Chris Gill

Archive for the ‘Music’ Category

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The Science of Secrecy

In Arts & Culture, Music on January 17, 2013 at 8:27 pm

David Bowie

David Bowie’s shock return last week reminded us how important mystery is in music 

When David Bowie’s first single in a decade dropped earlier this month, the legendary musician got the whole world talking before 9am. The music news made global headlines and the singer’s surname, single and album title were all trending on Twitter.

What made the release so special? Well for one, it meant brand new music from a pioneering artist who many people thought had retired from the industry.

What made this news even more exciting was how nobody had any idea about it.

In an age where we know pretty much everything about everybody, from tweeted political and religious views to what someone is eating for breakfast being posted on Instagram, it’s refreshing to see an element of mystery making a comeback.

Of course, many might argue that this conscious attempt to remain enigmatic is itself part of a wider commercial strategy. Bowie’s collaborators have already spoken out about how hard it was keeping the project a secret for so long, and the fact the single was released on his 66th birthday was undoubtedly carefully calculated timing.

It might not have been a six month social campaign the likes of Lady Gaga is accustomed to when leading up to an album release, but the sudden surprise of new music seemed to have just the same impact; if not more.

Mystery woman

One of the best examples of this in recent years, is the iamamiwhoami project. For anyone who needs their memory refreshed, iamamiwhoami first surfaced in December 2009 when two ambiguos videos were uploaded to YouTube.

The clips were also forwarded from an anonymous email account to a number of music journalists and blogs; an extremely clever tactic to get people talking. The beautifully bizarre videos continued to appear, featuring an unknown blonde woman whose face had been digitally distorted.

The rumour mill went into overdrive as to who the mystery woman could be. Everyone from Goldfrapp and The Knife to Björk and Christina Aguilera were debated in the Twittersphere, until more of the woman’s face was revealed and it was clear she was none of the above.

It turned out that the mystery woman in the video was in fact Jonna Lee, a Swedish singer-songwriter who had previously had more of a folk sound. To this day, Lee still hasn’t officially confirmed that she is behind the iamamiwhoami project, revealing just how powerful mystery in music can be.

In Bowie’s well overdue comeback single he asks the question, “where are we now?” Well, we are definitely in a new era that allows an artist to connect with their fans far easier, often avoiding the middle man. However the power of his comeback, alongside other mysterious musical campaigns, proves how sometimes less is truly more.

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¿Which Side Are You On?

In Music, News, Politics on January 22, 2012 at 6:00 pm

“Come on people of privilege / it’s time to join the fight” – Ani Difranco, ¿Which Side Are You On?

We may only be a month into 2012 but a sense of political hopefulness and social togetherness can already be felt amidst the darkness. The Occupy movement, a global association directed predominately against social and economic inequality, has encouraged peaceful protesters to move away from the computer screens in their bedrooms and take to the city streets to have their voices heard.

It was only while visiting my family in New Zealand over Christmas that it dawned on me how far this movement has spread. The Occupy Auckland protest camp had decided to pitch their tents in Aotea Square, until they were of course asked to leave a few weeks later. Despite being asked to move, the message had been made loud and clear: people all over the world are tired of the injustice and corruption that governs everything corporate and political.

To coincide with this diplomatic and rapidly growing revolution, my favourite singer/songwriter/all-round life-teacher Ani Difranco released her first album in three years this month, relevantly titled ‘¿Which Side Are You On?’ The title track is an updated and reworked version of the 1931 Florence Reece song that was made popular by Pete Seeger. In this track Difranco sings: “Come on all good workers! / this here is our time / now there’s folks in Washington / that care what’s on our minds”.

It’s no real surprise then that Difranco is also supporting the Occupy movement in a huge way. When I saw her play twice this month at the Union Chapel in Islington, Occupy was very much the main subject on her mind. As someone who has spent her whole life fighting ‘the good fight’ and supporting what Occupy describes as ‘the 99%’, she seemed pleasantly surprised at the sudden mass interest in social justice and equality.

Difranco even took the time to visit the Occupy London Stock Exchange camp set up outside St Pauls Cathedral to speak to members of the movement and play some of the politically themed tracks from her new record. Here she spoke about her friend Dennis Kucinich, a democratic politician in the United States, who shares her view that we need to “embody the belief.”

