Musicians are sometimes weird beings. Sometimes they're really weird. Bill Orcutt used to be in a band called Harry Pussy. They're a noise band. Obviously. And they're one of the most critically acclaimed noise bands. So for A New Way To Pay Old Debts, this Miami native drop-tuned an old acoustic guitar and played the blues. Obviously. This album has a lot of soul. Orcutt really just put it all out there. He hammers on the strings and plucks with vigor. And it's scratchy and piercing, like the sound of a metal being pressed up against a buzz saw. This album is pure noise. One thing is for sure though, he is talented. This album brings out the best in Orcutt as he improvises with proficiency, never showing signs of deficiency (rhyme!). If you were to plug in and force yourself to get beyond the noise to hear the individual notes, this album gets really good. The musician in me gives it a 4.2/5. The listener in me gives it a 2.5/5. Favorite songs: Pocket Underground, Street Peaches, and A New Way To Pay Old Debts. There is not much information about this guy online, but here is something better. If you like that, then you'll like his album. If not, stay far away.
The time it took me to think about what I was going to write about for the first album and the time it took me to write it was time spent listening to The Bird and the Bee's self-titled album. Inara George is fanciful and devilish on this album. Take this for example. Or this. Or this for that matter (sorry for the weird video). Or even this. My favorite is the second. She reminds me of St. Vincent. Or St. Vincent reminds me of her (this video is CRAZY by the way; definitely take a look). SSTT.. VVIINNCCEENNTT. If you like those, she has two wonderful albums: Marry Me and Actor. Enjoy.
Best, Jonathan
Wednesday, March 2, 2011
Tuesday, March 1, 2011
A must hear collaboration between two of today's bests: Inara George and Van Dyke Parks
The name of the album is An Invitation by Inara George and Van Dyke Parks. Your pupils should have already dilated and blood pressure should have already risen. In case they didn't, here is why they should:
I'm going to start with the smaller name, but she is nowhere close to a small name. Inara George studied theater in Boston; she in no way desired to be a musician. After joining a band with high school friends and their surprisingly landing a record deal during one fateful summer, she was a musician from there on out. She did some solo work, but eventually formed The Bird and the Bee for which she is most known. She has incredible control of her voice, lacking vibrato but still captivating and solidly on pitch. At the same time, it has a hint of charm because of its soft complexion. It is second to none.
Van Dyke Parks is an American actor, arranger, producer, and musician who has reached legendary status... and it's not posthumous. He has done everything in the music business that is possible. Well, that's probably not true, but he has worked with Grace Kelly, U2, Sheryl Crow, Randy Newman, The Beach Boys (Parks wrote the lyrics on The Beach Boys/Brian Wilson's Smile), Ringo Starr, Lou and Rufus Wainwright, Ry Cooder, and Joanna Newsom. He needs no introduction. He just is.
These two greats work flawlessly together on An Invitation. The album's highlight is a string heavy 28-piece orchestra that wonderfully compliments George's voice. George is in her element on this album. It highlights both her theatrical and musical abilities. Her lyrics sound more like a narrative, but they also establish intricate and technical melodies. On the other end, Parks nailed the arrangements, which is not surprising. He wrote the strings to briskly flow and to abruptly cut to match the similarly-stylistic singing for which George is notorious. After listening, I realized I have never heard something like this before. It plays like something out of musical theater (but not totally), and it creates both an auditory and imaginative experience. It is easy to visualize George on stage with elaborate backdrops while a pit supports her. Every song is a new backdrop and they fit perfectly together as a compilation.
Buy this album. I first encountered it while browsing a FNAC in Paris in 2009. I stumbled upon the Parks section and saw a cover that I had never seen before, so I bought it. I have never regretted the purchase since. I give it a 4.8/5. Favorite songs: Right as Wrong, Accidental, Tell Me That You Love Me, and Rough Design.
Also, I can't figure out why the RSS feed posts to Twitter and Facebook twice throughout the day. Bare with me on this one.
Best, Jonathan
I'm going to start with the smaller name, but she is nowhere close to a small name. Inara George studied theater in Boston; she in no way desired to be a musician. After joining a band with high school friends and their surprisingly landing a record deal during one fateful summer, she was a musician from there on out. She did some solo work, but eventually formed The Bird and the Bee for which she is most known. She has incredible control of her voice, lacking vibrato but still captivating and solidly on pitch. At the same time, it has a hint of charm because of its soft complexion. It is second to none.
