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I watched The Last Black Man in San Francisco about a week ago and this rendition of San Francisco (Be Sure to Wear Flowers in Your Hair) plays during a scene. It's beautifully haunting and bittersweet, and it fits the film so damn perfectly. I've not been able to get this out of my head ever since.
+1 
Drew: I don't know the musical term for it per se, but Tool are masters of changing time signatures.
The song "Schism" does so 47 fucking times. FOURTY SEVEN. And it's beautiful.
Legendary for its odd timing and 47 time switches, Tool's "Schism" takes the crown this week. Here's a more detailed explanation from Wikipedia: "The song begins with two bars of 5/4, followed by one bar of 4/4, followed by bars of alternating 5/8 and 7/8, until the first interlude, which consists of alternating bars of 6/8 and 7/8.
"The following verse exhibits a similar pattern to the first, alternating bars of 5/8 and 7/8. The next section is bars of 6/4 followed by one bar of 11/8. This takes the song back into alternating 5/8 and 7/8. Another 6/8 and 7/8 section follows, and after this the song goes into repeating 7/8 bars.
"The middle section is subsequently introduced, consisting of three bars of 6/8, one bar of 3/8, and one bar of 3/4 repeating several times. At one point it interrupts with two bars of 6/8 followed by a bar of 4/8, twice. A bar of 5/8 is played before the meter switches back to 6/8 for two bars and 2/4 for one bar.
"This repeats, setting up another section: two bars of 9/8 followed by a bar of 10/8, that pattern again, and then a single bar of 9/8 followed by alternating bars of 6/8 and 7/8. The outro has alternating bars of 5/8 and 7/8, ending with alternating 6/8, 2/8 that one could interpret as pulsing with a 4/4 feel.
"The band has referred to the time signature as 6.5/8. Although many composers would use 13/16 instead, 6.5/8 is still a valid fractional time signature."
*low-key double-thumbs-up*
Binged Christian Scott aTunde Adjuah's Stretch Music and Centennial Trilogy today after meaning to listen to them for ages. Immediately regretted not doing it sooner. Absolutely gorgeous jazz fusion soundscapes. Adjuah himself is a beast, but his flautist, Elena Pinderhughes, is arguably even better.
Last edited by Abbie (2020-05-17 06:36:13)
Dang.
You're right about all of that — and also, counting the drums is incredibly fun. Really cool tune.
I'm just belaboring the same shit at this point, but, really — damn thing sounds totally great.
I'm catching up with this year's Pulitzer Prize winners & nominees, which led me to Alex Weiser's and all the days were purple. I am...enraptured. the album is contemporary classical and sets Yiddish and English poems to music. the first song "my joy" is aptly titled. give it 20 seconds.
Interesting.
(The dissonant stuff particularly. I've never heard dissonance deployed to quite that effect before. Cool.)
New Phoebe Bridgers and new Goat Rodeo albums dropped last weekend, both excellent.
+1
The Violet Evergarden score is unabashedly sweeping and melodramatic as hell and I love it so so much.
Hooked at 1:11.
Mwahahaha, my evil plan to get Teague to watch an anime is working
(seriously it's so good)
*blink blink*
i see what you're trying to do here. you're doing anime thingy. I had foreseen it! I expected this!
Play these at the same time.
+1
I seem to be stuck in a Norwegien electro-pop hole. Sigrid
Have reached the stage of covid boredom where I'm using Topsters to make random album lists. Have a collage of my favorite record of each year going from 2020 all the way back to 1953 (studio and live albums only; no film soundtracks, classical compositions, compilations, or archival releases), and then the runners-up. I have yet to hear a great album from 1986 so that one's just an embarrassing placeholder on both lists 
+1
That is a good list. That is the goodest of lists. Any list that includes Abbey Road and Sergeant Pepper is by default a good list anyway.
1986 - well, as far as I'm concerned I'd pick one of the following:
- Master of Puppets (Metallica)
- So (Peter Gabriel)
...and if you were Patrick Bateman, you could also pick Huey Lewis and the News' Fore!.
Lots of stuff happening that year.
--
So, in my continued exploration of being late to the party, I recently properly discovered Blue Man Group. I knew about them, I've seen them everywhere, they're a strong pop culture reference, but I didn't really know what their deal was. Now I want to see one of their shows, but their owner Cirque du Soleil has postponed everything for the moment, so they're more or less in a coma.
Of course I was going to love their music. It could be described in one word: drums.
There is one track I've been listening to continuously, The Forge. I love how spacey, etheral it feels, all the while strongly driven by powerful drums. The chord progression is intensely cinematographic, and the music video is beautifully filled with visual meaning.
Love, love their work. The blue man is a great metaphoric character, it strips us down to the child at our core. There's a whole series of videos on their channel following the training of six aspiring blue men, and for a while I actually found myself wanting to try.
This is the demo reelest song ever.
(To be clear: I like it. It's also spontaneously generating demo reels in my head right now.)
+1
How To be A Megastar Live has the distinction of being one of the few albums I actually really like the live version of and will actively seek out to listen to, there's just something about the energy of the crowd that works so well with BMG (and vice versa) in a way I just find exceptionally annoying with other bands.
Live at Stubb's by Matisyahu was recommended to me for the same reason - great live energy that surpasses some of the studio albums and just works really well.
Love that record.
Williams is obviously the GOAT but it's always funny to discover an example of him plagiarizing something. First coupla bars of this sound familiar?
I mean, whenever I listen to The Planets I hear at least half the score of A New Hope, so.
(Good find!)
Bait-and-switch on this one got me good.
+1
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