Following these two spectacular shows that left me feeling revitalised and awakened, something else happened last week. Whilst conducting some research at work I visited Wikipedia, only to find it had been plunged into darkness in an act of protest. The online encyclopedia had joined thousand of other websites to fight back against SOPA (“Stop Online Piracy Act”) and PIPA (“Preventing Real Online Threats to Economic Creativity and Theft of Intellectual Property Act”), by blacking out its content for 24 hours.

After an initial feeling of annoyance that I couldn’t reach my desired content, the importance of this blackout dawned on me. Its purpose was to show people what a world without free knowledge would be like if websites like Wikipedia became monitored and restricted. To prove the positive effect this blackout had, it was later stated that the Wikipedia page on the SOPA and PIPA issue was accessed over 162 million times during the 24 hour period.

Following this, another campaign has been set up to take place in March aptly titled ‘Black March’. As March is the end of the first quarter in worldwide economic reports, it is being encouraged that we should not buy a single record, DVD, videogame or visit the cinema. The purpose of this is to once again reject Internet-censorship, as well as hitting music, film and media companies’ lobbyists “…where it really hurts. Their profit margins.”

No matter what your opinion is of these dramatic online protests or of the Occupy movement, it is clear that a genuine feeling of outrage and disgust towards corporate and political systems can be felt throughout societies all across the world. A non-violent civil disobedience that echoes the work of Ghandi and even Jesus Christ can be felt both throughout the real and online world.

Maybe it’s the fact that it is the Age of Aquarius (my star sign), or that it’s the Chinese Year of the Dragon (the same year it was when I was born), but I feel like I’m going through some sort of rebirth myself this year. That is, that I’m remembering what is important beyond being branded and owned by a capitalist society and ‘quick-fix’ culture.

If there’s one thing that is almost certain for 2012, it is that Nostradamus’ prediction that the world will end, will not come true. Therefore, it’s up to us to make long-lasting changes for the better to ensure we don’t bring on the world’s end ourselves. In the words of Difranco from an old song that has brand new meaning:

“Are we living in the shadow of slavery / or are we moving on? / Tell me which side are you on now / which side are you on?”

Ani Difranco’s ¿Which Side Are You On? is out now: http://www.righteousbabe.com/

Learn more about the Occupy movement here: http://occupywallst.org/

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Incubus: If Not Now, When?

In Music, Personal on July 11, 2011 at 6:08 pm

Incubus - If Not Now, When?

This week may see the official release of Incubus’ seventh studio album but myself and many other fans heard the record in its entirety almost three months ago.

As I returned into a grey and misty London from a long weekend in Paris back in May, I streamed the band’s first single online from my phone. Adolescents’ sombre tone and moody chords mirrored my environment entirely as I left the murky English Channel. The track oozed Incubus’ signature sound, particularly from the Make Yourself and Morning View eras.

Although met with eagerly anticipating ears, I was surprised not to hear the U-turn in the band’s direction I had come to expect from them. Incubus has been my favourite band ever since I first heard Drive on MTV2 at 13 years old. I rushed out to buy Morning View on the day of its release and then worked my way back and collected every previous record down to the jungle-funk experimentation of Fungus Amongus.

What I have always loved about Incubus, aside from their thought-provoking, intelligent lyrics and superior quality of music, is how unafraid they are to take risks and experiment with their sound. Influential finger prints from the Red Hot Chili Peppers can be heard all over their debut release, followed by an exploration of nu-metal on their follow-up, S.C.I.E.N.C.E.

It was in 1999 however when Incubus seemed to really find their own sound with the double-platinum Make Yourself. The album, one of my favourites of all time, featured three of the bands most commercially successful singles, Pardon Me, Stellar and Drive, which all reached the top three of the Billboard Modern Rock Tracks chart. Morning View followed; the dreamy career definer that saw the band dive into their most experimental territories yet with the epic Aqueous Transmission, an Eastern-influenced track that tells the story of a lone traveller floating down a river in a boat complete with two full minutes of cricket sounds. The band had proved they were clearly not just any rock band.

Since Morning View, Incubus have released two more studio albums, A Crow Left of the Murder and Light Grenades, followed by the customary “greatest hits” record, Monuments and Melodies. Since then, Incubus have been on a hiatus with each of the band members focusing on their own individual projects. Front man Brandon Boyd released his first solo record last year, The Wild Trapeze, which saw him playing most of the instruments and producing the entire album, while lead guitarist Mike Einziger went to Harvard Music school to study composition.

