Geekoid's World of Music

Trollheart · 08-13-2012, 01:53 PM

I tend to shy from Christian music, not only because I'm no longer a believer (if indeed I ever was, and not just indoctrinated by good old Catholic Ireland) but because I really don't want to hear someone, as you mention, pushing their religious/political/personal agenda down my throat, when all I want is to listen to the music.

I managed to overcome this attitude slightly though when I came across Narnia. If you don't know them, they are (or were, think they've split up now) a Christian heavy metal band who, although they sing about God and Jesus and so on, don't push their beliefs down your throat. AND they sound effing fantastic! Try this one...

Geekoid · 08-13-2012, 05:21 PM

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Welcome to the first edition of the new segment of "The Lab" which explores music in ways that are theoretical in nature.
Basically, these are experiments I conduct which help me to understand the nature of music based on my observations and ideas.

The first experiment has to do with my "synesthetic" experience of music, and the particular dynamics of music that I'm drawn to most and least. If you've used Pandora, you'll understand the basic idea of what I'm going for. This experiment is something like Pandora's music genome project, which categorizes music based on its musical properties and characteristics, such as the type of vocal, the instrumentation, the pacing, and the style. There are hundreds of tags used in the genome project, not many of which explore dynamics such as mood or atmosphere.

My system is loosely based on my own synesthetic experience of music; the various images and symbolic references my mind spontaneously assigns to music. It also brings into the mix the emotional experience the song creates (at least, from my own experience, as the same song can be percieved differently from one person to the next).

This experiment came about as an attempt to organize and categorize the kinds of images I associate with different music, to make sense of them and give them some kind of rhyme and reason. I noticed that with two similar sounding songs, I would experience similar synesthetic "visions" : the same kinds of images, colors, textures and symbols would present themselves in my mind's eye.

To organize these images, I wanted to use an existing categorization system as a kind of metaphorical structure. The first categorization system that came to mind was the Animal - Vegetable - Mineral system, which is elegant and allows for little to no overlap of its categories. I figured that since my synesthetic experience doesn't ever produce any images of living things, I decided to find a system that addresses the Mineral Kingdom only. I began thinking of the periodic table of the elements, which led to thinking about The Four Elements- earth, air, fire and water. A ha! I have my system. The elements of earth, air, fire and water can be used as metaphors for color, movement, and emotion.

From there, I assigned each element a defenition in its relationship with music.
I'll start with my definitions for music I associate with the element Air.

DEFINITIONS for AIR-BASED MUSIC:

A
(Air)

AIR- Music that is calm, aloof, gentle, slow, mellow, smooth, open and spacious. This is music that is non-invasive and corresponds with the sensation of cold, coolness or softness.

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AE
(Air with Earth)

Mixed with Earth, Air music remains aloof, but becomes somewhat less slick and more grainy. Any smoothness Air brings to the picture is tempered by textured instruments, or rough vocals. A lot of slow-paced jazz falls into this category, as long as it's generally detached and instrumental. This becomes the sub-element of SMOG.

Images I associate with smog music tend to include greyscales and sepia tones; drab colors and dusty surfaces.

A good example of "smog" music is David Brubeck's Take Five. Smooth arrangement with lots of musical textures, primarily from the use of saxophone. This isn't an emotional piece, but instead is more on the detached and aloof side in its sophistication. A true "smog" song would be less energetic than Take Five (which has elements of Fire in it, due to its somewhat upbeat tempo). Therefore this song would be tagged AEF (air - earth - fire).

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AF
(Air with Fire)

*Edit: renamed from Electricity to Ultraviolet. In a lapse of memory, I actually switched the two names.

Mixed with Fire, Air music remains slick and somewhat aloof, but is more energetic and electrrified. The sounds are like the sun's energy suspended in air, in resemblance to how a keyboard's electric sounds create a sense of atmosphere. This becomes the sub-element of ULTRAVIOLET.

Images I tend to associate with Ultraviolet music are things like electrons, beams of light, and faded neon colors that can only be produced artificially, or by bioluminescence.

"Ultraviolet" in its purest form is best exemplified by instrumental electronic tracks of low to medium pace. Because of the somewhat emotional tone of this track, it would be tagged AFW (air - fire - water), with maybe a hint of Earthy texture (AFWe).

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AW
(Air with Water)

Mixed with Water, Air music becomes more human, emotional and accessible, often with sweeping synths and airy vocals; and remains gentle and subdued. Air and water together are smooth and flowing, like water droplets suspended in a fog or a cloud. Both air and water are cool, so there is still that feeling of blue coolness that makes me feel relaxed and at peace. This becomes the sub-element of MIST.

Images I tend to associate with Mist music are cool blues, clouds and fogs, water droplets and gentle breezes.

Amarantine by Enya is a little on the warm and passionate side (like sun shining through a thin veil of cloud), so it could possibly be tagged as AWF (air - water - fire).

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Geekoid · 08-13-2012, 05:38 PM

Quote:

Originally Posted by Trollheart

I tend to shy from Christian music, not only because I'm no longer a believer (if indeed I ever was, and not just indoctrinated by good old Catholic Ireland) but because I really don't want to hear someone, as you mention, pushing their religious/political/personal agenda down my throat, when all I want is to listen to the music.

I managed to overcome this attitude slightly though when I came across Narnia. If you don't know them, they are (or were, think they've split up now) a Christian heavy metal band who, although they sing about God and Jesus and so on, don't push their beliefs down your throat. AND they sound effing fantastic! Try this one...

Yeah, I see what you mean. I actually kind of liked that Narnia track! I can't believe I've never heard of them. The lyrics they use are personal, which I like. I think that in the realm of Christian music, there are really three kinds of beneficial approaches-

1. Music meant for other Christians, which is essentially preaching, that to a Christian like myself can be helpful, positively convicting, or potentially hurtful, depending on how it's delivered.

2. Music meant for everyone, which usually tones down the "you should" and "we need to" perspective and amplifies the "from my own experience" prespective, or it shies away from Christian themes in favor of "universal" ones that everyone can relate to. This is where you get crossover artists like Amy Grant and Switchfoot.

and 3. Worship music intended for God only. i.e. the "Vertical" perspective.

It's certainly important to know your audience, but never compromise your beliefs (no matter who you are or what you believe, honesty is important). And it's equally important to make quality music. I'll have to go check out some more Narnia!

Geekoid · 08-14-2012, 08:15 PM

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DEFINITIONS for EARTH-BASED MUSIC:

E
(Earth)

EARTH- Music that is textural (as opposed to smooth), rough, raw, rich and grainy. This is music that is rougher and more invasive to listen to, and corresponds with the sensation of texture.

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EA
(Earth with Air)

Mixed with Air, Earth music becomes smoother, cooler, and more relaxed, with its texture becoming more accessible and less harsh. Often acoustic instruments or soulful vocals paired with minimal instrumentation finds itself in this category, as long as it has a dry and emotionally subtle feel to it. This becomes the sub-element of SOIL.

