206 entries under "sound"

Jazz Pianist Reacts to SKATE by Anderson .Paak and Bruno Mars

I was once fascinated by the feeling of being moved nearly to tears by a series of chords, yet not able to explain what that means to people without lots of experience making music… Charles Cornell gets at some of this, albeit still talking to musicians, but with more heart-warming enthusiasm than I might display publicly (for something that can seem so technical): it’s clear that he has a strong personal and emotional connection to what he’s hearing, and that this is enriched by a deeper understanding of the materials. As he mentions, there are different ways to interpret musical harmony, but this might be a good way to get a glimpse at how music nerds (like me) hear songs. You might also learn a thing or two about theory, and share his excitement at how this song brings complex techniques into mainstream music.

Alvin Lucier: The Duke of York

From Bird and Person Dyning (1972–1973). I skipped the Latin recitation in the beginning, but feel free to hear from the start—either way, try to stick with it for the whole experience. Simple processes and simple inputs over time transform your perception; instead of proposing ‘what’ to listen, the composer guides us 'how’ to listen. The use of stereo is for guiding your attention (if you allow it). As it develops, it feels like being inside of someone else’s trip: notice how provocations create a chain of effects in sound, how it still feels 'organic’ despite being heavily electronic; observe the unfolding of a process, someone playing with their own perception and yours, often leading to surprise without shock.

Alvin Lucier: I Am Sitting In A Room (1981)

Speaking seamlessly morphs into ‘room’, sounding ethereal like a vortex has opened, alive and shimmering. Simple production technique on a simple text to create something profound. It takes a magician to create something out of nothing, or maybe just perception… We can always listen more.

I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice, and I am going to play it back into the room again and again, until the resonant frequencies of the room reinforce themselves, so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room, articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.

Tkay Maidza: 24k

From Last Year Was Weird, Vol. 2 (2020). Velvet smooth electronic dance grove, lyrics and breathing slotted into the beat perfectly. Nothing to do here except ride along.

Ayyuka: Maslak Halayı (2020)

Unapologetic and seamless weaving of psychedelic rock, Turkish scales and melodies, prepared electronic ambience and live instruments. Pay attention to the effects, the intensity without ‘loudness’, the microtonal inflections played on seemingly ordinary electric guitar. Tight drumming and a badass vibe throughout the album. My favourites: Maslak Halayı fills me with power; Yukadans is alive, helps body move, cool harmonizing between the two leads near the end; Komalı’s got that pitch bending that I love from some kinds of Arab music; Ah Be Baba is an adventure filled with sudden turns and odd meters.

Ghar ki Mehfil: Chaap Tilak Sab Chheeni (2014)

Great example of music as communal experience: the lead singers invite people in the ‘audience’ (using words, or music and movement itself) to participate—at times it feels like a salon discussion even though it’s mostly musical throughout. I’m not familiar with this style of music, but it’s wonderful to observe singing with devotion intense ornamentation. Fun to see others enjoying music not just in the mind but with hands and much of the upper body. I linked to a part that skips the introduction with many individuals in the room 'taking the spotlight’ to sing, which is beautiful to watch (start from the beginning if you want to check that out). As asides: 1) bonus points that this occurred in Montreal; and 2) refreshing and nostalgic to hear this pre-pandemic performance with people coughing loudly without masks or stigma.

The Halluci Nation: Electric Pow Wow Drum

From A Tribe Called Red (2013). There’s already so much power in traditional indigenous chanting, to add blasting electronic synths and amplification gives it just a little more oomph. Possible to tastefully connect such far away aesthetics. Super simple form, but interesting timbres from metal shakers and leather-skinned drums.

Lyra Pramuk: Tendril

From Fountain (2020). The celestial feeling evoked without words shows what is possible with the simplest of materials: only voice, no other instruments, minimal effects (mostly reverb and echo); the layering of parts to create rich harmonies; a variety of vocal textures, syllables, sounds. There is a kind of static rhythm throughout the whole work, but contrast in the form keeps it interesting. A sublime creation.

Caetano Veloso: O Leãozinho

From Caetano Veloso (1986). I’m overwhelmed by the simplicity of this little tune: just voice and simple guitar patterns can vividly paint an entire scene, with this bright, lilting mood. The singing and accompaniment are rhythmically fused in a way that makes it natural to embody. It was written for Caetano’s sister Maria Bethânia, whose hair may resemble a lion’s mane. The percussive clicking might be unique to this version of the song. See the lyrics for a translation.

