Musique concrète, played live: Revolution 9

No, seriously: Alarm Will Sound has recorded an acoustic performance of the Beatles' (in)famous track "Revolution 9" (a peculiar example of musique concrète). And it is FANTASTIC. Like, really seriously the best thing I've heard in a while. It's kind of rehabilitating my opinion of the original track, actually.

Give it a listen:

 Their new album is available for pre-order here. You should get it. AWS is one of my favorite musical ensembles of any kind. Their audacious and bold originality never fails to delight.


Keaton & Adams: Two American masters finally combined

Buster Keaton footage cleverly edited with the brilliant and satisfying Fearful Symmetries, by John Adams--it works so well:

 

Video is by Jérôme Bosc (parts 2 & 3 after the jump). If you're curious at all about my calling Buster Keaton an American Master, you must watch Tony Zhou's episode "Buster Keaton - The Art of the Gag" from his amazing Every Frame a Painting series.

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Pick of the Week: Daft Punk

This week's pick is "Doin' It Right" by Daft Punk. I am not so disillusioned to think you haven't heard of Daft Punk. From "One More Time" to "Get Lucky", Daft Punk is the kind of group that it's hard to avoid, even if you wanted to. Most of their overwhelming popularity stems from their sense of mystery: the two Frenchmen wear robotic looking helmets to hide their faces, they rarely perform live, and they release music very sporadically. (They also collaborate with big names, past and present, and they have a merch line that would make any electro-hipster drool.)

Beyond all this, they make exceptionally great music. This is all well known--what you may not know are some of the other amazing tracks on their albums that did not become one of their beloved singles. "Doin' It Right" is one of the last tracks on their latest album, Random Access Memoriesand is an incredible auditory experience:

 

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Pick of the Week: Bonnie Raitt

Hey everybody, I'm back for another Pick of the Week! This pick focuses on the Bonnie Raitt classic, "I Can't Make You Love Me". Now, I'll admit, this is some cheesy stuff...but sometimes cheese is a good thing: think about it as a nice brie as opposed to Velveeta. You might know Bonnie Raitt from her 1991 hit "Something to Talk About", a standard, upbeat, Shania Twain-esque 90's pop song. In contrast, "I Can't Make You Love Me" is very intimate and personal. While it has broad appeal, it comes across as a song that was written for personal healing, not for record sales. 

 

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The History of Punk, Pt. 1: The Velvet Underground & Nico

This is the first episode of a three-part series we've been recording about the history of punk music. A musical style often derided for its simplicity and unpolished nature, punk is actually quite seminal and important, and for part one we look at one of the earliest punk albums, The Velvet Underground & Nico, and consider the music, what ideas informed it, what impact it had, and so on--the usual stuff. What we found was surprising to me personally (I've mostly regarded punk as something akin to day-old garbage: not quite stinky and gross, but not desirable at all, either), and has really changed my estimation of this music and social movement. It's a fun exploration of a musical style you may not have considered very seriously before, but should. 

Playlist after the fold....

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Putting dots on paper isn't the only option

I'm becoming more and more fascinated by graphical, software-based music composition tools. A well-known, simple example is ToneMatrix, a pentatonic step sequencer (if you've never played with this before, you're welcome).

If you find that one interesting, give these a try (flash plug-in required, sorry):

  • Online Sequencer: straight-forward, most resembles traditional organization of musical ideas.
  • Drumbot: a bunch of cool tools: several drum sequencers, chord charts for discovery and composition, practice tools, and more.
  • Otomata: a generative musical sequencer.
  • Seaquence: my personal favorite, Seaquence adopts a biological metaphor, allowing you to create and combine musical 'lifeforms' that will then interact, resulting in unpredictably evolving compositions.