2088: μ's, Music Start, and Never Stop

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It's been quite a while since I watched Love Live! — long enough that I'm considering watching it again, particularly as what appears to be Love Live! The Next Generation of sorts is currently brewing — but ever since I watched it, it's been a pretty regular part of my life. Specifically, it's pretty rare that I go a day without listening to at least a few of the songs both from the show and which were released as singles and albums as spin-off products.

One of the reasons I really enjoyed Love Live! as much as I did when I first watched it was because of the music. Sure, the story was fun and the characters were loveable and memorable, but if a show about music doesn't have good music in it, then, well, it fails. Fortunately, Love Live! had great music that complemented the story really nicely, even if you don't understand the Japanese lyrics.

The reason I like Love Live!'s music so much is because each and every one of them is an absolutely perfectly crafted pop song. Everything about pretty much every Love Live! song is put into place so immaculately, so beautifully, that it's hard not to get swept up in the energy of it all. The choice of vocalists; the backing track; the melodies; the harmonies; the chord sequences — all these elements combine to make something naturally delightful and pleasing to listen to, and intoxicatingly addictive.

Here are a few favourites.

This song is only heard as an instrumental in the show itself, but I liked it as soon as I heard it with lyrics in the Love Live! mobile game. It's a wonderfully cheerful, upbeat piece about friendship or something; it doesn't really matter. It just sounds nice, has a catchy tune and is eminently suitable for singing along to, even if you just babble Japanese-sounding syllables to the rough melody.

Also I like the "la, laaaa, laa laa laa laaaaa" bit at the end. Andie hates it, but whatever.

I adore this song, partly because it's the first song (aside from the OP) in the show, and it's a beautiful moment: Honoka, Umi and Kotori all coming together to try and achieve something for the first time, even in the face of adversity. It's also another really catchy song with some toe-tapping rhythms that fit well with the dance moves depicted in the show. And come on, listen to it. I defy you to reach the end of that without cracking a smile.

This is a gorgeous song in many ways. I particularly like it as it highlights Umi's voice, which is one of the most understated yet pleasant to listen to voices in the cast — a fact that goes with Umi's rather straight-laced personality. This song also reflects Umi in another way: the fact that in many ways she's the most "Japanese" of the cast, without any particularly exaggerated physical or personality traits, and this song — particularly its calming opening — fits her perfectly.

This one… well. What more can you say about a heavy metal song about enjoying hamburgers after school? Just rock out to it.

This one took some tracking down and I wasn't sure why… until I realised that it's not from Love Live! itself at all, but actually from a disc of character songs for the PS3 game The Guided Fate Paradox. That said, it does feature Eli from Love Live! on vocals, and as such is worthy of inclusion. It's also a pretty awesome song in the Castlevania mould in its own right. So there. And now I think I actually need to play The Guided Fate Paradox because I had no idea how good its music was.

2073: Night and Day

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In response to The Daily Post's writing prompt: "Night and Day."

Have you ever had an experience that was amazing the first time, but terrible the second time around? Or vice versa? What made it different the second time?

I had to think pretty hard about this one, because by now I have a fairly firm grasp of what I do and don't like in a lot of aspects of my life, and consequently I'm inclined to seek out things I know that I'll enjoy while avoiding things that I know I'll dislike. There is value, of course, in trying something outside your usual comfort zone, but while this can sometimes pleasantly surprise you, often this ends up just confirming or reinforcing your existing perceptions.

One thing did particularly come to mind, though. I don't know that I'd describe it as "amazing" and "terrible" for the first and second times, and it's more of an abstract thing rather than a specific incident, but it otherwise fits the description.

I'm talking about playing a new piece of music for the first time, specifically — for me, anyway — on the piano.

I'm good at sight-reading. This still surprises me a bit, as it was always the part of the graded piano examinations that I hated the most (with the possible exception of aural tests, which still seem somewhat sadistic) but I think I can trace my ability to pick things up quickly back to my habitual place on the piano for the school orchestra and various other ensembles, including a local choir. Certainly in the case of my school, I was (arguably) the best pianist there, so I was often recruited to play piano parts that would otherwise go unplayed; more often than not, then, I was expected to pick up a new piece of music and be able to immediately play it.

And for the most part I can do that pretty well. However, one thing I've noticed about this is that the first time I play a piece at sight, it always feels like it sounds a whole lot better than any subsequent time I try to play it without sitting down and doing some intensive practice on it.

