A Visit to Radiohead's home town today

This is really a posting for Radiohead Fanatics only. I would love to see them live, however this opportunity is not currently open to me (or anyone), so I made sure their entire catalogue was on my iPhone, turned up the car stereo, and headed off to their home town.

Sadly, there are not yet any visible tributes to Radiohead in Abingdon, UK, such as plaques or statues, however I did take at look at Abingdon School where the band started.

Below is the entrance to the school. Fortunately nobody thought it was suspicious for a guy on his own to be photographing it with a large camera when pupils were wandering around. Perhaps there is a regular stream of Radiohead fans checking it out, and hence they are used to it.

I find it so interesting that Abingdon is a conservative looking town, dating to medieval times, with some beautiful ancient buildings, and yet in this environment such innovative music was born. This picture gives you an idea of what the main street looks like.

This is about 10 minutes walk from the school. My Radiohead day was typically cloudy, grey and intermittently wet, and in spending a few hours listening to their music I wondered if the UK climate helped give rise to the wonderful streak of melancholy in their music (particularly evident for me in Thom Yorke's voice. This picture of the River Thames may give an idea of the greyness today, taken about 100 metres from the main street.

These two pictures below are fairly typical of the buildings in the centre of Abingdon, and perhaps further illustrate my point about radical work coming from an historic English environment.

In terms of Radiohead's music, my listening today confirmed my view that the Bends and then OK Computer are my favourite albums, but my admiration for Kid A is growing, and I'm beginning to understand In Rainbows better. Now it seems rather strange that it took me a little while to appreciate their sound world.

Listening to Nine Inch Nails has changed my perspective somewhat: interestingly I find myself less tolerant of pleasant but ultimately second rate music (e.g. Vampire Weekend). NIN has made me more discerning, which means that I value Radiohead's utter genius even more.

NIN A Downward Spiral Review

Since I posted the reaction to my day listening to NIN, I've discovered that NIN fans are a really friendly and enthusiastic bunch of people. I guess this shouldn't be a surprise, since getting into NIN requires a certain degree of commitment, understanding and love of music. One thing which has struck me on reflection is the similarities between the complexity of contemporary classical music I've listened to and Trent Reznor's work, even down to some of the dissonant harmonies. I've come to realise that these two apparent musical opposites have a great deal of common ground and really it's sad that classical devotees at least are too click to judge and compartmentalise music based on its genre.

One helpful NIN fan pointed out that I'd inadvertently listened to the Broken EP when I thought I was commenting on The Downward Spiral, so here's my reaction to NIN's second album (I've corrected the original posting). I've given myself a little more space to give a quick reaction track by track.

There was an element of shock once more when Mr Self Destruct started. I've spent the past couple of days listening largely to folk influenced indie music, the hardest being British Sea Power's new album! However, after a few minutes I had managed to immerse myself in Trent Reznor's world and accept, rather than react against the aggression and dissonance.

Mr Self Destruct Real fear- an overwhelming sense of bombardment with sound. Shattering, with release in the middle and towards the end.

Piggy This is exquisitely (not a word I'd expected to use to describe NIN) structured with a gradual build up and surprising restraint. A surprising moment of relief.

Heresy Rhythm is key here. Pretty relentless. This is in your face.

March of the Pigs Utter rage, even in comparison with much of the material I listened to on my day long session, this is pretty challenging and really difficult not to resist with every fibre of your body.

Closer This is pretty striking. I probably wouldn't want to share the lyrics with my mother, but to my liberal sentiments this is valid self expression. Rhythm is key here. I love the way it dissolves at the end.

Ruiner Great Climax, almost orchestral in sweep, really mad.

The Becoming Great guitar work and spatial sense. Perhaps I need to seek out the SACD multichannel version because as pure sound it's fascinating.

I do not want this Unrelentingly difficult, lyrics shouted, maybe this is a descent into madness implied in the album title?

Man with a Gun Amazing impact and aggression, possibly some of the most unsettling music I've heard. This is brutal and maybe the angriest music I've ever heard.

A Warm Place A remarkable shift in mood from the previous track, I love the harmonies and atmosphere and the shock of the contrast. Perhaps because it is quieter, this is an area where I can clearly discern and appreciate Reznor's genius. The sheer sound is also so interesting (presumably the result of sampling). My favourite moment on the whole album.

Eraser Experimental in feel. Love the entry of the primeval drums and the gradual build up from the nothingness of the opening. This sort of  structure has several parallels in classical music. The entry of the vocal line towards the end and then return of devastating aggression is a surprise. The actual sound is amazing too on my expensive hi-fi bought to analyse the complexity of large scale classical works. Reznor can orchestrate.

