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Category: Music Musing


When I work, most of what I do seems to rely upon creativity. I wouldn’t brag about being the most creative person in the world, but the business I’m in is based on creativity.

Nothing special.

Just something I noticed.

What I also noticed is that I COULD be more creative and if creativity is, as the metaphor goes, a muscle, I have to say I’m not in my optimal shape these days.

Part of the explanation is below, in this John Cleese video (Thanks to Trey for alerting me to it).

To me, Cleese is one of the most creative entertainer there is and from what I understand, not much place is given to improvisation; everything hinges on the discipline he applies to his craft. Disciplined doesn’t mean cerebral and cold however; we all know how crazy Monty Python and Fawlty Towers could be.

Cleese does not describe creativity has something bestowed upon you from above as some sort of God given gift (“Creativity is not a talent”), but rather as a way of thinking, a way of allowing our brain to free itself from distractions and …play. I bet that to most reader, playing is not exactly an expression of discipline.

Cleese

The result of Cleese’s disciplined writing

Most writers (and many other creating for a living) will tell you they always have a hard time convincing people (i.e., their wives) that when they are lying on the couch, staring at the ceiling in the middle of the afternoon, they are working. Cleese talks about putting ourselves in the right situation to let our minds wander and play; to be in “open” mode. Improvising on the canvas or your musical instrument is creating, but there’s a type of creativity that can only come out of an uncluttered mind, free of the technical aspect of the delivery. In fact, even drawing or writing, which we think as part of the creating process, are most of the time only ways of recording the ideas you just had.

Ever wonder why the moment you’re being the most creative is at the very minute your head touches the pillow at bedtime?

Sometimes, Action is the enemy of Creation.

We have to come to terms with the fact that we have an occupation that is outside the norm for most people and that it is often frowned upon. In Quebec city trash radio, the artist as parasite is a common subject on the demagogue DJ’s rant list. This way of (not) working is the image they use to portray us as lazy bums, living of the hard earned tax payers money. (A rich subject we’ll probably discuss more in a future post)

What I realized, is that this societal pressure is making us procrastinate. Procrastinating is not necessarily twisting paper clips or goofing off with rubber bands, but doing something important, something essential …but not what NEEDS to be prioritized. In my case, it’s not even cleaning up the studio (my studio is a mess. I don’t procrastinate THAT much), but doing important thing such as learning how to distribute our music more effectively, how to properly light a painting so I can photograph it, learn new software, etc.

Anything, but CREATING.

(sigh)

Here’s a longer version of his talk about creativity:

I’ve yet to watch it in its entirety. I have more important things to do right now …like twisting paper clips.

Cheers!

Happy New Year!

Here I am again, arrogantly telling you what to think. Well, not exactly…
Let’s say these are my suggestions for holiday gifts (no need to give those to me, I already own them). Send me your suggestions, I love to discover new music.

5- Tool – 10 000 Days

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Tool – 10,000 Days

Tool has a style that is hard to pin down. The sound is heavy as hell, but never losing in clarity; the playing is challenging, but never indulgent; the songwriting has strong melodies, but never locked in an obvious verse, verse, chorus, verse way. Tool has learned something that I would hope most heavy bands would learn: quiet parts make the heavy ones sound heavier.

As a band, they keep the focus on everything that matters and take the spotlight away from the musicians’ personalities. A typical Tool concert has singer Maynard James Keenan in the back of the stage, besides the drum kit and guitarist Adam Jones barely does any solos, sparing us the usual unimaginative shredding.

Each new album is better than the last and always show a constant progression. 10 000 Days, the latest one, is the high point… but that may change soon.

Standout track: Jambi

4- Igor Stravinsky – Histoire du Soldat

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Igor Stravinsky – Histoire du Soldat

Everyone knows about Stravinsky’s Firebird Suite, Rite of Spring, but how many know about this gem? With a libretto written by C. F. Ramuz in 1918, A Soldier’s Tale was created as a theatrical piece to be “lue, jouée et dansée” (to be read, played, and danced).

The war raging at the time of production forced Stravinsky to orchestrate it for a small septet ensemble for pragmatic reasons, tailoring it to a touring theatre troupe. In my opinion, giving such importance to the storytelling elements makes Histoire du Soldat even more interesting.

Not wanting to repeat myself here, and to see clips of the piece, here’s a link to a previous blog post about it.

Standout track: La Marche Royale

3- King Crimson – Power to Believe

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King Crimson – Power to Believe

Powerful and intense, Power to Believe is Y2K Crimson at its best. If I remember correctly, Robert Fripp stated in an interview that for this offering, it’s the rhythm section that really wanted to reinvent itself and asked for space and attention. It worked.

Machine (that’s his name), the producer of the album was used to eclectic projects and is lack of “Prog creds” actually make his take on it unburdened by the history of the band. It’s punchy, taut production has a clarity and spacial depth that was missing in the previous album.

It’s the key offering from the last lineup and is worth listening if one is curious about the band’s evolution through the years.

Standout track: Level Five

2- Van Der Graaf Generator – Pawn Hearts

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Van Der Graaf Generator – Pawn Hearts

This album should come with a warning label: “This music can induce dizziness and vertigo”.

Originally consisting of only 3 pieces, this opus is primal scream therapy wrapped in complex arrangements. What makes this a top of the heap recording is a sense of a cohesive work of art even if some parts seem added up in random fashion. A piece like A Plague of Lighthouse Keepers could have sounded disjointed, its mix of soft, pastoral parts linking with heavy ones along with wild experimentation. Here it makes the pieces breathe, lower dynamics giving us small reprieves before a new onslaught.

The lineup is the classic one of Hugh Banton (keyboards); Peter Hammill (lead vocals, guitar, piano); drummer Guy Evans; and David Jackson (flute, saxophones). What makes this lineup original is the omission of a regular bass player. Banton usually plays the low frequency parts on bass pedals even if he overdubs a bit of bass guitar, probably as an afterthought. Add to that, a sax player who sometimes play two saxes at once through effects pedals and a powerful amplification.

Not for the faint of heart.

Standout track: Lemmings

1- King Crimson – Larks’ Tongues in Aspic

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King Crimson – Larks’ Tongues in Aspic

Notwithstanding the fact that I recently received the magnificent box set version (including a 5.1 remix version by Steven Wilson of Porcupine Tree fame), Larks’ Tongues stands as an all time favourite.

In light of the new remixes and outtake tracks, it becomes clear that the Jaimie Muir “wild card” role played a vital part. More than the dude asked to shut up and play that cowbell, Muir is the guy that gave a serious kick in the pants to that bunch of crusty proggers; he’s really taking this band into uncharted territory. A musical cold shower as Bruford stated.

Of course the writing is top notch and a great balance was struck between the improvs, the ballads and the heavy, riff laden, pieces.

Filmed for a TV show, The Rich Tapestry of Life (included in the box set) is an improvisational piece that draws a good picture of the King under re-construction. We witness the chaotic atmosphere under which a band with new vocabulary is born. Muir’s tenure with the band was, sadly, a short one as he left to become a tibetan monk.

Standout track: Larks’ Tongue in Aspic part II

 

Cheers,

Denis

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