It has been five long years since Light Grenades, the last full length studio album by the band, which was by far my least favourite of theirs. Whether it was due to a drastic shift in my personal music taste at the time or simply the drastic changes in my life generally; that album somehow just missed the mark with me. For a band that always seemed to put exactly what I was feeling into words, I felt completely out of sync with them at this time.

Their latest effort has more than made up for this in my eyes however, and once again I am reminded why I truly call this band my favourite. The title track itself sums up my current head space and the general spirit of the times entirely. Incubus are well and truly back to ask the burning question:

If Not Now, When?

It had barely been a fortnight after arriving home from Paris and first hearing Incubus’ brand new single when I discovered someone – allegedly from within the band’s record label Sony – had leaked the full album online. At first I tried to refrain from downloading it, wanting to do the noble number-one-fan thing and wait for my copy to arrive in the post. However in the end the temptation proved too strong and I had to have a listen. In a way it feels strange to only be writing a review of the record now after playing it almost every day for the last three months. Conversely, I feel enough time has passed for me to really get my head around the new release and be able to formulate a vindicated opinion on it.

As it happens, first single Adolescents was really not an indication of the band’s latest reinvention, and in fact they couldn’t have taken a more drastic U-turn. If Not Now, When? sees the band take a complete departure from their past, mostly sounding like an entirely different band altogether, with this more refined and spacious work of art. Kicking off with the slow and ambitious title track, If Not Now, When? sees Boyd open the record with the blockbuster verse that speaks of self-discovery: “I have waited / dined on ashes / swung from chandeliers / and climbed Everest / but none of it’s got me / close to this…” This enthralling, almost spiritual introduction is followed by: “I’ve waited all my life / if not now when will I?”

Next is the band’s second single from the release, Promise Promises. A clear example of the bands longing to once again explore new ground with a poppy burst of fresh air that wouldn’t sound out of place on an early Elton John record. Friends and lovers slows things down again but sticks to the same bouncy formula and acts as the love track from this era that Love Hurts did on Light Grenades.

Stand out tracks for me on the album are The Original and In the Company of Wolves. In the former, Boyd’s vocals sound more beautiful than ever and perfectly compliment the new simplistic techniques Einziger has picked up from his music studies. In the latter, the band experiment with a contrasting light to darkness feel, while Boyd seems to tell a story of a boy journeying from boyhood to manhood while being raised by wolves.

Adolescents, although fantastic seems to stand out like a sore thumb against the quieter, softer songs that make up If Not Now, When? Tomorrows Food closes the album with a reflective, accomplished feel that deals with the notion of aging and putting the past behind you: “There’s no such thing as the good old days / the older we all get / the better we all were…”This line seems to sum up the latest chapter in Incubus’ evolution, particularly following the majority of their fans’ reaction to their latest offering. When I saw the band play recently at a secret gig in Kentish Town they barely played any of their new music, focusing predominately on their vast back-catalogue. I just hope this was not to keep the majority of their fans happy as I am so looking forward to seeing the band presenting us with live versions of their new artistic accomplishments.

Maybe there will never be an album that goes by where fans won’t be longing for the next S.C.I.E.N.C.E or Make Yourself, eager to relive their high school days that were filled with funk and metal. However, as Incubus’ sound and vision matures and they take the next step in their long journey along the river, we too must learn to evolve with them and keep an open mind to wherever they decide to take us next. There have been many previous moments and melodies that this unique band have presented us with  and undoubtedly there will be many more. However the time is once again now for Incubus and as always: it is a privilege to be a part of it.

If Not Now, When? is out tomorrow on Epic Records.

Still Finding the Words to Say It

In Music on May 8, 2011 at 11:22 am

Like many others, I first got into Lamb years ago upon hearing the moody yet romantic tracks Górecki and Gabriel. The electronic Manchester duo, who were formed by singer/songwriter Lou Rhodes and producer Andy Barlow, found moderate commercial success in the late 1990s and early 2000s off the back of the trip hop/drum and bass movement in the UK. I was too young to appreciate this genre at the time, however I did discover bands such as Portishead and Morcheeba in my teens that brought this ilk to my full attention. For me, Lamb were always at the forefront of the trip hop tribe and Friday night at the Shepherds Bush Empire they also proved to have moved with the times while still keeping their signature sound.