Reptile Skilful letup in pressure at opening, then more rock like guitars

The Downward Spiral Ambient atmosphere, eerie piece, very original (but so is all of this album)

Hurt Amazingly emotional and after the preceding material is so moving. I've listened to symphonies over an hour long where your patience is rewarded by the theme being revealed in a large scale climax at the very end. Reznor is more original here though in that he dares to close on a quieter more subtle number with a surprising end. I really am wowed by Reznor's creativity and moved.

This album seems to cover an even wider range of emotions than the other NIN I've heard. The dark music takes the artform to the outer limits, stretching boundaries of what is music. Then there's A Warm Place which is amazingly touching and emotional. By the end, I felt exhausted, wrung out and disturbed. But I take this to be a sign of Reznor's skill in manipulating your emotions and causing you to question the world as it is.

When Stravinsky premiered the Rite of Spring in 1918, there was a riot. Now it seems relatively polite music, even before I was exposed to NIN. I reckon that NIN fans are far too enthusiastic about their music to interrupt a concert with a riot, but the shock of the new for me here has given me some idea how those Parisians felt in 1918.

As I write this, I've started to listen to The Fragile for a second time, and some of that shock and awe has been dissipated, in its place coming a greater understanding. I'm confident that there's enough complexity in this music for it to reveal new secrets on repeated listening. Perhaps instead of listening different NIN albums in one day, I should have put this one on repeat for 10 hours.

It's a pity that I didn't listen to this album on that first day with NIN, as it's now harder to place it in context. I think though that it may be the one most justifiably described as a masterpiece, but it's possible as I come back to this music that I will conclude that Reznor's entire output is masterly. It's already starting to get under my skin.

A Day with Nine Inch Nails

A day with Nine Inch Nails

I’ve embarked on an experiment today- to listen back to back to all the studio recordings of an artist I’ve struggled with- in fact previously I haven’t even managed to make it through a whole album of theirs- Trent Reznor’s Nine Inch Nails. The idea came from memories of immersion in Wagner’s Ring (c. 13 hours) or challenging contemporary classic music and finding it a transcendental experience.

I can’t emphasise enough that I have no prior knowledge nor experience of NIN, so if you’re looking for a detailed, informed critique, this isn’t the article for you. These thoughts were put together as I was listening over a 12 hour period today.

1)     Pretty Hate Machine

About ten minutes into a multi hour experience, I had an overwhelming craving for some Fleet Foxes, and frankly wondered if I had the mental stability to stay the course. This music is angry- the word alienation keeps coming to the fore, dissonant, and extremely unsettling.  The only thing keeping me going was the belief I must be missing the point, some  hidden meaning, as the person I trust most on matters musical rates NIN extremely highly.

An early sign of a possible breakthrough was ‘Something I may never have’: atmospheric and moving with fascinating textures. Despite this, it was clear NIN was going to be a tougher nut to crack than Radiohead, and I would be digging deep today into the past experience of sitting through hours of impenetrable atonal classical material.

By the end of this album it’s fair to say I feel traumatised and I’ve 6 more to go. This could end in an ugly way with this folk-music and bear loving tree hugger smashing up some property.

2)     Broken EP (see next blog post for reaction to Downward Spiral)

The sound is full of distortion, almost painful to the ears, and even more of an assault upon the senses than Pretty Hate Machine. More reflective moments such as Help me I am in Hell provide some relief and suggest a possible way into Trent’s world for me, but the relief was quickly shattered by the devastating impact of ‘Happiness in Slavery’.

It’s tough to concentrate on writing whilst listening to this music, but I’ve just been struck by the thought that if the purpose of music is to influence you emotionally (and I believe this is completely the point), NIN does succeed. There’s been little I’ve ever heard to which I’ve had such as strong reaction to as this- albeit one involving negative feelings. Maybe the point is to rid the body of negativity and frustrating by getting it out of the system. The test will be what state I’m in later. This album is raw and aggressive but by the penultimate track Physical I think I’m beginning to submit to it and let myself go: I’m questioning whether it’s constructive to try to analyse this music. In hindsight, this was the toughest party of today's journey into the unknown.

