Chris Campbell and Grant Cutler's Schooldays Over: Folk Reimagined | I CARE IF YOU LISTEN
Schooldays Over is Chris Campbell and Grant Cutler s dark and haunting reimagining of Ewan MacColl s Irish folk-ballad of the same name. In 1961, MacColl wrote the song as part of a larger work called The Big Hewer, which was broadcast as a radio documentary about the lives of coal miners. Schooldays Over in its original labyrinth door knocker earrings form depicts a wide-eyed, adolescent eagerness to leave the schoolyard behind labyrinth door knocker earrings and join in with the other men down in the pits; however, Campbell and Cutler s approach is of reluctance and fear, as though what is being heard is a snapshot of a grim present-day, and the naive and youthful hunger merely a distant memory.
Schooldays Over was released on the Innova label as a 45 rpm, 12 vinyl, along with a card for a digital download. labyrinth door knocker earrings The overall sound quality is very intimate, labyrinth door knocker earrings clear, and raw, almost as if the entire band were recorded labyrinth door knocker earrings live in the listener s own living room. At times, even ambient room noises appear in the mix, adding labyrinth door knocker earrings to the vibe. This intimacy is juxtaposed with layered and reverb-laden vocal lines, that are sung in a hushed and quasi-whispered tone, not at all unlike contemporaries Sufjan Stevens and Son Lux.
At 21 minutes in length, Campbell and Cutler s reworking presents layers of drones and repetitive instrumental passages, serving as both bookends and interludes that seamlessly transition into and out of each of the song s three verses. Timbres and textures throughout the recording are made up of various synthesized tones that are blended with combinations of acoustic instruments, such as piano, strings, bassoon, glockenspiel, and marimba. The range of textures and development of ideas throughout the work suggests a narrative of mortality, one that hints at both a frightening anticipation of tragedy, and the eventual calm acceptance of fate. The opening moment evokes labyrinth door knocker earrings an early morning haze, with piano, strings and glockenspiel labyrinth door knocker earrings sparsely echoing each other, leading into the first verse, which rather eerily focuses on the line Time to learn the pitman s job, as if an apparition is calling one to the other side. Following the verse is a laboriously pulsed marimba drone that crescendos with persistence as it nears the end of side one. Side two hits like an epiphany. By far the loudest moment of the entire release, the opening of the second half immediately labyrinth door knocker earrings shakes off the dark shadow labyrinth door knocker earrings cast by the reverse side. Gorgeous chords and baths of rich cello drones permeate the second half, as the remaining verses bring about an inner peace that was previously absent.
The decision for releasing it as vinyl makes perfect sense, given the subject matter: Whether one looks at the repetitive nature of a coal miners work, tirelessly labyrinth door knocker earrings working labyrinth door knocker earrings deeper into the pits, or the universal inevitability of death, a metaphor can be drawn by looking at the mechanics of vinyl: labyrinth door knocker earrings a tone arm with a needle, whose fate is sealed as it digs through grooves, spiraling inward towards the dead wax.
The labyrinth door knocker earrings only inherent negatives about this release concern both the packaging and project length. Despite the continuity and organic flow from one moment to the next, Campbell and Cutler give each instrumental section and verse a separate track listing, length, and title, even going so far as to labeling each verse as Song 1, Song 2, and Song 3. The potential unintended consequence of this, of course, is to strip the listener of the experience of hearing the work in its entirety as a single entity. Admittedly, though, the break between side one and two, and the explosive start to the second half suggests a potential for at least two parts.
The issue of length is purely selfish. Schooldays Over is sonically beautiful, colorful, and is paced in a way that feels as though the 21-minute runtime is up before it even began. Immediately, the yearning for more kicks in as the third verse comes to a close and the needle reaches its untimely end.
Read our most popular posts (last 7 days) UnCaged Toy Piano Festival Extravaganza Full of Premier… by Arlene & Larry Dunn | posted on January 7, 2014 John Adams’ Nixon in China: labyrinth door knocker earrings full production at the San … by Kelsey Walsh | posted on July 10, 2012 5 questions to Isaac Thompson (Director of Artistic Pla… by David Dies | posted on January 8, 2014 iPads and Apps Make Page Turning a Breeze for Musicians… by Dana Wen | posted on July 10, 2013 The Winter 2013 Mixtape is out! by Thomas Deneuville | posted on January 1, 2014 Georg Friedrich Haas and JACK Quartet Make Music in Dar… by Sam Reising | posted on January 9, 2014
Follow us on Twitter Happy Birthday Morton Feldman! http://t.co/3uCb3ABZds . @chriscerrone 's Invisible Cities in LA: An operatic tour de force by @GavartGamhag #LA #Opera http://t.co/LBH3Lm50LU 5 questions to Georg Friedrich Haas (composer) labyrinth door knocker earrings by @SamReising // @LincolnCenter labyrinth door knocker earrings http://
MORE
Schooldays Over is Chris Campbell and Grant Cutler s dark and haunting reimagining of Ewan MacColl s Irish folk-ballad of the same name. In 1961, MacColl wrote the song as part of a larger work called The Big Hewer, which was broadcast as a radio documentary about the lives of coal miners. Schooldays Over in its original labyrinth door knocker earrings form depicts a wide-eyed, adolescent eagerness to leave the schoolyard behind labyrinth door knocker earrings and join in with the other men down in the pits; however, Campbell and Cutler s approach is of reluctance and fear, as though what is being heard is a snapshot of a grim present-day, and the naive and youthful hunger merely a distant memory.
