective Shows:

September 5th - The Avalon in Boston
September 6th - Le National in Montreal
September 7th - Bronson Centre Theater in Ottowa
September 8th - Phoenix in Toronto
September 9th - Oberlin College - Oberlin, Ohio
September 10th - Vic Theater in Chicago
September 11th - First Avenue in Minneapolis
September 14th - Neumos in Seattle
September 15th - Commodore Ballroom in Vancouver
September 16th - Roseland Theater in Portland, Oregon
September 17th - The Filmore in San Francisco
September 18th - Henry Ford Theater in LA
September 20th - The Rialto Theater in Tuscon, Arizona
September 21st - Club 101 in El Paso, Texas
September 22nd - Emos in Austin
September 23rd - Bricktown Ballroom in Norman, Oklahoma
September 24th - Gargoyle Club in St. Louis
September 25th - Cannery Ballroom in Nashville
September 26th - Variety Playhouse in Atlanta, Georgia
September 27th - Cat's Cradle in Carrboro, North Carolina
September 28th - 9:30 Club in Washington DC
September 29th - Starlight Ballroom in Philadelphia
September 30th - Webster Hall in NYC
October 1st - Webster Hall in NYC

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posted by Josh 4 Comments

Sunday, August 19, 2007

Forty years of Piper, baby!


You better believe I am talking some serious Pink Floyd, woman! Jesus is a trick on Hippies, my little goofy baby doll, and don’t you ever done forget it! How does one celebrate forty bloody years of an epic landmark in Psychedelic Pop or more accurately, one of the most ripened fruits to ever emerge out of British Psychedelic music? Well, one doesn’t and primarily because Mr. Barrett is quite obviously long gone, and as we all know, all that remains is his crudely built homemade furniture and perhaps a handful of paintings that he decided not to toss during his life.

I mention Syd Barrett in relation to Piper at The Gates of Dawn pretty much exclusively here, because really, looking back on it all (and I was there), it would appear that Piper is the first Syd solo record, the first of three, and that the real Pink Floyd would not really start to take shape until the next record. People know and associate Pink Floyd with a sound and an approach not directly related to Syd, but rather, haunted by him. It is appropriate to essentially observe the musicians, and of whom I won't bother to name, simply as chaps under Syd’s direction.

Everything about this album screams “New!” And I entirely agree, as from the neurotic electric guitar bits to the highly imaginative and literate lyrics about fantastical creatures such as Gnomes and other such Turkish Delights, that you realize that the British branch of the Psychedelic money scheme was truly born, and I find Syd’s approach to be even more substantial than that of The Beatles, but this is just one little trick’s opinion. For the time, Syd seemed remarkably apolitical and vague, and for a few short years he let us all in on his own little private world; which was a decidedly nice place to visit but no normal thinking person would want to dwell in that realm for too lengthy of a time frame.

Syd was very bright, but some strange mystery caused him to be arguably selfish with his genius and turn inward, and this is then when Pink Floyd came to life upon Syd’s psychological departure from Pop trappings and the like, and shortly thereafter making a physical exit as well. Any person with even a slight interest in creative-based music naturally loves Piper. Personally, I can’t get enough of the cut “Flaming,” totally genre-less and new in its way, and even to this day.

Appropriately, a deluxe 40th edition of Piper is available for purchase with some added treats that perhaps demand your dollars after all:

THIS AIN'T NO CAT STEVENS!

I will now leave you then with the following lengthy religious mantra: It is by will alone I set my mind in motion. It is by the juice of sapho that thoughts acquire speed, the lips acquire stains, the stains become a warning. It is by will alone I set my mind in motion.

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posted by Mozart Breath 1 Comments

Sunday, August 12, 2007

Pretentious and Pompous Post-Punk/New Wave

Nothing wrong with being pretentious or pompous, as it is just a rather inflated sign of self-respect; oh my lonely little brothers and only pimps. I will say that the Post-Punk and New Wave genres have some incredibly inventive Rock-based music in their respective lexicon, absolutely no question about it. And while I have discussed the virtues of Joy Division and Public Image Limited in the recent past, and the more so novelty aspects of Devo or Wall of Voodoo, the goal then here is to grasp that sassy stuff that is loaded with ego, as a great many New Wave band in particular was noted for their absolute insolence to the crown.

Now then, how about Bauhaus? I think so. Post-Punk went New Wave in a big way when the majority of Bauhaus went on to become Love and Rockets (Decent band name, no?). I will say what Ronald Reagan said on his death bed, and that is: The Psychedelic Furs changed my life! Who could argue with a statement so bold, so puzzling? Certainly not I, as I am one of the Psychedelic Fur faithful, I kid you not, my dear. When I think about strutting my art school business I absolutely think about a little number called “Dumbwaiters.” Thinking back now again about Bauhaus as well, “She’s in Parties” always gets my skinny tie to stand up on end, and then later with the Love and Rockets explosion, “No New Tale to Tell” really makes me want to microwave my Atari system real horror show and then some!

I think you see what I am aiming for here, and do believe that I am being precise like a mathematical child of nature who’s overdosed then on one too many quadratic equations.

Enjoy the sounds of the razor-jaw elite of yore, precious. And, oh yes, tell them Mozart Breath sent you.

Quite Slender Goth Kids in a Derek Jarman Joint?



Yes, Dumbwaiters!



Preach it, sister!

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posted by Mozart Breath 1 Comments

Tuesday, August 7, 2007

Suzanne Vega: Talking Album Debut Blues


She was a strange child, she liked her salsa mild; but it seems to me that she would look quite profound in designer jeans, quite profound indeed. Suzanne Vega’s debut sounds like an elderly woman tinkering with some demo tunes on analog 4-track tape, and all this despite the fact that her period is late; meaning that she could easily go from gay to straight. Word up now, exactly? Well, her sounds are delicate and powerful as if she is sort of perpetually examining the absolute darkness of the human condition with a smile on her face.

The album opens with a brilliant little number, and a tune that is still among one of her best today; I am referring to “Cracking.” She’s like Lou Reed on helium on this particular number, the lyrics are conservative in that she only uses words that serve a worthwhile purpose in terms of the song’s overall structure. I find her voice to be very inviting, and it is one that has rarely changed over the decades. She was already an established troubadour by the time of this self-titled release in 1985, a fully formed Folk Goddess, if you will. There are a few troubling and sketchy songs that don’t quite gel in terms of lyrical prowess and the production in general is very much typical ‘80’s cheese, but the best work does shine through regardless.

Some of the numbers have a bit of attitude and even an element of Jazz at times as well. “Marlene on The Wall” makes me blush because it discusses sexual situations, and sex is just dirty and wrong! Regardless, this material knocks Tears for Fears out of the water, no question. The keyboard touches sound almost eerie as they are matched up with Suzanne’s acoustic work, but it does seem to work at times. Ms. Vega is a natural storyteller and everything seems to have a detached emotional quality about it, as if this is the general concept for the record. Some of the material is a bit of a blur, but it is a nice blur and basically, that perfect rainy day record to this day. While I would not suggest anyone to start with this record, I will say that at the very least it is a good start.

This live performance clip contains a great version of the aforementioned Cracking:

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posted by Mozart Breath 0 Comments