3)     The Fragile

My initial impression from opening track ‘Somewhat Damaged’ is that the sound is amazingly complex, and that rhythm is a key component of this music. I’m finding this easier to engage with than The Downward Spiral: it seems to have a slightly more human side, and more development and variety within the songs. The Frail is actually very touching and this is the first time so far in this experiment I’ve been moved in a more conventional sense. There is some repose at the end of We’re in this Together- and a real sense of atmosphere. The Fragile is also fascinating, if disconcerting. Even Deeper: here there’s some space to breath and to contemplate what’s gone before. Whereas Downward Spiral was a short concentrated bombardment, The Fragile seems more of a broad, film like panorama in the sense that it encompasses a wider range of emotions.

La Mer-: I doubt Trent Reznor is familiar with Debussy’s masterpiece, but it’s also very original and atmospheric and surprisingly emotional in portraying deep sadness. The Great Below is similarly beautifully orchestrated and even haunting.

This is album is a journey, not a collection of songs, and has structure which parallels classical works I love (it’s quite a lengthy album).  The instrumental tracks add variety.

But I’m still a long way from my comfort zone. I’ve had a recent exposure to Wolfmother and whilst it was a fairly hard-hitting sound, ultimately I think they were still having fun and didn’t take it so seriously. With this music, I detect real mental pain, and that’s harder to deal with. This isn’t intended as entertainment- it’s a dark form of art, surely an articulation of depression.

4)     With Teeth

This seems a comparatively more subdued and less abrasive than NIN’s earlier work, and the better for it, with even a hint of vulnerability. I love Right Where it Belongs- it has a dream-like quality. I feel in this album, Reznor has matured, and feels less of a need to prove his rebellious side. He gives himself more space to display his talents for setting out such a creative sound-world. This isn’t to deny that there is still much relentless, painful aggression, but this makes the moments of repose all the more powerful.

5)     Year Zero

I wonder if this album is inspired by the terror of war- certainly there’s extreme violence, and I certainly wouldn’t interpret this as a glorification of the military, more an exposition of its horror. It has real impact, although by the end there is some relief: Another version of the truth is quite delicate, and Zero sum lyrical (having all the more effect for being surrounded by such abrasion). It may be a question of acclimatisation, but now I’m a little more appreciative of Reznor’s self-expression, and feel less unsettled. If you overcome initial prejudices about the music’s style, there’s actually a liberal, tolerant message underneath.

6)     Ghosts I-IV

Since it’s instrumental, Ghosts reminds me of experimental or minimalist contemporary classical works, so I’m more in my comfort zone, and of course I’m used to lengthy works, so the commitment here holds no fears. In some ways this reminds me of film music, but there are some fascinating instrumental sounds and a refreshing experimental feeling. That’s not to say that it isn’t dark, in common with the other NIN work I’ve been listening to. It’s still unsettling, but not as barbaric as say The Downward Spiral.

7)     The Slip

This is the album I’d previously attempted to listen to on a couple of occasions, and given up on, so how has my perspective changed now? If I have persisted, I’d have discovered that the second half of this relatively short album is actually less hard-hitting, and more reflective. Now I’ve overcome some of my shock, I’m also able to appreciate some of the staggeringly innovative sound textures, surely a labour of love for Reznor. There’s no escaping the fact that this is demanding music though- the listener needs to put in real effort, and it would be unrealistic to expect to understand or love it on this first run through. Even now though, I’ll be bold enough to say that I can appreciate Lights in the Sky as a masterpiece.

What I've learnt from Today

I like music with a connection to the natural world- I feel it should be deeply linked to place. However, I’m wondering if I’d missed the point with NIN. Perhaps it’s actually critique of the industrial-military complex which I’m so uncomfortable with rather than part of it?

So have I emerged as a convert, a NIN fan? No, but a great deal has happened to me musically in the past two months, and as there’s over 11 months to go before I post my top ten musical discoveries of 2011, who knows? I do have a desire to return to explore this music further, and along with the challenges today, there have been moments of real insight for me. I’m left with an immense respect for Reznor’s musicality. I may not love much of this music, but I have a suspicion he’s achieved exactly what he set out to do, in terms of making tangible and sharing some very deep and difficult emotions.

This has been a fascinating journey into a previously alien world, and twelve hours later I can see the world from a very different perspective to my own.

British Sea Power Valhalla Dance Hall

This album is out on 10th January 2011 but I was lucky enough to catch a webcast on New Year's eve (I say this as many people had technical problems and the Band had to apologise to fans).

British Sea power are a pretty unique and eccentric, but still accessible,band whom I find thought provoking. In trying to find the correct set of adjectives to describe my first listen to Valhalla Dancehall, I came across an early review by the BBC, who put it far more eloquently than I could:

BSP 'warp the music to match the words; stormy, elastic squalls of incandescent sound that lack the hooky polish of the band’s early material, yet seethe and churn with greater force.'

