'Tis the Season

After a long day of fighting holiday crowds and insanely cold weather, I came home to find an e-mail from my advisor sitting in my inbox.

"Thought you might be interested. Hope you're doing well . . . -- TAS"

Smiling, I clicked on the attached link. It brought me to a blog entry entitled "The Best Music of 2008." Oh yeah, I thought. It is about that time.

As the days dwindle closer to the end of December and each of us takes stock of the past year, the powers that be (or any schmuck with a blog or a column) in the music world do the same, releasing lists of the top (in their opinion) albums and singles of the year.

Although it may seem arbitrary to find out what did or did not make so-and-so's list, oftentimes the music that they choose represents music that was noticeable, if not notable. It is music that caused some kind of a stir; music that affected the culture as a whole, connected us, changed us.

When you think about it, music defines a year as much as the major events that happened, the clothes people wore or fads in pop culture. Like a soundtrack to a movie, each year lives and is forever remembered in the context of certain songs.

In the same way that the context we hear music in personalizes that music, so I think the music that accompanies our lives molds and changes us. Did we know joy before "Singin' in the Rain" or loneliness before "Piano Man?" Maybe so, but hearing those songs for the first time is like the difference between seeing a picture of a skydiver and feeling the rush of air against your skin and the thrill and terror in your stomach as you plummet towards the ground. Hearing those songs, we are Dorothy, stepping into bright technicolor and changing our view of our grey beginnings forever.

So what are your top picks of 2008?

Here are links to a few different versions of the top albums and singles of 2008:

the Slate list
Rolling Stone's list
Rolling Stone's list, part 2
Sondre Lerche's list (he has interesting things to say, though he doesn't seem too fond of music journalists...oh well)

Funny Music

In a scene often rampant with egomaniacs, pretentious pricks, too-obscure-for-you bands and self-indulgent artists, it can be refreshing to encounter musicians who don't take themselves too seriously. Here are a few:

Jack Black/Tenacious D
Behind all that funny, Jack Black packs some pretty impressive musical chops. This one is just him in a clip from School of Rock.

Legend Of The Rent - Your Not Hardcore - School Of Rock

Barenaked Ladies
Though not all of their songs are meant to be humorous, songs like "If I Had a Million Dollars" and "Grade Nine" are charmingly funny, like those friends you had in high school who could always make you laugh.

If I Had $1,000,000 - Barenaked Ladies

Flight of the Conchords
A little underground, a little comedy club, this duo is nothing short of hilarious.

Business Time - Flight of the Conchords

Adam Sandler
Funny and somehow cute even when he's being offensive. (Maybe it's just because I'll always see him as the wedding singer...or Billy Madison)

The Thanksgiving Song - Adam sandler

Weird Al Yankovic
The father of comedic music.

amish paradise - Weird Al Yankovic

Artist(s) You Should Know About: Sondre Lerche

Eeee! I am finally the owner of Phantom Punch, Sondre Lerche's second-newest major album. For some reason, it has been particularly hard to find, and I have been searching for what feels like forever for it. This means only EPs left, and I should have his entire discography.

Sondre Lerche is the only artist that I've ever tried this for. I have an album from this artist, a song or two from that one, but have never had the ambition (or the money) to try to get everything from other artists. It'd be exhausting, to tell the truth.

Having very ecclectic tastes in music (and being a very indecisive person), I always found it incredibly difficult to pick my top five or ten artists, let alone a favorite.

That is, until I 'met' Mr. Lerche. I don't know what it is, but something about his music is just right - even though it is different on each album. I first was introduced to it in high school when a friend of mine included a couple of his songs on a mix CD. It was love at first listen.

Although -- or maybe because -- he continues to tweak his sound on each album, he is one of the few artists who has survived my axe (or rather, disclusion from my iTunes library) during the transition from high school to college. Now that I am on the verge of entering into yet another phase of life, Lerche continues to be my favorite artist, and I doubt that will change any time soon.