To be honest, I'm not entirely sure if this is actually the case or not — it may well be that my first attempts to sight-read something are a horrendous noise, with subsequent attempts only marginally better owing to the fact I at least have a vague idea of what to expect — but it certainly feels that way. Playing a new piece of music for the first time is enjoyable and exciting, assuming it's not one of those pieces that demoralises you from the get-go by being ridiculously difficult and completely unplayable without months of intensive, low-tempo practice. As such, I wonder if that "high", for want of a better word, that you get from trying out a new piece for the first time makes that first attempt "feel" better than subsequent efforts, when you know you "should" be able to do better.

I guess the above description could probably apply to a whole lot of things in life, now that I think about it. Trying something for the first time gives you that satisfying buzz of "I'm doing something new!" but after that, assuming you stick with it, you settle into more of a routine, and mistakes start to become more frustrating. At a certain point, you have to make that difficult decision as to whether you're going to continue working on the thing in question in detail, or set it aside and try something else.

It's a tough call with no right answers; no-one likes to feel like they're "wasting" their time!

1962: Great Title Sequences (From My Living Memory)

Re-watching Star Trek: The Next Generation and Deep Space Nine recently has made me more conscious of something that had been on my mind for a while: the fact that TV doesn't really seem to do lengthy credits sequences any more.

This isn't necessarily a bad thing, as in the case of Star Trek you're sitting there for a good few minutes watching swirly space and Patrick Stewart as Capt. Jean-Luc Picard and Avery Brooks as Commander Sisko (still in season one at the moment) and, consequently, without a credits sequence the show itself has a few more minutes to play with. But does that few minutes really make a difference? Perhaps when the show is a short 20-minute affair, but when it's 45 minutes or more there's a strong argument for saying the writers should maybe look at where a few bits can be snipped.

But anyway. Whether or not credits sequences are a good thing isn't really what I want to talk about today, since that would be a short discussion — yes, they are — but what I did want to talk about is the ones that have stuck in my head over the years. A good credits sequence is strongly iconic and does a good job of summing up what the show's all about — either literally, by introducing characters, or sometimes in a more abstract sense by using representative imagery.

These are in no particular order. Given how I'm attempting to call them up from my living memory, they'll probably in roughly chronological order, but I am making no promises. I'm simply going to provide them for your delectation, with a few words about why I like them, why they're important to me or why I simply find them memorable.

Henry's Cat

I hadn't thought about Henry's Cat for the longest time, but a brief Twitter discussion with the fine Mr Alex Connolly the other day reminded me of both its existence and its terrible but strongly iconic credits sequence.

I honestly don't remember much about Henry's Cat beyond the title sequence and the little bit of an episode I watched out of curiosity on YouTube the other day. But I do suspect it's rather a product of its time, and not the sort of thing that kids are watching on TV these days.

Count Duckula

Whoever uploaded this gets bonus points for including the "Thames" logo at the beginning. Ahem. Anyway. Count Duckula was brilliant. And I've watched a few episodes recently and it's still genuinely quite amusing thanks to some wonderful voice work and characterisation… not to mention its baffling premise of a vegetarian vampire duck voiced by David Jason.

Unlike Henry's Cat, the Count Duckula theme and intro has stuck with me all these years. However, I did not know until two minutes ago when I looked at Wikipedia (to make sure it really was David Jason who voiced Duckula) that Count Duckula was actually a Danger Mouse spinoff series. TIL, and all that.

Star Trek: The Next Generation

You can't really get more iconic that Star Trek when it comes to title sequences, and there's really not much more that needs to be said about The Next Generation — aside, perhaps, from the fact that when you look at it, it's actually rather basic. Once the credits themselves start rolling, it's little more than text and the Enterprise occasionally hurling itself at the screen.

Star Trek: Deep Space Nine

I didn't like Deep Space Nine all that much when I was younger; its relatively "static" nature of being set on a space station rather than on an exploratory starship made it feel a bit more "boring" to the young me. Revisiting it recently has made me realise (or remember?) that it's actually really rather good — and certainly a lot more consistent than The Next Generation was in its early seasons.

I like the theme very much. It's one of those pieces of music that just sounds satisfying. What I did find interesting, though, was when they changed it very subtly starting in the fourth season:

It becomes faster, I think it's in a different key, the orchestration is different and the accompaniment is less "bare". It accurately reflects the show's noticeable change in direction from the fourth season onwards, not to mention the changes in the cast: Commander Sisko becomes Captain Sisko, The Next Generation's Worf joins the crew and Shit officially Starts Getting Real with regard to interstellar conflicts.

