When Past and Present/Dance and Song Collide.

In October of 2010 the artist Sufjan Stevens released his first full-length collection of original songs since 2005, Age of Adz, (which I just found out is pronounced "odds") This album was incredible radical to most fans of the artist; for it appeared to be a complete change of gears compared to his most popular "states" albums, Illinois and Michigan. But for followers of the artist that know his entire body of work, it was a little less unusual, and a lot more brilliant. By stripping away the narrative aspects of his music writing he created something that is "perhaps more vibrant, more primary, and more explicit than anything else he’s done before."

The album as a whole contains themes of the cosmos, love, sex, anxiety, and death and uses an incredibly wide range of "instruments". A large portion of his traditional instruments: banjo, acoustic guitar, etc. have been replaced by drum machines and analogue synthesizers. The album is most similar to his very early work, where he experimented with electronic sounds and complex compositions. These new creations are much more sophisticated and complex, taking many invested listening experiences to completely process the loops and layers. Along with his digital notes, he includes arrangements of brass, strings, woodwinds, and a choir, giving the songs even more complexity, allure, and originality.

The conclusive, final track off of the album is 25 minutes and 34 seconds long and is entitled, Impossible Soul. This song deals with love and the challenges that come with relationships. There are references to some sort of break up, but the abstract nature of the lyrics, paired with the music itself, leaves the listener with a less specific and more emotive experience.

This video is of the song Impossible Soul paired with a performance of the modern ballet Noces (meaning "wedding"), as re-created and choreographed by Angelin Preljocaj in 1988. The ballet itself has gone through multiple variations, this one being more radical and less traditional. The merging of it with this composition by Sufjan could not have been done better though. The song and the choreography seem to shift, turn, twist, and progress in unity and the visual themes perfectly reflect the narrative or conceptual themes of the lyrics. The beauty and awe lie in the experience of viewing it though. So, please enjoy.

John Cage: Chance Sounds

John Cage was a revolutionary man, an experimental "composer" and the artist that altered the world of music and the relationship between (what we call) music and our lives. Cage is known best from his 1952 composition, 4'33", a musical performance, always lasting exactly 4 min. and 33 seconds, which consists of musicians pursed in position to play the first note on their instruments, which never comes.

He was also known as a philosopher, poet, music theorist, artist, printmaker, amateur mycologist and mushroom collector. He challenged and questioned the idea of music as a form of self expression and of sounds being anything more than just that, reverberations affecting our ears and interpreted by our brains. He talked about the sounds not created with force or forethought and the beauty within "silence".

In an interview with Laurie Anderson (an artist that I will be sure to talk about later) he states; "I use chance operations instead of operating accordingly to my likes and dislikes. I use my work to change myself and I accept what the chance operations say."

Often the compositions that he created through chance operations take on a very beautiful nature. I find that the randomization of sounds creates a landscape for our ears that is unusual and maybe even uncomfortable, but compelling and thoughtful. My brain at times feels more involved in the processing of the music and at other times is able to let go of structure completely and feel almost complete bliss.

While I do not 100% agree with everything that Cage felt music should be, I see his impact on our culture and the creation process of musicians as incredibly significant. He was a true genius; taking an entire discipline and turning it on its head.

Finally I will leave you with the composition, Dream--written to accompany a Merce Cunningham dance--which I find serene and elegant, and also a closing quote for contemplation;

"There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot."

Pedro the Lion:

I have a new music love.

It was one of those situations where I found a gem buried deep in the depths of the 16000 songs in my iTunes library (well maybe I was pointed to it). That gem is Pedro the Lion.

Pedro the Lion is an indie-rock band from Seattle that was formed by the front man, David Bazan. They are known for their "emotionally charged narratives", Bazan's deep and mournful voice, and their catchy but detailed melodies. At first listen, there wasn't a great deal that jumped out to me personally to catch my attention and pull me in. When listening superficially, the music seems somewhat flat. The genius of this band lies predominantly in the lyrics.

Today I want to talk more about their track, "Penetration" off of the album, Control. This concept album contains the narrative of a business man who is having marital and general life issues, focusing on themes such as infidelity, greed, vengeance, and the fear of death.

The song Penetration, co-written with Casey Foubert, is an exceptionally interesting track off the album. Pitchfork calls it "a reasonably cathartic requiem for a dotcom layoff, with chiming, Edge-like guitars and a brash, anthemic chorus". It is a song that does a better job at that initial hook and the more and more times you give it time and really listen, the more it gives back to you.


AESTHETICS

The track begins with catchy and heavy guitar rhythms and moves straight into Bazan's simple vocals. There is something very cathartic about this song. It feels almost like we're being massaged by the repetitive melody and and the switching back and fourth between the deep drum beat and the fast, higher pitched guitar riffs.


CONTENT

The song really reveals its cleverness and finesse in the lyrics. Every line hits you with poignancy and a critical air that joins multiple observations of society to make a unified introspective statement. The line, "Because if it isn't making dollars, then it isn't making sense" ties the song together, making the statement against corporate culture and how it has penetrated the ideals and actions of our society.

Have you ever seen an idealist
With gray hairs on his head?
Or successful men who keep in touch
With unsuccessful friends?

You only think you did
I could have sworn I saw it, too
But as it turns out
It was just a clever ad for cigarettes

Because if it isn't making dollars
Then it isn't making sense
If you aren't moving units
Then you're not worth the expense
If you really want to make it
You had best remember this
If it isn't penetration
Then it isn't worth a kiss

We're so sorry, sir
But you did not quite make the cut this time
We'd appreciate it if you'd get
Your stuff all out by five

Don't take it personal
Everyone knows you did your best
If it makes it easier
You should look at things from our perspective

Because if it isn't making dollars
Then it isn't making sense
If you aren't moving units
Then you're not worth the expense
If you really want to make it
You had best remember this
If it isn't penetration
Then it isn't worth a kiss


SOCIAL/HISTORICAL CONTEXT

The music of Pedro the Lion, in general, has been related to the writings of J. D. Salinger for their creations of narratives that observe the aspects of society such as alienation, family ties, death, religion, the loss of innocence, and and corruption. Bazan seems to write lyrics in the way that aligns more with a writer of literature than catchy songs, often taking him six to eight months to complete the process. He hides and reveals meaning in metaphors, references, and the stories that he creates.