As I've grown up, so has he. The 26-year-old singer/songwriter/guitarist from Bergen, Norway has metamorphosed beautifully from the contemplative indie on Faces Down to the plugged-in poet on Two Way Monologue to the rocker on Phantom Punch and to the jazz crooner on Duper Sessions.

For the soundtrack to Dan in Real Life, he pulled a Simon and Garfunkel (you've seen The Graduate right?...right? If not, let me know and we'll remedy this immediately) by writing and performing almost the entire soundtrack. He's also a very charming live performer and a witty blogger. (Check out the blog on his website, which is listed at the bottom of this post)

There is something about Lerche's somewhat strange, completely unique voice that is so appealing. When he sings, it is like every fiber within him is straining with the passion and force of pushing out feelings so deep they can only be expressed as a musical wail. And yet, the subtext of the tortured artist is covered by a seeming effortlessness and laid back charm. When you listen to him and watch him perform, you simultaneouly see the little boy, with his heart in his hands his eyes wide with vulnerability, and the man, the sophisticated musician with the mad guitar skills and songs full of musical surprises and lyrical complexity.

I must confess that I don't feel that my writing can ever quite capture the essence of this amazing musician and how it feels to listen to his music. All I can say, is give him a listen(I suggest starting with Faces Down or Two Way Monologue), keep an open mind, and enjoy.

The official website

Sondre Lerche Daytrotter session

Sondre Lerche selections

"Like a Rolling Stone"

I thought that as long as I'm sitting here waiting for my iPod to charge before heading to the library, I might as well blog. I know I'm spoiled, but sometimes, I just can't handle the depressing, sterile environment of the campus library without my trusty, apple green friend to drown out the stupid people and keep me from having yet another anguished existential crisis. (For some reason, the campus library seems to spark those)

Anyway, I feel like ranting about something that has been bugging me:

The Rolling Stone has for many years held the respect of the music-loving world. A household name, it has established itself as a venerable source for concert reviews, band profiles, etc.

However, lately, I've noticed that the magazine is diverging from the high standard of music journalism that has music geeks and journalists alike drooling into their Cheerios.

It seems that the magazine is increasingly pandering to the celebrity-obssesed, teeny bopper crowd. It used to be a major accomplishment to get the cover of Rolling Stone. Now, any flash-in-the-pan can get featured.

I get that maybe you want expand into more of a general entertainment magazine, especially with the ever-downsizing climate of journalism these days. I totally get the whole "keeping current" and "making yourself more marketable" thing, but you're the fucking Rolling Stone! You don't need this.

Last month's cover featured Britney Spears. Reading down the list of teasers also on the cover ("Twilight's Sexy Vampire," "Gossip Girl's Mean Girl"), I felt like I was reading an issue of People. It's not just a one-time thing, either. Other covers have featured Brad Pitt, Barack Obama (nobody can say that I don't support Obama, but what does he have to do with music?), Chris Rock, The Hills (The HILLS!), Robert Downey Jr. and 30 Rock.

I know I'm probably coming off as a purist, but please, Rolling Stone. Leave the celebrity gossip to the celebrity magazines. There are enough of those already.

Artist(s) You Should Know About: The Shins

Let me know if you can think of a better title for that.

I've been trying to intersperse some regular segments with my other posts. So far, I just have Top Ten and Album Review, but I would like to add some concert reviews, Q and As and maybe even have featured guests (sort of like "What's On Your iPod?" if you read the campus paper).

The segment I'm adding today is a profile of favorite/noteworthy artists who I would recommend checking out. In this post I'm profiling The Shins.

The Shins were a gamble that turned out well for me. Wanting to try something new, I searched them on iTunes one day when I was buying music. I had heard they were good, and as a general rule, have found that I usually like bands that start with "the" (The Clash, The White Stripes, The Darkness...). I chose the middle album, because I usually find that they are the strongest; not so old that the artists were still trying to figure out their sound, but not so new that they've become cliched.

