|
Post by kds on Aug 19, 2021 20:02:03 GMT
Right, the bass is prominent, but not overwhelming or EQ'd to sound like just overpowering indistinguishable bass force: you actually hear the instrument itself in (what I'd call) proper balance.
The galloping rhythm is great. (I love that rhythm generally, not just with Maiden. It's like the modern day version of the "train song" rhythm. In fact, it pretty much IS that rhythm...)
As much as I enjoy the post reunion Maiden albums, one of my chief complaints is there aren't enough songs like this one. There's a lot of the "slow intro / mid paced verse chorus / fast middle section solo / back to mid paced chorus / slow outro" songs. Not that there's anything wrong with that, but I think too many songs like that weighed down their Book of Souls album. Maiden are one of the few groups I've given a pass to for their reluctance to release short albums because on Brave New World, Dance of Dance, A Matter of Life & Death, and (lessor so) The Final Frontier, I think they had the material to back it up. I think Book of Souls could've been far more efficient. So, I was a little concerned that Maiden were releasing another double album. But, after hearing the first two songs, I'm more optimistic.
|
|
|
Post by Kapitan on Aug 20, 2021 17:04:24 GMT
Here is something from someone I'd never heard of until, oh, about 10 minutes ago. But I've since bought it.
Nathan Salsburg, a Kentuckian who runs the Alan Lomax archive of old 20th century recordings, released Psalms, a Hebrew- and English-language, folk-music treatment of a handful of texts from the Biblical psalms. Supporting him are Spencer Tweedy (Wilco's Jeff's son), Will Oldham ("Bonnie Prince Billy"), and spectacular guitarist James Elkington, among a few others I am not familiar with.
I've only heard a little of it, but I find it beautiful. I've also always loved that idea of taking serious, ancient, even "sacred" (though I don't really relate to that term so much) text and setting it to modern music. It almost ALWAYS fails, but I can imagine it working. (I began work on a requiem 20 years ago. I finished the requiem section and nothing else.) It works here.
Review:
A song:
|
|
|
Post by jk on Aug 20, 2021 17:43:56 GMT
Nathan Salsburg, a Kentuckian who runs the Alan Lomax archive of old 20th century recordings, released Psalms, a Hebrew- and English-language, folk-music treatment of a handful of texts from the Biblical psalms. Supporting him are Spencer Tweedy (Wilco's Jeff's son), Will Oldham ("Bonnie Prince Billy"), and spectacular guitarist James Elkington, among a few others I am not familiar with.
I've only heard a little of it, but I find it beautiful. I've also always loved that idea of taking serious, ancient, even "sacred" (though I don't really relate to that term so much) text and setting it to modern music. It almost ALWAYS fails, but I can imagine it working. (I began work on a requiem 20 years ago. I finished the requiem section and nothing else.) It works here.
Now that is interesting! You mean, you wrote the opening "Requiem aeternam" and left it at that? Did you orchestrate it? You've whetted my appetite!
|
|
|
Post by Kapitan on Aug 20, 2021 18:00:45 GMT
To be clear, I was working in that "sacred text / modern idiom" I was talking about when it comes to that particular effort. And I finished the "Requiem Aeternam" in its very simple pop-folk arrangement, I think two acoustic guitars and a (synth) celeste plus voices. I'm trying to remember what else I might have worked on from it. I know I at least started another section or two, but didn't finish any.
I did think about writing a "real" requiem back then, too. They were a bit of an obsession while I was in and just out of college. But I never did more than sketch an idea or two.
|
|
|
Post by Kapitan on Aug 20, 2021 19:07:42 GMT
This reminds me though, I did write a solo piano piece based on the traditional Dies Irae melody while in college for my first piece to be performed when I was a composition & theory major. It was agonizingly atonal, as at that time anything involving functional harmony seemed to be looked down upon and I was but a wee little lad!
Alas, the single performance of it ever was done at a terribly slow pace, probably about 1/2-2/3 the real tempo. I have a recording on cassette somewhere, though no cassette player. I do have the sheet music, though! (Too bad I could never play it: way too hard for me.)
|
|
|
Post by Kapitan on Aug 21, 2021 19:46:25 GMT
jk here is that 20-year-old pop Requiem Aeternam. This conversation actually has me thinking about revisiting the idea.
|
|
|
Post by jk on Aug 21, 2021 20:34:54 GMT
jk here is that 20-year-old pop Requiem Aeternam. This conversation actually has me thinking about revisiting the idea. You definitely should, Cap'n. I'll be most interested to hear where you take it.
|
|
|
Post by jk on Aug 21, 2021 20:37:19 GMT
To be clear, I was working in that "sacred text / modern idiom" I was talking about when it comes to that particular effort. And I finished the "Requiem Aeternam" in its very simple pop-folk arrangement, I think two acoustic guitars and a (synth) celeste plus voices. I'm trying to remember what else I might have worked on from it. I know I at least started another section or two, but didn't finish any.
I did think about writing a "real" requiem back then, too. They were a bit of an obsession while I was in and just out of college. But I never did more than sketch an idea or two.
I remember you mentioning your interest in requiems elsewhere on this forum. If it wasn't here, it was across the road, but I'm pretty sure it was here...
|
|
|
Post by The Cincinnati Kid on Aug 23, 2021 18:17:38 GMT
Kacey Musgraves released the first single from her upcoming album, Star Crossed, due out September 10th. The song isn't bad. The first thing I thought of is a wall of Brians from some of his solo albums. I wonder if there is any influence there? I doubt it. The song feels kinda flat, but just as it starts building up and I'm starting to get into it, the song ends. I'm still really looking forward to the rest of the album, it's supposed to be even less country than Golden Hour.
|
|
|
Post by Kapitan on Aug 23, 2021 18:24:21 GMT
Odd choice for a lead-off single, I think. Not sure what to make of it, but I don't dislike it. Glad to see the album's on the way--and soon! Sept. 10. I like that far better than those albums where you get the single and then the album is eight months out...
|
|
|
Post by The Cincinnati Kid on Aug 27, 2021 12:54:44 GMT
Keeping up with the quick release pace, Kacey Musgraves released her second single, Justified, today. I think I like this one more than Star Crossed.
|
|
|
Post by The Cincinnati Kid on Sept 2, 2021 18:29:49 GMT
ABBA is releasing their first new music in 40 years:
|
|
|
Post by kds on Sept 2, 2021 18:55:20 GMT
And this is a weird way to promote the album ultimateclassicrock.com/abba-voyage/"Abba also announced the May 2022 launch of the Voyage virtual concert residency in London, which will feature motion-captured, de-aged digital avatars of the four original band members performing alongside a live band at the state-of-the-art Abba Arena, which is currently being custom built for the shows."Ummmmmm.....what?
|
|
|
Post by kds on Sept 7, 2021 14:23:57 GMT
|
|
|
Post by Kapitan on Sept 9, 2021 12:57:33 GMT
Pitchfork published its review of Kacey Musgraves' star-crossed, due out tomorrow. It's a tempered 7.7, a respectable score that seems higher than the review itself might indicate. It's lower than her two previous studio albums (not counting Christmas novelties), which got 8.7 and 8.0, respectively.
|
|