Tag: Evolution

Peter Gabriel i/o

Peter Gabriel’s “i/o” Album Review: He’s Back, Better Than Ever Before

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Peter Gabriel’s latest album “i/o” stands not only as a testament to his enduring creativity but also as a potential crowning achievement in a career already brimming with groundbreaking work. Gabriel, a legend in the music industry, has been known for his innovative approach to music, particularly through the 80s and 90s, and “i/o” might very well be considered his best work to date.

The Legacy of Peter Gabriel

Gabriel’s influence on the music world has been profound and multifaceted. Rising to fame with Genesis in the 1970s, he quickly established himself as a visionary artist. His departure from Genesis and subsequent solo career in the 1980s and 90s saw him breaking new ground, particularly with albums like “So” and “Us.” These works were not just commercially successful; they were also artistically daring, blending world music with electronic and art-rock elements, and they solidified his reputation as an innovative and fearless artist.

Groundbreaking Work in the 80s and 90s

During the 80s and 90s, Gabriel was at the forefront of the world music movement, integrating sounds and rhythms from various cultures into his music. His use of innovative recording techniques and embrace of new technologies set him apart. Albums like “So” (1986), with its hit “Sledgehammer,” showcased his ability to merge artistic depth with mainstream appeal, featuring groundbreaking music videos that revolutionized the medium.

“i/o”: A Culmination of Artistic Evolution

Now, with “i/o,” Gabriel seems to have distilled his decades of musical exploration into a singularly impressive work. The album encapsulates his signature sound while pushing into new territories. The dual “Bright-Side” and “Dark-Side” mixes are a clear indication of his continued innovation, offering listeners two distinct ways to experience the same music.

“i/o” is rich with the thematic depth and stylistic diversity that have defined Gabriel’s career. Tracks like “Panopticom” and “The Court” reflect his enduring ability to fuse diverse musical styles while tackling complex themes. The reflective nature of songs like “Playing for Time” and “So Much” suggests a maturity and introspection that might resonate deeply with longtime fans and new listeners alike.

In a career marked by constant evolution and boundary-pushing, “i/o” might be seen as Peter Gabriel’s most comprehensive and compelling work yet. It’s an album that not only reflects his legendary status but also reasserts his relevance in the contemporary music scene. For those who have followed his career since the Genesis days, or those just discovering his genius, “i/o” is a testament to Gabriel’s unwavering commitment to artistic exploration and innovation.

“i/o” marks a remarkable return to the music scene, offering a rich tapestry of sound and themes that reflect both his enduring legacy and his forward-thinking artistic vision. This long-awaited album, released track by track every full moon, showcases Gabriel’s unique approach to music-making and his ability to blend a wide range of styles and themes into a cohesive whole.

The Evolution of Sound and Style

The album’s opener, “Panopticom,” is a standout track that immediately sets the stage for what’s to come. It combines acoustic elements with electronic influences, creating a soundscape that is quintessentially Gabriel. The use of a 12-string guitar alongside Tony Levin’s deep bass tones and a blend of electronica exemplifies Gabriel’s knack for combining traditional and modern elements. This stylistic choice echoes back to his previous works, especially “Up” and “Us,” while introducing new textures and tones.

Exploring Deep Themes

Throughout “i/o”, Gabriel doesn’t shy away from diving into complex and often challenging themes. For instance, “The Court” revisits the tribal rhythms of his earlier work while layering in a haunting choir that contemplates the nature of justice in the era of cancel culture. Similarly, “Four Kinds of Horses” is a sensitive exploration of the corruption of religious faith into terrorism, backed by an evocative musical arrangement.

Personal Reflections and Contemplations

The album also has a deeply reflective side, with songs like “Playing for Time” and “So Much” exploring themes of mortality, hope, and renewal. These tracks reveal their layers over time, both musically and lyrically, providing a sense of peace amidst the inevitability of aging and change. This introspective quality is further exemplified in tracks like “Olive Tree,” which is not only the most commercially accessible song on the album but also a celebration of life and resilience.

Celebrating Life and Rebirth

Tracks such as “Road to Joy” and “Olive Tree” stand out as more upbeat, celebratory moments on the album, offering a counterbalance to its more contemplative moments. These songs embody a sense of joy and rejuvenation, resonating with themes of rebirth, which is particularly poignant considering the long hiatus since Gabriel’s last album of new material.