The album that I bought was Chutes Too Narrow. I gave it the customary full-album listen and couldn't believe my luck: I actually liked every song. Even with artists that I like, there are sometimes albums where this doesn't happen, and I've come to accept it as personal preference. Since then, I have become familiar with some more of their stuff, and so far, have liked it all.

The Shins have a unique sound and represent the perfect balance of indie and rock, of experimental and mainstream, of heartfelt and funny, serious and ironic.

The band consist of singer/guitarist James Mercer, keyboardist/guitarist/bassist Martin Crandall, bassist/guitarist Dave Hernandez, drummer Jesse Sandoval and keyboardist/singer Eric Johnson. They formed in 1997, in Albuquerque, New Mexico.

...Oh, and yes, they are the band that Natalie Portman's character is listening to on Garden State.

Dicography:

Wincing the Night Away, 2007
Chutes Too Narrow, 2003
Oh, Inverted World, 2001

Favorite Tracks:
"New Slang," "Saint Simon," "Young Pilgrims"

Be Loud

Man, isn't it a little cruel that we get through Tenth Week only to run face first into Finals Week?

With the many things that Finals Week brings come 23-hour quiet hours. Now, 23-hour quiet hours are probably a good idea and likely prevent many dorm neighbor deaths at the hands of disgruntled students who have been reading, say Milton for too long. However, this is also a long time to keep quiet. That is why the 'release hour' in which people are allowed to be as loud as they want is so great.

Here is a little something to blast once that beautiful hour comes:



and:

Holiday! Celebrate!

Congratulations! We've officially made it to the last day of Tenth Week. If I could give you all gold stars, I would. Unfortunately, I don't seem to have any on hand, so I give you Ringo Starr instead. Almost as good, right?

Also, happy birthday, Evan!!!!

"It Gets Me So Pissed Off. It Makes Me Wanna Say..."

Because everybody could use a laugh at this point in Tenth Week:



I hate that they bleep out the swearing so here's a version where you can get the full effect of Folds' held out "FUUUUUUCK!!!!" (Trust me, it's real funny.) Cover your virgin ears if you have them (heh...right):

click here

Fun Fact: Weird Al Yankovic directed the video and makes a cameo in the producer scene.

Safety Dance

Stop. Stop everything. Drop what you're doing and...dance.

That's right, I said dance.

Doesn't have to be good, doesn't have to involve music, doesn't have to be for anybody but yourself.

Sitting in front of computers or at desks, in the library getting progressively more depressed by the sickly glow of florescent lights, trapped in tiny practice rooms, or wherever you are, I know you need this. By this point in the week stress has probably built up to the point that your body is a bundle of nerves and all that pent up energy is bouncing around inside you like pinballs.

So, loosen up those muscles, forget about Tenth Week for a moment and have a little (gasp) fun. Here are a few songs to get you started:

"Play That Funky Music," Wild Cherry


"Hey Ya!," Outkast


"Sexy Back," Justin Timberlake


"Are You Gonna Be My Girl?," Jet


"Love Stoned," Justin Timberlake

Top Ten: Songs to De-stress By

Oof, anybody feeling the stress yet? I sure am. Here is a top ten list of songs to de-stress by:

"Aqueous Transmission," Incubus


"Let Go," Frou Frou
couldn't find a decent player version, so here is the song.

anything Iron and Wine, here's "Jezebel"


anything Kings of Convenience, "I'd Rather Dance" is fun


"Feeling Groovy," Simon and Garfunkel


"Kathy's Song," Simon and Garfunkel ("April" is a close runner up)


anything Jack Johnson, "Bananna Pancakes" is good


"Helplessly Hoping," Crosby, Stills, Nash and Young


"Photographs and Memories," Jim Croce


"The Crane Wife 3," The Decemberists

"Even Rocky Had a Montage! (Montage!)"