Schooldays Over was released on the Innova label as a 45 rpm, 12 vinyl, along with a card for a digital download. labyrinth door knocker earrings The overall sound quality is very intimate, labyrinth door knocker earrings clear, and raw, almost as if the entire band were recorded labyrinth door knocker earrings live in the listener s own living room. At times, even ambient room noises appear in the mix, adding labyrinth door knocker earrings to the vibe. This intimacy is juxtaposed with layered and reverb-laden vocal lines, that are sung in a hushed and quasi-whispered tone, not at all unlike contemporaries Sufjan Stevens and Son Lux.
At 21 minutes in length, Campbell and Cutler s reworking presents layers of drones and repetitive instrumental passages, serving as both bookends and interludes that seamlessly transition into and out of each of the song s three verses. Timbres and textures throughout the recording are made up of various synthesized tones that are blended with combinations of acoustic instruments, such as piano, strings, bassoon, glockenspiel, and marimba. The range of textures and development of ideas throughout the work suggests a narrative of mortality, one that hints at both a frightening anticipation of tragedy, and the eventual calm acceptance of fate. The opening moment evokes labyrinth door knocker earrings an early morning haze, with piano, strings and glockenspiel labyrinth door knocker earrings sparsely echoing each other, leading into the first verse, which rather eerily focuses on the line Time to learn the pitman s job, as if an apparition is calling one to the other side. Following the verse is a laboriously pulsed marimba drone that crescendos with persistence as it nears the end of side one. Side two hits like an epiphany. By far the loudest moment of the entire release, the opening of the second half immediately labyrinth door knocker earrings shakes off the dark shadow labyrinth door knocker earrings cast by the reverse side. Gorgeous chords and baths of rich cello drones permeate the second half, as the remaining verses bring about an inner peace that was previously absent.
The decision for releasing it as vinyl makes perfect sense, given the subject matter: Whether one looks at the repetitive nature of a coal miners work, tirelessly labyrinth door knocker earrings working labyrinth door knocker earrings deeper into the pits, or the universal inevitability of death, a metaphor can be drawn by looking at the mechanics of vinyl: labyrinth door knocker earrings a tone arm with a needle, whose fate is sealed as it digs through grooves, spiraling inward towards the dead wax.
The labyrinth door knocker earrings only inherent negatives about this release concern both the packaging and project length. Despite the continuity and organic flow from one moment to the next, Campbell and Cutler give each instrumental section and verse a separate track listing, length, and title, even going so far as to labeling each verse as Song 1, Song 2, and Song 3. The potential unintended consequence of this, of course, is to strip the listener of the experience of hearing the work in its entirety as a single entity. Admittedly, though, the break between side one and two, and the explosive start to the second half suggests a potential for at least two parts.
The issue of length is purely selfish. Schooldays Over is sonically beautiful, colorful, and is paced in a way that feels as though the 21-minute runtime is up before it even began. Immediately, the yearning for more kicks in as the third verse comes to a close and the needle reaches its untimely end.
Read our most popular posts (last 7 days) UnCaged Toy Piano Festival Extravaganza Full of Premier… by Arlene & Larry Dunn | posted on January 7, 2014 John Adams’ Nixon in China: labyrinth door knocker earrings full production at the San … by Kelsey Walsh | posted on July 10, 2012 5 questions to Isaac Thompson (Director of Artistic Pla… by David Dies | posted on January 8, 2014 iPads and Apps Make Page Turning a Breeze for Musicians… by Dana Wen | posted on July 10, 2013 The Winter 2013 Mixtape is out! by Thomas Deneuville | posted on January 1, 2014 Georg Friedrich Haas and JACK Quartet Make Music in Dar… by Sam Reising | posted on January 9, 2014
Follow us on Twitter Happy Birthday Morton Feldman! http://t.co/3uCb3ABZds . @chriscerrone 's Invisible Cities in LA: An operatic tour de force by @GavartGamhag #LA #Opera http://t.co/LBH3Lm50LU 5 questions to Georg Friedrich Haas (composer) labyrinth door knocker earrings by @SamReising // @LincolnCenter labyrinth door knocker earrings http://
MORE
No comments:
Post a Comment