What do you think about Jethro Tull? It's true that Jethro Tull are also one of those bands which are massive in a way, and yet hardly anyone you meet on the street will even know who they are like Yes, or Crimson, or, well, almost any Prog band - I guess that's what's called a "cult" band - they have a limited following, but boy, that limited following is a devoted following. It's also funny how many people I've met who have heard of Jethro Tull who seem to share your views on them - a good band who did too much. I don't think they did enough, personally.
Yes and Genesis in the 70's, Rush and Marillion in the 80's, Dream Theater in the 90's, and I think now it's safe to say that, from the 00's, there won't be any doubts in which band to single out as the most important for our beloved genre: Porcupine Tree has been a band in constant movement.
After two releases filled with heavy sounds and morbid stories, The Tree has finally joined all their influences together in what may be their most accomplished album to this date, a record where all the elements of the past are here, maybe with the exception of the dance rhythms of UP THE DOWNSTAIR: A darker, if lighter, album than its predecessor.
I can't go into the songs without saying a few words about the playing itself. This is probably PT's best album in regards to performance and level of musicianship.
Steven Wilson is, as always, right on target with his accurate playing, nothing too virtuosic, never showing-off, always doing things for the overall atmosphere's sake; Barbieri, as usual, proves a valuable right-hand to Wilson, adding to the musical ambience with enchanting sounds; Edwin, an underrated bassist, with a precision and a sense of "groove" that few bassist possess, some of his bass lines just make the listener want to, again, groove; and, finally, the best proper instrumentalist in the band, Gavin Harrison, a true master behind the drum kit, an expert in groove, in rhythm, in precise fills, phantasmagoric rolls, a connoisseur of the art of playing with the cymbals, and in this album, even a master of the double bass.
If there's a performance here that deserves some extra credit, is Harrison's. Let's review the songs: Fear of a Blank Planet 9.
Very much like the song of the same name in that album, this one starts with a fast, grooving rhythm that seems unstoppable. Wilson sings - almost speaks - with utmost quietude, just like in "Deadwing". The movement is relentless, as is the ordeal that Wilson describes to us in the lyrics, a no-exit meaningless life.
The chorus is somewhat melodic, just as a hint of morbid, sick color in an otherwise black-and-white existential nightmare. The middle section is dark, somber, atmospheric, with a fantastic fill by Harrison who, without doing much, shows, curiously, so much.
Near the end we enter the final stages of the nightmare, a more slow passage, when the narcotic vocals announce us that, though the dream is nearing its end, we won't wake up, we'll be sedated, narcotized, drugged in a senseless life forever.
The music is so sedated, it's like musical-heroin not that I've tried the real one, nor would I advise to do so, but it HAS to be like this. Some strings cooperate in making this track a complete dream-like experience. After it's over, we are not sure if we actually heard it.
It's sort of divided in three big sections. The first big section starts with percussion and Wilson singing with his rather simple-yet- unique nerdy voice, before growing and showing us he actually can sing.
Another narcotic experience, this is not good; I don't mean it musically, as this is fantastic, but in general, feeling like this can't be good. Incredibly atmospheric part, it evolves into a harder, distorted section with keys that make it feel even more epic than its length foretold us, or, to say the truth, that give it true EPIC status.
Then a bass line in an oddly-chosen grooving, almost jazzy time with drums adding to the driving energy. Alex Lifeson of Rush provides a guitar solo in this track, and it works, but it's nothing essential as the quality of the song ultimately eats it, makes it look just like another section in a brilliant track.
Harrison's drumming is inspired. Then we enter a more metallic arena, with dissonant chords that sound almost Opeth-ish in their violence. Some measures sound like straight progressive-metal I won't dare mention who they remind me off, I would be crucified.
But only a FEW measures.
Brilliant, Opeth's partnership with Wilson has helped in both ways, making Akerfeldt's outfit better and also enhancing The Tree's sound. An awkward double bass drum section that sounds too heavy for The Tree leads us to the final "chorus" in the second big section and serving as bridge towards the third.
The tempo is slower now, meditation, analysis, constant reflexion upon one's own putrid life. But with such beauty. Telling a horribly pessimistic message while making you dream with prairies full of dark trees and rainy, grey clouds above, that's what Wilson achieves in this song.I can't say that this song fits the subject matter of music that I normally would listen too, but the chorus is what sells the song for me.
Luckily, I heard the chorus before I heard the whole song. It has been playing, ceaselessly, for three decades now, and it will stay lodged in your brain, like a barnacle made of synthesizers and cocaine, for hours after you read this article.
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"La donna è mobile" (pronounced [la ˈdɔnna ˌɛ mˈmɔːbile]; "Woman is fickle") is the Duke of Mantua's canzone from the beginning of act 3 of Giuseppe Verdi's opera Rigoletto ().
The canzone is famous as a showcase for tenors. Raffaele Mirate's performance of the bravura aria at the opera's premiere was hailed as the highlight of the evening.
The aria is in the key of B major with a time signature of 3/8 and a tempo mark of yunusemremert.com vocal range extends from F ♯ 3 to A ♯ 4 with a tessitura from F ♯ 3 to F ♯ yunusemremert.com bars form the orchestral introduction, followed by a one-bar general rest.
Each verse and the refrain covers eight bars; the whole aria is 87 bars long. The almost comical-sounding theme of "La donna è. "Wagon Wheel" is composed of two different parts. The chorus and melody for the song come from a demo recorded by Bob Dylan during the Pat Garrett and Billy the Kid sessions in February Although never officially released, the Dylan song was released on a bootleg, usually named after the chorus and its refrain, "Rock Me Mama".Dylan left the song an unfinished sketch.