10 points if you can name the movie that's from.

There comes a time in even the most productive person's work when they hit a brick wall. Not literally of course, that would hurt. No, I'm talking about that moment when suddenly, all drive to do work leaves and one becomes incapable of doing anything but staring off into space, daydreaming or sleeping.

In times like these, it can help to have a motivational song. I mean, let's face it. Even Rocky needed one, and who are we to argue with that? What's good enough for Rocky is good enough for us.

My song just so happens to be "Eye of the Tiger" by Survivor. Every time I feel my drive waning, I hum a few bars to myself. Does wonders.

Since I'm feeling generous, I'll share:



For a laugh here's "that Starbucks commerical":



And, because I can't resist, a Rocky montage:

"Head Down. Power Through."

It is officially tenth week here at LU, which roughly translates to a period of utter misery in which over-caffeinated, sleep-deprived, highly-stressed students stumble around like cast members from Night of the Living Dead. Eating, sleeping and brushing one's hair are put on hold, and conversations disintegrate into incoherent grunts on the way to the fourth floor of the library.

I know that it is hard to keep your shit together amidst the flurry of papers, projects, recitals and studying, but don't worry, The Muse is in your corner.

Over the next week, I will post things that will hopefully offer a little bit of stress relief or at least an awkward library laugh for those of you who are in need. Good luck! Only two more weeks!

Numa Numa Eh, Eh, Eh

Get this: TI and Rihanna did a remix of "The Numa Numa Song."

I heard it as I was returning to school. Riding along, staring out the window and daydreaming, I suddenly became aware that a new song was playing on the radio. I listened, perplexed for a moment. That's definitely "The Numa Numa Song"...that's definitely Rihanna...my head started spinning with this new information.

When I got back on campus, I Youtubed it and indeed, Rihanna and some guy named TI have released a remix of "The Numa Numa Song." And just when you thought things couldn't get any more strange.

Here's the music video. Please ignore the weird advertisments. Pretty sure somebody video taped this off their TV:



Of course, nothing will ever quite compare to the "original" music video:



Sometimes, life is just deliciously ridiculous.

Transformation

Today, I heard "Bring a Torch, Jeanette Isabella" playing in a store and was instantly transported. It is my favorite Madrigal and perhaps one of the only ones that can get me as emotional as "Silent Night" (if you went to my high school and were in any way, shape or form acquainted with the vocal department, you will know that any mention of "Silent Night" will elicit hysterical tears from even the most stoic of Madrigal Singers).

It was really weird. I have been away from all that for so long that it took me a while to figure out the name of the song, and yet, I can remember the way it felt to sing it distinctly.

When I think about it, it really shouldn't surprise me. To my high school self, being a Madrigal Singer was one of the most important things in my life. It was a childhood dream fulfilled; a validation that I deserved to be where I was, that I was a part of something real and valuable. "Bring a Torch, Jeanette Isabella" was the song that I, for some reason, associated with being a Madrigal Singer and thus, singing it for the first time was when I realized that I truly was one.

Author's Note: At this point, I had written an explanation of the whole Madrigals phenomenon, but then realized that it was long and dull. Here's a shortened version: 16th century-style dinner, pretty costumes, pretty music, not so pretty-tasting (though trying to be historically accurate) food, group of 16 singers at the Head Table, top vocal ensemble, bonding, tears, unforgettableness. If you want to know more, just ask.

Being a Madrigal Singer is magic. There really is no way to describe it other than that 'Madrigal Season Feeling' we'd all get once December rolled around. My high school self never felt more important than when I was walking around in a Renaissance dress with a hoop skirt and two crinolines, escorted by a man in tights, singing as if every song was a treasure that had been given to me (because it was)and feeling a unity between me and my fellow singers as if we were made of one breath, one heart.

