been jazz-related, as I get to know more about the genre, and get new work from old favorites. One of these old favorites, and one of my favorite musical acts, period, is Cinematic Orchestra, a jazz-electronic fusion outfit hailing from the UK.
I first got to know Cinematic Orchestra (is that a great name, or what?) through their 1999 debut, Motion, “an unequivocally brilliant combination” of jazz and electronica. One listen and I was hooked; sample it yourself, and I think you’ll agree.
I followed it up with pretty much the rest of their discography: 2002′s Every Day, an even more genre-defying feat (and probably my favorite CO album) that included some reimaginings of pieces from their earliest recording (made in 1999, but released in 2003), Man with a Movie Camera. Man with a Movie Camera, intriguingly, is the result of a request for CO to score a silent Soviet documentary originally made in 1929, for the purposes of its re-airing in a Portugese film festival. Pretty neat.
I followed that up with 2007′s Ma Fleur, and most recently, their 2008 live recording, Live at the Royal Albert Hall, which showcases the group as the master musicians they are. Jazz is always best listened to live, and this recording is not to be missed.
Regardless of what type of music you listen to, you’ll probably end up a fan of Cinematic Orchestra. Highly recommended.
but what with one thing and another, well. Blink-182 was one of my favorite bands for a while, a band who was getting better and better, their artistry (yes, artistry) culminating in their fantastic self-titled 2003 release. Sadly, that was to be their last release, as the band went on “indefinite hiatus” shortly afterwards.
After a period of mourning, I was very happy to learn that the three former members were still making music, just not together:
- Angels & Airwaves – We Don’t Need to Whisper
AVA (don’t ask me where the V comes from, but that’s how they abbreviate the name) is the band formed by Tom DeLonge out of the ashes of Blink-182. Whisper is very very good, but a bit self-absorbed and self-important. Fitting with Blink-182′s aesthetic, the lyrics are infantile, the music sublime—moody and introspective, reminiscent of the Cure’s atmospheric darkness and U2′s melodic, reverb-heavy guitars.
- +44 – When Your Heart Stops Beating
+44 is the other band to rise out of the Blink-182 ashes, this one formed by the other two members, Mark Hoppus and Travis Barker. An intriguing blend of electronic and rock, this is a better album than AVA’s debut effort, because it clearly breaks new ground and pushes its envelope—something which Whisper, while accomplished, does not do. Unsaddled by DeLonge’s self-absorption and paranoia, Hoppus’ lyrics are irreverent, smart, but never pretentious. This is a fabulous album, catchy at first listen and with enough depth to keep you coming back for more.
As much as I liked Whisper, I can’t bring myself to buy the new AVA release, I-Empire. Without Mark Hoppus’ comparatively dulcet tones to temper it, DeLonge’s voice is simply too grating to listen to for long. I got annoyed just sampling the album.
Oh, and if you’re holding your breath for Blink to get back together, don’t. Listen to +44′s No It Isn’t—”Please understand / This isn’t just goodbye / This is I can’t stand you”—and you’ll get the picture.
entirely at my friend Jieun’s feet. She’s an aficionado of contemporary Japanese music, and a couple of years ago she introduced me to スピッツ (Spitz), a famous rock band there. Little did I know that they would eventually become my favorite band (topping the Indigo Girls, in whom I’ve lost interest lately), and that I would spend a small fortune importing their entire discography (well, the LPs, anyway) from Japan last year.
Founded in 1987 and still, thankfully, going strong, Spitz has a style that is right up my alley; rock with a softer pop edge. Melodic, unusual and (I hate this word, but I am going to use it anyway) evocative, their music forged an immediate emotional connection with me, and I was hooked. Frontman Masamune Kusano is a gifted songwriter whose unique voice helps the band stand out from the saccharine masses that comprise much of Japanese contemporary music.
I’ve been sitting here trying to put into words why I love their music so much, but I’ve realized I just can’t. Music at its purest level is an entirely subjective experience, and Spitz’s makes me happy and sad, melancholy and overjoyed all at once. It’s intense and deft and indescribable.
My favorite songs of theirs are different depending on my mood, but current favorites include, in no particular order:
- ルキンフォー (looking for) from さざなみ CD (sazanami CD: ripple), their newest release.
- 惑星のかけら (hoshi no kakera: star fragments) from the album of the same name
- ハネモノ (hanemono: winged creature) from 三日月ロック (mikazuki rock: crescent moon rock), my favorite album of theirs.
- ババロア (Barbaroa) from 三日月ロック
- 正夢 (masayume: a dream come true) from スーベニア (souvenir)
- 運命の人 (unmei no hito: soulmate) from フェイクファー (fake fur)