Album of the Week: Lucia Santiago’s “Requiem for a Dreamer”
By Alex Thompson
Rating: 8.2
Release Date: December 12th, 2012
There’s a palpable thrill that comes from unboxing a piece of art that defies easy categorization. “Requiem for a Dreamer,” Lucia Santiago’s first venture into the realm of electro-orchestral compositions, is just that—a boundary-pushing, thought-provoking puzzle of an album that hooks you right from its majestic opening overture.
At first glance, Santiago’s audacious fusion of orchestral splendor and electronic undertones might seem like a paradoxical blend. But one listen to the album’s leading track, “Awake,” a concoction of sweeping violins interspersed with glitchy synth lines, and you’re hooked—this is an artist who knows not just how to bend the rules but also why those rules were made in the first place.
The album delivers an emotional punch, too. Santiago’s knack for evoking mood is on full display, with each track serving as a different shade of a complex emotional palette. This reaches a peak with “Lost in a Dream,” a collaboration with neo-trip-hop artist Jules Darby. Their combined talents conjure a haunting atmosphere, exuding a melancholic beauty that’s nothing short of spellbinding. There’s a tactile sensation when the electronic components press up against the softer, more organic orchestral elements, creating a sonic push-pull dynamic that feels both tense and harmonious.
Then there’s “Midnight Sonata,” a track that would have impressed Beethoven himself. It commences as a classical composition before evolving into a bass-heavy electro wonderland. It’s like traveling through time in the span of seven minutes—without the jet lag.
Yet, the album is not without its pitfalls. A few tracks, such as “Dance of the Mechanical,” veer dangerously close to gimmicky territory. It’s as if Santiago is so engrossed in the mechanics of her craft that she sometimes loses sight of the emotional resonance that makes much of the album so compelling.
“Requiem for a Dreamer” is more than a debut album; it’s a statement. Santiago has landed on the scene with the audacity of an artist well beyond her years, and her crossover appeal is evident. Neo-trip-hop enthusiasts will find much to admire here, as will anyone with an ear attuned to experimental sounds that challenge our perception of what music can be.
So let’s not put “Requiem for a Dreamer” in a box, shall we? It defies it, anyway. With this album, Lucia Santiago not only establishes herself as a force in the electro-orchestral scene but also poses a fascinating question: What happens when we allow genres not just to coexist but to converse? The answer, as Santiago proves, is nothing short of revolutionary.
Tracks to Listen to: “Awake,” “Lost in a Dream,” “Midnight Sonata”
Tracks to Skip: “Dance of the Mechanical”
Reviving the Beat: Urban Ether—A Neo-Trip-Hop Odyssey Shakes Brooklyn’s Sonic Landscape
Date: March 15, 2013
By Eleanor “Ellie” Finch, for Pitchfork Media
As the sun set over Brooklyn, casting a golden glow on converted warehouses and graffitied walls, Urban Ether: A Neo-Trip-Hop Odyssey manifested as a surreal dreamscape pulsating through the vibrations of avant-garde sound. Curated with an astute sensitivity to the genre’s evolution, the festival was an ode to Trip-Hop’s rich legacy and its newfound resonance in modern subcultures.
The evening kicked off with Mantis Echo, an upcoming local duo whose ambient synths and sampled beats reverberated around the open-air arena like a meditative chant. Their ethereal set created an atmosphere of intimacy, an invitation to the sonic journey ahead. They were followed by Quasar 9, a Japanese-American act, whose melodic sampling of traditional Japanese instruments integrated seamlessly with turntable manipulations, establishing a symphony of cultural confluence.
Lucia Santiago, the young prodigy from Detroit, then took the stage. Draped in neon-hued streetwear, her aura was electric. Lucia amalgamated elements of R&B, soul, and electronic music to create something indefinable. “Floating through Chaos,” her hit single, received a live rendition that dissolved boundaries between the physical and metaphysical; the crowd swayed as if in a communal trance.
But it was Freeman, the enigmatic British rapper, who crystalized the night’s theme of genre-defying transcendence. With beats often bordering on the psychedelic, and lyrics punctuated by philosophical musings on race and identity, Freeman dismantled and reconstructed the traditional framework of rap music right before our eyes.
