[ cantus de animus ]

oh by the way, which one's Pink?

2007-06-06T14:38:00.000-07:00

So, so you think you can tell
Heaven from Hell,
blue skies from pain.
Can you tell a green field
from a cold steel rail?
A smile from a veil?
Do you think you can tell?

Sometimes one will resonate more than the others, for longer, it seems. Some will linger in your mind better. With some, the flavor of the ear candy presented never becomes tiresome or old, but always fresh. It's not true with all, at least for me, but with some, it is very true.

And did they get you trade your heroes for ghosts?
Hot ashes for trees? Hot air for a cool breeze?
Cold comfort for change? And did you exchange
a walk on part in the war for a lead role in a cage?

Sometimes, though the meanings are vague, the images stir deeper. For me, this is what makes something timeless. This is what makes something last, endure. Over time, some images fade, some stanzas become over used and typical. But not this one. For me, this is one of the best, one of the classics, one of those that will remain. This is one of the ones during which, I do not mumble, but let fly from my vocal chords with confidence. This is one of the ones that I know by heart.

How I wish, how I wish you were here.
We're just two lost souls swimming in a fish bowl,
year after year,
running over the same old ground. What have we found?
The same old fears,
wish you were here.

acoustic Tull....

2007-05-09T11:30:00.000-07:00

It's some of the greatest stuff ever, this collection of acoustic Jethro Tull. All my favorites, and some forgotten favorites, hand selected by Ian Anderson himself. Lyrically, these songs are also some of the best of Tull. If you're looking to get a really nice collection of Jethro Tull that DOES NOT include the song Aqualung, get this collection.

Below, I've included some of my favorite lyrics from this collection.

"One White Duck / 0^{10} = Nothing At All"

There's a haze on the skyline, to wish me on my way.
And there's a note on the telephone --- some roses on a
tray.

And the motorway's stretching right out to us all,
as I pull on my old wings --- one white duck
on your wall.

Isn't it just too damn real?
I'll catch a ride on your violin --- strung upon your bow.
And I'll float on your melody --- sing your chorus soft
and low.

There's a picture-view postcard to say that I called.
You can see from the fireplace, one white duck
on your wall.

Isn't it just too damn real?

So fly away Peter and fly away Paul --- from the
finger-tip ledge of contentment.
The long restless rustle of high-heeled boots calls.
And I'm probably bound to deceive you after all.

Something must be wrong with me and my brain ---
if I'm so patently unrewarding.
But my dreams are for dreaming and best left that
way --- and my zero to your power of ten equals
nothing at all.

There's no double-lock defense; there's no chain on my door.
I'm available for consultation,
But remember your way in is also my way out, and
love's four-letter word is no compensation.

Well, I'm the Black Ace dog-handler: I'm a waiter on
skates --- so don't you jump to your foreskin conclusion.
Because I'm up to my deaf ears in cold breakfast trays ---
to be cleared before I can dine on your sweet Sunday
lunch confusion.

Wondering Aloud

Wond'ring aloud --
how we feel today.
Last night sipped the sunset --
my hands in her hair.
We are our own saviours
as we start both our hearts beating life
into each other.
Wond'ring aloud --
will the years treat us well.
As she floats in the kitchen,
I'm tasting the smell
of toast as the butter runs.
Then she comes, spilling crumbs on the bed
and I shake my head.
And it's only the giving
that makes you what you are.

Mother Goose

As I did walk by Hampstead Fair
I came upon Mother Goose -- so I turned her loose --
she was screaming.
And a foreign student said to me --
was it really true there are elephants and lions too
in Piccadilly Circus?

Walked down by the bathing pond
to try and catch some sun.
Saw at least a hundred schoolgirls sobbing
into hankerchiefs as one.
I don't believe they knew
I was a schoolboy.

And a bearded lady said to me --
if you start your raving and your misbehaving --
you'll be sorry.
Then the chicken-fancier came to play --
with his long red beard (and his sister's weird:
she drives a lorry).

Laughed down by the putting green --
I popped `em in their holes.
Four and twenty labourers were labouring --
digging up their gold.
I don't believe they knew
that I was Long John Silver.

Saw Johnny Scarecrow make his rounds
in his jet-black mac (which he won't give back) --
stole it from a snow man.

Salamander

Salamander --- born in the sun-kissed flame.
Who was it lit your candle --- branded you with your name?
I see you walking by my window in your Kensington haze.
Salamander, burn for me and I'll burn for you.

