Orange Mountain Music, PRS for Music and Dunvagen Music Publishers have announced the release of Philip Glass: Refractions on 27 January 2023.
The four track EP features works by UK composers Dan Samsa, NikNak, Carmel Smickersgill and felix taylor, inspired by the music of Philip Glass. The commissioned project was announced in March 2022 as a development initiative for PRS members, encouraging the selected artists to engage with Glass’ music through their own practice. Refractions will be launched at an invite-only event on Philip Glass’ 86th birthday at PRS for Music’s headquarters in London Bridge on 31 January.
Speaking on the project, PRS for Music Classical Relationship Manager Dan Lewis says, ‘We’re harnessing the incandescent creativity of contemporary composers across the UK. Refractions encouraged composers to interpret Philip Glass’ music through their own lens. And beyond celebrating the release of this recording and Philip Glass’ iconic career, we’re also making sure these amazing creators meet the UK music supervision and sync community to build more revenue-generating connections and find new places for this music to live.’
American composer and PRS member Philip Glass says, ‘I am pleased that my music is a part of this innovative and development initiative in partnership with PRS for Music, Orange Mountain Music, and Dunvagen. It’s often interesting when music, new and old is reimagined. This next generation of composers bring something to this music which is connected uniquely to them through time and culture. In other words, we are hearing something we have never heard before, and that’s what interests me. These new pieces, variously composed, re-composed, rearranged and performed by NikNak, Dan Samsa, Carmel Smickersgill and felix taylor embody many of the virtues of what will be the future classical music.’
(L-R) Cameron-Passley, Napoleone, Proulx, & Rambeau Smith
The CANADIAN COUNTRY MUSIC ASSOCIATION (CCMA) has announced the incoming Board of Directors for 2022-2023. These are leaders from the Canadian music, entertainment and arts community who are dedicated to the organization’s mission to elevate and celebrate talent found within CANADA. This year’s four incoming board members are:
MELISSA CAMERON-PASSLEY – Dir., Creative & Operations at KILOMETRE MUSIC GROUP, co-chair of MUSIC PUBLISHERS CANADA’s NXTGEN committee, and an appointed member of the CCMA Board of Directors.
MADELAINE NAPOLEONE – WARNER MUSIC CANADA VP/Marketing
JOELLE PROULX – Pres. and co-owner of AGENCE RANCH, where she oversees the management of BRITTANY KENNELL, day-to-day management, publicity and tour coordination for MATT LANG and publicity for artists and Country events including FIVE ROSES, LASSO MONTREAL and QUEBEC COUNTRY GALA.
JULIA RAMBEAU SMITH – Currently oversees all communications for The MRG GROUP, which consists of more than 20 business entities including venue operations, live promotions, hospitality and travel. At MRG, she is actively working on a program to support local and emerging acts to play at the only Country-themed bars in TORONTO (CCMA AWARD-winning, ROCK ‘N’ HORSE SALOON) and VANCOUVER (YALE SALOON).
CCMA Pres. AMY JENINGA said, “We are pleased to be adding new and inspiring voices to our Board of Directors, and I look forward to working with them to elevate, evolve and create new opportunities for our association in the years ahead. Together, they will help us accomplish our goal of celebrating Canadian Country music both here in CANADA as well as globally. This dedicated group of industry veterans are eager to help our members stay connected and engaged throughout the year, and we are excited to have them join us.”
For more than a century, proportional time has been a constant presence in philosophical and psychological studies of thinkers such as Paul Janet and William James who have formulated the concept to explain why and how the sensation of time accelerates as we age. Days, months, and years become smaller and smaller fractions of our existences, while new experiences fade into those that came before and after. Reminiscing about the onset of the pandemic in 2020, this effect is magnified tenfold. That initial period of ‘new normal’, which sometimes appeared to bring an exciting break from mundanity, today feels like a memory lapse, a nondescript progression of events whose reality you might even be tempted to question. Like Proust’s madeleines, Kali Malone’s Does Spring Hide Its Joy serves to remind us of those times.
