These are open worlds, between which positions and ideas freely meet and speak. Particularly within the contexts of punk, and experimental music, art schools have fed the ranks - gifting countless rebellious and visionary minds. Music has provided inspiration for countless artists, while art has offered the conceptual terms for music to break its own rules.
Ben describes the album as "permeated by the sense that came from being around this sort of connection to the world where everything is immediate and fundamental." The album is representative of this shift inwards: on his own, socially, as a parent. Sounds are folded into one another, birthing new shapes, layers and sonic possibilities. Expanding on this soundworld are collaborators Sholto Dobie (self-built organs) and bassist Otto Willberg, who provide drones, dissonant jolts and detuned paths for the music to open itself, but also curl into its own. Although the album finds a rich array of influences dancing in an awkward balance, the emotive register of the music drinks from the fountain of the US rock continuum, with Supreme Dicks' uneasy indie, Low's slow unfurling grace and Neil Youngs' heart-worn drawl lifting each song to new heights Ben's music acts as a motor for his words, weaving wistful melodic mantras and creaking guitar lines in and out as each song finds its feet.
#SPECTROTONE CHART FREE FREE#
Each line, aphorism or vignette carries with it weight that is looking to free itself, to embrace the impossibility of life distilled into simpler parameters. From describing a time where he inadvertently found himself on a hunting trip, recalling stories from doing role play and drawing together with his daughter, or scribing observations on the strange dedications people make in their lives, he explores the banal and the fantastical the whimsical and the serious the light and dark. Collecting, layering and condensing the world around him, his musings spill out in a palimpsest that renders both the material and metaphysical world Up in Air is sewn from threads of everyday life: trails of thought, small stories and conversations with his daughter.
One of the wonderful things about orchestration is that it is equal parts technique and personal aesthetic. Some musicians I have talked to disagree or laugh at some of Adler's registral descriptions. That said, there is no substitute for getting the sound in your ears and for talking with real musicians. Blatter's text also include dynamic curves as well, which is extraordinarily helpful. Both texts contain registral characteristics within each chapter for each individual instrument. Normally questions concerning material solicitation are shut down, but I think in this case, since it applies to orchestration, which is musical practice related to composition pedagogy, it is pertinent to this forum.įirst, there are two great texts concerning orchestration: Alfred Blatter's "Orchestration" and Samuel Adler's "The Study of Orchestration." Adler's comes with a CD and DVD so you can listen to scoring techniques and see performers playing the instruments.
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