The new Mute Math, "Armistice," is amazing.
Filled with all kinds of sounds, rhythms and melodies, the album is complex and patient, racing and stilling all in one. It's a fantastic new sound, and I love this band for the sound they've created that's truly theirs (though entering their name does result in a wonderful Pandora playlist.) It's their second full length record, I believe, and it shows progression and maturity while crafting a signature sound.
I love this song, "Pins and Needles," it's got a wonderful message and a beautiful structure....note how awesome they sound live.
Sometimes I get tired of pins and needles,
Facades are a fire on the skin.
And I'm growing fond of broken people,
As I find that I am one of them.
They've got a great way of structuring lyrics, poetic and deep without being too abstract, and excellent rhythm.
Other Mute Math:
Wednesday, October 28, 2009
Saturday, October 17, 2009
Monday, October 12, 2009
10/12/09
From an interview in 'Explain:'
"I definitely feel like 'What is the point? What's the point of making music anymore?' I feel that the album no longer has a stronghold or has any real bearing anymore. The physical format itself is obsolete; the CD is obsolete and the LP is kinda nostalgic. So, I think the album is suffering and that's how I've always created-- I work with these conceptual albums in the long-form. And I'm wondering, what's the value of my work once these forms are obsolete and everyone's just downloading music? And I'm starting to get sick of my conceptual ideas. I'm tired of these grand, epic endeavours, and wanting to just make music for the joy of making music and having it be immediate and nothing to do with the industry itself, which, y'know is suffering right now of course.
And I think it has to do with a creative crisis too. I'm wondering what am I doing? What is a song even? I'm questioning, what's the point of a song? Is a song antiquated? Does it have any power any more? The format itself-- a narrative song with accompaniment-- is really beyond me now. Like, I feel that The BQE is not really a song, it's not really a movie, it's not really just a soundtrack. It's so ambiguous and diversified, it seems to lack shape. And the expressway itself lacks shape, so I feel like it's all related to this existential crisis: Me versus the BQE, or me versus my work, y'know? And I don't think I can win; I feel like it's a losing battle."
It's interesting, how no matter how valued your work is by total strangers, you can still feel like saying "well, fuck this." He's got an excellent concept of the album, and a good point about where it's headed. But I feel as though his epic, in-depth creations are kind of a diamond in the full-length rough of the past decade, something worth noting.
Looking forward to BQE, especially because I miss the view.
"I definitely feel like 'What is the point? What's the point of making music anymore?' I feel that the album no longer has a stronghold or has any real bearing anymore. The physical format itself is obsolete; the CD is obsolete and the LP is kinda nostalgic. So, I think the album is suffering and that's how I've always created-- I work with these conceptual albums in the long-form. And I'm wondering, what's the value of my work once these forms are obsolete and everyone's just downloading music? And I'm starting to get sick of my conceptual ideas. I'm tired of these grand, epic endeavours, and wanting to just make music for the joy of making music and having it be immediate and nothing to do with the industry itself, which, y'know is suffering right now of course.
And I think it has to do with a creative crisis too. I'm wondering what am I doing? What is a song even? I'm questioning, what's the point of a song? Is a song antiquated? Does it have any power any more? The format itself-- a narrative song with accompaniment-- is really beyond me now. Like, I feel that The BQE is not really a song, it's not really a movie, it's not really just a soundtrack. It's so ambiguous and diversified, it seems to lack shape. And the expressway itself lacks shape, so I feel like it's all related to this existential crisis: Me versus the BQE, or me versus my work, y'know? And I don't think I can win; I feel like it's a losing battle."
It's interesting, how no matter how valued your work is by total strangers, you can still feel like saying "well, fuck this." He's got an excellent concept of the album, and a good point about where it's headed. But I feel as though his epic, in-depth creations are kind of a diamond in the full-length rough of the past decade, something worth noting.
Looking forward to BQE, especially because I miss the view.
Saturday, October 10, 2009
10/10/09
So, I'm a huge Ryan Murphy fan, and after hearing all the buzz about 'Glee' I finally checked it out on Hulu.
Oh. My. God. So good, so addicting, FOX is so good at crack TV, and Murphy writes the most strong-yet-vulnerable characters that it just sucks you in so much. Add a few song and dance numbers, it's a hit.
The mash up of "It's My Life" and "Confessions" is soo sweet, really shows off the versatility of a mash up, because who knew those songs would compliment each other so well. Someone, obviously. Listen!
Oh. My. God. So good, so addicting, FOX is so good at crack TV, and Murphy writes the most strong-yet-vulnerable characters that it just sucks you in so much. Add a few song and dance numbers, it's a hit.
The mash up of "It's My Life" and "Confessions" is soo sweet, really shows off the versatility of a mash up, because who knew those songs would compliment each other so well. Someone, obviously. Listen!
Thursday, October 8, 2009
10/8/09
At Desert Sessions, you play for the sake of music. That’s why it’s good for musicians. If someday that’s not enough anymore, or that’s not the reason behind you doing it--that’s not your raison d’etre--then a quick reminder like Desert Sessions can do so much for you, it’s amazing. It’s easy to forget that this all starts from playing in your garage and loving it. - Josh Homme
Wednesday, October 7, 2009
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