Recorded with Stephen O’Malley on guitar, Lucy Railton on cello, and a skeleton crew of technicians in Spring 2020 at the then empty spaces of Berlin’s Funkhaus & MONOM, the hour-long composition – presented here in three variations – feels like an echo and half-forgotten memory of those moments spent in isolation and lethargy. As on Malone’s The Sacrificial Code, the music is again a monumental, texturally and harmonically rich drone that moves in waves, maintaining a dynamic presence despite its languid pace. But where that 2019 release saw the Swedish musician and composer rely solely on pipe organs, on Does Spring Hide Its Joy she turns to sine wave generators. Tuned to her own system, the oscillators allow a wider and finer range of control, from vibrating motifs not far removed from acoustic organs to microtonal scintillations that gesture towards primordial electronic synthesis. One can imagine that both Olivier Messiaen and Iannis Xenakis would admire these expressions that sit equidistant from the organ explorations of the former and the electronic inventiveness of the latter.
While Malone’s compositional touch is what ultimately dictates the shape and flow of the pieces, Railton and O’Malley’s contributions are just as important in building their mesmerising fabric. Although they surface from disparate, experimentally tinged backgrounds – Railton’s roots are in contemporary classical, O’Malley is best known for his drone and metal work – the three musicians play with a shared musical language and ardour. Especially during the opening sequence of ‘Does Spring Hide Its Joy v1’, the reverberations of Malone’s sine waves and O’Malley’s e-bowed guitar are almost indistinguishable from one another as they forge layers of humming sound, then let them drift like blue whales in the gelid waters of the Antarctic. Meanwhile, Railton’s cello circles above them akin to a dancing spider, leaving behind trails of glistening gossamer. Each of these repeated, dynamic fluctuations on the micro level contributes to a whole that shifts so patiently as to almost appear still, reminiscent of tectonic plates moving through aeons.
This heavy meandering takes the music on a journey from plains of brighter, sustained ambient soundscapes to peaky mountains that resemble harsh noise and doom, before ultimately settling into a thrilling interplay of murmuring guitar riffs and quavering electronics. Although sonically similar and composed with the same fundamental elements, each of the remaining two takes carries a distinct impression. ‘v2’ is narrower in its oscillations, but all the more incisive, with zither-like textures and guitar screams that morph into sharp pulses and tinnitus-evoking tones. ‘v3’ radiates with a sense of melancholy and loss, and makes for a fitting final manifestation of what is another triumph for Kali Malone.
Melbourne’s post-pandemic Asian pop music scene is thriving. Last year saw the return of Epik High and Eric Nam, as well as DPR’s first time in Melbourne. 2023 is shaping up to be a good year too, with Stray Kids playing at Rod Laver Arena in February, and BLACKPINK coming to Melbourne in June. And now, fans can rejoice because there’s a whole new music festival coming to Melbourne, promising a massive line-up of international stars. Get ready for SONICA, a music and arts festival that will take over Sidney Myer Music Bowl on Friday March 17.
SONICA Music Festival
Details about this music festival are tight at the moment. What we know so far is that the line-up consists of both international acts and Australia’s emerging talent. Enjoy K-pop, rap, alt-rock, hip hop, house and R&B.
The festival will celebrate Melbourne’s cultural diversity through music, arts and cuisine, creating an event that you won’t forget.
More information is expected to be released soon. In the meantime, keep an eye on their website for updates, and stay tuned to their social media. Who are you hoping to see?
The fascinating collaboration between Les Mamans du Congo, a group from Brazzaville led by Gladys Samba, and French producer RROBIN continues. Their music involves an infusion of electronic elements into Congolese sounds.
“Ntima” is the latest offering from Les Mamans du Congo and RROBIN. It’s the first single from an album which they will be releasing in 2023.
“Ntima” is written from the perspective of a barren woman who has to deal with stigma.
Les Mamans du Congo and RROBIN can be found on Facebook.
The thrill of musical collaboration lives in the uncertainty and potential that springs from the genesis of people engaged in trying to find a common language between two separate means of creation. But there’s another, equally thrilling moment that occurs when two artists of different backgrounds and different ways of working start to turn that tiny spark into a flame. You can hear that moment come alive on “Agoya,” the fourth song on Saccades, the debut full-length collaboration between Rian Treanor and Ocen James. The sputter of Treanor’s intricate beats and the melancholy tone of James’ violin become engaged in a graceful, high-energy dance, working together as a fluid whole of both beauty and urgency.