Skating Away On The Thin Ice Of The New Day

Meanwhile back in the year One --- when you belonged to no-one ---
you didn't stand a chance son, if your pants were undone.
`Cause you were bred for humanity and sold to society ---
one day you'll wake up in the Present Day ---
a million generations removed from expectations
of being who you really want to be.

Skating away ---
skating away ---
skating away on the thin ice of the New Day.

So as you push off from the shore,
won't you turn your head once more --- and make your peace with everyone?
For those who choose to stay,
will live just one more day ---
to do the things they should have done.
And as you cross the wilderness, spinning in your emptiness:
you feel you have to pray.
Looking for a sign
that the Universal Mind (!) has written you into the Passion Play.

Skating away on the thin ice of the New Day.

And as you cross the circle line, the ice-wall creaks behind ---
you're a rabbit on the run.
And the silver splinters fly in the corner of your eye ---
shining in the setting sun.
Well, do you ever get the feeling that the story's
too damn real and in the present tense?
Or that everybody's on the stage, and it seems like
you're the only person sitting in the audience?

Skating away on the thin ice of the New Day.

Thick As A Brick

Really don't mind if you sit this one out.

My words but a whisper -- your deafness a SHOUT.
I may make you feel but I can't make you think.
Your sperm's in the gutter -- your love's in the sink.
So you ride yourselves over the fields and
you make all your animal deals and
your wise men don't know how it feels to be thick as a brick.
And the sand-castle virtues are all swept away in
the tidal destruction
the moral melee.
The elastic retreat rings the close of play as the last wave uncovers
the newfangled way.
But your new shoes are worn at the heels and
your suntan does rapidly peel and
your wise men don't know how it feels to be thick as a brick.

And the love that I feel is so far away:
I'm a bad dream that I just had today -- and you
shake your head and
say it's a shame.

Spin me back down the years and the days of my youth.
Draw the lace and black curtains and shut out the whole truth.
Spin me down the long ages: let them sing the song.

Grace

Hello sun.
Hello bird.
Hello my lady.
Hello breakfast. May I
buy you again tomorrow?

Marillion: Somewhere Else

2007-04-23T12:50:00.000-07:00

At first, I wasn't sure about this album. I've had it playing in the car off and on over the past week or so however, and it's grown on me. Overall, and in my own opinion, it's not one of their strongest releases, but is still one of their better ones. The production quality is stellar, the musicianship is, as usual, very good. Song structure is nice, but there are a few weak tracks (again, my opinion.).

The only real weakness is in the area of lyrics. They're ok.. just ok. I mean, I like them, but it seems that they weren't as "feeling" as the last few albums. Sometimes, it seems they just lifted popular bumper stickers of our time and set them to music.

Still, overall, I like the album. There are some great moments here. Go to their website and listen to some of this album there, and buy it if you like. I fully endorse Marillion, and encourage you to try them out...

Website: http://www.marillion.com
MySpace Website: http://www.myspace.com/marillion

kansas rocks...

2007-01-25T13:11:00.000-08:00

Sorry I haven't posted over here in so long. I've been trying to think of things to do on this music blog. I think I've figured out what to do. I'm just going to kind of journal what I'm listening to from time to time, and tell you what I think about it...

Today, because of a conversation with a co-worker, I started up the Kansas playlist. Yeah.. Kansas. Dust In The Wind, Carry on my Wayward Son. Those are their two "songs," right? Wrong. Very wrong. Those are the two overplayed songs they wrote. Both songs are good in their own right, but not a really good cross section of the underplayed and under appreciated music that makes up KANSAS.

Taking cues from Mahavishnu Orchestra's fusion of jazz and rock, Kansas branches off into classical and rock and roll fusion.

Kansas rocks. I'll give you a sample of a rare and old cut. This one is called Journey from Mariabronn. I don't know what the title means, but this is one of my favorite tracks off their first album in 1974. It's a bit lengthy, clocking in at around 8 minutes, but well worth it if you ask me. I hope you enjoy it. If you do, be sure to go out and grab some Kansas at the music store of your choice!

powered by ODEO

Muse video...

2006-12-18T10:24:00.000-08:00

While in Texas, I confessed to my oldest nephew, who is a great musician, and all around cool kid, that I liked Muse. He also admitted to liking them. We both, however, likened our Muse listening to a guilty pleasure because the Muse is so theatrical, dramatic, and emotional. This makes me chuckle sometimes, but I still like it...I'm weird that way.

