The New Zealand Artists Taking Vaporwave in New Directions « Bandcamp Daily
released October 6, Recorded and mixed December January at Arch Audio in Calgary, AB On these recordings, Wares is: Cassia Hardy-. From the first few bars of the opening track, it was clear the band's sound was I was surprised to see they're not from the middle of the United States, but Singapore. your whole life admiring the American emo scene from halfway around the world. Fill in your details below or click an icon to log in. and solo outings from icons like Bob Mould, Paul Weller, and John Doe. Nick Lowe's The Convincer is the record that brought me to Yep Roc, and I That key change in “They Don't Know About Me And You”—I mean, come on. and halfway through Scott's rambling tribute to Michael Nesmith, I had a.
But for the past century, it also has intersected powerfully with recorded media.
The first musician of any genre to reach one million record sales was the tenor Enrico Caruso insinging an aria from Pagliacci. Even if the vast majority of opera recordings released today still feature a dead, European canon, many living composers are echoing Worden in guiding new opera into the world via recordings.
Over the past few weeks, I spoke and emailed with several musicians who have released their operas as albums on Bandcamp. They described the practical necessities and artistic benefits of recording contemporary opera, while also acknowledging that to do so conceded essential aspects of their original visions.
As the team workshopped the future staged production, they also crafted a recording. In the early twentieth century, most of the population of the United States did not live within major metropolitan areas.
Recordings, rather than opera houses, thus were the sole opportunity for many to hear an art form then perceived as vital to cultural uplift. Records quickly became a medium through which opera reached an unprecedented cross section of the American public.
In former years merely the pasttime of the well-to-do in New York City and vicinity, grand opera is now enjoyed for its own sake by millions of hearers throughout the country. As scholar Robert Cannon describesthough, the rise of opera recording led to the concretization of a star system of singers who ceaselessly replicated the standard repertory. Composers, and especially living composers, were not prioritized. Perhaps, then, the composer of contemporary music theatre can re-emerge.
Creating an album out of The Source heightened the radical music of the original staged production. You Us We All or The Source might play for a handful of nights in one or two large cities, and then vanish from the stage. I myself have never seen any of these operas in person, but their recordings have profoundly shaped my understanding of contemporary music.
Back in the day, aficionados might settle into an Eames chair, turn on their hi-fi equipment, and follow an opera recording with a libretto or score. Even before the advent of radio, Marcel Proust sat in his living room and listened to the local opera house play Wagner via a telephone broadcast system.
Still, the format of that production lent itself quite easily to subsequent recording. The opera was already being sent into your headphones.
You wandered around a space. When the genre emerged in courts and public theaters in Italy four centuries ago, elaborate stagecraft along with sumptuous singing guaranteed its future. The composers I communicated with acknowledged that albums represent an unfortunate, but necessary, artistic compromise.
The future of their music is secured, while the important work of their collaborators—directors, designers—evaporates. I think the piece makes a lot more sense when you see it.
Jon and Mike are actually pretty young. We are all coupled and pretty much, well, adult.
But, you guys find it advantageous to be older, right? It gives you a certain perspective on things. The real benefit is that none of us harbor any illusions about what this is. So, we are not making music for anyone but ourselves and other people like us that actually want to listen to this.
I think, you know, the Breckenridge guys from Thrice are looking for a refuge from the big show and stadiums. Thrice is on tour with Deftones. I think, to some extent, those guys miss playing small, sweaty clubs.
They are absolutely four of my favorite musicians in the world and I just feel incredibly lucky to be able to make music with them. Jon is also in Kowloon Walled City with you, right?
His guitar playing, he plays bass in Thrice but guitar in Less Art, is super weird in a great way. We really started Less Art because we wanted to be the backing band for Minnick and just let him go on vocals.
His vocals on this album are great. Just a great lyricist, vocalist, and performer. Keeps me out of having to worry about it. You have a bunch of pretty great political topics on this album.
Real hot-button issues, like gun control. I might even like his newsletters more than his records. The Minus 5, Scott the Hoople in the Dungeon of Horror Scott [McCaughey] is a hard man to pin down on record, and you probably need at least a five-LP set, with each disc in a separate color, to do so.
Of Monkees and Men by The Minus 5, written and inspired completely by—guess who? I love this record.
Members of Thrice, Kowloon Walled City, and Curl Up & Die Join Forces as Less Art « Bandcamp Daily
That grin stayed stuck there through all of side one. It gets more introspective on the second side, where Scott takes the time to say good-bye to some real-life musical heroes—not the Tiger Beat crowd, but musicians who had a personal connection to Scott. I think he was referring to his own Streets Of Fire which, to be fair, may need another couple of decades for people to catch up to it.
Nowadays, people will tell you the Monkees are cool, but there was a time… Recently, I put on a great compilation of their songs and was blown away at how many I recognized.