Friends

Friends was everywhere when I was a teenager, and I didn't mind because I enjoyed it a whole lot. The credits sequence was simple and straightforward, accurately summing up each character with a selection of season-unique snippets of their most iconic moments. It was fun to try and identify which episode each of the snippets had come from… you know, if there wasn't anything better to do.

Angel

Ah, Angel. Probably one of my favourite TV shows of all time, next to its companion piece Buffy the Vampire Slayer (which is also one of my favourite TV shows of all time, but whose credits sequence I never really rated all that much). Angel's intro was great in that it reflected the dark, brooding nature of its title character, but it also allowed the show to pull off one of its best features: the unexpected and surprising fact that while it wasn't afraid to deal with some seriously dark themes, it was very happy to poke fun at itself and show the silly side of the supernatural as well as the scary. The intro helped with this in that it set the expectation for a very "serious" and dark story, then in true Whedon fashion, it often subverted these expectations with the actual content of the episode.

Yuru Yuri

(This was the best video of the intro I could find that hadn't been snagged by YouTube's copyright laws. You'll just have to deal with the Spanish subtitles.)

I love Yuru Yuri. It's such a delightfully mundane and silly anime; very little actually happens in it, but by the end you have such a wonderful understanding of these loveable characters that it doesn't matter that they haven't done anything of note. The opening titles complement it perfectly, introducing the characters visually and setting the energetic, joyful tone for the rest of the show.

Love Live!

You'd hope a show about music would have a catchy theme tune, and Love Live! doesn't disappoint. This video (which repeats several times; you're not going mad) is from the first season and, like any good opening sequence, neatly summarises the show and its characters without them actually "saying" anything (although one could argue the lyrics of the song have a certain degree of meaning). Also it's just plain catchy.

Akiba's Trip

One thing I really like about Japanese games is that they treat them the same as anime — and that means that a big deal is made out of the opening credits, with music that is often released as a single in its own right. Akiba's Trip had a particularly strong opening with a catchy theme song, a good introduction of all the characters and, again, a summary of what to expect from the next few hours of your life.

Hyperdimension Neptunia Victory

The Neptunia series has some excellent songs throughout, but the opening theme for third game Victory is one of the stronger ones. It does a great job of capturing the games' energetic, joyful spirit and acknowledges their origins as a parody of the video games industry at large through heavy use of electronic effects and synthesised sounds. It also makes a point of demonstrating the extremely strong friendship between the core cast members — they may not see eye-to-eye about everything (or anything) but they stick together and help one another out.

Omega Quintet

Last one for now, otherwise I'll be here all night and I quite want to go to bed. I wrote a few days ago about how I like the fact Omega Quintet treats its episodic story just like an anime series, complete with opening and ending credits sequences. Here's the opening sequence, which you see not just at the beginning of the game, but at the start of every chapter. It's as delightful as the game itself.

1947: Some Great Anime Soundtracks

Writing in the comments of yesterday's post, Mr Heaslip reminded me that I've been continually impressed with the quality of soundtracks in modern anime.

I tend to listen to a lot of soundtracks when I'm doing other things — particularly when I'm doing work of some description. I prefer soundtracks in this context because lyrics can be distracting — particularly if you're trying to write something — plus, given the right one, they can lend a certain air of drama to proceedings. And it doesn't have to be work, either; there's nothing that livens up a tedious motorway drive like a storming, over-the-top soundtrack.

The majority of my soundtracks come from games, unsurprisingly, but since I started really getting into anime a year or two ago, I've begun tracking down soundtracks for various anime series, too. So I thought I'd share a few favourites today.

This is Swordland from Sword Art Online, the "trapped in an MMO" show that was popular but somewhat divisive. I enjoyed it a great deal — at least partly because it reminded me of .hack, a series of games and anime that I love the idea of but am yet to actually work my way through — but I will acknowledge the arguments that it was cheesy as hell and moved way too fast for its own good. Those things didn't put me off as much as some other people, but as I think we've established over the course of the last 1947 days, I have a much higher tolerance for bullshit than many other people.

Anyway, I'm a fan of this piece because it sounds authentically "gamey" — plus, for all the series' faults, it knew exactly how to give a sense of drama to a big fight scene, and that included having a suitably epic soundtrack.

Contrasting completely with the above, this music is… well, I don't know what it's called as my Japanese reading comprehension isn't quite up to the task, but it's the music that plays during the "Previously on Love Live!" bit at the beginning of each Love Live! episode.