It is amazing how music can transform us. It was able to transform a tacky cafetorium into a castle, an awkward teen into a lady and 16 singers into something truly special.

Covers

I was listening to Last.fm earlier, when "Brandy Alexander" came on. Thinking that it was written by Leslie Feist, I was confused that it was being sung by Ron Sexsmith. That was a cover? I thought, feeling slightly like I had been had. I later found out the Feist and Sexsmith co-wrote it and recorded separate versions, but by that time, covers were already implanted firmly in my mind.

I've never been quite sure where I stand on the issue of covers. On the one hand, they are (in some cases) the byproducts of cocky, young pop artists "messing" with classic songs that really had nothing wrong with them in the first place. They can seem like more of an insult than a tribute. (For more on this, see this blog) On the other hand, it is really cool how covers reimagine and reinterpret their predescessors. Just as there can be many sides to an issue, there can be many subtexts to a song.

Covers definitely toe a thin line. Some are artistic masterpieces, others, sheer pain. Here are some selections for you:

a few covers I think are well done:

"Such Great Heights," Iron and Wine covering The Postal Service
I actually like this cover better than the original, which is very good in its own right. Sam Beam's (Iron and Wine is his stage name) version makes you want to lose yourself in the delicate guitar picking and breathy melody, and lends a sweetness that is lost in the fast tempo of the original.


"Across the Universe," Rufus Wainwright covering The Beatles
For the most part, I am not really a fan of Rufus Wainwright, but he hits this song just right.


"American Woman," Lenny Kravitz covering The Guess Who
A funky interpretation of the classic.


"Night and Day," Sondre Lerche covering Cole Porter
LOVE this



and for fun, a few that I can't stand:


"(I Can't Get No) Satisfaction," Britney Spears covering The Rolling Stones
Oh, Brit Brit. I hated you before, but after you did a lousy cover of the Stones? There are no words.


"Take My Breath Away," Jessica Simpson covering Berlin
Jessica Simpson, why?! Although I agree on the use of the convertible in the music video in accordance with the title of the song. I can't breathe in those things, either. (Though somehow, I don't think that was what she was going after)


So where do you fall on the issue?

Haha

I. cannot. help. myself.



P.S. - Anybody else remember him doing this at the LU concert?

"The Flower That Blooms in Adversity Is the Most Rare and Beautiful of All"

I came across an article today in The New York Times about an all-female rock band in Saudi Arabia. The members of the band, rebels in their own right, are fighting to do what they love within a culture weighed down by stringent restrictions.

I felt that this is something that should be acknowledged, because it really does take a special kind of courage to express who you are when others try to keep you down. The band faces unnumerable obstacles, even dangers, as they establish themselves as musicians. The members of the band represent a much-needed voice for all people who are oppressed in one way or another, and are remarkable women for fighting to share that voice.

Read the article here

The band's Myspace page

Top Ten: Walking to Class

I have a confession to make...I'm organized. For those of you who met me in college, this is no big surprise. For those of you who knew me in high school, this is probably somewhat unbelievable.

It's true, though. Somewhere in between Prom and professors, I went from being the girl with 3-month-old lunches in the bottom of her backpack (I probably shouldn't have told you that) to the girl with the closet organized by clothing type and color (it makes finding something to wear go faster, shut up)

Somewhere amidst my transition into organizatioland, I discovered my love for making lists. I thought that it would be fun to apply this love in a series of top ten lists for the blog. Now, as a disclaimer, I am not trying to say that the songs that I include on the lists are the best songs, simply my current favorites in the given category.

Enough blathering, though. Without further ado, the top ten songs for walking to class:

"These Boots Are Made For Walkin'," Nancy Sinatra
This is the classic strutting song. The white go-go boots, the sass...you've gotta admit, Nancy's got it goin' on.


"Walking To Do," Ted Leo and the Pharmacists
It has 'walking' in the name. Plus, it's just a fun, upbeat song.