Images I associate with soil music tend to include, obviously, soil; but also other natural materials like driftwood, bark, and smooth-textured stones, gently eroded by fresh water.

A good example of "soil" music is Tracy Chapman's "Fast Car". This song has earthy vocals (as opposed to smooth or breathy vocals) and acoustic instrumentation. The slow pace and the echoing voice effect create a sense of atmosphere. In the chorus, the song kind of picks up emotional steam and passion, but Tracy's vocals maintain a mature, cool and collected feel that keep it separated from the "water" classification, as well as its arrangement, which is "dry" rather than "fluid". If someone didn't know the lyrics, the deeper feelings of the song don't come through as strongly. At least in my opinion. Therefore this song would be tagged EAWf (earth - air - water - fire).

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EF
(Earth with Fire)

Mixed with Fire, Earth music amplifies its noisy, grittiness. This type of music is brash and rough-edged, and has a lot more energy than music with the "soil" classification. This type of music is usually separate from most genres of rock, in favor of more folky styles, like droning neo-folk or rootsy hip-hop. There's usually a raw quality to this music, and it can be somewhat dark.This becomes the sub-element of CHAR.

Images I tend to associate with Char music are things like fire burning charcoal, sparks, ash, embers, dark browns, deep reds, and sooty blacks- the kinds of colors and textures left over from being burnt, or the less-intense carbon offshoots of a fire.

Woven Hand is a good example of the kind of music I tend to associate with this overall feel; very rough, gritty, and passionate, but the emotions are delivered with subtlety, as opposed to outright emotional expressiveness. It would be tagged EFWa (earth - fire - water - air).

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AW
(Earth with Water)

Mixed with Water, Earth music becomes more sensitive, emotional and accessible, but remains rough-edged and heavily textured. Earth and water together are visceral and expressive, the most inwardly felt, rich and soulful music of all the classifications, but unlike Soil or Blaze music, it includes the element of emotional expression. A lot of a capella music- in its fluid exuberance and expressiveness- tends to fall into this category, which I call the sub-element of MUD.

Images I tend to associate with Mud music are rich browns and brownsih tones, leathery textures, and deep, luxurious shades of warm reds, blues and purples- images that coincide with rich, soulful feelings.

Bobby McFerrin's music is a good example, which I have tagged as EWA (earth - water - air).

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Geekoid · 08-14-2012, 09:32 PM

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I'm beginning to realize that if you ever wanted to get an idea of what my World of Music actually looks like (in the imaginary world of my head), these posts are something of a field guide; a map of my musical mind in a sense. Just to put it out there.

DEFINITIONS for WATER-BASED MUSIC:

W
(Water)

WATER- Music that is emotional, and deals with vulnerable feelings such as romance, loss, empathy, etc., but also other emotional expressions like wry humor, sensuality, encouragement and earnest passion. It corresponds with the idea of feelings and emotions.

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WE
(Water and Earth)

Mixed with Earth, Water music becomes richer in feeling, warmer, and more rugged, usually with smoother vocalists and acoustic or otherwise light arrangements. It reminds me of that calm, but moving feeling you get when you're on the beach or next to a river or lake. This is the category in which most soft rock, adult contemporary, alternative country, and alternative rock falls, as long as there is an overall down-to-earth feel coupled by expressive vocals or arrangements. This becomes the sub-element of SHORE.

Images I associate with Shore music tend to include more organic materials like trees, moss, plants, and leaves; colors that come to mind include various greenish-browns or bluish-browns, like moss and leaves; although since this is the "everyday life" category, conventional ideas of skies also make their way into my imagination, like blue skies with fluffy clouds, starry night skies, and orange sunset skies. Because this category covers so much area, time of day and weather seem to be a big distinguishing factor. So when it comes to my world of music, the weather forecast can prove to be somewhat important.

Summer Dress is a slow, laid-back example, and would be tagged as WEA (water - earth - air). It gives off the vibe of early morning or late evening, with overcast skies.

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WF
(Water with Fire)

Mixed with Fire, Water music becomes passionate and boldly expressive. This is the most emotional classification, a downpour of emotion and catharsis (that to some may be a little too dramatic). The category I've come to call RAIN. This is where I'd put all those big ballads they used to play at the end of movies in the 90s- the ones by the likes of Mariah Carey and Celine Dion.

Images I tend to associate with Rain are dramatic- like moving clouds, opening flowers, and rays of sunlight. Things you would normally see in dramatic time-lapse videos.

Vienna Teng is a good example of the feeling I'm getting at with this category: inspirational, dramatic, poetic, and smooth; with precision vocals that dramatically express emotion.

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WA
(Air with Water)

Mixed with Air (see Air mixed with Water) As it is, it becomes very difficult to tell whether a song should be tagged as Water then Air or Air then Water. Therefore, I've decided to leave Mist as a solitary entity. I at one point called WA music "Seabreeze," however, it just became a more subdued version of Rain and a more substantial version of Mist, therefore, it didn't really have any legitimate distinguishing qualities.

So basically, when it comes to this element, the dividing factor has a lot to do with whether the song is emotional but down to earth and acoustic (Shore), or emotional and larger-than-life and dramatic (Rain).

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Trollheart · 08-15-2012, 05:11 AM

Holy Hell! I feel like I've gone back to school, or woken up with the TV on and with BBC 2 broadcasting an old segment of the Open University, or something.

My brain has swelled to gigantic size --- oh no wait, that's just this novelty sombrero I'm wearing!

I must admit, I didn't read the whole thing; others probably won't feel this, but I began to drown a little in definitions and sub-classes. I wouldn't say it was dry, certainly not boring, but it's a little too much of a dissection of music to me. Not that it's clinical, far from it, but I prefer just to listen to music and not over-analyse it. And you certainly have analysis down to a fine art! Did I hear somewhere you're a scientist in real life? Doesn't surprise me; you have a very analytical mind. I just prefer personally to enjoy my music, not too bothered about WHY I enjoy it, though I know that emotion plays a huge part in that, naturally, and mood. Check the "Albums you're digging II" thread for a video that literally made me cry, or look for it in "Bitesize". It's Stevie Nicks' "Italian summer". Tears were rolling down, seriously.

I did wonder though about your definition of "Air" music: you say it sounds completely robotic, but surely that's not true? What about classical music, or any other soft instrumental? Can't music be "Air" without sounding industrial or mechanised? Wouldn't the very opposite be true? Did I read that wrong? I can't figure that out.

Great article though, but as I said, a little too technical and scholarly for my tastes. Good luck with it though.

Oh yeah, glad you liked the Narnia track: check my journal for a review of that album and more videos.

Oh, and thanks so much for your kind words about me in the "Spill your guts thread": must respond to that at some point...

TH

Geekoid · 08-15-2012, 06:44 PM

Haha. I'm not actually a scientist by profession (I sort of wish I was), but I definitely would consider myself a scientist and artist by heart. Those are two very important parts of who I am (which is why I relate so well to Bjork's approach to music).