Not a lot to say about it really, other than the fact that it nicely captures the feeling of sheer joy that Love Live! encapsulates; it's happy, cheerful, summery, uplifting and heartwarming, just like the show as a whole.

KissXSis was pretty dumb all round — it was thinly-veiled… no, completely unveiled fanservice for the most part, but it had some entertaining moments and some fun characters. The two titular sisters were an enjoyable study in contrasts, and the supporting cast made for an enjoyable ensemble to spend some time with.

The thing that stuck with me long after finishing watching the show, though, was the ending theme — and this adorable dance animation that was shown in partial form during the closing credits, and which was rendered in its full glory for, I believe, the Blu-Ray release.

Yuru Yuri was an odd show in which pretty much nothing happened for its entire run, but it was immensely endearing purely for its characters. It was one of those shows where you feel like you're "friends" with the cast by the end of it, and for that I'll always think of it rather fondly.

I can't actually remember the context of this song in the series — or indeed if it actually appeared in the series at all, or if it's just a character song from a soundtrack album — but either way, it's a nice little song that I like a lot.

DanMachi, also known as Is It Wrong to Try to Pick Up Girls in a Dungeon? thanks to questionable transliteration, is the current hotness in anime, with many calling it this year's Sword Art Online. It seems to be overall a bit more consistently well-received than Sword Art Online, however, thanks in part to its main heroine Hestia being a much more interesting and fun character than SAO's Asuna.

Like Sword Art Online, DanMachi has a gorgeous incidental soundtrack accompanying the action. There are some awesome battle themes, but in the interest of a bit of variety, here's a lovely, more pensive piece reflecting the affection between Hestia and protagonist Bell.

To Love-Ru is another show that was pretty dumb and mostly fanservice, but I still really enjoyed my time with it. I found it particularly interesting in that it changed format significantly over the course of its three distinct seasons, with the main heroine from the first season being largely relegated to occasional background roles by the third. (I wasn't super-happy about this, as I adored Lala, but the new "main" characters made up for her relative absence somewhat.)

To Love-Ru was another of those shows that was unrelentingly cheerful throughout. It knew exactly what it was — silly, lightweight, occasionally (all right, frequently) pervy fun that had no intention of making you think too hard. This particular track, known just as "Good Morning!" reflects the show's character pretty nicely.

Welcome to the NHK was an awesome show with a wonderful streak of honesty and bitterness at its core. Contrasting starkly with the relative darkness of the protagonist's hikikomori lifestyle was the fictional anime show many of the characters were obsessed with, whose theme tune ran something like this.

Purupurupururin…

Oh, Lord, Clannad. So many feels. Anyone who's seen the show probably doesn't need any further words when they hear this piece of music. And if you haven't seen the show, rectify that right now. Bring tissues. Not for that. For all the crying. Because there will be lots of crying.

1854: Next Steps

I bought a piano today. This is not something I thought I'd ever be able to do, but it turns out if you look around a bit, you can actually get a decent (albeit somewhat aged) piano for a very reasonable price.

In other words, if you eschew regular music shops and instead go for a more "direct" approach, you'll often find much better deals.

I acquired my new piano (which arrives on Wednesday) from a local business called Bryant Pianos. I stumbled across this site during my search for a place to acquire a piano the other day, and decided to pay them a visit this weekend. Bryant Pianos is, it turns out, a business run from home by the eponymous Mr Bryant, who has a workshop full of pianos that he acquires, restores, repairs and then sells on. (Sometimes he acquires, strips them for parts and then sends them off to the great piano graveyard, too.) He's also a piano tuner — a useful person to know when you have a piano.

Anyway, I made an appointment to pay him a visit, and we did so today. I took a couple of bits of sheet music with me — Chopin's Preludes and Liszt's Consolations, if you were curious — and tried a few out. I don't know an awful lot about different piano makes, to be honest, aside from the fact that the grand piano I grew up with — and which still occupies my parents' living room — was a good (and expensive!) make because it was a Steinway. I was familiar with a few other makes but not in any great depth; I'd heard of (and probably, at some point, played) Knights, Bechsteins, Rogers(es), Challens and various others, and also knew that new Yamahas were both very nice and well out of my price range for the moment. Bryant didn't offer any Yamahas, but he had the others, so I gave them a go.

The Rogers was the oldest piano there, hailing from 1906. It had a really nice, rich, full tone and, apparently, weighed an absolute ton, being a distinctly old-school upright piano. Its action was reasonably nice, though it proved a little difficult to control at times, particularly when playing more delicate phrases.