The Production and Collaborations

The production of “i/o” is notable for its use of both “Bright-Side” and “Dark-Side” mixes, showcasing the postproduction skills of producers-engineers Mark “Spike” Stent and Tchad Blake. This dual approach adds depth to the album, allowing listeners to experience it in different lights. Additionally, the involvement of artists like Brian Eno adds another layer of sonic depth to the album.

A Culmination of Artistic Journey

At 73 years old, Gabriel demonstrates that his creative spark is as bright as ever. “i/o” is not just a collection of songs; it’s a complete artistic statement that encapsulates Gabriel’s career-long journey of musical exploration and innovation. It’s a testament to his ability to stay relevant and compelling in a constantly changing musical landscape.

In summary, “i/o” is a rich, multifaceted work that showcases Peter Gabriel’s unique talents as a songwriter, composer, and musical innovator. Its blend of introspective lyrics, diverse musical styles, and thematic depth make it a noteworthy addition to his already impressive discography. For fans of Gabriel’s work, and for those new to his music, “i/o” offers a profound and rewarding listening experience.

Order or listen here.

Phoenix

You Need to Fail to Succeed

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And I did, many times. That doesn’t mean I always succeeded after I failed, but whenever I succeeded it never came without failure before. That said…

A New Paradigm for Music Makers

In an industry that’s constantly evolving, The Crow Hill Company emerges as a breath of fresh air. While still in its early stages, the platform promises an ever-growing collection of free professional resources for music makers. But what sets it apart is its philosophy: it aims to be a “love letter to music makers.” This isn’t just a repository of tools; it’s a community, a support system, and most importantly, a philosophy that values the process as much as the product.

What’s in the Vault?

While the company is tight-lipped about upcoming content, they’ve teased that it’s something they’re “incredibly reluctant to share,” which only adds to the intrigue. Given the secrecy, one can only speculate about the revolutionary tools and resources that might be in store for members.

The Maestro Behind the Mission

Christian Henson is a name that commands respect in the world of music composition. With a career that boasts multiple nominations and awards, he’s a versatile talent who’s worked on everything from TV shows to epic sci-fi films. But what truly sets him apart is his unique, self-taught approach to working with the orchestra, a skill honed through collaborations with a diverse range of artists.

The Spitfire Legacy

Before The Crow Hill Company, Henson made waves with Spitfire Audio, a company that provides essential tools for composers. Spitfire developed a cult following and became a significant supporter of the music industry. This experience undoubtedly informs his new venture, bringing a level of expertise and credibility that’s hard to match.

The Importance of Failure: A Lesson in Resilience

In a recent video, Christian Henson tackles a subject that’s often swept under the rug: failure. But he doesn’t just talk about it; he embraces it as an essential part of the creative process. The video serves as a manifesto for all creatives, urging them to see failure not as a setback but as a stepping stone.

Why We Need to Fail to Succeed

Henson argues that success is often the byproduct of a series of failures. These failures, or “fluff ups” as he calls them, are not just obstacles but valuable lessons. He stresses the importance of repurposing these failures into lessons that can guide future endeavors. This philosophy aligns perfectly with the mission of The Crow Hill Company, making the platform not just a resource hub but a support system for creatives.

The Symbiosis of Philosophy and Practice

What makes The Crow Hill Company and Christian Henson’s message so compelling is the seamless integration of philosophy and practice. They don’t just provide the tools for success; they equip you with the mindset needed to use those tools effectively. This dual approach ensures that you’re not just technically proficient but also emotionally and philosophically equipped to navigate the complex landscape of creative work.

A New Era for Music Makers?

The Crow Hill Company, backed by the wisdom and experience of Christian Henson, promises to be more than just another platform for music makers. It’s a philosophy, a community, and a treasure trove of resources rolled into one. As someone with over 30 years of experience in the music industry, I can say that this is exactly the kind of holistic approach that can redefine how we think about music production.

Are you ready to embrace failure as the ultimate teacher?

Watch this:

red and orange galaxy illustration

Why I’m a Pantheist. And What About My Album “GOD”?