When it comes to musical analysis, or any other kind of analysis, I go through the process of learning and then un-learning. Once I've come up with a logical construct and really understand it in-depth, I kind of "forget" it and let it run in the background of my mind, so to speak. So when I listen to music, I can automatically categorize it loosely without much thought at all. Precision isn't as important to me as the overall idea.

It's like learning how to read or play an instrument; you learn all the letters or notes, look at how they're arranged and how they form words or music, and then once they're memorized, reading or playing music becomes second-nature.

Knowing these categories helps me to keep track of all my music at once. I rarely forget about an artist if I've tagged their music. It's like tying colored strings to a bundle of balloons and pulling them down when you need a certain color.

It also helps me to make playlists that go beyond the usual confines of genres or artists. I can pair songs with each other that create a cohesive feeling, and are in ways quite similar to each other, but that you might not expect to hear together.

I re-read my analysis, and you're absolutely right. I edited the Ultraviolet section because I accidentally switched the definition for Ultraviolet (air+fire) with Electricity (fire+air). Air music often includes Classical or soft instrumental music, usually in the Ultraviolet or Mist categories, even though some Ultraviolet music is electrical in instrumentation (like the example I shared, which I actually got right). Thanks for pointing that out!

It's comments like those that help me perfect the theory and get my thoughts straight/ errors sorted out. I think I should probably add on a mini-overview in the first Lab post for the sake of brevity.

I'm really laying all this out there so that when I make playlists in the future based on these categories, there will be some background/ explanation for them.

At the end of the day, these posts really show an important aspect of who I am as a person (the mad scientist aspect). So I'm glad that if it's not completely understood, at least my analytical self can be appreciated. So thanks for appreciating it.

Geekoid · 08-15-2012, 08:15 PM

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DEFINITIONS for FIRE-BASED MUSIC:

F
(Fire)

FIRE- Music that is energetic, passionate, danceable, exciting or otherwise rousing. This is music that is penetrative, loud or exciting. Upbeat and medium to fast paced, it corresponds with the sensation of heat or energy.

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FA
(Fire with Air)

Mixed with Air, Fire music becomes electrified, energetic, and smooth, often with the use of fast-paced electronic instrumentation. This is the classification that coincides with most electronic dance music, the sub-element of ELECTRICITY.

Images I associate with Electricity music tend to include warm, bright colors like yellows, oranges, bright pinks and luminous greens. Shapes and movements associated with Electricity are glowing lines, dynamic geometric shapes, flashing lights and pulsating entities similar to colors under a blacklight. This is highly synthetic music that calls to mind colors produced by a digital screen.

A good example of "electricity" music is Royksopp's Eple, which would be tagged as FAE (fire-air-earth).

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FE
(Fire with Earth)

Mixed with Earth, Fire music becomes much earthier, less synthetic and more rich and raw. This is the category under which a lot of harder rock or heavily distorted noise rock falls. When Fire and Earth alone are mixed, you get a very indulgent rock sound, with lots of loud, gritty or distorted guitar. This is the most intrusive sub-element BLAZE.

Images I tend to associate with Blaze music are things like rust and various rough metallic surfaces. Colors tend to be fiery; mostly deep reds, rich browns, blacks and oranges with the occasional bright colors thrown in for contrast.

This track would be tagged FEa (fire-earth-air).

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FW
(Fire with Water)

Mixed with Water, Fire music becomes more expressive, with a stronger emphasis on vocals and a passionate message. This is where you find music like alternative rock, hip hop and new wave; music with energy, emotional expression and smoother vocals. The sub-element FLAME.

Flame is an interesting element because Water and Fire like to mix in a lot of different ways. To differentiate these sounds, it's good to look at how they're classified using the letter codes I've assigned.

FWa (Flame with Air)

This is where you get the more electronic sounding Flame music, like that of electronically infused rock music. Associated colors include bright blues, greens, yellows and purples, like those seen in colored flames, highlighters or chemicals. There's an overall synthetic feel.

Sorry in advance if you have a problem with Coldplay, but this is a good example of this variant of FWa music uncontaminated by elements of Earth.

FWe (Flame with Earth)

This is where you get the more earthy sound, like that of most mainstream or alternative rock. Associated colors are much like that of Blaze; brown-infused warm colors that are more subdued, like leaves in the fall. This is the conventional rock sound. Not too loud, not inacessible, not particularly over-the-top.

FW (Just Flame)

Something like Rain, with earnest or expressive themes set to up-beat music. This is where you get the smoothest variety of Flame music, like slick R&B and Hip Hop. Associated colors are mid-tones of green, purple and taupe.

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Geekoid · 08-15-2012, 11:25 PM

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OVERVIEW:

Here are the definitions laid out all together.

AIR

AIR- Music that is calm, aloof, gentle, slow, mellow, smooth, open and spacious. This is music that is non-invasive and corresponds with the sensation of cold, coolness or softness.

MIST- Music that is emotionally gentle, peaceful, and atmospheric. Often has a mystical or magical quality. Includes mostly Easy Listening and New Age music.

Sub-categories Include:
AWE- INCENSE (Includes lite-pop; AM pop, sunshine pop, twee)
AWe/f- BOG (This is an additive micro-element that has to do with certain forms of instrumentation; harp-like instruments and twinkling keyboards.)
AWF- WATERFALL

SMOG- Music that is smooth in presentation and arrangement, aloof and musically textured. Refined and technical. Includes mostly Classic Jazz and Mellow Instrumentals.

AEF- SMOKE (Uptempo jazzy music; Nu-Jazz, trip-hop)
AEW- INCENSE (Dreamy, romantic, or vocal jazz, classic jazz with dynamic vocals).

ULTRAVIOLET- Music that is smooth, atmospheric and energetic. Usually creates a gentle, yet energized atmosphere. Includes mostly Ambient/Light Electronic Music, and some Classical Music

AFE- HEATWAVE (Downtempo electronica with textured instrumentation)
AFW- GALAXY (Ambient electronica)

EARTH

EARTH- Music that is textural (as opposed to smooth), rough, raw and grainy. This is music that is rougher and more invasive to listen to, and corresponds with the sensation of texture.

SOIL- Music that is rich, mature, cool and collected. Includes mostly Laid-Back, Minimal Acoustic Music.

Sub-categories Include:
EAW- ISLAND (Minimal Acoustic Singer-Songwriter arrangements)
EAF- DESERT (Bluegrass, Alt.Country)

CHAR- Music that is gritty, gristly, rough and raw. Includes mostly Rootsy Rock, Thick Folk-Rock, Blues-Rock and Americana.

Sub Categories Include:
EFA- BONFIRE (hard rock, rough-edged metal, gritty guitars)
EFW- COAL (drone, blues-rock, roots rock)

MUD- Music that is richly soulful and expressive; Includes mostly A-Capella and Deep Soul.