Van Dyke Parks is an American actor, arranger, producer, and musician who has reached legendary status... and it's not posthumous. He has done everything in the music business that is possible. Well, that's probably not true, but he has worked with Grace Kelly, U2, Sheryl Crow, Randy Newman, The Beach Boys (Parks wrote the lyrics on The Beach Boys/Brian Wilson's Smile), Ringo Starr, Lou and Rufus Wainwright, Ry Cooder, and Joanna Newsom. He needs no introduction. He just is.
These two greats work flawlessly together on An Invitation. The album's highlight is a string heavy 28-piece orchestra that wonderfully compliments George's voice. George is in her element on this album. It highlights both her theatrical and musical abilities. Her lyrics sound more like a narrative, but they also establish intricate and technical melodies. On the other end, Parks nailed the arrangements, which is not surprising. He wrote the strings to briskly flow and to abruptly cut to match the similarly-stylistic singing for which George is notorious. After listening, I realized I have never heard something like this before. It plays like something out of musical theater (but not totally), and it creates both an auditory and imaginative experience. It is easy to visualize George on stage with elaborate backdrops while a pit supports her. Every song is a new backdrop and they fit perfectly together as a compilation.
Buy this album. I first encountered it while browsing a FNAC in Paris in 2009. I stumbled upon the Parks section and saw a cover that I had never seen before, so I bought it. I have never regretted the purchase since. I give it a 4.8/5. Favorite songs: Right as Wrong, Accidental, Tell Me That You Love Me, and Rough Design.
Also, I can't figure out why the RSS feed posts to Twitter and Facebook twice throughout the day. Bare with me on this one.
Best, Jonathan
Underneath The Pine: a neato chillwave
I want Chaz Bundick's brain for a day. There is something intriguing about artists who can remain rooted in their general genre while weaving in and out of others. On Toro Y Moi's newest album, Underneath The Pine, Bundick maintains his typical lazy and dazed attitude common in chillwave but refreshingly embellishes it with shades of late-70s disco and early-80s' funk. The album begins with a raucous of violent guitar strums. If you listen closely, there is a buried beat created by his voice and what sounds like a really high pitched accordion, but it's probably just a synth part. There is a lot going on here, so it's pretty tough to hear at first but it becomes clear later on in the song. The second track is a funky and dreamy track that is Earth, Wind, and Fire incarnate minus the glam. This style continues for a bit, and then by the fourth song he has leveled out to his normal self, exploiting his synth and incorporating some classical guitar into his hazy style. The sixth song marks yet another change, returning to the upbeat feels of the earlier tracks but instead of a funk influence he incorporates staples of rock. The rest of the album is a fusion of all four of the styles. It makes for a roller coaster of an album. This album is solid in most respects. It has great moments of artful arrangements, some wild harmonies, and has clearly transcended all of his earlier works, including Causers Of This. The vocals, however, are rather suspect as usual. He never seems totally confident when singing. Even when I saw him live in Charlottesville, VA, he seemed a little uncomfortable approaching the mic. And he needs to lay off the falsetto. I'm not kidding. He needs to not do that. Another shortfall lies in its listening value: it doesn't require much attention. This is an album that can be played in the background of any non-stimulating situation. It could even be on repeat and you would never know it. Yet another rests with the song Light Black. I'm just going to put a giant question mark on that whole situation there. It sounds like Oscar the Grouch barfed, and Bundick used it as inspiration. There's still a discernable song there, I just don't understand how any of the parts fit together. I know it sounds like I'm butchering this album to the point that it has very few redeeming qualities, but I give it a 4/5; it has many shining moments, but overall it sounds like a premature release... he he. Another few weeks in the studio and this may have been a much stronger album. Favorite tracks: Intro Chi Chi, New Beat, Go With You, Before I'm Done, How I Know, Still Sound, and Elise... those are seven of the 11 tracks on the album; it can't be as weak as I may have implied.
Old Bundick: http://www.youtube.com/watch?v=C08ucWQ6tCo
New Bundick: http://www.youtube.com/watch?v=dNcYDwo9ksA
Lupe Fiasco's final release, Lasers, is set for March 8th. Yours truly already got his hands on a copy, so I'm sure you'll hear about it in the coming days.
I made a boo-boo in my last post that has been noticeably fixed as of now. You can thank the writing police for that one. It's probably someone you know.
Best, Jonathan
Monday, February 28, 2011
Minimalism: less is definitely more
Whip out those headphones.