There are many such moments on Saccades, a project defined by unlikely harmony from disparate disciplines and tonal palettes. British-born Treanor’s body of work is largely in the frantic BPMs of IDM and footwork, a spiritual descendant of early Warp Records sounds and a literal descendant of producer Mark Fell, his father. Ugandan musician Ocen James plays the rigi rigi, a one-string violin, which forms the melodic basis of most of the album’s 10 tracks, though just as often is put to use in the service of harmonic clangs or dissonant shrieks. A work of two unmistakable talents, it’s often where the lines blur and the frequencies overlap that Saccades is at its most compelling.
Moments like the sprightly “Rigi Rigi” are a kind of proof of concept for Treanor and James’ conceptual pairing; James’ title instrument is the focal point, bouncing and ricocheting off of Treanor’s skipping rhythms, the rare moment on record that’s fairly straightforward in nature. The same could potentially be said about “The Dead Centre,” in which James becomes layered over himself in an overlapping exercise in looping and harmonization with oneself, eventually descending into a more sinister form of ambient music defined by the vibration of cymbals and low, metallic tones—more Nurse With Wound than Aphex Twin. And the stark plucks of “Memory Pressure” carry an eerie subtlety, the suggestion of a specter just beyond the frame of vision.
As a beatmaker, Treanor often leans toward the frantic and the adrenalized, which frequently results in something as ecstatic and fun as leadoff track “Bunga Bule,” a giddy moment of inspiration in which the textures and tones of programmed drums and sounds wrought from James’ instrument become harder to distinguish from one another. A similar effect can be heard on “Naassacade,” the percussive twinkle of which feels more aligned someone like Four Tet, an artist whose work is bound by spiritually like-minded textural contrasts. As much as James’ violin feels like a more human anchor to these wildly unpredictable compositions, Treanor takes a special pleasure in capturing its strangest and least immediately pleasant sounds on “Tiyo Ki,” wherein some of the most discordant pieces are built up into an unlikely breathtaking whole, grounded in part by the subtle presence of Angelo Badalamenti-like synth drone.
Though the same can be said of many of the tangled abstract techno and IDM influences that Treanor’s production sometimes nods toward, Saccades is an electronic album that’s meant for close, headphone listening as much as it is physical response. James’ performances and the different shapes his rigi rigi takes tend to lead down surprising paths and take on unfamiliar forms. Though the musicality of it is undeniable, Saccades reveals itself slowly through movements and permutations that gradually find its disparate elements converging in abrasive yet inspired harmony.
Label: Nyege Nyege Tapes
Year: 2023
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Jeff Terich
Jeff Terich is the founder and editor of Treble. He’s been writing about music for 20 years and has been published at American Songwriter, Bandcamp Daily, Reverb, Spin, Stereogum, uDiscoverMusic, VinylMePlease and some others that he’s forgetting right now. He’s still not tired of it.
i’ve written about the music of Danielle Johnson – aka Danz CM (previously aka Computer Magic) – on a number of occasions. Her usual output is analogue synth-laden bedroom pop – growing increasingly sophisticated over the years, featuring in my Best Albums of the Year in 2018 and 2021 – but her most recent release is the score to a short film titled While Mortals Sleep, which moves away into less tangible, more atmospheric territory. i don’t usually listen to a score before seeing the movie, but it’s an independent production and there doesn’t appear to be any way to watch it online yet, so for now Johnson’s score will have to do.
IMDb reliably informs me that While Mortals Sleep has a running time of a mere 14 minutes, so it’s no surprise that Danz CM’s score clocks in at just under 8½ minutes, which i think takes the record for the shortest film score i’ve yet heard (the previous shortest being the 16½-minute score for Lars von Trier’s Antichrist). Despite my fondness for the large-scale and the epic, i absolutely love brevity and the art of the miniature, and it’s nice to spend just a little time in the five brief tableaux that comprise this score. It’s all pretty simple, but i like its directness and the immediacy of its soundworld.
‘Susan’s Song’ acts as an introduction, beginning in a place of bright intensity. There’s slight movement audible within, growing into noise and deeper pitches, all of which ultimately causes its shimmer to vanish, replaced with edgy droning. ‘Darkness’ continues this with a throbbing atmosphere in which glimpses of pitch are just about tangible. ‘Afternoon’ serves as a short repose at the centre of the score, being more open with spaced-out piano chords, each one triggering a vague swelling response. ‘Eye of God’ is the most involved, bringing together a soft burbling texture with shimmering strummed strings and various unclear elements. Powerful surging notes cut through this, and as it continues soft tones trace a faint melody, which persists when everything else falls away, its timbre evoking synthetic voices. Its stability fails toward the end, the chords becoming dissonant before finally erupting. ‘Sanctuariam’ is a disarmingly curt epilogue featuring bells in dialogue and more pseudo-vocal chords, acting as a kind of ‘anti-resolution’, suggesting not so much a conclusion as blunt finality.