"I am the Walrus," The Beatles
Perfect for those times when you want to weird out before class. Be careful, though. This can make for one trippy class if you get it stuck in your head.


"Bang a Gong (Get It On)," T Rex
Just freaking fun.


"Crystalline Green," Allison Goldfrapp
This is a good strutting song, and...yet another one about drugs. I swear, I didn't plan that.


"Falling," Ben Kweller
Something about the simplicity of this song makes it just right for walking.


"Young Pilgrims," The Shins
Mellow and contemplative. The kind of song to listen to while walking through the leaves.


"Take Me Out," Franz Ferdinand
This song has such a good beat. I love the slowing of the tempo in the beginning.


"Bennie and the Jets," Elton John
Classic. Although it took me forever to figure out what he was saying.


"Alice Childress," Ben Folds
Sad and hopeful at the same time. Puts sitting through an hour and 50 minute class into perspective.

Upcoming Music Events on Campus

Saturday, November 22
10 p.m. - Sturdy Beggars
student band
Harper Hall

Sunday, November 23
9 p.m. - Soundboard: Alex Schaaf
pianist, singer/songwriter
Underground Coffeehouse

Monday, November 24
8 p.m. - Jazz Small Groups Concert
small groups from the jazz department
Harper Hall

Thursday, December 4
9 p.m. - The Chairs
student band
Underground Coffeehouse

As far as I know, none of the events have a cover charge.

"The Union Forever"

A while back, my film professor made a comment that the White Stripes song "The Union Forever" alludes to Citizen Kane and uses some of the lines from the film as lyrics. I made a note to listen to it and of course, promptly forgot about it.

Fast forward to a few weeks later. I'm walking out of Main Hall, when all of the sudden, "The Union Forever" comes up on shuffle. I give it a listen and immediately start geeking out.

The creepy, driving melody of the song provides a sort of post-apocolyptic feel, like the kind of music one would hear as they stand alone amidst destruction and desolation. It has a breakdown in the middle that transforms the rather annoying and over the top chorus girls' song into a sort of poetry rock.

It was really interesting to hear such a different interpretation of the film. The song simultaneously stayed true to the general themes, but also provided a different perspective.

Here's the song

100!

Courting the Muse passed the 100 hits mark! I want to thank all of you who have been visiting the blog - it means so much to me. I'm pleasantly surprised that it has passed this landmark in such a short period of time. Unfortunately, the number is a little skewed, because the ticker counts when I visit to update and fix things, but I still feel like you readers deserve some recognition for helping me reach this point.

Man, I feel like I should throw confetti or something.

"I Will Follow You Into the Dark"

Okay, I'm giving in to my psyche. This song has been in my head all day, so I thought I'd share it with you:



I have to admit that I am a hit or miss Death Cab fan. I'm not sure what it is - sometimes they are broodingly lovely; other times, they are just too fucking emo for me to handle.


I love this song, though. It is so odd, and yet, so incredibly romantic. When you think about it, it speaks of such...devotion. And since none of us really knows what we will find when that time comes, it really is a comforting notion to imagine having a hand to hold when it does.

Augh, I think the wine is making me all sappy.


P.S. - I know, I know, the image is Sigur Ros, but don't you think it kind of fits?

"Your Music Fills the Holes in Mine"

A friend of mine - let's call her "Cole" - was exchanging music with a guy. They were hanging out in the common room, looking at each others' iTunes libraries, when he told her,

"Your music fills the holes in mine."

Now, maybe it's just my romantic heart (but seriously I doubt it, because by and large I do not have an overly romantic heart), but I think that that is beautiful.

When you think about it, music is such a personal thing. Old mix CDs are like memories etched on rainbowy disks and songs are like old friends that you can visit whenever you want. Some days, I'll be going about my business when a song will come up on shuffle from an old mix CD and I'll instantly think of the person who gave it to me.