A few days ago I wrote about Gustav Holst and briefly about classical music. I mentioned a man named Steve Reich. Reich is a pioneer of American composition, spearheading the transition from full orchestral arrangements to minimalism. Reich is one of the best at using loops to create the craziest of musical harmonies while maintaining a steady pulse. One of my favorite Reich tracks is Music for 18 Musicians. He begins the composition by playing two identical loop tracks of the same note on the same brand of player. He sets the players to the same loop rhythm. Such a weird way to begin any kind of song, right? How can the same notes played simultaneously provide any sort of basis for a song to emerge? Here is where Reich displays his ingenuity. Although the recorders are identical, no two are exactly the same. As a result, the loops split from each other and take on a life of their own. It's the coolest musical mind-f*ck I have ever heard. After the loops split, the rest of the orchestra come in. Each instrument plays in staccato and in perfect harmony with the underlying loops. You can check out movement one of this two movement piece here.
Keeping that in mind, I now turn to how this style has influenced modern artists. S. Carey is a musician caught between two distinct genres. He subscribes to the acoustic and soft styles that define folk, but also resembles minimalist composers like Reich. Many of you have already heard S. Carey's work without realizing it as he is the drummer for Bon Iver. But S. Carey's solo work takes on a unique character. His debut solo album, All We Grow, is in one word: beautiful. The pieces on this album are more experiments than they are formal songs; he plays with combinations of harmonies, layering and layering until he likes what he hears. They don't follow any sort of sequence or pattern; they just continue until a newpattern layer emerges which envelops the old. The result is a cacophonous series of increasingly beautiful harmonies that stuns the ears. Maybe a third of all the tracks combined resemble songs as one would notice in the contemporary sense of the word (I say combined because some tracks will begin experimentally and then evolve into a standard song). This dichotomy makes the album eclectic and diverse. Have a listen to this track off of All We Grow (by the way, this music video is gut-wrenchingly heartwarming). See how he uses the minimalist style coined by Reich and incorporates that into his folk influence. The piano part acts as the loop but also adds to Reich's established precedent by going slightly minor at times. It's really quite cool how the two styles come together. Verdict: 4.7/5. Favorite songs: Move, We Fell, In The Dirt, Mothers, and Broken.
Best, Jonathan
A few days ago I wrote about Gustav Holst and briefly about classical music. I mentioned a man named Steve Reich. Reich is a pioneer of American composition, spearheading the transition from full orchestral arrangements to minimalism. Reich is one of the best at using loops to create the craziest of musical harmonies while maintaining a steady pulse. One of my favorite Reich tracks is Music for 18 Musicians. He begins the composition by playing two identical loop tracks of the same note on the same brand of player. He sets the players to the same loop rhythm. Such a weird way to begin any kind of song, right? How can the same notes played simultaneously provide any sort of basis for a song to emerge? Here is where Reich displays his ingenuity. Although the recorders are identical, no two are exactly the same. As a result, the loops split from each other and take on a life of their own. It's the coolest musical mind-f*ck I have ever heard. After the loops split, the rest of the orchestra come in. Each instrument plays in staccato and in perfect harmony with the underlying loops. You can check out movement one of this two movement piece here.
Keeping that in mind, I now turn to how this style has influenced modern artists. S. Carey is a musician caught between two distinct genres. He subscribes to the acoustic and soft styles that define folk, but also resembles minimalist composers like Reich. Many of you have already heard S. Carey's work without realizing it as he is the drummer for Bon Iver. But S. Carey's solo work takes on a unique character. His debut solo album, All We Grow, is in one word: beautiful. The pieces on this album are more experiments than they are formal songs; he plays with combinations of harmonies, layering and layering until he likes what he hears. They don't follow any sort of sequence or pattern; they just continue until a new
Best, Jonathan
Mansions on the Moon (presented by Diplo and Benzi) and a chillwave
These two groups can be considered separate and together. They're really completely different, but the former did a remix of the latter so I decided to do them both at once.