Frédéric Chopin: Ballade No. 1 in G minor, Op. 23 (1835)

A live performance (with hands as the focal point) of a friend and pianist from Italy playing this masterpiece, followed by an analysis explaining what makes certain parts of this piece stand out from other repertoire. I enjoy this fluidity of being able to talk about music that one performs, to help other people hear what’s going on and find their way in.

Kidi Band: Gimme Gimme (2016)

Another release from Kidi Band (featured in #022). I initially didn’t make the connection that this was the same group, so they truly managed to captivate me twice—it became distracting to do anything else and I just wanted to listen. I tend to avoid ‘loud’ music, but this reminds me that it’s possible for me to enjoy it. Thoughtful, complex, and emotional. My favourite moments: How Long with busy, intricate, active drumming in the midst of graceful, expansive, widening sung phrases, plus a polyphonic polyrhythmic sundae in the middle; the rhythmic singing in Mountain, feeling like a collective rhythm machine with sudden metric changes; Fever Driver’s dense, rich texture, heavily lilting from side to side (or maybe in circles) might get you high.

Sam Gendel: Cold Duck Time

From Satin Doll (2020). space hyper jazz bebop swing squeal sax glitch loop vibe. The rest of the album is comprised of quirky interpretations of jazz standards.

Little Simz feat. Obongjayar: Point And Kill

From Sometimes I Might Be Introvert (2021). Makes body move, and if your eyes are open, the visuals are sublime. Words and rhythm fit like a glove. Feeling an unapologetic artistry through fashion and music. Concludes with a sudden change to African instruments but with the same time feel.

El Masreyeen (المصريين): Bahebek La (بحبك لا)

From بحبك لا (1977). The warmth in this funky disco gem from Egypt goes straight to your shoulders. A simple composition with slight contrast between sections, yet it stays interesting throughout. “I love you, no; I need you, yes.”

Kidi Band: So Good (2021)

Has lots of cool things that I like in jazz and indigenous music, but as if an indie rock band did it. There are stereo effects, hocket-like devices, odd meters, and highly rhythmic singing throughout. So many tracks with an individual charm: the polyphonic ending of Mary (Merry) with crunchy harmonies; Burn It Up‘s intricate interlocking rhythms in multiple voices with wild vocal bending, all in a five-meter polyrhythmic time feel; Man of Endless Motion‘s heavy head-banger groove, again in five-meter, with cascading interlocking vocal interjections; the incessant intense rhythmic vocals in Free Will; Ingomar is like a complex Rube Goldberg machine that sings in seven; Go On has a wicked African three-against-two time feel; Across the Sea lilting triplet feel, pleasant yet precise.

Pat Metheny Group: Secret Story (2007)

Eclectic sonic materials throughout that resemble the album cover’s collage, yet it all seems to belong together. There’s always emotion and sentiment despite compositional complexity. Generally enjoyed the cinematic moments, mood of the 1970s, and the mixing of orchestra with electronic sounds. My favourite moments: an interesting vocal texture to start the album in Above the Treetops; the sound of a sitar played like a guitar in Facing West; the raw earthy vocal scatting and hard sever-meter groove in Finding and Believing; the high-energy vortex soloing environment, abundance of lush harmonies (typical of Metheny’s music) in See the World.

Charlie Haden, Pat Metheny: Beyond the Missouri Sky (1996)

Each track is like a short story, with an arc painting different emotions and a clear melody. I admire the timbral simplicity of an acoustic guitar and bass duet. Occasional dubbing of other instruments. My favourite Two For The Road, with guitar soloing that explores various rhythmic feels and ‘out’ harmonies.

BASU: BASU (2021)

Badass, unapologetic burst of weird energy from David Binney and Kenny Wollesen. Filled with swirly saxophone solos, glitchy effects, synth accompaniments. Constantly mixing electronic with analog, improvisation and composition. Lots of multi-layering soloing. Note the separate cover art for each track.

Tom Misch: Tiny Desk Concert (2018)

Uses simple, common musical forms and devices, but with tasteful harmonic surprises. Everything is rhythmic, including the singing. Body-shaking, head-banging grooves, makes you go ‘ooooh yea’.

Blood and Dust: Around Your Grave I’ll Light a Ring of Fire

(2021 single). This new release very quickly enters a world of their own creation. Kind of impressed how someone like me who doesn’t listen to music with this aesthetic can thoroughly enjoy it—still not sure why. The intense and dark beat becomes into something simultaneously slow and fast. Love the crunchy noise synths throughout.