Music appreciation has always been almost as big a part of my existence as film, however unlike the typical listener, my upbringing initially began as a pure diet of classical music, up until my late teens when I branched out into instrumental modern jazz. (My orthodox religious upbringing had prevented me from listening to secular music or watching fiction films, yet somehow 'classical' music (used in the broadest sense) seemed the only passable exception to this rule according to my parents). It was after this period that I then began an eclectic exploration that would entail trying to track down acclaimed examples of some of the many genres. Upon purchasing my first entry-level separates hi-fi system around the time of my jazz 'episode', my listening style would generally involve dedicated listening where I'm sat in darkness, enjoying an album from start to finish. Given the similarity of the listening experience to that of cinema viewing, I have therefore tended to gravitate towards albums that can be enjoyed in their entirety, rather than for a few standout tracks where the rest are mediocre 'fillers'. My most fulfilling relationships with music are generally when they provide a strong cathartic and cinematic auditory experience. As such, 'concept' albums are generally my personal preference of album - primarily because of the immersive and creatively stimulating experience they provide upon every listen.
For me the freedom of 'concept' albums is that usually the artist is already well-established enough to afford them the opportunity to release a less formula-bound and perhaps more meditative product. Just like deleted scenes on a DVD, or a filmmaker's early short films, the concept albums I've experienced seem to provide a clearer insight into the artists influences, as well as perhaps the new direction they would like to explore. It is therefore intriguing to see these albums often reviewed as pretentious or self-endulgant ( ). As a filmmaker, my penchant for the cinematic within the musical, is justified mainly by my a natural inclination for enjoying the extended narrative arc that's present within a group of tracks united by a common theme. Given my lack of rock music as a formative influence, my initial direction beyond jazz took the strangest detour into drum and bass of the mid-90s primarily due to a DJ friend of mine introducing me to the likes of Goldie and Grooverider. The initial attraction was their experimental fusion of jazz with dance, something that I also discovered later in my foray into hip-hop with 'Guru's Jazzmatazz Vol. 1'. I am always less interested in music that fits comfortably within genre convention, so am thereofore more engaged by 'alternative'/'underground' and mixed-genre albums, since these types of product are arguably less reliant on reliving or revivifying older music and more on trying to innovate. My interest in film, and my purpose as a filmmaker is much in the same spirit.
Therefore, over the last 9 years of listening exploring secular music (other than classical music as defined earlier), out of the standout 'concept' albums that have influenced me, the one that remains a perfect example of the type of music and approach I have described would be:
'The Seduction of Claude Debussy' (1999) by Art of Noise. The theme is a multi-genre piece that uses the music of my favourite impressionist composer as the influence behind an immersive and cinematic experience that features narration from John Hurt. Worth a listen on a decent sound-system in the dark with your eyes wide shut. I recently found a quote from the band describing the album as "the soundtrack to a film that wasn't made about the life of Claude Debussy."
Other notable titles that are worth mentioning in this context include:
- Disc 1 of the 2-disc album 'Saturnz Return' (1998) by Goldie. The hour-long orchestral/drum and bass opening track 'Mother' and its follow-up 'Truth'.
- 'Drukqs' (2001) by Aphex Twin. The concept here seems to be Richard D. James's unique use of samples, synthesizer experiments, presented within what can best be described as avant-garde approach to music.
- 'Verspertine' (2001) by Björk. An example of a harmonious fusion of inventive orchestral instrumentation with electronica.
- 'Since I Left You' (2000) by The Avalanches. An entirely sample-based electronica album that doesn't sound like anything else you may have heard.
- 'Takk...' (2005) by Sigur Rós. An astounding album from a band who struggle to fit within any known genre, but are most closely aligned with progressive rock.
If a single could be a concept, then the track of choice would have to be 'Unfinished Sympathy' (1991) by Massive Attack.
Bibliography:
Booth, R. (2010) Pink Floyd score victory for the concept album in court battle over ringtones. Available at: http://www.guardian.co.uk/music/2010/mar/11/pink-floyd-court-victory-emi-downloads-ringtones. (Accessed: 13 March 2011)
Geoghegan, K. (2010) Do music fans still love the concept of the Concept?. Available at: http://www.bbc.co.uk/news/entertainment+arts-10485929. Accessed: 13 March 2011)
McCormick, N. (2009) The Return of the Concept Album. Available at:http://blogs.telegraph.co.uk/culture/neilmccormick/9668028/The_Return_Of_The_Concept_Album/ (Accessed: 13 March 2011)
Sturges, F. (2009) The Return of the Concept Album. Available at:http://www.independent.co.uk/arts-entertainment/music/features/the-return-of-concept-album-1796064.html (Accessed: 13 March 2011)
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