I just got off the phone with my roommate from college of three years. After catching up for a bit, he suggested I listen to this new album, Paradise Falls, by Mansions on the Moon (a duo from the former Pnuma Trio). This group has some pretty incredible connections, working with the likes of Diplo, DJ Benzi, Pharrell, and Chiddy Bang... Woah. Why have you never heard of them, you ask? Well, because MotM is not as great as their leaders. BUT, they are good... just not great. I am normally not a fan of this type of pop, but these guys bend the metal cookie-cutter molds which their predecessors so brilliantly established. Stick them in a club setting where listening doesn't really matter, and these guys can challenge anyone. Listening to the album leads to a different reaction. One of the defining characteristics of this genre is how there is never a dull moment, and although there is constantly something happening on this album, it's not very conducive to their sound. You understand what they're trying to do, but they're just not doing it. My assessment: I think they're over produced (sorry Diplo, this might actually be your fault), and they overuse processed vocal harmonies. There is too much going on at any given point in time; tone it down just a little and this album might play differently. For example, the high melody is all over the place on the second track; it travels instead of being precise and you lose the traveling melody in the bass and other synth. This is not to say these guys will be lost in the cold. After a little maturity as an established duo, I'm sure they will be on any DJ's playlist. I still find myself bobbing my head, grooving to their beats, and relating to their lyrics. Thus: 3.8/5. You can download Paradise Falls for free on their website. Favorite Songs: Broken Paradise and She Makes Me Feel. The one thing that did surprise me, however, is their acknowledgment of indie music for providing beats that are just as good, if not better, than those of major producers today. And this brings me to Washed Out...
I first heard Washed Out back in college. They were the first band I had encountered of the chillwave genre. How to define chillwave... Technically: the name of the game is effects, sampling, heavily processed vocals, and synth. In relatable terms: put on those wayfarers, head to Cali, find a beach with surfers galore, stare into the abyss until the sun sets while sitting in a tattered old beach chair, and be sure to surround yourself with friends who can finish your sentences. It also calls for sitting on your porch or backyard deck as the sun blares down. That is what I would call chillwave. Washed Out's Life of Leisure is an album I cannot live without (he has since released High Times, but start with LoL). It was a first, and you never forget your first. His sound is reminiscent of Neon Indian, Toro Y Moi, or Small Black, but LoL also has shades of Real Estate and Best Coast hidden in the production value. The album's overall concept is romantically nostalgic as he borrows from 80s' synth-pop. Feel It All Around, the fourth track on this EP, is the strongest. You know that feeling of haziness and blurriness experienced after having your eyes dilated? I imagine he wrote this song in response to one of those visits. Verdict: 4.5/5.
Now... how do MotM and Washed Out relate? The sixth track on the MotM album uses Feel It All Around as its beat. It's significantly sped up, but that is all it needs to be one of the strongest tracks on MotM's album. Lame relation, I know, but I got excited when I heard it.
Washed Out's version: http://www.youtube.com/watch?v=-DkslcOhytU
MotM's version: http://www.youtube.com/watch?v=uJK8KTQ7fUw
Side note #1: Ultra is so soon and I'm pumped. For those of you who have not looked at this year's line up, you're missing out because it's unreal: Chromeo, Boys Noize, Tiesto, Pendulum, Holy Ghost, Cut Copy, NERD, Crystal Castles, MSTRKRFT, The Disco Biscuits, !!!, and more... It's sure to be a great weekend.
Side note #2: Pitchfork Music Festival tickets go on sale this coming Friday. The lineup can be found here. It's one of the best I've seen in years, and you can bet I'm going to be doing anything I can to make it to Chicago in mid-July.
Side note #3: Battles is back! Well, sort of... they've announced their new album Gloss Drop, but it will be without one of their original members. Their last album, Mirrored, was one of the best releases of 2007. This one could yield a different result.
Best, Jonathan
I just got off the phone with my roommate from college of three years. After catching up for a bit, he suggested I listen to this new album, Paradise Falls, by Mansions on the Moon (a duo from the former Pnuma Trio). This group has some pretty incredible connections, working with the likes of Diplo, DJ Benzi, Pharrell, and Chiddy Bang... Woah. Why have you never heard of them, you ask? Well, because MotM is not as great as their leaders. BUT, they are good... just not great. I am normally not a fan of this type of pop, but these guys bend the metal cookie-cutter molds which their predecessors so brilliantly established. Stick them in a club setting where listening doesn't really matter, and these guys can challenge anyone. Listening to the album leads to a different reaction. One of the defining characteristics of this genre is how there is never a dull moment, and although there is constantly something happening on this album, it's not very conducive to their sound. You understand what they're trying to do, but they're just not doing it. My assessment: I think they're over produced (sorry Diplo, this might actually be your fault), and they overuse processed vocal harmonies. There is too much going on at any given point in time; tone it down just a little and this album might play differently. For example, the high melody is all over the place on the second track; it travels instead of being precise and you lose the traveling melody in the bass and other synth. This is not to say these guys will be lost in the cold. After a little maturity as an established duo, I'm sure they will be on any DJ's playlist. I still find myself bobbing my head, grooving to their beats, and relating to their lyrics. Thus: 3.8/5. You can download Paradise Falls for free on their website. Favorite Songs: Broken Paradise and She Makes Me Feel. The one thing that did surprise me, however, is their acknowledgment of indie music for providing beats that are just as good, if not better, than those of major producers today. And this brings me to Washed Out...