When my flatmate said she could get us tickets to Lamb’s gig I was thrilled for five different reasons. Firstly, I am a massive fan. Secondly, I had never seen them before. Thirdly, it sold out before we could actually buy tickets. Fourthly, this was their first gig in London in years. Finally, the fifth reason I was so excited to see Lamb on Friday night was they have just dropped their brand new album on the 5th day of the 5th month of this year. Any guesses as to what it might be called?

Unsurprisingly, the majority of  Lamb’s set list Friday night was taken from their brand new record 5. They kicked off the show with the graceful Another Language which wouldn’t be out of place on an Imogen Heap record with its gentle melody and soul-searching lyrics. The song reveals a reoccurring theme throughout 5 where Rhode appears to have suffered writers block before entering the studio: “I’m going to find the words to say it,” she sings over Barlow’s electronic beats on penning a new language.

The duo, also accompanied by Jon Thorne on the double bass, then went on to play a strong set of present and future with touches of past favourites to wake the crowd up. When Lusty kicked in about fifteen minutes in everyone cheered like they were greeting an old family member. This then merged into the thumping break beat of Butterfly Effect from the new record which is one of my personal favourites. Later on in the night Rhodes quite untraditionally rocked out on guitar to another of my favourites from the new record, Build A Fire. Rhode also mentioned this could possibly be the first single from the album which I think would be a fantastic choice.

One thing worthy of note was the dynamicity between the duo themselves. The way they present themselves on stage is a true representation of the music they create, juxtaposing one another so effectively. Barlow works his way across the stage, managing to balance flicking switches, playing keys, scratching records and smashing cymbals, all the while engaging with the audience and encouraging them to clap along. Meanwhile, Rhodes comes across slightly fragile with just enough shyness to remain a mystery. Simultaneously, she exudes enough confidence to pour her soul into her vocals as she journeys through songs of love, pain, joy and sorrow.

The gloomy yet beautiful Gabriel was just as good in the flesh, unsurprisingly sending chills down my spine. TransFattyAcid then brought the pace back up with booming bass and flashing lights instantly transporting us back to some underground club in the 1990s during trip hop’s peak. Then, fans finally got what they wanted after numerous “Play Gorecki!” chants, with the unmatchable love anthem of its decade being performed. I honestly think Gorecki is one of the most beautiful love songs ever written so finally hearing it live on Friday night definitely ticked a box for me on the magical moments list of my life.

Speaking of which, Rhodes then requested the crowd to be quiet so she could sing a song about magic, which surprisingly actually happened after about three minutes of people shushing one another. The mystical song The Spectacle saw Rhodes explain an experience where she turned to the sky for direction and inspiration. Such a simple idea but so beautifully written and executed it felt like the most original thing I have heard in a long time. After a brief disappearance the band then reappeared onstage for the encore which of course included the simply marvelous What Sound and Cotton Wool.

We left the gig feeling warm, inspired and connected to one another, just like I had expected to feel after seeing Lamb play live. Perhaps it was the early summer evening air, or the plastic cup of wine I had sipped during the performance, or the fact that it has been so long since I have seen such a unique musical performance of this kind, but I left the show feeling spiritually revitalised and awakened. The album 5 might mention writers block and Rhode’s brief lack of inspiration before hitting the studio throughout its content, but in my eyes Lamb are still finding exactly the right words to say it. Whatever it might be to you.

Lamb’s brand new album 5 is available to purchase here. Go buy it, you won’t regret it.

One Woman Army

In Literature & Poetry, Music on January 15, 2011 at 5:17 pm

When it comes to music, there are those artists you get into because you love their voice. Others you may respect the viewpoint of or relate to their lyrics. Some you may enjoy the style and visuals of, and then of course there are those guilty pleasures that just make you want to dance. Every now and then though, you may come across an artist who just ticks all the boxes and then some. This particular artist managed to change my entire outlook on life, as well as opening my eyes in ways they had never been opened before…

Anyone who knows anything about me will know that my favourite musical artist in the world is the singer/songwriter/guitarist/poet/self-built entrepreneur, Ani Difranco. My dear friend of forever, Natalie, had downloaded a couple of her tracks back in school which she played to me when I was about fifteen. I remember first hearing Shameless and being utterly blown away. I loved how her vocals went from soft to ferocious and was amazed by her frantic yet exceptional acoustic guitar playing skills.

