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I gotta say: Seeing work by Andy Whitman in the pages of Christianity Today is just one more glorious example of that things really can change for the better within Christian culture. Twenty years ago, you would never have seen this kind of approach to music in the pages of CT or even CCM. Sam Phillips is playing at a Christian rock fest again. Sufjan Stevens is huge on college radio. The times they are a'changin. And the reviewers are talking about poetry, metaphor, and musicianship instead of how a record might "cross over" to bring the gospel to the unsaved masses.

Thank God.

P.S.  I COULD BE WRONG.

 

Takin' 'er easy for all you sinners at lookingcloser.org. Also abiding at Facebook and Twitter.

 

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I gotta say: Seeing work by Andy Whitman in the pages of Christianity Today is just one more glorious example of that things really can change for the better within Christian culture. Twenty years ago, you would never have seen this kind of approach to music in the pages of CT or even CCM. Sam Phillips is playing at a Christian rock fest again. Sufjan Stevens is huge on college radio. The times they are a'changin. And the reviewers are talking about poetry, metaphor, and musicianship instead of how a record might "cross over" to bring the gospel to the unsaved masses.

Thank God.

Times are changing. I wouldn't listen except that I'm forced to at work, but Mercy Me's "I Can Only Imagine" is on our local light-rock station. Utterly bizarre. If you don't know the song, just check out these lyrics and imagine it wrapped inside of "Hit me with your Best Shot" and "We Got the Beat."

They also play Evanescence, although I'm not sure that counts, BuckCherry (aren't they a Christian band?), U2, Plumb, and Steven Curtis Chapman's "Cinderella." What in the heck is going on in the world?

REVIVAL!!!!

GLORRYYYY!!!

(not)

In an interstellar burst, I am back to save the Universe.

Filmsweep by Persona. 2013 Film Journal. IlPersona.

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Stereo Subversion has some info, as well as a pretty cool-sounding clip, from Son Lux's newest, Weapon V.

Rather than using this new EP as a means of developing totally new material, Lott is returning to previously recorded works and applying his intricate composition skills to transform one track (you guessed it, "Weapons") into a collection of collaborative songs based around one melodic source.
Edited by opus

"I feel a nostalgia for an age yet to come..."
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Stereo Subversion has some info, as well as a pretty cool-sounding clip, from Son Lux's newest, Weapon V.

Rather than using this new EP as a means of developing totally new material, Lott is returning to previously recorded works and applying his intricate composition skills to transform one track (you guessed it, "Weapons") into a collection of collaborative songs based around one melodic source.

This EP is out now. It's six remixes of the track "Weapons" from At War With Walls and Mazes, with significant collaborations from Anticon artists Alias and Polyphonic, and electronica wunderkind Nico Muhly.

I'm particularly dazzled by the Nico Muhly and Alias remixes, but it's all quite amazing. Starting with a simple motif, Ryan mutates the music just about every way music can be mutated. The merger of classical (no, really, we're talking symphonic strings) and hip-hop is particularly bracing.

Ryan's also been working with My Brightest Diamond and These New Puritans.

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You can also hear Weapons V at his MySpace page.

In an interstellar burst, I am back to save the Universe.

Filmsweep by Persona. 2013 Film Journal. IlPersona.

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I've listened to the new album a couple times now. It's fabulous; absolutely bursting with creativity. There's a song here called "Let Go" that functions simultaneously as primitive tribal chant, daring free jazz freakout (complete with gonzo flute solo!), and classical minimalist homage to Philip Glass and John Adams. This is quite an astounding album. I need to give it more time and more listens, but it's at least on a par with At War With Walls and Mazes, which was one of my favorite albums from 2008.

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I've listened to the new album a couple times now. It's fabulous; absolutely bursting with creativity. There's a song here called "Let Go" that functions simultaneously as primitive tribal chant, daring free jazz freakout (complete with gonzo flute solo!), and classical minimalist homage to Philip Glass and John Adams. This is quite an astounding album. I need to give it more time and more listens, but it's at least on a par with At War With Walls and Mazes, which was one of my favorite albums from 2008.

Thrilling to hear, Andy. I just got my copy and am excited to fire it up later this evening...

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Wow. Yes to everything Andy said. The Son Lux palette expands exponentially on this album, yet it feels entirely true to the spirit of the first album. There's so much warmth and energy here that I suspect it will be getting a lot of plays here at my house-- even more than At War... did.

Partner in Cahoots

www.cahootsmag.com

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Excellent. The download link that I'd been provided from Anticon didn't work, so I haven't been able to check out the album until now.

"I feel a nostalgia for an age yet to come..."
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I've listened to the new album a couple times now. It's fabulous; absolutely bursting with creativity. There's a song here called "Let Go" that functions simultaneously as primitive tribal chant, daring free jazz freakout (complete with gonzo flute solo!), and classical minimalist homage to Philip Glass and John Adams. This is quite an astounding album. I need to give it more time and more listens, but it's at least on a par with At War With Walls and Mazes, which was one of my favorite albums from 2008.

Absolutely loving this and "Let Go" is certainly a standout for me. I get lost in it. I love the way the synths seem to be pillars that his voice rests upon. Unbelievable production throughout; lush and inviting, but it still manages to maintain that stark, removed, space-between-the-notes feeling of AWwWaM. There's just so much room in these songs.

Edit: that NPR photo is too much for me. I dunno what it is.

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And now he's scoring films.

Son Lux Scoring Jessica Chastain & James McAvoy-starrer 'The Disappearance of Eleanor Rigby: His & Hers'

One of the most intriguing projects of the year has to be the Jessica Chastain and James McAvoy-anchored two-parter “The Disappearance of Eleanor Rigby: His/Hers.” Although details are relatively scarce on the double feature, we at least now know who will be scoring the dissolution of Chastain and McAvoy’s marriage.

Film Music Reporter is reporting that Son Lux, aka Ryan Lott, has been tapped to score both parts of Ned Benson’s feature-length directorial debut.

P.S.  I COULD BE WRONG.

 

Takin' 'er easy for all you sinners at lookingcloser.org. Also abiding at Facebook and Twitter.

 

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