The Challen looked nice — somewhat "school piano-y" in a 70s sort of way — but had a rather clangy timbre that caused me to discount it quite quickly. The action was nice, but it wasn't the nicest piano there, nor was it the cheapest.

The Knight hailed from the late '40s and had quite a nice sound, but a slightly rickety action that, a little like the Rogers, made it difficult to control at times. It's something I could have probably learned to live with, but while there was the choice there, I didn't see any point in "settling" for something that wasn't quite right.

The Bechstein, which was the one I ended up going for, had a good sound and a pleasing action. It wasn't quite as full and rich as the Rogers, but it still sounded good, and, perhaps more importantly, it felt pleasant to play. I went back and tried the others a few times just to make sure, but felt confident that the Bechstein would be more than adequate for my needs. Bryant did say that due to its age — it's from the '20s — it probably wouldn't have a huge lifespan, hence the fact it was one of the cheaper instruments in his workshop, but that it would be fine for a while yet. That's fine with me; I need something to get started with, then if (when?) the money starts rolling in I can consider upgrading to a newer model. I'd very much like one of those shiny black Yamahas, but I can't help but feel that's a while off yet!

I'm looking forward to having a piano in the house again. I've had my electric piano for several years now, but it's just not the same; sitting and playing it on a wobbly keyboard stand with an amplifier of questionable quality spitting and popping at me is all very well and good, but even the small amount of "setup time" required to get that going was enough to make me not play nearly as often as I should. Having a piano at which I can just sit down and play should hopefully change that; I should play more, and, all being well, it'll form at least part of my 375th career change in my lifetime. So that's nice.

1755: Dad Rock

Page_1 I have a playlist on my phone called "Dad Rock". The title will be fairly self-explanatory to most of you, I'm sure, but for those wondering why I would call it that when I'm not a father (and have no intention of being one, either), the explanation is actually relatively simple. It's a playlist full of stuff that I secretly quite enjoyed listening to when I was young and impressionable, but which during my teenage years I steered well clear of owing to the fact that it's not at all cool to be into records from your Dad's collection. Not that I was cool at all during my teenage years anyway, but that's beside the point.

Anyway, the point is, my Dad Rock playlist contains a selection of stuff from artists like Pink Floyd; Yes; Emerson, Lake and Palmer; and the Electric Light Orchestra. It's a playlist I intend to build on over time as I recall things from the past that I actually quite enjoyed, and ultimately will become a pleasing collection of somewhat retro music (largely erring on the prog rock side of things) that I can listen to at my leisure.

One of the first albums that I added to the mix was Time by ELO. I'm not entirely sure why this album has stuck in my mind all these years, but downloading a copy and listening to it on the way to and from work recently has confirmed to me that yes, it really is a cracking album and one that I'm very happy to have rediscovered.

Time, if you're unfamiliar, is a concept album based around the theme of a man from 1981 (the year of the album's original release, and the year of my birth) who somehow finds himself in 2095. The theme is rather flimsy, to be honest, but it's a good excuse for a selection of vaguely sci-fi-themed tracks about The Future — or at least The Future as imagined in 1981.

What I love about Time is how unabashedly earnest and unironic it is about everything. It features lyrics that would be used in a cynical, sarcastic or parody manner today, but it takes them seriously. Take this wonderful little bit from Yours Truly, 2095, referring to an apparently emotionless robotic woman that reminds the narrator of someone he left behind back in 1981:

She is the latest in technology,
Almost mythology, but she has a heart of stone
She has an IQ of 1,001,
She has a jumpsuit on,
And she's also a telephone.

Wonderful stuff. And it doesn't stop there, but I won't bore you with too many quotes.

What's interesting about Time is how its vision of the future actually isn't too far off the mark in a few situations. The above example from Yours Truly, 2095 is extreme, of course, but the prospect of the latest technology having "being a telephone" thrown in almost as an afterthought is already a reality thanks to smartphone technology and software like Skype. Similarly, these lines from Here is the News accurately predicted the launch of round-the-clock rolling news coverage and the subsequent banality that comes with it when there's not all that much going on.

Here is the news,
Coming to you every hour on the hour,
Here is the news,
The weather's fine but there may be a meteor shower.
Here is the news,
A cure's been found for good old rocket lag,
Here is the news,
Someone left their life behind in a plastic bag.