If that doesn't convince you, here's more solid evidence - I bought (and like) "I'm Your's" by Jason Mraz. Yep, that horribly corny song where he fake scats, does the weird pop star laugh and talks about nibbling some poor girl's ear. (Ew) Why you ask? Because it reminds me of the place where I spent last summer. When that song comes on iTunes, I don't think about all of the reasons why I am ridiculous for liking it. Instead, I think of drives through the country, windows down, singing as loudly as possible and feeling the freest I've felt in a long time. And I sing along.

Isn't music wonderful?

Just for embarassment's sake, here it is in all of its glory:

The Muse Goes Techie

At the suggestion of a friend of mine, I am trying to add some more multimedia elements to the blog. For anybody who knows me, this is clearly quite the task (Technology and I do NOT get along).

However, in the war between Katy and Technology, I am happy to report that the score is currently Katy 1, Technology 0.

The links should be working now, and there is a nice little player for "The Island" in the Crane Wife review. Also, while you're perusing the blog, listen to the Last.fm radio in the corner. The radio station is based on my favorite artist Sondre Lerche and includes lots of fun stuff like Belle and Sebastian, Kings of Convenience, Ben Kweller and Iron and Wine. (You can personalize the radio to play similar songs if there is one by an artist you particularly like and you can skip songs by hitting the button in the upper right hand corner)

Let me know if there are other techie things that you'd like to see in this blog and I will happily duke it out with Technology again for your reading pleasure.

Album Review: The Crane Wife

A while back, I was comforting myself for not being able to get tickets to a concert that I really wanted to go to. I put on my pajamas, broke out the Scotch and settled in for a night of buying music. In my hand, I had the music lover's equivalent to gold - an iTunes gift card.

Along with a classic I couldn't believe I was missing ("Piano Man" by Billy Joel), a token frivolous pick ("Umbrella" by Rihanna. Don't judge) and a few other songs, I bought The Crane Wife (2006), The Decemberists' fourth full-length album.

It was one of the best purchases I've ever made.

The Crane Wife is based on a Japanese folk tale, although the album references other time periods and musical traditions as well. According to the official website, "Decemberists songwriter and frontman Colin Meloy first came across the story of The Crane Wife several years ago, in the children’s section of a bookstore in Portland."

The other members of the band - multi-instrumentalist Chris Funk, keyboardist Jenny Conlee, bassist Nate Query and drummer John Moen - collaborated with him to translate the folk tale into a collection of songs. The result is a haunting album full of achingly gorgeous melodies and thematic lyrics.

The Crane Wife is one of those albums that works best as a whole. The transitions between songs are seamless and provide as much enjoyment as the songs themselves. The transition between "The Crane Wife 3" and "The Island" is the most masterful that I have ever heard. The notes blend together, fading and appearing like mist, until the first guitar chord takes over and pulls the listener completely in.

Of course, I cannot write about The Crane Wife without mentioning "The Island." The 12 minute and 26 second-long track is actually a combination of three songs ("Come and See," "The Landlord's Daughter" and "You'll Not Feel the Drowning"), and is the jewel of the album. It is the very definition of epic. Layering varied shades of sound, the song builds in complexity and ass-kickingness until it climaxes about three-fourths of the way through in a fit of Nintendo-like synthesizer, organ, guitar and drums. Cymbals crash like waves in a storm, as the listener gets swept up in an auditory frenzy. It finishes with the creepily restrained "You'll Not Fear the Drowning," complete with strings and acoustic guitar. Like the calm after the storm, this part of the song is not particularly comforting, but is a respite in which the listener can recover.

The only track that I do not think is as strong on the album is "The Perfect Crime #2." Although the melody and beat are catchy, the redundancy of the lyrics ("it was a perfect, perfect, perfect, perfect, perfect, perfect, perfect, perfect crime") can get a little tiresome. I would recommend the CONNECT set version of this song, in which the band offsets the lyrics with accordion, mandolin and viola, creating a much more interesting sound.