I'd agree it's pretty powerful stuff, and since they are known for 'interesting' antics on stage, I'd like to seek them out live.

Those in the UK who are quick can order a download of this album, and incidentally The Decemberists' latest, at 7Digital for a pre-order price of £4.99.

Michael Celedon EP

Here's an album I would have completely overlooked if it wasn't for 'over hearing' a conversation on Twitter. It was released on iTunes five years ago way before I was interested in anything but classical music.

I'd say it's of wide appeal, being intelligent, tuneful, very well executed and engaging to the emotions. My favourite of the 8 tracks on the EP is Lauren, a love song, but none of them are superfluous.

The good news is that I hear he's working on new material, so I'd advise http://twitter.com/michaelceledonon Twitter and keeping your eyes to the ground.

There's some information here too.

Decemberists the King is Dead (mixed) reviews

The Decemberists have been streaming their forthcoming album the King is Dead here until it's released on 17th January.

I tweeted that although it was understated, I’d enjoyed it. Then I read a pretty devastating review by the MusicSlut, here's a quote:

'It sounds like a band trying to say things that the Decemberists might say in a song, but having no idea how to string a story out of the images. It’s so frustrating. Just give me ONE SONG as good as any song on Picaresque. No lame-ass folk rock. No song-after-song of John Cougar Mellencamp, driven by the uninspired acoustic chug and a harmonica.'
Now, part of the pleasure of music is getting into a debate, and since it's so subjective and personal there's no correct answer. I've found that Classical music buffs will talk for hours about the virtues of one interpretation or another.

A Google reveals that not everyone is disappointed: Sputnik Music gave it an excellent rating.If you're quick you can stream it and make up your own mind.

A re-listen suggests that it doesn't break any new ground, but if you enjoy subtle, folk-influenced Indie it's melodious and may well improve your mood. This album won't change your life in the way that a true original like Imogen Heap may, but nobody complains that Haydn wrote 104 Symphonies in the same Viennese Classical style (I was going to mention Vivaldi, but people do say that he wrote the same concerto thousands of times over).

Terra Naomi Live on Ustream.tv 4th January 2011

I have to recount a magical experience last night watching a Terra Naomi live session on ustream.tv. This was a first for me and was akin to a private concert- Terra broadcast from her flat in LA. It’s not always easy to rationalise an emotional experience, but here are some thoughts on why it spoke to me (and others judging by the comments on the site) so directly.

·         Terra has an amazingly pure voice which she projects magically. Her wonderful technique allows you to concentrate on the impact of the music. I’ve heard live relays of Florence Welch where she’s frankly off key, but even in an informal situation such as this webcast, Terra is vocally flawless. There’s a flexibility in delivery which is rarely evident in classical performances, but I could quite have imagined her saying ‘here’s something different’ and breaking into a virtuoso soprano number from a Britten or Janacek opera.

·         The lyrics are a heart-felt and genuine expression of her life experience. This is in contrast to the classical tradition where performers are interpreting someone else’s thoughts, and adds to the immediacy. Similarly, the music and accompaniment are Terra’s original compositions. It’s amazing to watch her effortless pianism or guitar playing simultaneously with the vocal performance. I find her acoustic performances as heard here more immediate than the elaborate arrangements on the Under the Influence album.

·         On meeting some classical musicians I know in the bar after a concert, I’ve told them I enjoyed it, and they’ll say ‘oh I hate that composer’ or ‘the conductor’s an idiot and we all hate him’. They still managed to deliver a technically accurate performance, but they were just being professional (and in some cases earning their pension contributions until they retire, having long since lost a belief in the power of music). Terra’s integrity is obvious and it’s so evident her heart’s in it (and that's she's generous enough to share some of her pain and joy with us).

·         As well as established favourites, we were treated to some new songs from her forthcoming album, which only added to the sense of anticipation for it.

It was great that Terra invited feedback and requests from her fans, and the enthusiasm from the online audience was wonderful. I was a little surprised a couple of people were chatting during the songs, but it was easy to maximise the video and return to the social media inbetween (note though that I’ve been to performances of Parsifal lasting 5 hours when the audience have been silent throughout and not much more talkative in the interval- there’s nothing wrong with some enthusiasm).

As I note in my profile, I'm an expert on classical music, but I'm only just discovering this new, rich, and emotional wider world of music and feelings. I may not have the points of reference to analyse what I hear in detail or in context; I do know instinctively though when I've been moved.

The great news if you missed this occasion is that you can watch it again here.

There are further Terra Ustreams promised this year, so keep an eye on her Ustream.tv page  and web site.