Showing posts with label WEA. Show all posts
Showing posts with label WEA. Show all posts

Saturday, January 15, 2022

Enya - The Celts

Atlantic/WEA: 1986/1992

The only Enya album I've cared to have, even when I was kinda'-sorta' a fan for a brief time. You know that period, when a parent's musical influence overides everything, before branching out into your own interests. Yet while most of Ms. Eithne Pádraigín Ní Bhraonáin's music wasn't quite to my taste, there's something about her debut album that remains captivating to my ears, a simplicity to the compositions that was lost when future hit songs like Orinoco Flow afforded her grander studio arrangements. Yes, this is totally me saying I prefer Enya when she was underground.

Thing is, she practically did start from the ground up. After a brief stint with traditionalist Irish folk outfit Clannad, she joined up with producer Nicky Ryan for a shot at a solo career, working in a studio built from scratch and very few prospects. Mostly sticking to classical music and Irish folk, they contributed a few tunes to local projects, developing a rather unique style heavily reliant on synths and multi-tracking reverb on her voice, making it more of a choir. About the only comparable artist around at the time was Constance Demby, which undoubtedly played a huge part in Enya getting lumped into the New Age market.

Among these contributions was a piece called March Of The Celts, a moody little number offered to a BBC documentary about the Celts. So impressed were they by it that they commissioned her to score the whole series, the result of which being this here debut album. Well, initially self-titled debut, released to little fanfare, but soon highly sought after with the successes of Watermark and Shepherd Moons, prompting a spiffy re-issue. Aww, but why lose the original bad-ass cover art of Enya posing with wolves?

It's tunes like March Of The Celts that brings me back to Enya's debut. Yeah, the titular opener is more what you'd expect of an Enya piece, a bit bouncy and chipper. Gosh though, there's something captivating about those swelling, ethereal voices and cold synth tones. Then you get to minimalist pieces like Deireadh An Truath, Triad, Dan Y Dwr, and especially Boadicea, and it feels like you're transported to a whole different realm. A gothic-Celtic realm? Despite the nods to traditional music of the ancient tribes, not really, no. The synths strip out any vestige of proper folk, even on tracks like Bard Dance and Fairytale. When tracks do feature normal instruments - various piano pieces, Uilleann pipes in The Sun In The Stream (James Horner undoubtedly noticed) – there's still that icy '80s synth sheen to it all. And I adore it all the more for it!

In many ways, Enya's debut reminds me of Kitaro's work for the Silk Road series. Hired to make music for a documentary, traditionalist works crafted with ancient synth technology, couldn't be replicated even if tried. And, of course, both became giants of a New Age market, even if it wasn't their intent.

Monday, January 22, 2018

Wednesday Campanella - Superman

Warner Music Japan: 2017

The cover art to 水曜日のカンパネラ's Superman doesn't seem like much at a glance. If anything, it reminds me of Garth Brooks' weirdo-concept Chris Gaines album, and given this group's predilection towards famous people references, I can't help but suspect that's deliberate. The image, however, is but one piece of a larger canvas ...or rather, the top corner of a huge, 3x4 panel poster, revealing lead singer KOM_I (I think?) suckling a foot's large toe. Oh, and when I say huge, I mean it, one panel looking like it could hold a 7” record rather than a CD. Also, Superman didn't even come in a regular jewel case, but rather as a fold-out with a little rubber nub in one panel to hold the CD, and a cardboard insert so it doesn't flop about. This is one of the few times I've actually kept the wrap cover, just so it doesn't get damaged. And boy howdy, could I ever go on about the backside of this poster, if I had any hope of reading geometric shapes and swirling pools of kanji.

After their kinda-sorta debut mini-album Rashōmon, Suiyoubi no Campanella found themselves a fair bit of fame in their motherland, and a growing following the world abroad, such that one of the Big Important Labels came a'knockin' to hear what the fuss was about (and whether they may capitalize on it). Definitely a surprise it was Warner Music that took them in – was Sony not available?

Anyhow, bigger, slicker label backing means Wednesday Campanella's proper sophomore LP is... well, not exactly bigger, but definitely slicker. Their previous album Zipangu stood out for its free-wheeling genre fusions, and while Superman indulges itself in similar fashion, it's got a cleaner, poppier sheen to it too, smoothing out many rougher edges, as though fully expecting to capitalize on an audience in Western lands. It didn't surprise me the slightest when a co-worker heard some playing and remarked it sounded like Kygo.

And the peppy, anthem house that's marked much of their work returns in tracks like アラジン, 一休さん, and オードリー. Elsewhere, the house beats go more chill, as in チンギス・ハン and アマノウズメ. They're fine, with Kenmochi's production maintaining a solid groove while throwing in tons of little sonic fills without being obnoxious about it. I'm still more interested in the tunes that break the beats up some, even getting tribal at times as in チャップリン and カメハメハ大王. Reminds me I'm listening to something authentically foreign, rather than something trying to sound local. Not that KOM_I's playful raps and Far East harmonies don't constantly remind me either, still resolutely Japanese even with a few English words thrown in. Despite having some translations, I still don't have much idea of what she's singing about, but that doesn't really matter, the band freely admitting their lyrics are less about their content than what just sounds good for the tune. Hey, works for jazz, man.

