Blood Money is the 13th studio album by Tom Waits, released in 2002 on the ANTI-label. ![]() Tom Waits banks on the unexpected. His own style, as varied as it is indefinable, changes with the weather. Each new change though, however drastic, is no less or more true to Waits's body of work than the last, nor does it seem to contradict the artist's own patchwork persona. Indeed, Waits is one of those rare artists who gets better with age, each new venture blending with the last. In this fashion, while his last album, 1999's Mule Variations, was a thorough tribute to dusty Americana, his two new albums, released simultaneously this week, are lavishly Victorian and macabre. The shift in style is far from discreet, though. Like a new layer of paint slapped over half a dozen previous ones, the old coats show through to tint the new. Waits himself is an eclectic character. At times a thespian, busker, rambling man, and performance poet, his story is as convoluted and apocryphal as that of a character in one of his songs. Reluctant to speak at length about his personal history, Waits was once noted for saying that it was easier for him to make up his past than recount it. Suggesting also that 'the stories behind most songs are less interesting than the songs themselves,' Waits emphasizes the role of narrative and fantasy in his music. Listening to Alice, one of the two new albums, is indeed like letting yourself slip into an underwater world where everything is lit by a murky blue light, filtered through layers of seaweed and flotsam, sunken ships and drowned sailors. The album is a collage of half-remembered elements—an old saxophone, the music-box tinkling of a glockenspiel, the husky whistle of a steam train. Its loose ties to the Victorian fantasies of Lewis Carroll cast its fifteen songs into a narrative of childhood memory, albeit fragmentary and distorted, equal parts slumber and terror. Alice is a fantasy, an anthology of monologues, nightmares, and lullabies. Like an old book of sinister characters and ambiguous symbols, the narrative quality of the collection is palpable, with Waits as the old crazy storyteller, whose own involvement in the stories is never entirely clear. Longtime fans who listen to Alice will find comforting continuities with Waits's existing body of work: wiry ballads that recall his folksinger days on Asylum Records as well as the large-scale theatrical works one would associate with Black Rider or Frank's Wild Years. Theatrical is indeed the appropriate word for this album. Download digimon the movie sub indo mkv. Download Video Digimon The Movie Lengkap Sub Indonesia. 24 Kamis Des 2015. Posted by Solusi Cepat Tentang Internet II Aldian Prasetya Nugraha in Digimon Movie. Digimon Movie 1 Sub Indo. Digimon Adventure: Our War Game (Movie 2) Bercerita tentang pertarungan Taichi, Yamato, Koushiro, dan Takeru dalam menghadapi Diaboromon, digimon virus. Digimon Movie Indonesia, Download Anime Digimon Movie Subtitle Indonesia BD Batch link Google Drive dengan ukuran 480p, 720p, 360p, 240p dalam format Mp4 dan MKV Kumpulan movie digimon dari tahun ke tahun, judul tergantung nama file. Although a new recording, the songs of Alice have their origins in a 1992 avant-garde opera of the same name, directed by Robert Wilson for the Thalia Theater in Hamburg. Waits and co-writer Kathleen Brennan (also his wife), penned the score, as well as directed an eclectic orchestra for the production. Based loosely on Lewis Carroll's infatuation with the young Alice Liddell, Alice ran for eighteen months at the Thalia, after which Waits's and Brennan's score disappeared into the realm of the 'lost masterpiece.' Recognizing its status as an operatic piece, and one associated with Carroll at that, helps immeasurably in gaining a full grasp on Alice and its storybook undertones. In the plonking, carnivalesque 'Everything You Can Think,' Waits throws in snatches of old nursery rhymes: 'Everything you can think of is true/ The dish ran away with the spoon/ Dig deep in your heart for that little red glow/ We're decomposing as we go.' Waits's voice is thicker and throatier than ever before, an ogre-like growl that pumps out the song's wind-up rhythm.
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