Muse - Newborn:

Muse - Starlight:

A few Marillion videos...

2006-12-18T09:57:00.000-08:00

I've been cruising YouTube recently, and have found, among other things, some Marillion videos. I kinda like them, although YouTube is fraught with bad audio and amateur videos, so beware.

Marillion - Neverland(Live):

Marillion - Don't Hurt Yourself(Promo Video):

Marillion - Warm Wet Circles (from the 1987 tour..with Fish as the lead singer...classic weird Marillion here):

The Flower Kings in Seattle, and I'm not there...

2006-10-18T10:14:00.000-07:00

This is as close as they'll be to my location on this tour, and I won't get to go. I'd love to, but I just can't work it out. I can't justify it, afford it, or anything else.

I hope they play well. I'll wish I was there, listen to some live stuff today, and think about next time.

If you're in Seattle, and want to see a good prog show tonight, go to Studio Seven tonight and check out the Flower Kings.

toadman listens to BritPop?!

2006-10-06T08:23:00.000-07:00

I suppose I must admit that I occasionally do listen to BritPop. I know, I know.. what you're saying to yourself is "But Toadman! You've always struck us all as a musical snob, listening to high brow progressive and art rock!" I'll have to answer that, while I do listen to a lot of progressive and art rock, I have been known to listen to musical styles that are quite different from those normally considered 'high brow art' by so many.

I blame Radiohead, really. They're like a gateway drug for proggers, luring us in with their talented song writing, emotive lyrics, and creative instrumentation. It's all their fault, really. Now, I'm on to harder stuff, like Muse (Their Wikipedia Page, here.). They're just kids, you know. Being over ten years younger than me, and rocking like they do, curls my hair and makes me feel older than I should. I sing along with them, looking like an old poser trying to be young again...but I'm not fooling anyone, and neither are they. They've got some good chops, some great song writing skills, and interesting lyrics (like Radiohead, you know?). I've gotten my hands on their latest album, Black Holes and Revelations, and while at first I was a bit confused (obviously thinking that it would sound just like their last album, Absolution), I'm starting to come around, and hear some of the genius embedded in this stuff.

Suffice it to say, and to sum up, and in conclusion, I'll say this: If you like Radiohead, you'll like these guys. If you liked Modern English back in the day, you might like these guys too. Lastly, if you live in England (marmitetoasty), and have teens in your house (marmitetoasty), tell them to give Muse a listen, then go and see them live in a town near you!

No one's gonna take me alive
The time has come to make things right
You and I must fight for our rights
You and I must fight to survive

Yeah.. listen to it.. those simple lyrics are made so much more grand when they sing them.

dearth of posting...

2006-09-27T16:22:00.000-07:00

Sorry for being so slow about kicking off this new blog, but things have been topsy turvy for me lately, and I just haven't gotten around to it...well, not around to a proper review, but I'm going to say a few words today about music.

I've been using music lately like a drug. A happy drug. Music keeps me sane in tough times, and helps me find a sort of zen-like center when I'm away from the house. A few artists in particular help me in this way.

The Flower Kings' album Adam and Eve is especially good at lifting my spirits for some reason. The unfortunately named track Love supreme is my favorite on this album. (unfortunate name because the title sounds like something you'd order at Taco Bell, but hey, they're from Sweden, what do they know about Taco Bell anyway?).

The music on this prog masterpiece is, to be sure, some of the finest I've heard. The arrangement, the orchestration, along with the happy lyrics lifts me out of my depressive hole many days on my drive home. I sing along, a feel that warm happiness in my chest (something other than indigestion is nice now and then, you know?), and I smile that slight little contented smile.

I wish I had better words to express how music sometimes makes me feel, for feeling is what music is all about, right? At least it is to me. The sound of a Taurus foot pedal brings me joy. The arching sound of a Prohpet 10 keyboard solo makes me sway my head to the rhythm.

What things bring you joy when you are away from hearth and home? What things do you use as 'happy drugs' in your daily battle with the workaday world? Me? I use music.

been listenin' too...

2006-08-01T16:34:00.000-07:00

...The Flower Kings a lot.

Today's menu included a heaping helping of Garden of Dreams off their 1999 album, Flower Power. Garden of Dreams is a one hour epic broken into eighteen bits. All the bits that make up the epic are connected thematically and lyrically as well. It's a treat to listen to, and I already have some favorite parts (or movements) within this larger work. Specifically Dungeon of the Deep and Indian Summer.