I first heard Washed Out back in college. They were the first band I had encountered of the chillwave genre. How to define chillwave... Technically: the name of the game is effects, sampling, heavily processed vocals, and synth. In relatable terms: put on those wayfarers, head to Cali, find a beach with surfers galore, stare into the abyss until the sun sets while sitting in a tattered old beach chair, and be sure to surround yourself with friends who can finish your sentences. It also calls for sitting on your porch or backyard deck as the sun blares down. That is what I would call chillwave. Washed Out's Life of Leisure is an album I cannot live without (he has since released High Times, but start with LoL). It was a first, and you never forget your first. His sound is reminiscent of Neon Indian, Toro Y Moi, or Small Black, but LoL also has shades of Real Estate and Best Coast hidden in the production value. The album's overall concept is romantically nostalgic as he borrows from 80s' synth-pop. Feel It All Around, the fourth track on this EP, is the strongest. You know that feeling of haziness and blurriness experienced after having your eyes dilated? I imagine he wrote this song in response to one of those visits. Verdict: 4.5/5.
Now... how do MotM and Washed Out relate? The sixth track on the MotM album uses Feel It All Around as its beat. It's significantly sped up, but that is all it needs to be one of the strongest tracks on MotM's album. Lame relation, I know, but I got excited when I heard it.
Washed Out's version: http://www.youtube.com/watch?v=-DkslcOhytU
MotM's version: http://www.youtube.com/watch?v=uJK8KTQ7fUw
Side note #1: Ultra is so soon and I'm pumped. For those of you who have not looked at this year's line up, you're missing out because it's unreal: Chromeo, Boys Noize, Tiesto, Pendulum, Holy Ghost, Cut Copy, NERD, Crystal Castles, MSTRKRFT, The Disco Biscuits, !!!, and more... It's sure to be a great weekend.
Side note #2: Pitchfork Music Festival tickets go on sale this coming Friday. The lineup can be found here. It's one of the best I've seen in years, and you can bet I'm going to be doing anything I can to make it to Chicago in mid-July.
Side note #3: Battles is back! Well, sort of... they've announced their new album Gloss Drop, but it will be without one of their original members. Their last album, Mirrored, was one of the best releases of 2007. This one could yield a different result.
Best, Jonathan
Sunday, February 27, 2011
A quick thank you and surprise track
I just want to extend a warm thank you to all those who have been reading. As the top of this blog suggests, I initially started this because a few of my close friends scattered across the world were badgering me for new music. I'm thrilled to say that in the few days the site has been up, it is just shy of 300 hits from people in 8 different countries. This is not at all what I had signed up for, but I can't tell you how much I'm enjoying it and watching it grow. I'll stick around if you will.
As a gift, I encourage all of you kiddies to learn your ABCs: http://www.youtube.com/watch?v=IpIhzFh0yw8&feature=relmfu
Also, a big congratulations to William and Mary's Ice Hockey team for winning the BRHC Championship! All of your Facebook statuses have affirmed the speedy transition from when we couldn't win a single game all season to now. Kudos boys.
More in the AM.
Best, Jonathan
As a gift, I encourage all of you kiddies to learn your ABCs: http://www.youtube.com/watch?v=IpIhzFh0yw8&feature=relmfu
Also, a big congratulations to William and Mary's Ice Hockey team for winning the BRHC Championship! All of your Facebook statuses have affirmed the speedy transition from when we couldn't win a single game all season to now. Kudos boys.
More in the AM.
Best, Jonathan
Bill Evans and Jim Hall, two jazz greats, together; and classical music at its best
I'm just going to tell you right off the bat: 5/5. If I could give it anything higher and still have it make sense, I would. Bill Evans was arguably the greatest jazz pianist to ever live. He played with legends such as Miles Davis, Stan Getz, Scott LaFaro, and Charles Mingus. It's easy to listen to his work and recognize there are not even few who are as innovative and masterful as he; he's in a league of his own. Jim Hall is also a master of his six-stringed instrument. He plays fluidly as if his hands were bathed in butter. Both are gurus at constructing melodies and both are incredible chord arrangers when playing rhythm. And here's the kicker, the guitar and piano are both C-instruments; they compete for space in any band. But on Intermodulation, we hear them working together and feeding off each other. This is a six-song album. Every track contains only the two instruments. One artfully dances around in the background while maintaining distance from the lead. They trade multiple times throughout each song. The mood is one of reflection: listening is like taking a half-hour walk by yourself along a river's edge while looking at peaceful city lights and having the stars above. I can't say enough good things about this album. It's a must have for any jazz lover and a must have for anyone new to the genre. Favorite tracks: My Man's Gone Now, Turn Out The Stars, and All Across The City.
