So I might be a bit behind when I had initially planned on posting about this. But to be fair, I’ve been very busy listening to this album over and over! Amour & Attrition is technically not just a song, but a symphony in four movements. The symphony comes from Casey Crescenzo, the frontman and founder of the greatest band ever, The Dear Hunter. Spanning many concept albums and a couple EP’s, Casey Crescenzo turned to PledgeMusic (a sort of music-centric Kickstarter) to fund his ambitions for making a symphony. I’m glad to say that I also contributed to it. The symphony, like I mentioned is split into four movements, and each has it’s own distinct feel to it, as you sprawl across the almost 40 minutes of music. The music is able to exude bombastic brass alongside some more tender, romantic violin amongst other things. These different tones mesh brilliantly to the point where the whole symphony feels like one piece but yet each movement is distinct from itself. If you’re a fan of The Dear Hunter, you probably already know about this, but if you’re just a fan of music in general, you should probably go and listen!
I’ve been quiet for a couple of weeks, but I’ve every intention of kicking things back into high gear soon! This will likely occur alongside the newest release from my absolute favorite musician, Casey Crescenzo (of The Dear Hunter). He took to the internet to get help to create his very own Symphony! It was successfully crowd-funded on Pledge Music very quickly. I’m proud to say that I was one of the backers, and it will be available digitally as of June 3rd! It is available now for those who backed the project, but let’s wait until it’s more readily available, shall we? I will tease that it is exceptional though!
The time is ripe to cover the sequel to one of my favorite games, as well as one of my favorite game soundtracks! 4A game’s Metro 2033 is in opinion a masterpiece, crafting one of the most depressingly immersive experiences I’ve ever encountered for a game. By and large, the sequel, Metro: Last Light improves in most areas, although there is a lot more hand-holding and pre-scripted events. It’s not enough to truly hurt the experience, but it definitely felt almost like it was heading closer to a Call of Duty feeling than its predecessor. However, the score, done by Alexey Omelchuk is comparably breathtaking to that of the original game. Sparse compared to many other gaming scores, the use of acoustic guitar in the Metro games is amazing and Last Light is no exception.
I was anxiously awaiting the Video-On-Demand release of Richard Ayoade’s (of IT Crowd fame) second feature film, The Double, based on the novella from Fyodor Dostoevsky. Luckily the film was great and I was by no means disappointed. And one of the standouts to it was it’s score, composed by Andrew Hewitt. Hewitt has worked with Ayoade a few times now, having composed the soundtrack to his first feature, Submarine, as well as the award winning score for the absolutely bonkers (and uproariously hilarious) “Garth Marenghi’s Darkplace” (under the name Stig Baasvik). The soundtrack is interesting, and brings a (welcomed) alarming tone and presence to the film. As well as some humorous 80’s style synth music for a show that appears within the film.
Every once in a while I take a chunk of time out of my schedule and just hunt for new music. I did this recently and used Sufjan Stevens as a jumping off point as I was hoping for something aurally comparable. The end result was St. Vincent, who was apparently a touring musician with Stevens at one point. And it turns out her solo career is exceptional! I’ve given a bunch of her music a try so far and it’s as unique and strange/ against the grain as I was hoping for. One song in particular, Digital Witness just has something about it that I love. Plus it has one of the strangest music videos I’ve ever seen!
Closure in Moscow’s new album “Pink Lemonade” is due out this Friday, so i wanted to throw one of the songs from that album on here, as they are an exceptional band and what I’ve heard from their is exceptional. A weird psychedelic sound combined with a lot of bizarre experimentation (like a really weird Japanese Chiptune track to conclude the album) make for one of the most unique listening experiences you’re likely to encounter this year. Plus it’s just great music!
I think it’s about time I got another John Williams gem into the rotation, as it’s hard to run into things from him that aren’t incredible. The man is responsible for so much incredible music borne from just his friendship with Steven Spielberg (easily my favorite director), let alone branching out. So I figured it was time to touch on one of that duo’s early milestones (no, not Jaws) by touching upon Close Encounters Of The Third Kind. Starring Richard Dreyfuss, this is a great film overall, and for the fact that it’s one of those rare science fiction films that doesn’t depict extra-terrestrials as murder happy monsters. The most easily recognizable piece from this would probably be the song used to communicate with the aliens towards the end of the film, but that is by no means the only good song in the film. The rest of the score has that classic John Williams sound to it, while remaining exceptional. But do we really expect anything less from that man?