I went straight into Brighton that weekend and dug out the Ani Difranco section in my favourite record store and was amazed to find the amount of albums she had. I took a lucky guess on a good place to start and bought Living in Clip, a double-disc collection of live performances of Ani in the nineties. I was staying with friends that night and after they had fallen asleep I stayed up well into the early hours of the morning playing the album repeatedly on my portable CD player. I remember thinking how I had never heard things put the way that she put them before and simply could not stop listening to her. From here on I worked my way through Ani’s extensive discovery of records and got my hands on every single one, from her raw yet revolutionary debut, through her many changes, bootlegs and live shows, right up to her more recent and self-found work. She has continued to be my favourite artist for almost a decade and I have seen her play live countless times. She has also been the inspiration behind several of my tattoos, including her song Promised Land written on my inner arm in her handwriting. Oh yes, in my eyes Ani Difranco is the real deal.

Difranco was born in Buffalo, New York, in 1970. By 1989 she had started her own record company called Righteous Records, which would later go on to be called Righteous Babe Records in 1994. She began playing Beatles covers and busking with her guitar teacher at the age of nine. Her self-titled debut was released on the label in 1990, which led to her touring vigorously and slowly building an underground following . This went on to be the pattern for the years to come, with the determined little folk-singer writing hundreds of songs and releasing 20 recorded albums in total so far (sometimes releasing as many as 3 albums in a single year). Her music covers themes such as human and equal rights, feminism, politics, environmentalism and self-expression. According to her official website she has “fixed up a few old buildings” and minimized her carbon footprint before it was trendy – from installing a geothermal heating and cooling system in the renovated church that her label calls home to using organic inks on all the t-shirts she sells.

One of the most inspirational things that Ani has taught me is how important it is to be as free-spirited as possible and avoid the corporate machine whenever possible. Her self-built record label has led to Rolling Stone labeling her “fiercely independent”, and “the ultimate do-it-yourself songwriter” by The New York Times. This bold decision has been addressed in some of her lyrical content:

“No I don’t prefer obscurity
but I’m an idealistic girl
and I wouldn’t work for you
no matter what you paid
and I may not be able
to change the whole fucking world
but I could be the million
that you never made.”

The Million You Never Made, Not a Pretty Girl

“I think
he does not hear what I’m saying
he’s just looking at my eight by ten
and wondering about
the part that was left out
does she have a body
that will really draw them in?

but I’d rather pay my dues
to the six people
sitting at the bar
than to all those men
in their business suits
who say I’ll take you away from this
if you’ll just
get in the car.”

The Next Big Thing, Not So Soft.

It can’t have always been easy for Ani to turn down the temptation of record deals, however she followed her heart and built her own empire (out of car tyre’s and chicken wire as she once sang). This has proven to me how with enough self-belief, persistence and ambition you can achieve your dreams without selling your soul along the way. If I could have half the career that Difranco has had with my writing, simply with the knowledge that I have done it my own way and not compromised myself or my views to fit anyone elses’ ideals; I would be utterly satisfied.

So over the next two weeks I will finally be seeing my favourite righteous babe play again in both Brighton and London, which of course I am majorly psyched about. No matter what twists and turns my own life has taken over the last decade, Ani’s music has constantly managed to reach out and speak to me in ways not many other artists have. I feel that finally writing this article is the least I can do out of gratitude for finding an artist that has played such a big part in my own personal evolution, as well as constantly inspiring and influencing me. I hope it introduces her to people that may not yet be familiar with her work, and opens their eyes and minds in the way it has mine and so many others. I truly believe there are so many lessons to be learnt from this phoenix who dared to rise out of the ash, just as she continues to fly past.

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To Whom It Should Concern

In Arts & Culture, Music on November 16, 2010 at 7:12 pm

Last night I waited with bated breath for what could possibly be the final piece of the iamamiwhoami online saga. What I witnessed, along with seemingly thousands of others, was a true piece of unique and creative genius. I sat glued to the computer screen as the captivating enigma that is Jonna Lee sang through her small yet outstanding back catalogue of songs that have surfaced via the internet over the past year in the viral project that has had everyone talking.

I remember being introduced to the campaign last December with the early videos that surfaced on YouTube displaying a blonde girl writhing around in the mud with a distorted face. The circus of speculation had begun, with journalists and bloggers debating her identity to be anyone from Karin Dreijer Andersson from The Knife to Christina Aguilera.