I pulled out an old classical favorite last night as I fell asleep: The Planets by Gustav Holst. I don't know much about classical music in comparison to my knowledge of most other genres. I did take a class called The History of Western Music that taught me way more than I had anticipated about classical music (we began in the baroque area with the likes of Guillaume Dufay, Hildegard Von Bingen, and Perotin, and traversed history to the modern classical greats like Reich) and the violin is the only other instrument besides the guitar that I have played seriously, but that hardly makes me knowledgeable. Regardless, I've always enjoyed Holst's journey through the cosmos. My favorite piece is the opener, Mars - The Bringer of War. It begins with the strings section playing a march, but not a Pomp and Circumstance march, a heavy march - one that clearly depicts two armies approaching the clay-colored and dusty battle ground. When the timpani come in, the song explodes with incredible power. The song builds in a frenzy as the brass section loudly joins and the strings swirl. It culminates in a blaring crash and then immediately destructs as if both armies had just completely annihilated each other. The dust then settles and the strings begin to build a swirl and the trumpets lead the powerful brass into a fierce and determined march. The instruments are all guided by a piercing snare. The orchestra pounds its way through with unstoppable force until it's enveloped by another frenzy of string activity in fortondoando (dynamic marks of more than three fs (forte - "loud") - this song is one of the very few in classical music that has ffffs twice). It culminates in the most powerful few seconds of music I have ever heard and then shatters as every instrument hastily descends atonally, ending on a unified note. Aaannnddd that's how the record begins. When I had first heard this classical masterpiece, I was exhausted after the first composition. It's so incredibly intricate and heavy that it actually exhausts your listening capabilities. Not to fear though, the next piece, Venus - The Bringer of Peace, is feather-light. Holst is great at exploiting this kind of auditory exercise so that, by the end of the record, it would be interesting if you found it boring. Easily a 5/5, but that's like saying Mozart's Symphony No. 40 in G minor is easily a 5/5. No shit.
Best, Jonathan
I pulled out an old classical favorite last night as I fell asleep: The Planets by Gustav Holst. I don't know much about classical music in comparison to my knowledge of most other genres. I did take a class called The History of Western Music that taught me way more than I had anticipated about classical music (we began in the baroque area with the likes of Guillaume Dufay, Hildegard Von Bingen, and Perotin, and traversed history to the modern classical greats like Reich) and the violin is the only other instrument besides the guitar that I have played seriously, but that hardly makes me knowledgeable. Regardless, I've always enjoyed Holst's journey through the cosmos. My favorite piece is the opener, Mars - The Bringer of War. It begins with the strings section playing a march, but not a Pomp and Circumstance march, a heavy march - one that clearly depicts two armies approaching the clay-colored and dusty battle ground. When the timpani come in, the song explodes with incredible power. The song builds in a frenzy as the brass section loudly joins and the strings swirl. It culminates in a blaring crash and then immediately destructs as if both armies had just completely annihilated each other. The dust then settles and the strings begin to build a swirl and the trumpets lead the powerful brass into a fierce and determined march. The instruments are all guided by a piercing snare. The orchestra pounds its way through with unstoppable force until it's enveloped by another frenzy of string activity in fortondoando (dynamic marks of more than three fs (forte - "loud") - this song is one of the very few in classical music that has ffffs twice). It culminates in the most powerful few seconds of music I have ever heard and then shatters as every instrument hastily descends atonally, ending on a unified note. Aaannnddd that's how the record begins. When I had first heard this classical masterpiece, I was exhausted after the first composition. It's so incredibly intricate and heavy that it actually exhausts your listening capabilities. Not to fear though, the next piece, Venus - The Bringer of Peace, is feather-light. Holst is great at exploiting this kind of auditory exercise so that, by the end of the record, it would be interesting if you found it boring. Easily a 5/5, but that's like saying Mozart's Symphony No. 40 in G minor is easily a 5/5. No shit.
Best, Jonathan
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