Sub Categories Include:
EWA- CLAY (a capella music, rich vocals, smoother, cooler feel)
EWF- SAP (soulful music that's warmer, more passionate or upbeat; often pop/rock music with soul influences)

FIRE

FIRE- Music that is energetic, passionate, danceable, exciting or otherwise rousing. This is music that is invasive, loud or exciting. Upbeat and medium to fast paced, it corresponds with the sensation of heat or energy

ELECTRICITY- Music that is rhythmic, electric, energetic and upbeat. Includes mostly various types of Electronic Dance Music.

Sub Categories Include:
FAE - BLAST (Trance, techno, other forms of mostly instrumental electronica)
FAW - LIGHTNING (Standard Club music with a pop aesthetic; House, HI-NRG, Italo-Disco...)

MOLTEN- Music that is rich, rough-edged and energetic. Includes various types of Mainstream Rock and Alternative Rock.

Sub Categories Include:
FEA - GRILL (Alternative Pop Rock, Noise-Pop/ Noise-Rock, Shoegaze)
FEW- PAINT (alternative pop/rock with bright and/or rough instrumentation)

FLAME- Music that is passionate and upbeat. In its pure form, this genre encompasses Hip-Hop and Urban Pop, but the sub-categories are quite different, as seen below.

Sub Categories Include:
FWA - CHEMICAL (Electronic Rock, New Wave)
FWE - MAGMA (Often Classic Rock, AOR, some Progressive Rock)

WATER

WATER- Music that is emotional, and deals with vulnerable feelings such as romance, loss, empathy, etc., but also other emotional expressions like wry humor, sensuality, encouragement and earnest passion. It corresponds with the idea of feelings and emotions.

SHORE- Music that is emotionally rich and warm. Includes mostly Adult Alternative and Soft Rock music.

Sub-categories Include:
WEA- ZEPHYR (Mellow and emotionally moving acoustic music, slow ballads)
WEF- FIRESIDE (Slightly upbeat adult alternative that is warm and inviting)

RAIN- Music that is poignant or emotionally passionate. Includes mostly Big R&B Ballads and Dramatic Alt Pop Ballads.

WFE-THUNDERSTORM (Rock ballads or emotionally passionate pop tracks with a ballad-like feel)
WFA- GEYSER (Dramatic ballads with more classical arrangements. Larger than life and inspirational)

SEABREEZE- Ambiguous and interchangeable with Mist, Seabreeze provides further variants. Includes Adult Contemporary and Lite Pop.

WAF- SPRAY (Includes adult contemporary and mainstream pop with electronic instrumentation, light hits)
WAE- RAINFOREST (Includes adult contemporary music with a dense, heavy, lush and expansive atmosphere; especially vintage music produced by Sting, Peter Gabriel, Phil Collins, Toto, etc.)

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Geekoid · 08-16-2012, 06:42 PM

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As long as I can remember, I've always had this burning desire to travel the world; especially to those places that are often overlooked by North Americans. I am primarily fascinated with the rocky terrain and friendly culture of Scandinavia.

If this were the 15th Century, I'd love to be a hired cartographer for travellers and explorers seeking new and unexplored territory. In modern times, of course, there are few places in the world that are "unexplored," this being the age of high definition satellite imagery. But now in the 21st Century, virtually every place that exists in the world, habitable or uninhabitable, is literally at one's fingertips. People can Google a country they've never heard of, and then sometimes they eventually decide they want to live there. The Faeroe Islands is one of those places that captures my imagination, as small island nations tend to do.

The Dutch archipelago is by no means obscure, although they have a relatively tiny population of only just under 50 000 people. But the islands are often forgotten or overshadowed; just a tiny and peaceful nation protruding modestly from the Norwegian Sea. A shame, as the music the Faeroese people create has a character all its own. Often, their songs are written in their native tongue, a Norse language which has been handed down through the generations by spoken word, and hadn't been written down until the 1800s. They have a very active music scene, and Faeroese musicians tend to create a sound which is quite dark and ethereal, which seems to be a common characteristic of Nordic music. There are also some excellent vocalists who call the Faeroe Islands home.

HEIDRIK

One such vocalist is the popular singer and songwriter Heiðrik. He's a very dynamic and dramatic singer, with an aptitude for creating a theatrical atmosphere in his music. Heiðrik is a dreamer and a poet; reflective and introspective, with a kind of novel charm in his theatricality and idealistic longing. I really enjoy the use of string instruments in his work, which combine nicely with his vocal style and use of electronic basslines; much like the musical dynamics of Homogenic. I don't often listen to Heiðrik's music, since it can come off as a little bit too over-the-top and dramatic; but when I'm in the mood to travel off to the foggy, cliff-lined shores of the Faeroe Islands, he offers up an interesting, somewhat escapist perspective to the music scene there.

ORKA

Another popular Faeroese act is ORKA; an electronic industrial quintet that was inspired by the use of farm equipment to create musical textures, taking industrial music with folk elements to a different place altogether.

Their music can be menacing and mechanical, but it's also catchy, singable and stunningly beautiful in its dramatically stark instrumentation. The harsh mechanical sounds all seem to have a definite place, and it ends up sounding like organized chaos; working like an efficient machine.

As a pop enthusiast, I like my industrial music to be hummable and melodious, but also to possess that harsh metallic sound that provides a deep and resonant feeling. I like to stand on that bridge between the experimental clangs of industrial music and the accessible musical structure of more commercially viable pop. They manage to bring both sides together successfully.

ORKA, like most Faeroese acts it seems, are renowned for their originality and inventiveness. And the fact that they choose to sing in their mother tongue just adds even more interest as far as I'm concerned.

On the other hand, they are still technically a folk group, and therefore they have also produced some lovely tunes that contribute to the wealth of traditional string music from the Faeroe Islands, like "Hon leitar." But the overall mystery and character of the Islands remains in tact in every one of their songs.

Here is one of their industrial works; just blows me away with the musical environment they are able to create.

EIVØR PÁLSDÓTTIR

It's a wow moment when you find a talent like Eivør. It seems that versatility is one of the things the Faeroese have a propensity for. Eivør is a formally trained artist who sings everything from traditional folk music to jazz to pop to classical. Basically, this was the girl all the other singers on the archipelago would have been jealous of. A true performer, Eivør not only knows how to sing basically anything on the planet you could throw her way; but she's not so intellectual about it that her performance quality suffers. Case in point, she dropped out of formal training early; likely because she realized she had already learned everything she needed to know to start a highly successful career.

I am frequently awed by her vocal prowess and personal magnetism. In this traditional song, entitled Trøllabundin, Eivør demonstrates a stellar vocal range, as well as what sounds like Inuit throat singing, which doesn't sound at all out of place. The magical and mysterious feel of Faeroese music endures.

To give an idea of her versatility, check out this lovely and luxurious jazz number, Rósufarið.

