I think that the good people at Apple should devise some sort of application to make a song unplayable after a certain number of plays. I say this because I am, sadly, one of the many people stricken with listen-to-my-favorite-song-until-I-hate-it-itis. Right now, that song is Mark Ronson & The Business Intl.'s "Bang Bang Bang". Mark Ronson's new aforementioned "band" features collaborations by musicians from multiple genres, a fact which lends itself nicely to the title of the upcoming album, Record Collection. On his site, Ronson expands on this idea, stating, "Record Collection suddenly made so much sense as a title. All these disparate performances and people hang together by a thread, and that thread is that I own records by all of them. And the only reason it all works is that I'm such a passionate fan of all those artists." Below is the video for the perfect summer dance anthem, "Bang Bang Bang", featuring artists MNDR and Q-Tip. Listen to it, love it, but don't love it too much- it's gotta last until the rest of the album drops in September, which you can pre-order on his website here: Mark Ronson & The Business Intl.
8.24.2010
8.19.2010
music thought: memory and sound
This is an unconventional posting for me, but I feel that it deserves its place here. I was thinking today about music in relation to memory. How I got to this train of thought is a little convoluted, but then my thoughts often do tend to bounce around at random.
I recently had a conversation with a friend of mine about music in film, and I got to thinking about how music plays an extremely important role in setting the tone for particular scenes in a film. Essentially, my music-centric mind turned what was at first a discussion of film, into a theory on music. At a certain point, I got to thinking about the types of music that are appropriate for certain moments in film, and focused on one moment in particular- the moment when someone realizes the death of a loved one.
In this moment, music acts as a soundtrack for the realization of death. It is the backdrop, the mood setter for a scene, in life as well as in film, when a person comes face to face with a reality that is shared by all but strongly rejected and ignored in preparation of the mind by most. I would argue that music, or more generally sound, is one of the strongest triggers for memory. Upon hearing a given song or a certain sound, we are emotionally and mentally transported to a different place- often a specific location in our memories that we attach to the sound.
For instance, when I hear the album Bedtime Stories by Madonna, I immediately imagine myself jumping on a trampoline in my family’s den when I was in second grade: I remember that the trampoline was my mom’s- an exercise fad at the time. I remember singing lyrics, out of breath from jumping, that were well beyond the mental grasp of a 7 year old. I remember the smell of the carpet. I remember the dim lighting. It works the other way around, too. When I think of driving down 880 for my sister’s graduation from UCLA, I immediately think of Imogen Heap’s I Megaphone since that was what I listened to the whole way down- an indication of my often forced and belligerent teenage melancholy.
Here’s where it gets tricky with film, and with depicting a scene in which someone is informed of the death of someone they truly care for. I tried to think about the sounds I remember from the moment when I heard that my brother had died. I can think of nothing. I can’t even see faces in my mind, nor can I recall exactly where we were or anything that I would usually remember about any number of pivotal moments in my life. The last thing I remember clearly from that moment was my mom picking up her cell phone, then slumping over in the passenger seat in front of me and crying.
After that there was no sound, which is striking for many reasons. First, and perhaps most importantly, my mother was crying- wailing even. Also, we were on a freeway- there were cars rushing all around us and I’m sure my dad had to screech on his brakes to get to the nearest exit…although I can’t recall. We parked at a Chevron, where I can assume, but can’t remember, there were constant waves of people pulling in and out of the station over the course of however long we were there- which I also cannot remember. We sat on a concrete bench next to the station, and my dad explained to me and to my younger brother, what had happened. I don’t remember what he said. I don’t remember what I said, or if I said anything. I can’t hear anything attached to this moment- which for me is supremely unnerving. What characterizes this memory for me is the absence of sound, although there was most certainly an abundance of sound at the time of the actual event. The fact that there was all of a sudden no sound at all, is what is so unnatural about the realization of death.
This is why I was stumped when trying to think of music for this moment in a film- because if anything, my gut feeling is that there would be no music at all. No booming crescendo, no grating chords, no distorted guitar, no shrill violin, no sound. Because nothing exists in that moment- there is no sound, no place, no time, nobody, not even you, because you are experiencing a true affirmation of the finite. It is one of the rare moments experienced by human kind that becomes the anti-moment; a moment of existence in which existence ceases to be.
-Just a thought, that hopefully provokes some thought in return...
ARCADE FIRE TICKETS deserve capital letters
I just bought tickets to Arcade Fire's show on October 7th at the Shrine Auditorium.
SPEECHLESS. and now poor.
Just checked one of the boxes off on my things-to-do-before-i-die list.
What a fantastic day...
Labels:
Arcade Fire,
concert,
Indie Rock,
The Shrine Auditorium
8.12.2010
alarm clock: a/b machines
Sometimes I forget that people are asleep at 8am. If you are one of the lucky people who gets to sleep in and hit snooze til your hands turn black and blue, I feel no remorse for potentially involving you in my morning routine. Lately, I have been on a Sleigh Bells kick, and I am currently completely obsessed with BLASTING the track A/B Machines. It. Wakes. Me. Up.
Sleigh Bells' album Treats is, in general, highly caffeinated and pleasingly grating. Its signature aesthetic of decided upon distortion (that some mistake as poor production value) is a refreshing and smart choice amidst all the over-produced, digitalized junk that's floating through the airwaves. It's rough and angsty and unpolished; it feels real. It's a phenomenal example of what music can be when it stops trying so hard.
A/B Machines in particular is a great example of the values of keeping it simple- there are only two lines in the whole song: "Got my A machines on the table/ Got my B machines in the drawer". Baller. Coming from Sleigh Bells, it sounds like a dare to anyone who challenges their work, or a promise to any current fans: It lets people know that the group's got more coming, tucked out of sight for now until plan A fails to please. Also, as a wake up anthem, it makes you feel pretty badass.
So, I'm sorry for blasting A/B Machines at 8 in the morning, but really, get your asses up out of bed. It's a new day for you, and a new day to let your yourself in on some audible energy.
Sleigh Bells' singer Alexis Krauss in an interview with Pitchfork: "We're not about ego and all these trends that you see in popular music and culture that are just so damaging. We're just trying to point out that it's fucking ridiculous. As a teacher, you see all that shit firsthand. You see what 10-year-olds are worshipping, and it's so terrifying."
8.06.2010
newsflash: remixed gaga
Short copy: Passion Pit has remixed Lady Gaga's song "Telephone" on her new remix album, titled The Remix. Guilty p-p-p-pleasure? Yes ma'am.
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