Hopefully the film will become more widely available in due course; meanwhile, Danz CM’s score for While Mortals Sleep is available free from her Bandcamp, and for those desperate for outdated technology, there’s a cassette available from her label Channel 9 Records.
Every January, hundreds of artists set up their guitars and microphones to sing among 50,000 punters at the Tamworth Country Music Festival in central New South Wales.
Key points:
Tyla Rodrigues and Jarrad Wrigley met at last year’s Tamworth Country Music Festival
They joined forces and were a last-minute entry to Battle of the Buskers, coming third
The artists have returned to the festival this year in love and as a musical duo
This year, Queenslanders Tyla Rodrigues and Jarrad Wrigley were among them.
They met at last year’s festival, held in April due to the pandemic, and came home with a trophy and the beginnings of a musical relationship.
It was the first time the musicians had attended the Tamworth Country Music Festival. They each arrived with the goal to enjoy the atmosphere and perform for anyone willing to listen.
With a few gigs lined up the pair planned to make the most of the six-day event, shortened due to the COVID pandemic.
After one of Wrigley’s performances, while packing away his guitar, he looked up, and Rodrigues was standing there asking about his guitar.
They exchanged socials and the next day sang a song together, and it felt right.
Rodrigues recalls what drew her to listening to Wrigley on the stage that first day:
“He was playing all my favourite songs,” she said.
“When you can respect another musician and make something more beautiful together, it just works.”
Within days the musicians decided to try their luck at the Battle of the Buskers, singing an original song of Wrigley’s called Cover Me.
The chemistry was instant.
Wrigley said they made a connection from the first minute of performing together.
“You get this thing as a musician; you just start talking without saying anything to each other on stage,” he said.
Jarrad Wrigley (fifth from right) and Tyla Rodrigues (fourth from right) with the 2022 top 10 buskers.(Facebook: Tamworth Country Music Festival)
A winning duo
Placing third in the competition was proof Rodrigues and Wrigley needed to continue music together in whatever capacity they could.
That chance came when Rodrigues needed a guitarist and knew Wrigley who would fit with her style perfectly.
After months of travel together and gigging, Wrigley says there was one moment in Mount Isa when he knew he was in love.
“The first dance was it. I’ll leave that to peoples imaginations,” he said.
Rodrigues agreed the dance was a special moment.
But she admits, jokingly, that she has loved being able to spend so much time together and not hate each other thanks to living apart.
Living just one hour away from each other in Greater Brisbane, they have a golden rule of a weekly date night with no music talk.
But both admit it doesn’t last long into their dates before they start discussing gigs and songs.
Jarrad and Tyla busking on Peel street, Tamworth.(Supplied)
Just nine months after they meet, the couple is back where it all began in Tamworth for this year’s Country Music Festival.
They have 10 shows lined up and are playing at the very venue they first played together just last year.
What’s next for the young artists?
“[Music] started as something we both just loved,” Rodrigues said.
“Whatever happens in the future, it’s just about doing what I love and continuing to enjoy it.”
To help content creators solve the problem of music licensing and its creation, two IIIT- Allahabad graduates, Siddharth Bhardwaj and Mansoor Rahimat Khan, have introduced Beatoven.ai, India’s first AI-backed music tech startup. This Bengaluru-based startup offers a platform for music composers to develop affordable royalty-free tracks. Launched in February 2021, the company aimed to fuse music with technology and is focused on taking AI a notch higher in 2023.
How does this AI technology work?
This AI system helps creators with its deep-learning networks, which helps users analyse complex or per se large music data. For instance, if a user requires a one-minute track, this AI will track approximately 10 seconds to generate five options.
After analysing the big data, AI helps arrange all the samples from artists to train AI-based models to develop a structure that integrates all these layers vertically and horizontally to create a completely understandable track.