TIETUR

Tietur creates some quality folk pop tunes. He creates that "daydreaming on a rainy day" feeling on every album he releases, and his songs are very domestic and subdued, with lyrics that paint beautiful pictures of everyday life and relationships.

Tietur has won over his homeland and many fans around the world with his charm and wit; but also his ability to make folk pop that's smart and well produced. I would say h's something like Jack Johnson, if he was less generic and wrote nicer melodies.

It really seems like Faroese artists take singing more seriously than most Canadian or American artists do, since they all seem to do it really well. One of Tietur's most winning qualities is his pleasant tenor voice.

And of course, you can't really talk about Scandinavian music without metal. One of the more popular acts from the Faroese Islands is Týr, a viking metal band. If you're interested in that kind of thing, metal fans seem to think they're something special, so they might be worth checking out.

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08-13-2012, 01:53 PM	#31 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,992	I tend to shy from Christian music, not only because I'm no longer a believer (if indeed I ever was, and not just indoctrinated by good old Catholic Ireland) but because I really don't want to hear someone, as you mention, pushing their religious/political/personal agenda down my throat, when all I want is to listen to the music. I managed to overcome this attitude slightly though when I came across Narnia. If you don't know them, they are (or were, think they've split up now) a Christian heavy metal band who, although they sing about God and Jesus and so on, don't push their beliefs down your throat. AND they sound effing fantastic! Try this one... __________________ Trollheart: Signature-free since April 2018

08-13-2012, 05:21 PM	#32 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ Welcome to the first edition of the new segment of "The Lab" which explores music in ways that are theoretical in nature. Basically, these are experiments I conduct which help me to understand the nature of music based on my observations and ideas. The first experiment has to do with my "synesthetic" experience of music, and the particular dynamics of music that I'm drawn to most and least. If you've used Pandora, you'll understand the basic idea of what I'm going for. This experiment is something like Pandora's music genome project, which categorizes music based on its musical properties and characteristics, such as the type of vocal, the instrumentation, the pacing, and the style. There are hundreds of tags used in the genome project, not many of which explore dynamics such as mood or atmosphere. My system is loosely based on my own synesthetic experience of music; the various images and symbolic references my mind spontaneously assigns to music. It also brings into the mix the emotional experience the song creates (at least, from my own experience, as the same song can be percieved differently from one person to the next). This experiment came about as an attempt to organize and categorize the kinds of images I associate with different music, to make sense of them and give them some kind of rhyme and reason. I noticed that with two similar sounding songs, I would experience similar synesthetic "visions" : the same kinds of images, colors, textures and symbols would present themselves in my mind's eye. To organize these images, I wanted to use an existing categorization system as a kind of metaphorical structure. The first categorization system that came to mind was the Animal - Vegetable - Mineral system, which is elegant and allows for little to no overlap of its categories. I figured that since my synesthetic experience doesn't ever produce any images of living things, I decided to find a system that addresses the Mineral Kingdom only. I began thinking of the periodic table of the elements, which led to thinking about The Four Elements- earth, air, fire and water. A ha! I have my system. The elements of earth, air, fire and water can be used as metaphors for color, movement, and emotion. From there, I assigned each element a defenition in its relationship with music. I'll start with my definitions for music I associate with the element Air. DEFINITIONS for AIR-BASED MUSIC: A (Air) AIR- Music that is calm, aloof, gentle, slow, mellow, smooth, open and spacious. This is music that is non-invasive and corresponds with the sensation of cold, coolness or softness. _____________________________________ AE (Air with Earth) Mixed with Earth, Air music remains aloof, but becomes somewhat less slick and more grainy. Any smoothness Air brings to the picture is tempered by textured instruments, or rough vocals. A lot of slow-paced jazz falls into this category, as long as it's generally detached and instrumental. This becomes the sub-element of SMOG. Images I associate with smog music tend to include greyscales and sepia tones; drab colors and dusty surfaces. A good example of "smog" music is David Brubeck's Take Five. Smooth arrangement with lots of musical textures, primarily from the use of saxophone. This isn't an emotional piece, but instead is more on the detached and aloof side in its sophistication. A true "smog" song would be less energetic than Take Five (which has elements of Fire in it, due to its somewhat upbeat tempo). Therefore this song would be tagged AEF (air - earth - fire). _____________________________________ AF (Air with Fire) Edit: renamed from Electricity to Ultraviolet. In a lapse of memory, I actually switched the two names. Mixed with Fire, Air music remains slick and somewhat aloof, but is more energetic and electrrified. The sounds are like the sun's energy suspended in air, in resemblance to how a keyboard's electric sounds create a sense of atmosphere. This becomes the sub-element of ULTRAVIOLET. Images I tend to associate with Ultraviolet music are things like electrons, beams of light, and faded neon colors that can only be produced artificially, or by bioluminescence. "Ultraviolet" in its purest form is best exemplified by instrumental electronic tracks of low to medium pace. Because of the somewhat emotional tone of this track, it would be tagged AFW (air - fire - water), with maybe a hint of Earthy texture (AFWe). _____________________________________ AW (Air with Water) Mixed with Water, Air music becomes more human, emotional and accessible, often with sweeping synths and airy vocals; and remains gentle and subdued. Air and water together are smooth and flowing, like water droplets suspended in a fog or a cloud. Both air and water are cool, so there is still that feeling of blue coolness that makes me feel relaxed and at peace. This becomes the sub-element of MIST. Images I tend to associate with Mist music are cool blues, clouds and fogs, water droplets and gentle breezes. Amarantine by Enya is a little on the warm and passionate side (like sun shining through a thin veil of cloud), so it could possibly be tagged as AWF (air - water - fire). _____________________________________ Last edited by Geekoid; 08-15-2012 at 06:09 PM.*

08-15-2012, 05:11 AM	#36 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,992	Holy Hell! I feel like I've gone back to school, or woken up with the TV on and with BBC 2 broadcasting an old segment of the Open University, or something. My brain has swelled to gigantic size --- oh no wait, that's just this novelty sombrero I'm wearing! I must admit, I didn't read the whole thing; others probably won't feel this, but I began to drown a little in definitions and sub-classes. I wouldn't say it was dry, certainly not boring, but it's a little too much of a dissection of music to me. Not that it's clinical, far from it, but I prefer just to listen to music and not over-analyse it. And you certainly have analysis down to a fine art! Did I hear somewhere you're a scientist in real life? Doesn't surprise me; you have a very analytical mind. I just prefer personally to enjoy my music, not too bothered about WHY I enjoy it, though I know that emotion plays a huge part in that, naturally, and mood. Check the "Albums you're digging II" thread for a video that literally made me cry, or look for it in "Bitesize". It's Stevie Nicks' "Italian summer". Tears were rolling down, seriously. I did wonder though about your definition of "Air" music: you say it sounds completely robotic, but surely that's not true? What about classical music, or any other soft instrumental? Can't music be "Air" without sounding industrial or mechanised? Wouldn't the very opposite be true? Did I read that wrong? I can't figure that out. Great article though, but as I said, a little too technical and scholarly for my tastes. Good luck with it though. Oh yeah, glad you liked the Narnia track: check my journal for a review of that album and more videos. Oh, and thanks so much for your kind words about me in the "Spill your guts thread": must respond to that at some point... TH __________________ Trollheart: Signature-free since April 2018