Over time, more videos surfaced and it became clear that iamamiwhoami was not planning to reveal their true identity or reasoning behind the videos anytime soon. The clips got stranger, with threads running through them of nature and animals such as black cats and dogs. The videos journeyed through the seasons, from the thick snow of winter to the burning sun of the summer; perhaps symbolising a reinvention of an artist into new and experimental territory.  There have been plenty of other bizarre possible clues and hidden meanings throughout the project, however one of the main things that has remained consistent is the fantastic production and sheer brilliance of the music, as well as the beauty of its visuals.

Finally it became evident that the woman in the videos is Jonna Lee, a singer-songwriter from Sweden more known for her organic, folky sound. Although never officially confirmed, the videos went on to show the disguised woman of the forests’ gradual evolution into the confident, empowered creature we get to know in the latter videos. After a small hiatus of a few months, the iamamiwhoami mystery continued recently with a request for a volunteer to be selected to attend a special concert that would be available to stream online.

This is what finally took place last night on http://towhomitmayconcern.cc, a website that had been set up to build the momentum for the concert with the title: To Whom It May Concern. Of course, this was no ordinary concert. Scheduled to begin at 12:01 am CET (6pm EST), the show did not get off the ground for a good 15 minutes due to the website crashing from such high server traffic. Mission accomplished: Everyone was watching. The concert video lasted an hour and 4 minutes, and was removed 4 hours after first being shown.

The concert presented elements of most of the videos throughout the viral campaign, as Jonna and her mysterious male sidekicks picked up the brave volunteer who would be the only member of the concert’s audience in real life. As they drive, Jonna sings the track u-1, and begins b before continuing it outside using a Harpsichord Synth. The musical journey continues through a dreamy (or perhaps nightmarish) set of visuals including Lee smearing ash over her face in reference to her early video ‘y’.

After the final song ends, Lee covers the keyboard with the veil she is wearing and puts on a false tail and monkey mask. She then walks to a table where men dressed in costumes of an owl, goat, llama, whale and bee are sitting (all references to animals that appear in the earliest of the viral videos). The animals all then begin to make the sounds that featured in these early clips, pronouncing the word “Bounty” as the concert ends. It would seem that all the riddles throughout the project have been leading to this moment…

It is hard to know where iamamiwhoami, or Jonna Lee, or Bounty, or whatever name this mysterious artist/s goes by, will take the journey next. Whether we get any real answers to the jigsaw or not, I just hope we get to hear much more music from it and continue to see such inspirational and creatively groundbreaking videos. In my eyes, escapism, fiction and mystery are always wonderful things; particularly in an era when there is so much that needs to be changed. Therefore, in response to whom it may concern: a concept such as this should be brought to everyone’s attention. It feels like we are in the midst of a musical revolution through the use of new media; bridging the gap of music and art with a rare dose of intrigue.

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Jonna Lee is Bounty?

In Arts & Culture, Music on July 4, 2010 at 3:47 pm

It seems that most people, particularly in cyberspace, have decided that the infamous ‘iamamiwhoami’ singer is Swedish singer songwriter Jonna Lee. In fairness, the likeness is uncanny, particuarly in the viral campaign’s latest offering ‘T’. You can finally see the singers face properly, as she dances in the sea and in a forest with a crown on. There are also bizarre cuts to the very-almost-certain Jonna Lee dancing naked ontop of a tinfoiled car. Just another surreal month in the world of iamamiwhoami. So do we still care? I know I do. If not for any other reason than that I love the music and really need to get my hands on the full record. However, I still really enjoy the amazing visuals each month a video is released and the mystery that still surrounds the project.

So far the letters that appear on each video spell out: ‘BOUNT’. Could this website possibly have anything to do with the project in the future? http://iambounty.com/

Here is the latest video from the enigmatic artist(s). It is one of my favourites to date and I cannot stop playing the song which almost has a Summery feel.  What are your thoughts? Still interested?

If you have been living on Mars since December last year and have never heard of the mysterious viral project, read more about it’s background in one of my previous blogposts: http://cwgill.wordpress.com/2010/06/03/new-iamamiwhoami-video/

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New iamamiwhoami video

In Arts & Culture, Music on June 3, 2010 at 8:48 am

I have been following this mysterious viral campaign throughout the winter and have sent my brain in spirals trying to figure out who is behind it. I have however found it best to just enjoy these videos for what they are: fantastic music and production with bewildering yet beautiful visuals. The latest piece in the iamamiwhoami jigsaw sees the infamous enigmatic blonde covered in salad with her face distorted once more. Musically, this video is one of my favourites and I am simply dying to get my hands on this record. If there is ever going to be one.

