Metaphor

Critically acclaimed group The New Pornographers’ forthcoming new album, In The Morse Code Of Brake Lights, is due September 27 via the band’s own Collected Work Records imprint in partnership with Concord Records.

The Suburbs is the third studio album by Canadian indie rock band Arcade Fire, released on August 2, 2010. The album debuted at No. 1 on the Irish Albums Chart, the UK Albums Chart, the US Billboard 200 chart, and the Canadian Albums Chart. It won Album of the Year at the 2011 Grammy Awards, Best International Album at the 2011 BRIT Awards, Album of the Year at the 2011 Juno Awards, and the 2011 Polaris Music Prize for best Canadian album. Two weeks after winning Grammy's Album of the Year, the album jumped from No. 52 to No. 12 on the Billboard 200, the album's highest ranking since August 2010.

Arbouretum’s mystic folk-rock collapses a continuum of 20th century music into decidedly classic song structures. English folk, country blues, Americana and 70s psychedelia all serve as touchpoints in their singular and distinctive sound. The Baltimore-based band have perfected the craft of storytelling using the delicate interplay of melodies and prosaic lyrics to tell vivid stories that engage the listener and transport them the way an immersive novel would. Let It All In stands as their most accomplished and evocative album to date. Guitarist and vocalist Dave Heumann’s melodies and solos still remain a central focus bolstered by the hypnotic rhythms of bassist Corey Allender and drummer Brian Carey and enhanced by Matthew Pierce’s substantial yet understated keyboard figures. Each song is a vivid scene or tale; meticulously detailed and crafted, transporting the listener to another world and time.

If we go with Aristotle's definition of genius – as the ability to perceive and create metaphors – then composer Harrison Birtwistle is most certainly a titan of the mind, and Earth Dances may be his Olympus. Throughout his long career, Birtwistle has created almost as many metaphors as musical works; his titles, his schemes, the imaginary networks of means and ends which his art erects – these metaphor-webs yield an oeuvre in their own right. And in Earth Dances, Birtwistle's nearly forty-minute work for huge orchestra from 1986, these metaphors collect and converge, lie upon one another as a lifetime's accumulated strata. All Birtwistle's best allegories and tropes are here: the line, the labyrinth, the town and landscape, the globe's surface and the Deist machine, the music of a new mythology. It should therefore be no surprise that Earth Dances is one of Birtwistle's most demanding scores ……..
From Allmusic

Semantic Spaces is best describes as the 'rebirth of Delerium' for it is a new awakening from their eerie darker days. And while the album starts out rather cold and emotionless it soon escalates to some deep electronic bass lines with (for the first time ever) soaring vocals by female singer Kristy Thirsk on "Flowers Become Screens". Then comes "Metaphor" with its ancient tribal chantings amidst synthy-electronic beats and mysterious female voices that sound a lot like something you'd find on their Future Primitives side-project by Intermix. "Consensual Worlds" probably comes the closest to their older sound with a droning undervoice that drags through some downright creepy sound effects while "Incantation" is probably their most upbeat song with funky trance beats accompanied, once again, by Kristy Thirsk, who sings a lot more often on their next album, Karma.

2017 four CD set. Before During After - The Story of 10cc is a special box set, curated with input from the band to detail each and every chapter of their musical story. It Is the first complete, career-encompassing collection of the work of 10cc - Eric Stewart, Lol Crème, Kevin Godley and Graham Gouldman, together and apart…

Ben Curtis' desertion of Secret Machines and the breakup of On!Air!Library! was justified by this group's first single, a sky-gliding confection that modernized the sighing, swirling, private dancefloor sides of Medicine, Seefeel, and My Bloody Valentine. Included as the finale on Alpinisms, the debut album from Curtis and O!A!L!'s singing Deheza twins, "My Cabal" has the feel of a bonus track; the later recordings that precede it, despite remaining squarely within the domain of late-'80s/early-'90s dream pop in terms of inspiration, are relatively individualist, going well beyond the lucid psychedelia and discreet flickers of Afro-beat and contemporary pop. What pushes these songs past mere worship involves cunning collisions of robust rhythm, caressing noise, and heavenly melody, with each element equally crucial. Good shoegaze/dream pop bands mastered one of them; the most exceptional of the heap, like this group, had all three down. The most striking example here is "Wired for Light," seemingly spawned by Siouxsie and the Banshees' "Peek-A-Boo" and M/A/R/R/S' "Anitina," full of clacking percussion that rattles the ribs, Middle Eastern accents, gale-force atmospherics, and layered vocals that could be casting a spell.

The sounds of Dustin Wong & Takako Minekawa are a coalescence of the complexities of life, with the sheer joy of imaginative creation. Are Euphoria continues to dive deeper into the dreamlike technicolor tapestries their songs have always explored, blossoming forward with each cycle of loops. Completely characteristic of their style, Wong and Minekawa achieve a density of textures, timbres, beats, and harmonies while remaining totally weightless, suspended in the air.

When I started work on Geyser last autumn I had decided I was done composing music that reflected the pain of the pandemic. This new piece was to be instead a celebration – of music, its welcome return and that unique atmosphere created by musicians when they meet to perform. Its mood was to be predominantly joyful and optimistic, while its title was a metaphor for the music’s underlying rhythmic energy, unleashed intermittently in ecstatic outbursts – like explosions of water and steam from a pressurised geothermal spring. (This idea of tension, boiling under the surface, is a theme I return to in a lot in my music.)