08-14-2012, 08:15 PM	#34 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ DEFINITIONS for EARTH-BASED MUSIC: E (Earth) EARTH- Music that is textural (as opposed to smooth), rough, raw, rich and grainy. This is music that is rougher and more invasive to listen to, and corresponds with the sensation of texture. _____________________________________ EA (Earth with Air) Mixed with Air, Earth music becomes smoother, cooler, and more relaxed, with its texture becoming more accessible and less harsh. Often acoustic instruments or soulful vocals paired with minimal instrumentation finds itself in this category, as long as it has a dry and emotionally subtle feel to it. This becomes the sub-element of SOIL. Images I associate with soil music tend to include, obviously, soil; but also other natural materials like driftwood, bark, and smooth-textured stones, gently eroded by fresh water. A good example of "soil" music is Tracy Chapman's "Fast Car". This song has earthy vocals (as opposed to smooth or breathy vocals) and acoustic instrumentation. The slow pace and the echoing voice effect create a sense of atmosphere. In the chorus, the song kind of picks up emotional steam and passion, but Tracy's vocals maintain a mature, cool and collected feel that keep it separated from the "water" classification, as well as its arrangement, which is "dry" rather than "fluid". If someone didn't know the lyrics, the deeper feelings of the song don't come through as strongly. At least in my opinion. Therefore this song would be tagged EAWf (earth - air - water - fire). _____________________________________ EF (Earth with Fire) Mixed with Fire, Earth music amplifies its noisy, grittiness. This type of music is brash and rough-edged, and has a lot more energy than music with the "soil" classification. This type of music is usually separate from most genres of rock, in favor of more folky styles, like droning neo-folk or rootsy hip-hop. There's usually a raw quality to this music, and it can be somewhat dark.This becomes the sub-element of CHAR. Images I tend to associate with Char music are things like fire burning charcoal, sparks, ash, embers, dark browns, deep reds, and sooty blacks- the kinds of colors and textures left over from being burnt, or the less-intense carbon offshoots of a fire. Woven Hand is a good example of the kind of music I tend to associate with this overall feel; very rough, gritty, and passionate, but the emotions are delivered with subtlety, as opposed to outright emotional expressiveness. It would be tagged EFWa (earth - fire - water - air). _____________________________________ AW (Earth with Water) Mixed with Water, Earth music becomes more sensitive, emotional and accessible, but remains rough-edged and heavily textured. Earth and water together are visceral and expressive, the most inwardly felt, rich and soulful music of all the classifications, but unlike Soil or Blaze music, it includes the element of emotional expression. A lot of a capella music- in its fluid exuberance and expressiveness- tends to fall into this category, which I call the sub-element of MUD. Images I tend to associate with Mud music are rich browns and brownsih tones, leathery textures, and deep, luxurious shades of warm reds, blues and purples- images that coincide with rich, soulful feelings. Bobby McFerrin's music is a good example, which I have tagged as EWA (earth - water - air). _____________________________________

08-14-2012, 09:32 PM	#35 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ I'm beginning to realize that if you ever wanted to get an idea of what my World of Music actually looks like (in the imaginary world of my head), these posts are something of a field guide; a map of my musical mind in a sense. Just to put it out there. DEFINITIONS for WATER-BASED MUSIC: W (Water) WATER- Music that is emotional, and deals with vulnerable feelings such as romance, loss, empathy, etc., but also other emotional expressions like wry humor, sensuality, encouragement and earnest passion. It corresponds with the idea of feelings and emotions. _____________________________________ WE (Water and Earth) Mixed with Earth, Water music becomes richer in feeling, warmer, and more rugged, usually with smoother vocalists and acoustic or otherwise light arrangements. It reminds me of that calm, but moving feeling you get when you're on the beach or next to a river or lake. This is the category in which most soft rock, adult contemporary, alternative country, and alternative rock falls, as long as there is an overall down-to-earth feel coupled by expressive vocals or arrangements. This becomes the sub-element of SHORE. Images I associate with Shore music tend to include more organic materials like trees, moss, plants, and leaves; colors that come to mind include various greenish-browns or bluish-browns, like moss and leaves; although since this is the "everyday life" category, conventional ideas of skies also make their way into my imagination, like blue skies with fluffy clouds, starry night skies, and orange sunset skies. Because this category covers so much area, time of day and weather seem to be a big distinguishing factor. So when it comes to my world of music, the weather forecast can prove to be somewhat important. Summer Dress is a slow, laid-back example, and would be tagged as WEA (water - earth - air). It gives off the vibe of early morning or late evening, with overcast skies. _____________________________________ WF (Water with Fire) Mixed with Fire, Water music becomes passionate and boldly expressive. This is the most emotional classification, a downpour of emotion and catharsis (that to some may be a little too dramatic). The category I've come to call RAIN. This is where I'd put all those big ballads they used to play at the end of movies in the 90s- the ones by the likes of Mariah Carey and Celine Dion. Images I tend to associate with Rain are dramatic- like moving clouds, opening flowers, and rays of sunlight. Things you would normally see in dramatic time-lapse videos. Vienna Teng is a good example of the feeling I'm getting at with this category: inspirational, dramatic, poetic, and smooth; with precision vocals that dramatically express emotion. _____________________________________ WA (Air with Water) Mixed with Air (see Air mixed with Water) As it is, it becomes very difficult to tell whether a song should be tagged as Water then Air or Air then Water. Therefore, I've decided to leave Mist as a solitary entity. I at one point called WA music "Seabreeze," however, it just became a more subdued version of Rain and a more substantial version of Mist, therefore, it didn't really have any legitimate distinguishing qualities. So basically, when it comes to this element, the dividing factor has a lot to do with whether the song is emotional but down to earth and acoustic (Shore), or emotional and larger-than-life and dramatic (Rain). _____________________________________