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From my earliest memories, the universe has always been a source of profound fascination. The night sky, a tapestry of stars and cosmic wonder, seemed to pose questions that penetrated the very core of my being. My quest for answers led me through various domains – religion, philosophy, and empirical science. Yet, none offered the holistic understanding I yearned for. That is, until I discovered Pantheism.

At its core, Pantheism is a worldview that is both elegantly simple and profoundly deep: the universe and everything within it is divine. But let’s clarify what I mean by “divine,” as it’s a term often misunderstood. For me, divinity is not about an anthropomorphic God sitting on a celestial throne. I’m an atheist in that regard, finding no logical or empirical basis for such a deity. Instead, my sense of the divine is rooted in the inherent order that permeates the universe – an order that allows for the existence and functioning of all things.

This divine order is not a set of commandments but a natural, self-organizing system that can be observed in everything from the laws of physics to the complexity of biological systems. It’s the reason why planets orbit stars, why ecosystems maintain their balance, and why we, as conscious beings, can ponder our place in the cosmos. This order is the closest thing to “God” in my Pantheistic view, and it’s an understanding that fills me with awe and wonder.

When I first encountered the concept of quantum entanglement, it felt like a scientific affirmation of this divine order. Here were particles, separated by vast distances, yet intrinsically connected in a way that defied classical understanding. It was as if the universe itself was giving a nod to the Pantheistic idea of interconnectedness, an inherent feature of this divine order.

The first law of thermodynamics further resonated with my Pantheistic beliefs. This law, stating that energy cannot be created or destroyed but only transformed, seemed like another expression of this divine order. It’s a principle that can be observed in the water cycle, where water evaporates, forms clouds, and returns as rain, never being destroyed but merely changing form. This eternal cycle of energy and matter is a testament to the inherent order that governs all things.

The cyclical nature of the universe, as suggested by theories like the Big Bang and the Big Crunch, also aligns with this view. These theories propose a universe in a constant cycle of birth, expansion, and eventual contraction, mirroring the eternal cycles that are a cornerstone of Pantheistic thought and another manifestation of this divine order.

The concept of emergence, where complex systems arise from the interactions of simpler entities, offers yet another glimpse into this inherent order. Consider a termite mound: each termite contributes to a complex, self-regulating system, a microcosm of the divine order that I see as permeating the universe at all levels.

Fractals, with their infinitely complex patterns that are self-similar across scales, serve as a beautiful metaphor for this divine order. Whether it’s the branching of trees, the course of rivers, or the structure of our lungs, these fractal patterns are a testament to the inherent order that underlies all existence.

So, why am I a Pantheist? Because Pantheism offers a framework that harmonizes the spiritual with the scientific. It provides a lens through which the mysteries and realities of existence can be explored and appreciated. In embracing Pantheism, I’ve found a spiritual home that satisfies my intellectual curiosity, fills my soul with a sense of divine wonder, and aligns perfectly with my atheistic rejection of a traditional deity. For me, Pantheism is not just a belief; it’s a profound understanding of the divine order that makes us, and everything around us, a part of this wondrous cosmos.

The Irony of “God”: My Musical Perspective

Now, you might be wondering about my album titled “GOD.” I have never explained this. This is a first.

Contrary to what the title might suggest, it’s not a religious work. In fact, it’s quite the opposite – it’s a satire, a commentary on how religious teachings, particularly those surrounding figures like Jesus, have been misunderstood and distorted over time.

I have immense respect for Jesus as a historical figure. He was a revolutionary who preached love, tolerance, and understanding in a time when such ideas were radical. However, I believe that his messages have been twisted and turned into something he never intended. My album “God” aims to poke fun at this religious misinterpretation while also shedding light on how I see the divine order that governs the universe.

Back then I have been accused of blasphemy and even been threatened by religious fanatics.

In the album, I explore themes that resonate with my Pantheistic beliefs, using music as a medium to express the inherent order and interconnectedness that I see in the cosmos. It’s my way of challenging conventional religious thought and encouraging listeners to consider a more harmonious and scientifically coherent understanding of divinity.

So, when you listen to “GOD,” know that it’s not an homage to a deity in the sky but a musical journey that invites you to question, explore, and ultimately find your own understanding of the divine order that makes this universe so incredibly awe-inspiring.