Crushing Krisis

The Newest Oldest Blog In New Zealand

music

Crushing On: J. S. Bach’s Lute Suite in C minor, BWV 997 performed by Evangelina Mascardi

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As a rule, I try not to let social network algorithms touch my life.

Why would you let the whims of an algorithm meant to keep you on a site change your priorities, dictate your schedule, or change your mood?

Yet, sometimes… sometimes you peek into the vast abyss of the algorithm by mistake and you see one tiny glimmer within it. Not a distraction. Not a waste of time. Not a cheap piece of disposable joy.

It is the glow of something extraordinary. Something life-altering on a deep, meaningful level that you will carry with you.

Here is Evangelina Mascardi playing J. S. Bach – Suite in C minor BWV 997 on a period-accurate 24-string Baroque lute entirely from memory, recorded a year ago. It was composed for (and typically performed upon) a Lautenwerk (lute-harpsichord) – a keyboard instrument.

(If you don’t have the patience to watch all 24 minutes, at least go watch the final movement. Just extraordinary.)

While watching this I had… I don’t know if I would call it an “epiphany,” but it was a moment of extreme calmness and presence within my own body. Not just a moment, though. Entire minutes. It is one of the most beautiful juxtapositions of composition and performance I’ve ever seen and heard in mylife.

Music Monday: “Wet Dream” – Wet Leg

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Music keeps you young.

It sounds like one of those pithy phrases you might find on a decorative wall hanging into the home of a not-so-young person. (Full-disclosure: at this point I am a not-so-young person.)

I’ve always said that music is essential to me. It’s something that fundamentally makes me happy. The more I’m listening to music and playing my own, the more cheerful and productive I get in every area of life. One of the difficult parts of making the switch to a fully-remote life during the pandemic was a lack of commute – not because I like commuting, but because it is where I got my required one hour of music a day.

As music has come and gone from my daily routine in the past few years, I’ve realized that it’s not only my mood that changes when I have tunes in my ears or beneath my fingers. I feel like my actual age oscillates. New music makes me feel mentally and physically younger.

That might sound delusional, so allow me to explain by way of Wet Leg.

I’ll be honest, when I heard there was a hip new band named “Wet Leg,” I did not leap to listen to their music. Hip bands with clever names and ironic, punny songs come and go every year, each putting their own tweak on the current trends in pop production. After a few years of not connecting with them at all, I felt like hearing each successive entry just made me feel older. I just didn’t get what the youths were into, which made me decidedly not a youth.

Then, one day last in 2021, I happened to see the YouTube thumbnail for Wet Leg’s “Wet Dream” video, featuring lead singer and guitarist Rhian Teasdale dressed like an erstwhile modern day pilgrim wearing a pair of oversized lobster claws.

“Okay,” I thought, “it’s a hip band whose first song shares a word with their band name and is accompanied by an ironic video. I am going to hate this. Here we go.” [Read more…] about Music Monday: “Wet Dream” – Wet Leg

30 – Adele | the expectations game

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As a music fan, consumer, and review, it’s hard for me to detach my reaction to a new album from the expectations game.

That’s especially true of fourth albums, like Adele’s 30.

Everyone loves an indelible debut record. When we love an artist’s first album, we fall in love with the songs, but we’re also deeply curious about their potential. What path will they take? How will their follow-up sound?

We applaud when an artist releases a strong second album. We are amazed when it is even better than the first. When we love an artist’s second album, we fall in love with the songs, but we’re beginning to measure a vector. They’ve moved in a direction, even if that direction is to provide more of the exact same. Will they continue to progress in that same way?

Third albums are tricky. That’s when things become interesting. Third albums are when we think we really know something about an artist. We have a reasonable sample size of songs. We have three points from which we can triangulate position and estimate future progress.We can say, “the artist usually does this or that.” We can decide if their progression has been linear or if it took a hard turn into unexpected territory.

That is why fourth albums are dangerous. They are the realm of proving or disproving all those things that we thought we understood. They have the potential take an artist’s progression from a line – or even a triangle – to some wild uneven quadrilateral that might even intersect with itself. They’re often the moment where an artist solidifies who they really are and who they will continue to be for many years to come.

I think most people navigate that musical map subtly. Unconsciously. The average listener has some expectations that might be fulfilled or shattered, but I don’t think they consider a fourth album to be particularly significant.

I’m not like that. I can’t turn off the part of my brain that dissects songwriting and production, and that draws out vectors of musical style and influences. I am graphing each release as a point on a musical map and drawing the vectors between them. I can’t help it.