08-15-2012, 06:44 PM	#37 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	Haha. I'm not actually a scientist by profession (I sort of wish I was), but I definitely would consider myself a scientist and artist by heart. Those are two very important parts of who I am (which is why I relate so well to Bjork's approach to music). When it comes to musical analysis, or any other kind of analysis, I go through the process of learning and then un-learning. Once I've come up with a logical construct and really understand it in-depth, I kind of "forget" it and let it run in the background of my mind, so to speak. So when I listen to music, I can automatically categorize it loosely without much thought at all. Precision isn't as important to me as the overall idea. It's like learning how to read or play an instrument; you learn all the letters or notes, look at how they're arranged and how they form words or music, and then once they're memorized, reading or playing music becomes second-nature. Knowing these categories helps me to keep track of all my music at once. I rarely forget about an artist if I've tagged their music. It's like tying colored strings to a bundle of balloons and pulling them down when you need a certain color. It also helps me to make playlists that go beyond the usual confines of genres or artists. I can pair songs with each other that create a cohesive feeling, and are in ways quite similar to each other, but that you might not expect to hear together. I re-read my analysis, and you're absolutely right. I edited the Ultraviolet section because I accidentally switched the definition for Ultraviolet (air+fire) with Electricity (fire+air). Air music often includes Classical or soft instrumental music, usually in the Ultraviolet or Mist categories, even though some Ultraviolet music is electrical in instrumentation (like the example I shared, which I actually got right). Thanks for pointing that out! It's comments like those that help me perfect the theory and get my thoughts straight/ errors sorted out. I think I should probably add on a mini-overview in the first Lab post for the sake of brevity. I'm really laying all this out there so that when I make playlists in the future based on these categories, there will be some background/ explanation for them. At the end of the day, these posts really show an important aspect of who I am as a person (the mad scientist aspect). So I'm glad that if it's not completely understood, at least my analytical self can be appreciated. So thanks for appreciating it.

08-15-2012, 08:15 PM	#38 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ DEFINITIONS for FIRE-BASED MUSIC: F (Fire) FIRE- Music that is energetic, passionate, danceable, exciting or otherwise rousing. This is music that is penetrative, loud or exciting. Upbeat and medium to fast paced, it corresponds with the sensation of heat or energy. _____________________________________ FA (Fire with Air) Mixed with Air, Fire music becomes electrified, energetic, and smooth, often with the use of fast-paced electronic instrumentation. This is the classification that coincides with most electronic dance music, the sub-element of ELECTRICITY. Images I associate with Electricity music tend to include warm, bright colors like yellows, oranges, bright pinks and luminous greens. Shapes and movements associated with Electricity are glowing lines, dynamic geometric shapes, flashing lights and pulsating entities similar to colors under a blacklight. This is highly synthetic music that calls to mind colors produced by a digital screen. A good example of "electricity" music is Royksopp's Eple, which would be tagged as FAE (fire-air-earth). _____________________________________ FE (Fire with Earth) Mixed with Earth, Fire music becomes much earthier, less synthetic and more rich and raw. This is the category under which a lot of harder rock or heavily distorted noise rock falls. When Fire and Earth alone are mixed, you get a very indulgent rock sound, with lots of loud, gritty or distorted guitar. This is the most intrusive sub-element BLAZE. Images I tend to associate with Blaze music are things like rust and various rough metallic surfaces. Colors tend to be fiery; mostly deep reds, rich browns, blacks and oranges with the occasional bright colors thrown in for contrast. This track would be tagged FEa (fire-earth-air). _____________________________________ FW (Fire with Water) Mixed with Water, Fire music becomes more expressive, with a stronger emphasis on vocals and a passionate message. This is where you find music like alternative rock, hip hop and new wave; music with energy, emotional expression and smoother vocals. The sub-element FLAME. Flame is an interesting element because Water and Fire like to mix in a lot of different ways. To differentiate these sounds, it's good to look at how they're classified using the letter codes I've assigned. FWa (Flame with Air) This is where you get the more electronic sounding Flame music, like that of electronically infused rock music. Associated colors include bright blues, greens, yellows and purples, like those seen in colored flames, highlighters or chemicals. There's an overall synthetic feel. Sorry in advance if you have a problem with Coldplay, but this is a good example of this variant of FWa music uncontaminated by elements of Earth. FWe (Flame with Earth) This is where you get the more earthy sound, like that of most mainstream or alternative rock. Associated colors are much like that of Blaze; brown-infused warm colors that are more subdued, like leaves in the fall. This is the conventional rock sound. Not too loud, not inacessible, not particularly over-the-top. FW (Just Flame) Something like Rain, with earnest or expressive themes set to up-beat music. This is where you get the smoothest variety of Flame music, like slick R&B and Hip Hop. Associated colors are mid-tones of green, purple and taupe. _____________________________________

08-15-2012, 11:25 PM	#39 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ OVERVIEW: Here are the definitions laid out all together. AIR AIR- Music that is calm, aloof, gentle, slow, mellow, smooth, open and spacious. This is music that is non-invasive and corresponds with the sensation of cold, coolness or softness. MIST- Music that is emotionally gentle, peaceful, and atmospheric. Often has a mystical or magical quality. Includes mostly Easy Listening and New Age music. Sub-categories Include: AWE- INCENSE (Includes lite-pop; AM pop, sunshine pop, twee) AWe/f- BOG (This is an additive micro-element that has to do with certain forms of instrumentation; harp-like instruments and twinkling keyboards.) AWF- WATERFALL SMOG- Music that is smooth in presentation and arrangement, aloof and musically textured. Refined and technical. Includes mostly Classic Jazz and Mellow Instrumentals. AEF- SMOKE (Uptempo jazzy music; Nu-Jazz, trip-hop) AEW- INCENSE (Dreamy, romantic, or vocal jazz, classic jazz with dynamic vocals). ULTRAVIOLET- Music that is smooth, atmospheric and energetic. Usually creates a gentle, yet energized atmosphere. Includes mostly Ambient/Light Electronic Music, and some Classical Music AFE- HEATWAVE (Downtempo electronica with textured instrumentation) AFW- GALAXY (Ambient electronica) EARTH EARTH- Music that is textural (as opposed to smooth), rough, raw and grainy. This is music that is rougher and more invasive to listen to, and corresponds with the sensation of texture. SOIL- Music that is rich, mature, cool and collected. Includes mostly Laid-Back, Minimal Acoustic Music. Sub-categories Include: EAW- ISLAND (Minimal Acoustic Singer-Songwriter arrangements) EAF- DESERT (Bluegrass, Alt.Country) CHAR- Music that is gritty, gristly, rough and raw. Includes mostly Rootsy Rock, Thick Folk-Rock, Blues-Rock and Americana. Sub Categories Include: EFA- BONFIRE (hard rock, rough-edged metal, gritty guitars) EFW- COAL (drone, blues-rock, roots rock) MUD- Music that is richly soulful and expressive; Includes mostly A-Capella and Deep Soul. Sub Categories Include: EWA- CLAY (a capella music, rich vocals, smoother, cooler feel) EWF- SAP (soulful music that's warmer, more passionate or upbeat; often pop/rock music with soul influences) FIRE FIRE- Music that is energetic, passionate, danceable, exciting or otherwise rousing. This is music that is invasive, loud or exciting. Upbeat and medium to fast paced, it corresponds with the sensation of heat or energy ELECTRICITY- Music that is rhythmic, electric, energetic and upbeat. Includes mostly various types of Electronic Dance Music. Sub Categories Include: FAE - BLAST (Trance, techno, other forms of mostly instrumental electronica) FAW - LIGHTNING (Standard Club music with a pop aesthetic; House, HI-NRG, Italo-Disco...) MOLTEN- Music that is rich, rough-edged and energetic. Includes various types of Mainstream Rock and Alternative Rock. Sub Categories Include: FEA - GRILL (Alternative Pop Rock, Noise-Pop/ Noise-Rock, Shoegaze) FEW- PAINT (alternative pop/rock with bright and/or rough instrumentation) FLAME- Music that is passionate and upbeat. In its pure form, this genre encompasses Hip-Hop and Urban Pop, but the sub-categories are quite different, as seen below. Sub Categories Include: FWA - CHEMICAL (Electronic Rock, New Wave) FWE - MAGMA (Often Classic Rock, AOR, some Progressive Rock) WATER WATER- Music that is emotional, and deals with vulnerable feelings such as romance, loss, empathy, etc., but also other emotional expressions like wry humor, sensuality, encouragement and earnest passion. It corresponds with the idea of feelings and emotions. SHORE- Music that is emotionally rich and warm. Includes mostly Adult Alternative and Soft Rock music. Sub-categories Include: WEA- ZEPHYR (Mellow and emotionally moving acoustic music, slow ballads) WEF- FIRESIDE (Slightly upbeat adult alternative that is warm and inviting) RAIN- Music that is poignant or emotionally passionate. Includes mostly Big R&B Ballads and Dramatic Alt Pop Ballads. WFE-THUNDERSTORM (Rock ballads or emotionally passionate pop tracks with a ballad-like feel) WFA- GEYSER (Dramatic ballads with more classical arrangements. Larger than life and inspirational) SEABREEZE- Ambiguous and interchangeable with Mist, Seabreeze provides further variants. Includes Adult Contemporary and Lite Pop. WAF- SPRAY (Includes adult contemporary and mainstream pop with electronic instrumentation, light hits) WAE- RAINFOREST (Includes adult contemporary music with a dense, heavy, lush and expansive atmosphere; especially vintage music produced by Sting, Peter Gabriel, Phil Collins, Toto, etc.) _____________________________________