This is great stuff. If you love progressive rock, or art rock, you've got to check these guys out.

I'll be doing a full review of this album, and other albums by them, in the near future.

PACNW Prog

2006-08-01T06:26:00.000-07:00

Do you live in the Pacific Northwest? Do you listen to prog (Flower Kings, Marillion, stuff like that)? Is there a NEARFest equivalent here? Do you think there's a market for a progfest in the pacific northwest?

I noticed that The Flower Kings are coming to Seattle in October. I'd like to go, but I don't think I'll be able to afford it. Are you going to it?

Upcomming Reviews...

2006-07-27T14:20:00.000-07:00

- A Flurry of Flower Kings
- A Can full of Kings X
- Tuppins for Thom Yorke
- Talking about Talk Talk

Get ready!

The Underground Railroad - The Origin of Conciousness

2006-07-26T06:40:00.000-07:00

This review first appeard on December 16, 2005 on Blogcritics.org

Progressive Rock is probably the most misunderstood genre of popular music around, with the possible exception of Polka. Progressive Music invokes images of dragon slaying costume wearing primadona singers, elaborate stage sets and lengthy songs that have no hooks or discernible pattern. Fans of Progressive Music are often looked down upon as greasy haired pimple ridden pseudo-intellectuals with little or no social skills to speak of who build detailed representations of scenes from Tolkien's Lord of the Rings using pewter miniatures.

I am here to tell you that it is all true. What you think about Progressive Music and its fans is all true. We are geeks. We like to think. We read fantasy novels, and philosophy. We don't like to be around too many people, and people don't generally like to be around us. But you know what? We've grown up. We are hiding right now in your server rooms and libraries, making sure you have access to the data you need. We fix and sometimes read your email, but never say anything about it because your lives are so different from ours that we don't even know how to relate. We're listening to our odd time signature music as we're making sure your data is encrypted when you log on to your bank or Amazon. You need to thank us, and you need to pay attention to our music, at least a little bit.

I offer that tongue in cheek introduction as a means of easing you into thinking about Progressive Music, and the artist that I want to talk to you about. The Underground Railroad, Fort Worth, Texas natives, have been around the Prog scene since the mid 1990s. They broke into the national spotlight after their debut recording Through and Through, and their later performance at NEAR Fest. This four piece band is a tour de force of sound and progressive experimentation. They push the limits between jazz styling and phrasing and rock. They are an intellectually stimulating band to listen to, make no mistake. Some people, however, might be like the Emperor who said to Mozart "Too many notes!" and this is understandable. Music is taste driven. Still, for me, their taste is sweet.

The Underground Railroad's latest offering The Origin of Consciousness (not available from Amazon.com yet, I'd get it through their website link above, or click HERE.), is nothing less than ear shattering and mind altering music of the highest order. The subject matter, Julian Jaynes groundbreaking book The Origin of Consciousness in the Breakdown of the Bicameral Mind is heavier reading than most people would attempt to read outside of a college assignment. Still, it seems to make for good progressive rock subject matter. The band says that only tracks 1, 2, and 8 are a part of this theme, but I think I see glimpses of it in some of the other tracks on this 8 song album also.

The core sound of The Underground Railroad is found in the keyboard talents of Kurt Rongey, and the guitar stylings of Bill Pohl. However, the supporting talents of Matt Hembree (bass) and John Livingston (drums) cannot be discounted, for Bill and Kurt would not have anywhere to stand were it not for the solid foundation laid down by these two talented individuals. John Livingston's stellar ability to keep up with Kurt's odd time signature demands, is to be commended. In addition, anyone who can keep time with Livingston, Rongey and Pohl, and maintain a solid bass line, deserves a medal, or at least a drink.

I have yet to find a weak track on this album. Track one, Julian Ur, starts out strong, but slow, in the first track, where we are introduced to our subject matter via the minimalistic lyrical feelings set down by Kurt (who also doubles as the primary vocalist for the band). This track moves effortlessly into the next track, Julian I, where we are bombarded by Keith Emerson-like keyboard strains, a killer bass line, and some nice crunchy guitar licks. The over arching vocals seem to imbue us with a sense of mystery with their descant-like cadence.