Wednesday, December 3, 2014

William Ørbit - Pieces In A Modern Style

WEA Records: 2000

It’s this album’s fault. Those crummy trance remixes of classical music wouldn’t exist had William Orbit not set the standard for synth covers of the form. Well, okay, it wasn’t specifically his fault, since it was a Ferry Corsten remix of his interpretation of Adagio For Strings that got Tiësto’s megalomania rolling and weak-sauce Classical Trancelation bilge encroaching upon the market. None of it would have happened if Orbit hadn’t allowed the Corsten remix in the first place, thus preventing further ‘inspirations’ from lesser producers. Except for whoever was inspired by Cygnus-X’s The Orange Theme instead, I guess - that one got remixed and covered a bunch too. But no one would have made dance music with classical music without Orbit’s initial guiding hand. Save all those old school rave acts that flat-out sampled orchestral musical passages. Orbit though, he made it all popular and shit, that’s what happened. Not that Isao Tomita hadn’t beaten him to the punch twenty years earlier. Umm…

Help me out here, guys. Why was this album so bad again? It isn’t? Well, that’s news, considering the reputation Pieces In A Modern Style earned in the wake of everything that followed. I suppose a smidge of blame can be pointed here for Orbit’s Adagio For Strings immersing itself into clubland’s consciousness - before that, it was primarily only known to non-classical buffs for that scene in Platoon. Yet, using Romantic and baroque scales in trance music was inevitable, those sweeping musical swells tailor-made for hands-in-the-air euphoria. Okay, Orbit, you’re off the hook on this one.

Here's the crux of Pieces In A Modern Style: for a classical music covers collection, it's adequately quaint. Like many instances of Orbit's pop productions, this music goes down easy, like a cool cup of water with a hint of honey, but still far and away from the sort of electronic music he was known for. Small surprise he’d go with an alias of The Electric Chamber to initially release it then, hedging his bets that the audience who enjoyed the Strange Cargo series wouldn’t be too warm to this material; or he hoped he’d sneak the album through the licensing lawyers unnoticed. That didn’t work out for him though, and Pieces In A Modern Style was promptly withdrawn from stores, mostly unremarked and forgotten.

Flash forward a few years, and Orbit’s hit the big time by giving Madonna some of her biggest hits in years! Shit, son, with that kind of clout back on his side, why not re-release the passion project from before? After excising the troubling tracks, he added in a few more new works from Beethoven, Cage, Vivaldi, and Handel, and the rest is history, bringing another side of Orbit’s to the limelight. Pieces like Ogive, Opus 123, and Xerxes are all quite lovely and dreamy, though hardly challenging in their interpretations. Ol’ William has his distinctive style, and utilized it in pieces from the ancient school. A handy beginner’s CD into modern classical, this.

Things I've Talked About

...txt 10 Records 16 Bit Lolita's 1963 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2 Play Records 2 Unlimited 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 20xx Update 2562 3 Loop Music 302 Acid 36 3FORCE 3six Recordings 4AD 6 x 6 Records 75 Ark 7L & Esoteric 808 State A Perfect Circle A Positive Life A-Wave a.r.t.less A&M Records A&R Records Abandoned Communities Abasi Above and Beyond abstract AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Acroplane Recordings Adam Beyer Adam Ellis Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Advanced UFO Phantom Aegri Somnia AEI Music Aes Dana Afgin Afrika Bambaataa Afro-house Afterhours Agoria Aidan Casserly Aira Mitsuki Airwaves Ajana Records Ajna AK1200 Akshan album Aldrin Alex Smoke Alex Theory Alice In Chains Alien Community Alien Project Alio Die All Saints Alpha Wave Movement Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion Ambidextrous ambient ambient dub ambient techno Ambient World Ambientium Ametsub Amon Amarth Amon Tobin Amplexus Anabolic Frolic Anatolya Andrea Parker Andrew Heath Androcell Anduin Andy C anecdotes Aniplex Anjunabeats Annibale Records Anodize Another Fine Day Antendex anthem house Anthony Paul Kerby Anthony Rother Anti-Social Network Anzio Green Aoide Aphasia Records Aphex Twin Apócrýphos Apollo Apollo 440 Apple Records April Records Aqua Aquarellist Aquascape Aquasky Aquila Arcade Architects Of Existence Archives Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts ASC Ashtech Asia Asian Dub Foundation Astral Engineering Astral Projection Astral Waves Astralwerks AstroPilot AstroPilot Music Asura Asylum Records ATB ATCO Records Atlantic Atlantis atmospheric jungle Atom Heart Atomic Hooligan Atomine Elektrine Atrium Carceri Attic Attoya Audiobulb Records Audion AuroraX Autechre Autistici Autumn Of Communion Auxilary Auxiliary Avantgarde Avatar Records Aveparthe Avicii Axiom Axs Axtone Records Aythar B.G. 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