More than anything else, though, Time is an evocative work that uses a variety of different musical styles, some well-crafted (if occasionally cheesy when viewed through a 21st-century lens) lyrics and some genuinely catchy themes. Despite the fact that the "narrative" of the album is somewhat shaky and unclear, it certainly does manage to evoke an uncommonly vivid image of the future — not quite dystopian in nature, but certainly a rather alien existence to that which we know even now in 2014.

Early in the morning,
The sun was up and the sky was very blue,
Without a warning,
As I looked out, my thoughts returned to you,
A noise in the city made the children run,
And hide themselves away,
And thunder boomed and lightning filled the sky.

Since I've always known Time as a complete experience — and there's very much a feeling of a "journey" throughout the tracks, even if the narrative itself is a little muddy — it's one of those albums that I absolutely can't listen to on random play, even though I like most of the tracks individually. It's a work designed to be experienced as a whole, and it's one that still — for me, anyway — holds up remarkably well today. So I have a feeling there's going to be at least a few more journeys to and from work with it blasting from my speakers, yet.

1719: Album for the Young

I made myself a music playlist the other day. Contained therein was a selection of music from my teenage years, which is when I started actually buying CD albums and singles for myself — beginning, as I believe I've said before, with Oasis' Definitely Maybe just a day before (What's the Story) Morning Glory? came out.

Like most playlists I make, I was putting full albums rather than individual tracks in there, as I like to have a full selection of music from favourite artists available. Hitting the "Next Track" button is simple enough if you happen to be served up a stinker of an album track, so it is, for me, a case of better to have too much than too little.

Now, here's where I did things a little differently. Normally, when I put music on these days, as many people do, I believe, I choose a playlist, hit Play, then hit the Shuffle button so I get a random selection of tracks from those that I've picked. I could make the time or effort to curate playlists a little more carefully and not have to rely on Shuffle, of course, but I rarely do that these days; the only exceptions have been when I need a particular amount of music, or when I want to choose some very specific tracks to, say, take to the gym or something.

When I selected this playlist and started playing it in the car the other morning, though, I decided that I wasn't going to follow my usual pattern, and was instead going to listen to the tracks contained therein a full album at a time. If it was good enough for my fifteen year-old self, I'm sure it's still good enough for me now — and I don't like to think that the 21st century has given me such an attention span deficit that I can no longer deal with more than one track by the same artist in succession.

I used to enjoy listening to albums when I was younger. True, I rarely did it as an activity by itself — I would usually put an album on while doing homework, or reading, or something like that — but I would usually listen to a whole album once I put it on. This was at least partly due to the fact that the age of music on physical media meant that you had to get up and change a disc (or even cassette, a medium which even made it difficult to listen to a specific song) if you wanted to hear something by a different artist — but it was also due to the fact that even then, I was conscious of most albums — good albums, anyway — being designed as coherent works in and of themselves. Sure, it was the individual tracks you'd tend to hear played on the radio or the television, but a well-designed album had a beginning, middle and end: it took you on a musical journey, and sometimes even told a story.

Listening to these albums this way for the first time in a very long while has reminded me what a good experience it can be to settle down and immerse yourself in just one album; just one artist's work, the tracks presented in the order they believed that was best, rather than some arbitrary random picker thingy.

Particular highlights of drives this week have included the Manic Street Preachers' Everything Must Go, a favourite of my teenage years that I primarily picked up in the first place because a girl I fancied was totally into it; Propellerheads' decksanddrumsandrockandroll, an album I never actually owned but always enjoyed listening to; and Prodigy's The Fat of the Land, which remains, to date, a wonderfully "industrial"-sounding album filled with fire, energy and not a small degree of filth. (Not in a sexy way, either; I'm talking the kind of smoky, dusty, grimy filth that belches forth from a factory chimney.)

The latter in particular has been a pleasure to rediscover, at least in part because there's really nothing quite like it getting mainstream airplay these days; it remains a product uniquely of its time, and listening to it takes me back to the first time I heard Breathe on a school bus, courtesy of my classmate Peter Miles (a noteworthy acquaintance during my school life for being someone who challenged me to a fight that neither of us showed up for, and who was good enough to lend me a long leather coat so I could dress up as a Gestapo agent for a murder-mystery party just a couple of years ago), and discovered that an artist I'd previously written off on the grounds of the fact I didn't really like their previous single Firestarter was actually rather thrilling to listen to.

