iPodyssey: Bodysong edition
You want the truth? I'm afraid of Jonny Greenwood and what he might do to me. Much more precisely, what his album "Bodysong" might do to me, and how I will judge that doing-to me.
So, in an effort to swallow this most likely cyanide sweet pill, I am going to liveblog it. So, I will sit, and give my impressions as they come. Fun for me!
"Moon Trills"
That was nice. It makes me think Jonny is most likely responsible for Radiohead's more cinematic moments. Damn he's good.
"Moon Mall"
Here we go, we're into some real "atmosphere" now. I'm sure there's something like Poly-rhythms or tremelos going on, but I wouldn't know. What I do know, is that regardless of the disjointed bits flying at my ears, I am not disengaged. I like this one too.
"Iron Swallow"
Only judging from two albums (Bodysong and There Will Be Blood) I have come to love Jonny Greenwood's (Yes, it has to be the whole name everytime, otherwise he loses his powers, and they win) "signatures", like the lone violin in this track. It's a Peter and The Wolf type character in There Will Be Blood, and it feels like it's just dropping in to say "hello" here.
"Clockwork Tin Soldiers"
Why do I feel only a person of British persuasion is allowed to use "Tin Soldier" in their art? So, in this story, an alien invasion is a resounding success until a lone Clockwork Tin Soldier wakens (cause of all the gamma radiation of course) in the dusty back corner of a vintage toy, he rouses his fellow alloyed warriors, and leads them to unexpected yet final victory over those fucking green tourists!
"Convergence"
It's that one. You know. The one from TWBB where all the percussionals are going all a-rhythmic on your ass and some how come through to a fascinatingly coherent cacophony. It's an interesting experience, it transitions beautifully into the next track. Won't be playing it at my wedding.
"Nudnik Headache"
is nasty. It feels like a dirty night in Amsterdam, spent with Johnny Greenwood and a very thin and wonderfully conversational transvestite. All expenses paid.
"Peartree"
2001:A Space Odyssey is the first thing to come to my mind. This song brings images of sunrises over monoliths, slow, stark white rotations, and robotic lip reading. It makes me wonder what Johnny Greenwood is doing right now. Screechy strings; another signature.
"Splitter"
Espionage. Intrigue. Helicopter rides.
It's got some great "National Anthem" horns and bass lines.
"Bode Radio / Glass Light / Broken Hearts"
This album feels like a walk through an art gallery, with small adjoining rooms, each containing a completely different installation. There are common themes, but each space has a definite "otherly" feel, on it's own, and compared to it's friends.
This room returns to the haunting strings from a few tracks back, but now the strings have friends, and they're kind of sad, but hopeful on an epic scale. Just at the end though.
"24 Hour Charleston"
Mmm. More persistent bass please. I am loving how this one deteriorates. Then gets back on it's feet. This makes me imagine a back alley Tokyo detritus monster. From the suburbs!
"Milky Drops From Heaven"
Pharaoh Sanders and Miles Davis made a music baby!
"Tehellet"
Feels like the ambiguous end to a sprawling, sci-fi tragedy. There has to be a Moog somewhere in there. Maybe a Theremin as well? It's haunting and a bit challenging, and that's what I have to say about the album as a whole.
.
So, in an effort to swallow this most likely cyanide sweet pill, I am going to liveblog it. So, I will sit, and give my impressions as they come. Fun for me!
"Moon Trills"
That was nice. It makes me think Jonny is most likely responsible for Radiohead's more cinematic moments. Damn he's good.
"Moon Mall"
Here we go, we're into some real "atmosphere" now. I'm sure there's something like Poly-rhythms or tremelos going on, but I wouldn't know. What I do know, is that regardless of the disjointed bits flying at my ears, I am not disengaged. I like this one too.
"Iron Swallow"
Only judging from two albums (Bodysong and There Will Be Blood) I have come to love Jonny Greenwood's (Yes, it has to be the whole name everytime, otherwise he loses his powers, and they win) "signatures", like the lone violin in this track. It's a Peter and The Wolf type character in There Will Be Blood, and it feels like it's just dropping in to say "hello" here.
"Clockwork Tin Soldiers"
Why do I feel only a person of British persuasion is allowed to use "Tin Soldier" in their art? So, in this story, an alien invasion is a resounding success until a lone Clockwork Tin Soldier wakens (cause of all the gamma radiation of course) in the dusty back corner of a vintage toy, he rouses his fellow alloyed warriors, and leads them to unexpected yet final victory over those fucking green tourists!
"Convergence"
It's that one. You know. The one from TWBB where all the percussionals are going all a-rhythmic on your ass and some how come through to a fascinatingly coherent cacophony. It's an interesting experience, it transitions beautifully into the next track. Won't be playing it at my wedding.
"Nudnik Headache"
is nasty. It feels like a dirty night in Amsterdam, spent with Johnny Greenwood and a very thin and wonderfully conversational transvestite. All expenses paid.
"Peartree"
2001:A Space Odyssey is the first thing to come to my mind. This song brings images of sunrises over monoliths, slow, stark white rotations, and robotic lip reading. It makes me wonder what Johnny Greenwood is doing right now. Screechy strings; another signature.
"Splitter"
Espionage. Intrigue. Helicopter rides.
It's got some great "National Anthem" horns and bass lines.
"Bode Radio / Glass Light / Broken Hearts"
This album feels like a walk through an art gallery, with small adjoining rooms, each containing a completely different installation. There are common themes, but each space has a definite "otherly" feel, on it's own, and compared to it's friends.
This room returns to the haunting strings from a few tracks back, but now the strings have friends, and they're kind of sad, but hopeful on an epic scale. Just at the end though.
"24 Hour Charleston"
Mmm. More persistent bass please. I am loving how this one deteriorates. Then gets back on it's feet. This makes me imagine a back alley Tokyo detritus monster. From the suburbs!
"Milky Drops From Heaven"
Pharaoh Sanders and Miles Davis made a music baby!
"Tehellet"
Feels like the ambiguous end to a sprawling, sci-fi tragedy. There has to be a Moog somewhere in there. Maybe a Theremin as well? It's haunting and a bit challenging, and that's what I have to say about the album as a whole.
.