For me, the guessing game has stopped. In a world of music where everyone tweets about what they had for breakfast or what colour socks they are wearing, it is refreshing to have an air of mystery about once more. Even if these videos remain a question mark I will continue to enjoy them every time. As long as I get the album soon.

What are your thoughts on the latest viral video? Do you still care about it?

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The Digital Revolution

In Music, Technology on May 31, 2010 at 5:06 pm

Since the early 80s leading up to present day, the Digital Revolution has seen the change from analog mechanical and electronic technology to digital technology. The term also refers to huge changes brought about by digital computing and communication technology. The Digitial Revolution marked the beginning of the Information Age; which is very much what we are living in today.

Here is an example of a piece of technology that this digital revolution has brought us today called Skinput:

Have you ever found the keypad on your phone or music player to be slightly restricting? Perhaps your forearm would allow more room for the buttons. It could effectively support a skin-based interface that helps turn your own body into a touch screen.

Skinput is a system that combines two technologies, the ability to sense the ultralow-frequency sound produced when tapping the skin with a finger with the microchip-sized projectors that are now found in many phones.

A keyboard or menu is beamed onto the user’s forearm and hand from a projector, where an acoustic detector works out which part of the display you want to set in motion.

This piece of technology fascinates me as even though it doesn’t seem very useful, it displays an incredible level of technological progression from what I have already seen in my lifetime; making me even more excited about what the future could bring.

The Digital Revolution has also made its way into music; particularly electronica. Kraftwerk, who were at the forefront of this, display their digital advancement and how it can be used in music throughout their entire discovery. Here is a fantastic example of the pioneers of electronic music doing what they do best in The Robots:

Kraftwerk were incredibly ahead of their time exploring this genre of music, influencing the likes of Daft Punk and many other modern day electronic artists. The in-your-face yet fantastic electropop singer/producer/DJ Peaches has also broken new ground in her work. Here is an awesome example of Peaches and her feelings on the Digital Revolution and its place in music. I highly recommend watching this. The clothes she wears during her performances are also worth checking out: this legend’s been doing it long before the others.

What is your take on how Peaches explores music technologically and visually? Personally it gives me goosebumps; I adore how she uses technology to express herself and cross boundaries. I look forward to what she could accomplish in the future.

I was also interested in when she mentions holograms as I have always hoped to see this development in technology during my lifetime. Which leads me onto this article I stumbled upon about how “string theorists” are exploring a possible scenario in which people and the world around us are actually a 3-D holographic projection of two-dimensional data that exists outside the accessible universe. Confused yet!? Read on!!

http://www.google.com/hostednews/ap/article/ALeqM5gkJ2w3ihVuGevuUO4Mg5LyBm975wD9G0L6587

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Album Review: The xx

In Music on May 24, 2010 at 4:09 pm

Even though it has been out for a while now, I feel that The xx’s self titled debut is worth a mention in the week of the launch of my blogsite. The record is the outcome of three 20-year-olds from South London coming together making a primarily slow paced pop album, mostly about sex. No hype, no gloss, no pretence; the album is a breath of fresh air from start to finish and appears to avoid all gimmicks. Singer/guitarist Romy Madley Croft purrs and whispers through the album’s gems “Basic Space” and “Islands”. One of the highlights of the album is the moody and infectious “Shelter” which has Madley asking: “Can I make it better with the lights turned on?”

With no drummer, The xx still fill any gaps with their delicate compositions and gritty vocals that drift through each track. A drum machine adds an extra layer to the background of “Heart Skipped a Beat” that works alongside the romantic murmuring of the lyrics. “VCR” is given a slightly different feel with a xylophone melody playing over the simple lyrics: “You, you just know, you just do”.

Each track on the album seems to flow into the next with similar film noir qualities, amidst the smoky vocals and fluid treble-heavy riffs. It is rare that such a contemporary, sophisticated sound can be found in such a new and youthful act so there is a lot of hopefulness about The xx’s future. Just with a little more hype next time round.

Although it does not appear on the album I have included this cover of the track ‘Teardrops’ originally sung by Womack & Womack. The original song came out when I was born and I remember hearing it a lot growing up and I loved it. So this reworking of the song gives it a unique modern day edge.

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