So while I'm not sure I'm going to start just sitting down and doing nothing but listening to an album — something that I've never really done, even back when iTunes was something we could only dream of — I'm certainly going to be making an effort to use the Shuffle facility a whole lot less when I'm listening to music in the future. There's an artistry in the construction of a good album, just as there is (arguably more obvious) artistry in the composition and production of an individual track; it's something that not many people take the time to appreciate these days, so it's something that I fully intend to (re-)explore a little more in the coming days.

1694: Spinning Some Tunes

When I was growing up, I wasn't massively into popular music — my peers found it hilarious that I bought my first ever album, Oasis' Definitely Maybe, literally a single day before (What's the Story?) Morning Glory came out — though I did, on occasion, purchase an album containing a song I particularly liked. (Sometimes I inexplicably also purchased albums containing songs I didn't like, though this sometimes led to surprising discoveries.) I would listen to music while I was doing things like homework or reading, and later, when I could drive, I'd record albums onto tape so I could listen to them in the car.

At the time, I didn't feel like a lot of the music I was listening to was particularly "iconic" or defining of the era. I certainly didn't feel like I was living in a particularly noteworthy era of music in the same way that those who grew up listening to, say, The Beatles or The Rolling Stones would have been able to. While my tastes were initially defined by what everyone else liked, I gradually started the pattern that I continue to this day of exploring a wide variety of different creative works, and sod what anyone else thinks. Consequently, my CD shelf contained everything from The Spice Girls to Bernard Butler and all manner of things in between. I enjoyed it, indulged in it and, like most people these days, gradually migrated my music library from a collection of CDs to a vast iTunes folder, 95% of which I never listen to.

Just recently, I've been starting to feel nostalgic for some of this old music. This can be attributed at least in part to the fact that both Andie and I have taken to listening to a lot of Jack FM, which tends to play a lot of the songs we grew up with, plus some earlier stuff from the '70s and '80s, too. While Jack FM has its annoyances — most notably its repetitive adverts and truly dreadful attempts at humour — it's led me to rediscover a lot of the songs of my youth, songs that, in some cases, I haven't listened to for literally years now.

I've long since parted with a lot of the original CDs — Music Magpie took a whole load off my hands a couple of house moves ago — but thanks to services like Google Play Music, I'm able to call up old favourite albums with the click of a mouse and enjoy them on my phone, in the car, on my computer. It's pretty great.

And I've been discovering that many of these tracks were a lot more "defining" than I thought. Or perhaps it's just that I have good memories associated with them. Either way, spinning up a copy of something like Prodigy's Fat of the Land or Mansun's Attack of the Grey Lantern is like slipping on a comfortable pair of earmuffs and losing myself in times past. If I listen on headphones, it's exactly like that, in fact.

I've never really been one for just sitting and listening to music as my sole activity — I prefer it to be an accompaniment to something like driving or working — but it's been kind of pleasant to rediscover a lot of these old favourites recently. I anticipate that my drive to work each morning will be accompanied by a lot more singalongs in the near future.

1119: My Deep-Seated and Irrational Annoyance at Clichéd Rhythmic Patterns

I have, as the title of this post suggests, a deep-seated and irrational annoyance at clichéd rhythmic patterns.

By clichéd rhythmic patterns, I mean two specific rhythmic patterns. These are as follows:

…also known as "knock knock-a knock knock… knock knock" or "shave and a haircut, two bits" (don't look that up on Wikipedia like I did, you'll fall into one of those Internet research rabbit-holes and end up reading about Denglisch when you're supposed to be doing something else) and its best friend:

…also known as "bang, bang, bangbangbang, bangbangbangbang, bangbang" or "that annoying football rhythm".

(Incidentally, you can tell how much these rhythms annoy me from the fact that I took the time to use Logic to actually write them out for inclusion in this blog post. And if they're wrong… well, I don't care, because I hate the fucking things.)

I have absolutely no idea why these two rhythmic phrases irritate me quite so much, but it is sufficient to put my teeth on edge any time someone uses them in any context, whether they're drumming their fingers idly, knocking on my door or hitting a drum. Actually, that's not quite true; in the case of the second one, I became particularly irritable towards it when I was a music teacher and the various little scrotes I was teaching thought it was both hilarious and incredibly clever to use it every time I asked them to make up a rhythm of their own. (It also, by tenuous extension, brought back painfully embarrassing memories of a year 7 music class back when I was a pupil, where my friends and I thought it would be awesome to recreate the Pink Panther theme using a set of Indian bells we had and then building the rest of our piece off that. Unfortunately, we didn't get any further than the initial "ding ding-di-ding ding-di-ding" bit in our rehearsal, leading to a mortifyingly awful performance to the rest of the class that was almost completely improvised.)