Next we are treated to a lengthy instrumental, Love is a Vagabond King, where Bill Pohl spreads his guitar strings and flies through measure after measure of incredibly wonderful and technically accurate playing. His unique guitar sound is something that I find myself often craving like some sort of gourmet delicacy. It's a rare and rich treat. During the whole instrumental, he is backed by his band mates with more energy than anyone should have at their age.

With shades of Yes, the next track, Halo, opens slowly and delivers one of the most beautify sung songs on the entire album. Kurt's voice has grown, and this album has a better sound overall than their previous album. This song, particular, is a testament to the upgrade to their studio equipment, and the growth of their talents.

The album then moves quickly through the intricately played tune The Canal at Sunset which is about as close as I've ever heard this band come to writing a love song. They still do have their place in prog, you know, even if they mention singularities in space-time. After this we are treated to Metaphor, which will likely be heralded as The Underground Railroad's Yyz or Ytsejam. You know what I mean; that song that is mostly an instrumental, but comes to define the sound of the band. It has all the elements that this band is known for, or will be known for. Next up is Creeper, the lengthy continuation of the story and concept behind the song The Doorman on their first album, Through and Through. This song has some great moments in it blended together with some very odd and absurdist sounding lyrics. Finally, we wrap up the album by going back to our Julian Jaynes theme in the final track, Julian II. This final track almost becomes a time for each of the band members to take a solo riff, much like a jazz band will lay down a beat, and several instrumentalists will stand up and deliver a solo over the rest of the band. But it isn't quite as blatant as this, ending up with John Livingston delivering some of the finest drumming on the entire album as the song winds down.

This album is a treat to listen to, and it intellectually stimulating all around. I would recommend this album to people who were fans of old school prog like Emerson, Lake and Palmer, or even fans of new prog like 5uu's or Marillion. Of, better yet, buy this album for that prog head in your family who already has all the Lord of the Rings pewter miniatures he needs. It'll rock their world.

The Underground Railroad - Through and Through

2006-07-25T06:28:00.000-07:00

One of my favorite progressive rock bands is The Underground Railroad, so I thought it fitting that I start off by posting my reviews of their two albums. Here's my review of their first album. I wrote this some years ago. Enjoy!

This review appeard on Friday, October 01, 2004 on Blogcritics.org
The Underground Railroad - Through and Through
This is the sound of neo progressive rock, this is The Underground Railroad. Their debut album, Through and Through is by far one of the most prized CD's that I own. I can't wait to hear their second album The Origin of Consciousness, out sometime this fall.

Through and Through starts out starts out with the dissonant and jumbled rhythms of the song May Fly. This song, while I feel it is the weakest on the album, still displays the talents of the crew of four in song writing, lyrical writing, and musicianship. No stranger to song writing, Kurt Rongey's vocals and overdubbed harmonies, along with those of Bill Pohl's, flesh out this first song. The accurate and sometimes subtle drumming and solid bass work of John Livingston and Matt Hembree (respectively) prepare us for the rest of this ambitious album.

The second track, The Comprachicos of the Mind, likely takes it's name partly from Victor Hugo's, The Man Who Laughs, which says:

"The comprachicos (child buyers) were strange and hideous nomads in the 17th century. They made children into sideshow freaks. To succeed in producing a freak one must get hold of him early; a dwarf must be started when he is small. They stunted growth, they mangled features. It was an art/science of inverted orthopedics. Where nature had put a straight glance, this art put a squint. Where nature had put harmony, they put deformity and imperfection. The child was not aware of the mutilation he had suffered. This horrible surgery left traces on his face, not in his mind. During the operation the little patient was unconscious by means of a stupefying magic powder."

The "of the Mind" portion of the title, is most likely derived from Ayn Rand, who stated:

"The production of monsters--helpless, twisted monsters whose normal development has been stunted--goes on all around us. But the modern heirs of the comprachicos are smarter and subtler. They do not hide, they practice their trade in the open, the results are invisible. In the past this horrible surgery left traces on a child's face, not in his mind. Today it leaves traces in his mind, not on his face. In both cases the child is not aware of the mutilation he has suffered. Today's comprachicos do not use narcotic powders. They take a child before he is fully aware of reality and never let him develop that awareness. Where nature put a normal brain, they put mental retardation. To make you unconscious for life by means of your own brain, nothing could be more ingenious. They are the comprachicos of the mind. They do not place a child into a vase to adjust his body to its contours. They place him into a school to adjust him to society."