08-16-2012, 06:42 PM	#40 (permalink)
Geekoid Music Addict Join Date: Jun 2012 Location: Ontario, Canada Posts: 171	_____________________________________ As long as I can remember, I've always had this burning desire to travel the world; especially to those places that are often overlooked by North Americans. I am primarily fascinated with the rocky terrain and friendly culture of Scandinavia. If this were the 15th Century, I'd love to be a hired cartographer for travellers and explorers seeking new and unexplored territory. In modern times, of course, there are few places in the world that are "unexplored," this being the age of high definition satellite imagery. But now in the 21st Century, virtually every place that exists in the world, habitable or uninhabitable, is literally at one's fingertips. People can Google a country they've never heard of, and then sometimes they eventually decide they want to live there. The Faeroe Islands is one of those places that captures my imagination, as small island nations tend to do. The Dutch archipelago is by no means obscure, although they have a relatively tiny population of only just under 50 000 people. But the islands are often forgotten or overshadowed; just a tiny and peaceful nation protruding modestly from the Norwegian Sea. A shame, as the music the Faeroese people create has a character all its own. Often, their songs are written in their native tongue, a Norse language which has been handed down through the generations by spoken word, and hadn't been written down until the 1800s. They have a very active music scene, and Faeroese musicians tend to create a sound which is quite dark and ethereal, which seems to be a common characteristic of Nordic music. There are also some excellent vocalists who call the Faeroe Islands home. HEIDRIK One such vocalist is the popular singer and songwriter Heiðrik. He's a very dynamic and dramatic singer, with an aptitude for creating a theatrical atmosphere in his music. Heiðrik is a dreamer and a poet; reflective and introspective, with a kind of novel charm in his theatricality and idealistic longing. I really enjoy the use of string instruments in his work, which combine nicely with his vocal style and use of electronic basslines; much like the musical dynamics of Homogenic. I don't often listen to Heiðrik's music, since it can come off as a little bit too over-the-top and dramatic; but when I'm in the mood to travel off to the foggy, cliff-lined shores of the Faeroe Islands, he offers up an interesting, somewhat escapist perspective to the music scene there. ORKA Another popular Faeroese act is ORKA; an electronic industrial quintet that was inspired by the use of farm equipment to create musical textures, taking industrial music with folk elements to a different place altogether. Their music can be menacing and mechanical, but it's also catchy, singable and stunningly beautiful in its dramatically stark instrumentation. The harsh mechanical sounds all seem to have a definite place, and it ends up sounding like organized chaos; working like an efficient machine. As a pop enthusiast, I like my industrial music to be hummable and melodious, but also to possess that harsh metallic sound that provides a deep and resonant feeling. I like to stand on that bridge between the experimental clangs of industrial music and the accessible musical structure of more commercially viable pop. They manage to bring both sides together successfully. ORKA, like most Faeroese acts it seems, are renowned for their originality and inventiveness. And the fact that they choose to sing in their mother tongue just adds even more interest as far as I'm concerned. On the other hand, they are still technically a folk group, and therefore they have also produced some lovely tunes that contribute to the wealth of traditional string music from the Faeroe Islands, like "Hon leitar." But the overall mystery and character of the Islands remains in tact in every one of their songs. Here is one of their industrial works; just blows me away with the musical environment they are able to create. EIVØR PÁLSDÓTTIR It's a wow moment when you find a talent like Eivør. It seems that versatility is one of the things the Faeroese have a propensity for. Eivør is a formally trained artist who sings everything from traditional folk music to jazz to pop to classical. Basically, this was the girl all the other singers on the archipelago would have been jealous of. A true performer, Eivør not only knows how to sing basically anything on the planet you could throw her way; but she's not so intellectual about it that her performance quality suffers. Case in point, she dropped out of formal training early; likely because she realized she had already learned everything she needed to know to start a highly successful career. I am frequently awed by her vocal prowess and personal magnetism. In this traditional song, entitled Trøllabundin, Eivør demonstrates a stellar vocal range, as well as what sounds like Inuit throat singing, which doesn't sound at all out of place. The magical and mysterious feel of Faeroese music endures. To give an idea of her versatility, check out this lovely and luxurious jazz number, Rósufarið. TIETUR Tietur creates some quality folk pop tunes. He creates that "daydreaming on a rainy day" feeling on every album he releases, and his songs are very domestic and subdued, with lyrics that paint beautiful pictures of everyday life and relationships. Tietur has won over his homeland and many fans around the world with his charm and wit; but also his ability to make folk pop that's smart and well produced. I would say h's something like Jack Johnson, if he was less generic and wrote nicer melodies. It really seems like Faroese artists take singing more seriously than most Canadian or American artists do, since they all seem to do it really well. One of Tietur's most winning qualities is his pleasant tenor voice. And of course, you can't really talk about Scandinavian music without metal. One of the more popular acts from the Faroese Islands is Týr, a viking metal band. If you're interested in that kind of thing, metal fans seem to think they're something special, so they might be worth checking out. _____________________________________