Adele has had a textbook progression through these first three steps Memorable debut? Check. Explosive classic sophomore effort that raised her to worldwide acclaim? Check. Stylistically rangy third record that at once confirmed her strengths but pushed some of her boundaries. Check.

Now, 11 years after her debut but a whole 6 after her third record, we’re getting that fourth album. The dangerous one. It’s dangerous for Adele, but dangerous for me, too – because I feel the weight of all of those expectations.

I had to listen to it two different ways. First, just to hear the songs. Then, to hear them with the weight of all of that piled on top of them.

It was terrible both ways, which leaves me fearful of Adele’s future trajectory.

30 – Adele

Adele is the biggest blockbuster voice in popular music today, both in spectacle and in sales. That makes any album of hers a hotly anticipated release. 30, in particular, has been inflated even further. The first in six years! The first since she got divorced! Got thin! And it’s accompanied by a pair of pan-Atlantic concert specials! And an interview with Oprah!

I don’t know that the spectacle could get any bigger. It threatens to overshadow the features that made Adele so famous in the first place: her massive voice, her clear-eyed songwriting, and her biting sense of humor.

Adele is famous for using that massive voice to command attention on her emotional ballads just as well as she uses it to power surprising, genre-defying pop hits like “Chasing Pavements” and “Rolling in the Deep.” She has never lacked for strong material in either category. Her songwriting skills are as notable as her vocal power, even if her vocals sometimes overshadow them.

Now at a pinnacle of her popularity, 30 finds Adele coasting through a set of charmless songs without an earworm refrain to be found. Suddenly, she is putting the schmaltz at center stage rather than her songwriting acumen. I don’t begrudge her the sales, but I wish they came with a more enjoyable record. [Read more…] about 30 – Adele | the expectations game

Song of the Day: “If You Harden On The Inside” by Hezekiah Jones

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This post makes me absolutely giddy with joy: I’m debuting a song by my favorite band in Philly, who I also interviewed for this post, and if you buy it all the proceeds go straight to Women’s Law Project.

The song is “If You Harden On The Inside,” the first new tune from Hezekiah Jones since after their 2016 EP Har Har Har and a track on December’s Vilomahed project curated by Michele Lynn. You can get it for as little as $1, although I encourage you to donate more!

Hezekiah Jones is the folk collective formed by and around Philly-based songwriter Raphael Cutrufello. He pulls a peculiar double-duty while fronting the band, acting the entire time as Hezekiah, with each one of the band’s rotating cast of musicians presenting themselves as another fictional member of the Jones clan.

(My favorite: Dow Jones.)

That little touch of mythology goes a long way to contextualizing Cutrufello’s songwriting. When you hear Hezekiah Jones’ music, you have the profound sense that a weird band of back-country geniuses have briefly descended from their cloistered home on a hill to play for you, like a roving band of thespians in Shakespeare.

(It may be a hill in an alternate timeline.)

The songs are full of piercing observations on the human condition, always tinged with optimism. There’s also a smattering of details that place them in a vaguely post-apocalyptic landscape full of endless roiling wars and the Mississippi river expanded out to a sea.

Hezekiah Jones, photographed by Lisa Schaffer.

Hezekiah Jones, photographed by Lisa Schaffer.

“If You Harden On The Inside” could easily be a handclaps-and-harmony 60s pop song if it was dressed up with a full band arrangement. Instead, a whimsical chorus of Hezekiahs sings “blah blah blah” as backing to the track, later joined by a swell of electric pianos. As the song whirrs to life with its halting rhythm it gives serious vibes of Dirty Projectors.

Cutrufello AKA Jones plays everything on this track save for drums by Daniel Bower (AKA Roy G. Biv Jones) and bass by Philip D’Agostino (AKA Pepe Jones), a Philly music scene legend and touring member of Get The Led Out.

Half your saints
Are playing video games
Or they’re out doing meth
Or too depressed to get out of bed

All these bodies
What a delicate make
If you harden on the inside
You’ll be easy to break

If someone
Gave into love
Their guard would be down
We could steal all their stuff

That is the paradox of our human fragility in three stanzas, each repeated to make sure the message sinks in. [Read more…] about Song of the Day: “If You Harden On The Inside” by Hezekiah Jones

Filmstar at the NorthStar

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Waiting to go on with Filmstar at NorthStar Bar.

 

Since taking this photo we’ve begun watching the so-far awesome The Way Home, who played with Filmstar long before my joining two years ago. Three and four part harmony, awesome keyboard vibes, acoustic/electric mashup – pushing pretty much all my buttons.

We’re playing next, followed by our esteemed colleagues in Venice Sunlight.