However, there is not much else that I can say to criticize this album. It was an immediate favorite from the moment I first listened to it, and one that has stuck with me ever since. I highly recommend it.

Favorite tracks: "The Island," "O, Valencia!," "Summersong," "The Crane Wife 3"

Apparition of the Eternal Church

I walked out of the Chapel with a glazed stare on my face. The only words that I could bring to mind were "holy. fuck." My body was numb, my head was fuzzy and all I wanted to do was give somebody a hug.

Mine was only one of the many reactions to the film Apparition of the Eternal Church by Paul Festa. In fact, the film was based on reactions - Festa had people from all walks of life listen to the song "Apparition de l'Église éternelle" or "Apparition of the Eternal Church" by Olivier Messiaen. The listeners were asked to give their reactions to the music while they were listening to it. What is produced is unexpected, real and altogether human. The film plays on the themes of torture, violence and sex in religion. It closes with quotations by William Blake and Friedrich Nietzsche, followed by a list of the gruesome ends that people have met for the sake of religion flashing like gunfire on the screen until the words become imperceptible.

The film showing was synced with a live performance of "Apparition de l'Église éternelle," played on the thundering organ. As the sonorous chords echoed throughout the Chapel, it was the closest thing to complete and total abandon I have ever felt. I was no longer aware of myself or the people around me, but was overwhelmed by a sense of awe. It was beautiful and terrible at the same time.

Here is a link to the film's website.

Miriam's Song

Every once in a while, an artist comes around that is so organic that you can't help but believe them. Unlike those who try too hard to convince you that 'they know what it's like,' this artist lives and breathes their music, communicating something so personal and real that you connect with them instantly regardless of genre, language or country.

Miriam Makeba, who died on Sunday at the age of 76, was one such artist. The South African singer, known as "Mama Africa," sang of the Africa that made her who she was, while fighting against the Africa that denied her the freedoms she deserved.

Though I have to admit that I was not previously familiar with Makeba, I came across an article in The New York Times about her and, after learning her story and listening to her music online, could not help but feel that this was a very special artist. I hope that you'll check out some of her stuff. (I especially recommend "The Click Song," "Oxgam," "Amampondo" and "Jinkel E Maweni")

Read the New York Times article here

"Thank God It's You. You Know, Your Timing Is Impeccable"

There is nothing like the hearing the exact song that you want to hear at the exact moment you want to hear it. It happened to me tonight; I was hanging out with one of my friends when I got a serious craving for fried food. We trekked to the grill and were sitting at one of the tables enjoying our orders and laughing about random stuff when all of the sudden, it came on - the song. The one song that my subconscious had been dying to hear, streaming from the speakers of the crappy grill radio with the aluminum foil-wrapped antennae.

The song was "Jackie Blue" by the Ozark Mountain Daredevils. Cool, mellow with an edge, a little sassy, a little sad. The perfect mix of blue. Here's a video of it for you:



P.S. - Check out that sweet slide on the guitar.

"The Art of the Muse"

Might as well get all of these hairy introductions out of the way.

I'm a senior at a small liberal arts university. This blog was started as a project for an academic internship that I'm doing called "Journalism and the Liberal Arts," but I hope to continue it after the internship ends. My goal is to eventually become an arts and entertainment writer, so this is a project that I'm really excited about.

Music is rather indescribable for me (as evidenced by the difficulty I had in choosing a title for the blog). It is something that is ever present - whether streaming from my computer, iPod or car speakers, stuck in my head, or filtering out from everyday sources. It is an escape, a catharsis, an auditory expression of an inner feeling - but it is also so much more than that.

The title of the blog, Courting the Muse, was inspired by both the sporadic, frustratingly uncontrollable nature of the creative process and the term mousikê, which is Greek for "the art of the muse."

Since this is my first blog of this nature, I would really appreciate any feedback that you can provide (though please be nice). Happy reading.