With these two quotes in mind, we are lead on an interesting musical and lyrical journey. Starting with a screeching keyboard intro, the song winds its way energetically through the first two verses, one of the most powerful lines is:

Sliced up into fragments of a life
Dissolved,We can never untwist this tangled web
It continues down the chain

Which is likely a poetic description of the way Rongey (lyrical writer) believes we are taken at a young age, and, as Rand says, molded and adjusted to fit in to the mold society has prepared for us. From here, the music slows down, and we have our first Bill Pohl ethereal guitar solo. Bill's sound is so unique, and so flawless, that it defies description. A low, repetitive base line with soft keyboard fills the background as Bill slowly enters the darkness that the music has provided. He enters slowly, and never turns the light on higher than that of candlelight, until he's prodded on by the growing keyboard intensity. The song goes through one more verse, then bleeds into the next song, an instrumental called In The Factory. This song evokes images without using words. It uses harmonic dissonance to help the listener envision grand machines, whether they be physical or metaphorical. It then softens, and lulls the listener into a false sense of uneasy peace, before exploding into a crescendo that seems to carry on forever and ever. Leading us upward and upward toward complexity, and confusion. Then, we seem to be transported to some point above it all, looking down upon the musical landscape that's just been presented to us, and left to ponder and recollect.

It is at this point that we are presented with the next song, The Doorman. It would seem at once that since these three songs are linked together, that they somehow comprise some theme as a whole. While this is possible, it is not completely apparent. Comprachicos and In The Factory can certainly be seen as two parts of a larger story, but The Doorman, while it could loosely be part of the over arching story of the two earlier songs, is more of an enigma.

Again, we are treated to the lush keyboards and flowing guitar riffs of Kurt and Bill. The soft yet solid bass lines of Matt Hembree and the subtle and but accurate drumming of John Livingston are more present on the fusion inspired introduction to Doorman. We are also treated to our first listen to Bill's softer and raspier voice during certain passages of this tune.

The story of this song, as I have said before, could possibly be treated as a final treatise on the theme of Comprachicos, but I'm not certain, and cannot make the assumption. It seems to be the story of a community of artists, or of a singular artist. It is possible that they have been forced to hide, because they feel they do not fit into the larger societal mold, the one that they feel they have been forced into since childhood, as is described in Comprachicos. It would seem that, in the story, one of the community, or the particular artist, has been lost, we aren't sure why or where. But we are assured that the artist will be welcomed back to the community, or welcomed back to wherever they've left from. This comforting to all of us who feel we don't fit in and yet have tried to go off and do something in a world we don't understand. Comforting to know that there is somewhere we can go and be accepted. I don't know if this is the proper interpretation of this song, but it seems to fit the themes in the poetry/lyrics of the song. It also fits the imagery of the music as well.

The next song is a break from the bleed together format, signifying to me an end to the grander theme of the three previous songs. This song, simply called Mars, is well written, and beautifully sung. Lyrically it is a simple song about the possibility of ancient life on Mars. It was most likely prompted by the finding of possible fossil evidence for such. It is a poetic look at how a new explorer from earth would feel, standing on Mars, being the first lifeform to touch the surface of that planet in several million years. Some good lyrics from Mars:

That's the way it was when I arrived
Only the sand
Sometimes the wind would blow it up in clouds
Uncovering another fossil
But I was there
And life was there again.

The title track, Through and Through, rounds out the last twenty minutes of the album. It begins orchestrally, slow, low and dissonant. We are treated again to the perfect blending of keyboard, bass, drum and Bill Pohl's ever present fluid guitar. The music grows, ever so slightly, with each passage. We are given what seem to be glimpses into the ideas behind the music, but they present themselves as changes only, and continue the progression of harmony, keyboard, drum, bass, and guitar. Sometimes keyboard takes the lead, sometimes guitar. Bill and Kurt seem to play off each other like they are of the same mind.

The story of Through and Through, isn't clear to me. I've heard Kurt explain it as a story about losing one's religion, and I suppose that can be seen in the lyrics. Who better to describe it than the writer I suppose, but let's deconstruct anyway, shall we?

The first stanza:

Through a life of growing older
Gathering motes within a whirlpool
Displacing droplets from whatever lives above

"From whatever lies above".. is he describing the evolution of mankind here, and our dreamy nature to ascribe what we do not understand to what is beyond the sky? Possibly.