On its operation, the founders believe that,” Beatoven.ai was launched to revolutionise the sector by making access to music easy and affordable for millions of creators whilst keeping it royalty-free, and easily customisable as per their requirements.”
“We own all the rights to our music and content creators can use our music in their work without paying any royalties headache free” they added.
In terms of the brand algorithms, the company has generated region-specific music composition, which is spread all over India. Given the primary focus on classical music from our country, we planned to extend our music library by including ethnic music from other geographies like Chinese, Korean, Latin American and others, said the founders.
Can this AI algorithm replace musicians?
According to the company, this first-ever AI-backed music tech startup is built to collaborate with humans, not replace them. Moreover, this tool educates musicians on music composition, thus enabling freelancers to master and mix the tracks.
AI is unique for every audience, but at the same time, it becomes the user’s responsibility to curate and personalise it according to the individual’s needs.
In 2018, Francois Pachet, musician and tech researcher, released the first pop album composed with our artificial intelligence tool, which was named Hello World.
Future of this AI tool
“As per the search history for such AI tools, India is estimated to have approx 5-6 lakhs of searches from users, which showcases the huge demand for royalty-free music,” said Bhardwaj. To build the correct AI models for the users, our company has laid its focus on Indian classical and royalty-free regional music for which it collects data, he added.
Closed sources revealed that Beatoven.ai has planned to launch another AI tool that is said to analyse the video and track changing scenes in comparison to its mood, in order to provide a suitable track for the same.
What is the subscription model for this AI tool?
Beatoven.ai is a subscription-based program with three different subscription plans; USD 20/ month, USD 40/ month, and USD 100/month, catering to individual content creators, agencies, and production houses respectively.
Alright…You Picked It! This one was really close as we almost ended in a tie, but one edged out the pack by one little vote. The one vote that made it not a tie was someone said that they wanted either one album or another that I should pick, so I always go with the first name on the choices. If I didn’t, we would’ve ended in a tie. The winner for this month’s picks ended up being The Cars with ‘Heartbeat City’ and I am real excited about this one. Here are the results.
The Cars – ‘Heartbeat City’ – 8 votes
Prince – ‘Purple Rain’ – 7 votes
Genesis – ‘Invisible Touch’ – 3 votes
U2 – ‘The Joshua Tree’ – 2 votes
Bryan Adams – ‘Reckless’ – 2 Votes
Thanks to all for participating. The February choices will be up on Saturday! And the choices are all now from my collection and the next one will be some albums I have from the 90’s but probably not the ones you’d expect. Hopefully you can help me decide which one I should review.
THE CARS – ‘HEARTBEAT CITY’ (1984):
The Cars were now on their fifth studio album by 1984 and they made some changes with this one. Long time producer, Roy Thomas Baker, was replaced with some dude name Mutt…that is right…Mutt…Robert John “Mutt” Lange. I think you’ve heard of him before. Mutt had just come off Def Leppard’s album ‘Pyromania’ so he was one of the hottest producers around, plus he had done ‘Back in Black’ and “For Those About to Rock, We Salute You” by AC/DC, ‘4’ by Foreigner and ‘High & Dry’ by Def Leppard. Just a few massive albums. With Mutt signing on to do this album, he had to turn down Def Leppard’s next album ‘Hysteria’…but delay after delay allowed him to eventually join in and help with that mind blowing album.
But the Cars were different, they pure pop. They were not a hard rock band. The Cars also co-produced with the album as well. I do know that Mutt’s influence on here is huge and obvious at times as I can hear hints of his other work in these songs. This saw the band return to form and even see elements of their debut on here as well. It might be slick and polished, but is quite incredible too! If this isn’t their best album, it is pretty damn near close.
The album came out on March 13, 1984 and spawned not one, not two, but six singles, two of which reached the Top 10 on the Top 40. The album sold over 4 million copies going 4 x’s Platinum in the U.S. alone. It was a massive hit thanks to a ton of airplay on MTV and many awards from them as well. The band was huge and at their peak! The band was Ric Ocasek, Ben Orr, Elliot Easton, Greg Hawkes and David Robinson.
One last bit of information, the cover art is spectacular. My vinyl is a gate fold and the cover runs across the front and back. The cover art (including an image of a 1971 Plymouth Duster 340 and an Alberto Vargas pin-up model) is from a 1972 piece by Peter Phillips called Art-O-Matic Loop di Loop. You got to love it. A Cars album with a “car” on it and a cool looking car at that. A very striking cover. Inside the gatefold it was full of pictures of the band. And my copy still has the album sleeve as well…see….