But yes. Apart from that, I'm not entirely sure why these two rhythms irritate me quite so much, but they really do. I have a suspicion it may be something to do with my own attitude towards creativity and always wanting to see and hear new things. I feel a little uncomfortable when certain things repeat themselves — I feel odd practicing the same piano piece for several days in a row, for example, especially if people are listening; and I even feel peculiar if I watch a stand-up comedian's DVD and I recognise some of the material they've used from previous shows. (Bill Bailey, one of my favourite comedians ever, is somewhat prone to this… though in his case he often starts off a routine in the same way as in a previous show and then veers off in a completely different direction, which is a very effective method of making the audience pay attention.)

With that in mind, then, I think my negative response to the two rhythms above may well be nothing more than me simply wishing that people would be a bit more creative when they're banging on things rather than using these age-old rhythms that have seemingly been passed down from generation to generation for the sole purpose of irritating people like me.

Or there may simply not be a reason at all. It is an irrational annoyance, after all.

Basically, what I'm trying to say is very simple: if you bang on my door using one of the above rhythms, I will not be held responsible if I accidentally end up banging on your face using the other. With a hammer.

1095: Czerny's School of Repetitive Strain Injury

I did some actual honest-to-goodness piano practice today. It's been some time since I practiced "properly" and I'll admit that it wasn't for a particularly long session today — I had work to do — but it's a start at least.

I started learning the piano when I was about five years old and have been playing ever since. Since leaving university — and particularly since leaving the teaching profession — it's fallen a little by the wayside, though, for various reasons. You never really "lose it" if you've been doing it for as long as I have, though — sometimes it just takes a little concerted effort to get yourself back to where you were before.

Why did I let it slide? Difficult to say, really. Poor self-discipline, mostly, but I also attribute it at least partly to feelings of anxiety and depression. If I get depressed, there's really very little that I find myself actively wanting to do. Many is the time where I've spent hours at a time literally just staring at a wall feeling sorry for myself, even though I know how stupid that is, and that I'd probably feel better if I actually did something. As those who have suffered feelings like this will know, though, it's not always that easy to get up and do something.

Music is a good outlet for such feelings, however, because by its very nature it is able to express a wide variety of complex concepts and emotions without the necessity for any words whatsoever. People more talented at improvisation than I am can just sit down at a keyboard and make something up to reflect the way they're feeling — as a classically trained pianist first and foremost, however, I find this somewhat difficult and thus tend to rely mostly on music that has been composed for me.

This isn't a lesser form of expression by any means — it may be slightly less creative, but you can certainly channel those emotions into a piece of music composed by someone else and put your own interpretation on it very easily. Particularly if the piece of music in question is from an era of music where the composers made a point of writing pieces that were particularly expressive and/or open to interpretation. It's for this reason I've always gravitated more towards the Romantic and early 20th century periods than anything else — Baroque music still leaves me cold with its much stronger focus on technical expertise rather than expression, though some Classical period works for me.

Rather than jumping in to something I can't quite play today, though, I decided to get out the books of technical exercises I got a while back but have underexplored somewhat. I can still run through all the scales back to back (though my accuracy when playing at speed needs some work) but sometimes (all right, most of the time) it's nice to practice your skills with something that sounds a bit more like an actual piece of music.

I have a few books of technical exercises from composers with difficult to spell and pronounce names like Dohnanyi, Pischna and Czerny — it was the latter's "Art of Finger Dexterity" books I went for today, starting from the first exercise in the first book. Its position at the front of the book doesn't mean it's a particularly "easy" one, mind; it involves rattling up and down scales at high speed in one hand while playing block chords with the other, then later shifting to parallel and contrary motion perpetually-moving semiquaver passages. It is exhausting, but oddly satisfying to play, particularly when you actually get it right. I was expecting my finger dexterity to be much worse than it was having had so much time off from a concerted effort to practice, but I was pleasantly surprised to find myself whipping up and down these passages without too much difficulty. Which is nice.

One of the things I've felt over the years with the piano is "I'll never be able to play that" — either because it looks technically demanding, or it's fast, or it's in a difficult key, or whatever. With some persistent, consistent and regular exercise, though, I have faith I'll be able to build my skills up somewhat and perhaps tackle some more adventurous pieces than I have done in the past.

Eventually, anyway. In the meantime, I shall continue to enjoy playing Final Fantasy and Persona themes for fun!