The next stanza:

Warm and protected in a cloud
And through it all
Reclining in my corner of a liar's amorphous plan

These lines seem to indicate a sort of opiate is at work here, on the unsuspecting public. Could it be religion? It has been described as an opiate in the past. An opiate would make a person feel good, like they are protected.

Next:

Tagging behind the millions
It held me so softly
I couldn't escape without vanishing

Sometimes, when we want to leave a religion, or better still, a denomination or cult, we have to do so by severing all ties to that religion, denomination or cult. We die to the people who are still inside, we vanish. These lines would suggest this sort of imagery it would seem to me.

And:

Looking up into the perforated ether
I saw myself swaying like a leaf
I followed beneath and cradled.
A deluge of the rest of everything
A universe and maybe more
With one leap I had shot ahead

A famous scientist once said something about education, specifically education in the sciences, causing religious students to either question their god, or at least force that god to be even bigger than they had at once believed. It was then that they realized that these students no longer believed in the god of their parents, but in something even bigger, if even at all. This is the impression I get from these lines. The writer is looking up into what he once believed was perforations in the sky, letting in light from heaven, as is an ancient belief, and realized a universe, "maybe more", was waiting on the other side. Whether this describes one person, or the whole of mankind does not matter at this point. It can be applied either way. Once this knowledge is known, it cannot be unknown. We leap ahead in understanding, and realize even deeper and more disturbing questions await.

And skipping ahead a bit:

By hunger within was I flooded and freed
I wanted to lift a whole populace

The writer, or person experiencing these epiphanies, naturally wants to teach others, and lead others to this magnificent understanding. To understand that the world is so much more than we had at first thought it was.

But these lines:

Thrusting up into a fertile heaven
I pulled for a second then I left it to itself
I opened the box and looked on.

Seem incongruous to the rest of the work. I'm not sure what to make of them. Is the writer trying to grasp at his religious past one last time, only to give up in the end, or am I missing something else here in the literary device of the box. I'm not sure. I'll have to defer that one to Kurt himself to explain.

Taking cues from jazz, fusion, rock, and classical traditions, these guys don't fail to produce some unique and interesting tunes. Drawing us in with unique use of dissonance, rhythm, and meter, they never fail to present anything less than quality musicianship. I highly recommend this CD to anyone who has an ear for good Progressive Rock.

Buy their album at their website, here:
www.theundergroundrailroad.net

Welcome

2006-07-24T07:30:00.000-07:00

Hello everyone. Welcome to this new venture I'm calling Cantus de Animus. This title, obviously a creative bow to my friend A. Scott White of Caveat Emptor, can be loosely translated Singing/Music from/of the Soul/Mind/Spirit. Thanks Scott, for help with the Latin translation.

So, why. Why another blog? Why Cantus de Animus? Robert Salsbury, of the blog The Unbearable Bobness of Being mentioned once that he thought my writing gift was music reviews. I've also noticed, of myself, that I tend to use lyrics in my posts, and in my writing. Music is a big part of my life, it is my art of choice. Some go to Art Museum openings and shows, quietly revering, with glass of champagne in hand, the latest work from some avant guard artist or old master. Others listen to poetry readings, espresso steaming, in dark wood paneled coffee houses. Still others enjoy sitting under a blanket by a fire on a rainy day, Earl Grey steeping, and reading high literature. I have done all of these. I enjoy all of these greatly. But music is the art that drives me the most, I have to admit. It is poetry, imagery, prose and literature, all in one. It impacts all my sensibilities at once. I can be just at home in a concert hall, listening to high opera, as in a smoky bar, watching a strange Absurdist Musical display.

And so this is my place to share this with you all, should you decide to join me from time to time here. At this blog I will do music reviews mostly. I will do them a bit differently than other reviewers, as I will input the images that come to mind and the thoughts that I have while listening to a piece of music. I've done this from time to time on my other blog, but I intend to develop that a bit more here.

Also, I'll try not to be so excruciatingly serious about all of this as it seems like I am currently. Music, art, and all of that is, in the end, supposed to bring us either a message, or joy. I'll try to yuk it up accordingly from time to time. However, Scott and Bobness are much better at that sort of thing than me. So, while you might get a smirk or chuckle from me, if you're looking for a guffaw, go see them.

Anyway, welcome everyone. I hope you enjoy the posts I put out here, as I have time to post them. I suggest you grab the rss atom feed of this site, so you're notified when I post something here, as it is not my primary blog.