And now, let’s get to the music…
SIDE A:
The first song and fourth single is “Hello Again”. A song that went to #20 on the Billboard Hot 100 plus it’s video was directed by the late, great Andy Warhol. The song kicks off with a slick, “Hello Again” vocal that sounds so Leppardy and almost sounds like Phil Collen singing. There is a ton of synths and sound effects in the song, but that electronic drum beat is catchy as hell. The chorus will grab hold and not let go. Ric Ocasek is on vocals and he sounds so good. It is an earworm and an exciting pop opening track. You immediately take notice that this is a serious band at the top of their game.
“Looking for Love” is another track with Ric on vocals and percussion that is the driving force of the song. It is foot tapping, head bobbing greatness. One of the non-singles that is just as good as the singles. I love the coolness that the song oozes, the soft vocals, the “here she comes’ repeated over and over”, all just sink right in and feel like home.
Then come the synth space sounds, the recognizable keyboard notes and that pounding drum as “Magic” kicks in. I remember hearing this on the radio and seeing it on MTV and being like, what the hell is this? I love it…and I still do today. It is new wave, pop perfection. The song will have you singing that chorus long after its over. And there is even a great guitar solo from Easton that is awesome and one of the more rocking ones on the album. It don’t get much better than this…although it does on this album. “Magic” went to #12 on the Hot 100 chart and #1 on the Mainstream rock chart.
Then we get the first ballad and this might be one of the best ballads ever written. “Drive” was sung by the late Benjamin Orr and he had such a smooth, soulful voice that it touched a lot of hearts. The emotion he was able to pour in to the lyrics was amazing. There was a steady beat and bass groove that propelled the track and set the tone. The keyboards were used for accents and were brilliant touches of flair to the song. The song went to #3 on the Billboard Hot 100 and charted all across the globe. The video for the song was directed by actor Timothy Hutton and also starred Ocasek’s future wife and super model, Paulina Porizkova.
The most electronica sounding song on here is “Stranger Eyes”. It is nothing but keyboards, synths and electronic drums. It is another song sung by Orr, but he sounds a lot like Ocasek on this one. There is almost a Miami Vice vibe to it, before there was Miami Vice. It is a darker tone but still painted with vibrant colors. How cool the deep cuts are as cool as the singles.
SIDE B:
Then we get one of the most groundbreaking songs ever turned in to a video with all its computer animated graphics. Really ahead of its time. “You Might Think”, though, is a great song even without the video. It is an upbeat, hell of a good time, fun, entertaining track. Ear candy at its best. It is sugary sweet and catchy with a great beat and those high pitched metallic sounding keyboard notes strike a chord with your ears and makes them instantly recognizable. Ric flys through the lyrics and he’s never sounded better. A masterpiece of a pop song that went to #7 on the Billboard Hot 100 and #1 on the Mainstream Rock Chart.
“It’s Not the Night” is one of the few rockers on the album. Yes, a rocker with even all that keyboard. The guitar riffs are good, the drumbeat is on point and the song chugs along beautifully. The guitars are the highlight which we don’t have enough of those on the album. This is more of what the Cars do best, well crafter pop songs with a rock edge.
“Why Can’t I Have You” was single #5 and broke the Top 40 as well going to #33. They could still do no wrong even on single #5. The song is moody, a little darker ballad and has some great backing vocals and some really interesting melodies that will hook you right in. Ocasek delivers that same moody almost desperate vocal that the music is mimicking perfectly.
Then comes “I Refuse”, the last of the deep cuts (as there are only 4 since there were 6 singles). My least favorite of the bunch. I didn’t say I hated it, just my least favorite. It is standard fare with the synths and electronic drums, just not as exciting and engrossing as the other tracks on here. The one misstep on the whole album.
The final single and final track is “Heartbeat City” which didn’t chart. But there is an ethereal vibe to the song almost like a drug induced haze as the song has been discussed that is about heroin. I can see that. The electronic sound is almost hypnotic and entrancing as you get lost in the sound. I can see this being a little much for radio, but it might be the most interesting and engrossing song on the album. It feels epic and important and even a little artsy. And I love it…like I do this whole album.