Gorillaz’s set was nothing short of transformative. Damon Albarn and Jamie Hewlett’s iconic animated avatars transmuted on a colossal LED screen, adding a fantastical layer to the multi-dimensional experience. Newer tracks like “Lucid Dreamers” and “Urban Solitude” sat comfortably beside revamped classics like “Clint Eastwood,” each imbued with a newfound sense of urgency in their live renditions.
Yet, when Massive Attack took the stage, time seemed to stand still. The Bristol legends showcased their propensity for eternal relevance, rendering classics like “Teardrop” and “Angel” alongside new compositions that felt like post-apocalyptic hymns. The sheer gravitas of their music reminded the audience of Trip-Hop’s continued relevance as a tool for existential examination.
The night wasn’t merely a series of disconnected performances but a collective experience, each act a chapter in an unwritten manifesto of Neo-Trip-Hop’s potential. As the boundary between performers and audience dissolved in the Brooklyn night, it was evident that Urban Ether had not merely revisited the roots of Trip-Hop; it had revitalized its very soul.
Urban Ether was an alchemic blend of sound, visuals, and shared human experience. It marked not just the revival of a genre but a redefinition, an exploratory venture into the depths of auditory sublimity. And as the night folded into the embrace of darkness, one couldn’t help but feel part of something ineffable—a subculture reborn, a genre reimagined, and a community unified in its quest for musical transcendence.
Amy Winehouse’s “Amy” is a Dazzling Tapestry of Light and Shadow
By Jasmine Thompson
June 12th, 2014
There are artists, and then there are icons—Amy Winehouse, with her indelible voice and turbulent life, is irrevocably the latter. After the critical and commercial success of her previous works, expectations were sky-high for her third studio album. Released in 2014, the aptly titled “Amy” is a record that will send shivers down your spine, challenging us to look beyond its lush musical landscapes into a world brimming with both beauty and chaos.
The album opens with “Broken Halo,” a track that instantly grabs your attention. The horns are punchy, and the beat is irresistibly danceable. But beneath this gleaming façade, Winehouse sings of fractured relationships and an inner turmoil that has long been fodder for tabloids. “The halo’s broken, but I’m still an angel,” she croons, encapsulating the core theme of the album—imperfection wrapped in beauty.
Where Winehouse’s prior works leaned into soul and jazz, “Amy” takes a plunge into the Soul-Pop realm. Tracks like “Fading Star” and “Scarlet Blues” show this evolution in style. The former is an upbeat, Motown-inspired number with background vocals that could easily make you think of The Supremes. Yet, the lyrics tell a different story, filled with self-doubt and the realization of one’s fading relevance in a world that often feels too big to care.
Then there’s “Echoes,” a hauntingly beautiful song that seems to channel Winehouse’s deepest demons. The song blends elements of soul and electronica, creating a discordant but entrancing soundscape. The lyrics are a poetic examination of her well-publicized struggles, including her battle with substance abuse. “Echoes in my head, but no one’s home,” she sings, providing a chilling look into the emptiness that often accompanies fame and fortune.
Of course, one can’t ignore “Last Call,” which delves into the gritty details of a one-night stand. Here, Winehouse is unapologetically candid, her voice oozing with a combination of regret and longing. She doesn’t shy away from the raw sexuality of the encounter but instead brings it into the light, forcing us to confront our own preconceptions about love and intimacy.
Winehouse’s vocal performance on this album is nothing short of breathtaking. Her unique timbre, which effortlessly swings from velvety smooth to raw and raspy, adds another layer of complexity to each track. Yet, it’s the dichotomy between the album’s cheery instrumentals and its often grim subject matter that really sets “Amy” apart. It’s as if Winehouse is daring us to dance while forcing us to listen, pulling back the curtain on the life that has so frequently been reduced to sensational headlines.
In “Amy,” we’re given the rare opportunity to see the woman behind the icon, flaws and all. It’s an album that doesn’t just ask for your attention—it demands it. With its compelling fusion of Soul-Pop and stark lyrical narratives, this is a record that confirms Amy Winehouse’s place not just in the annals of music history, but in the complex tapestry of human emotion. And isn’t that what great art is all about?
Rating: ★★★★½
PITCHFORK ALBUM REVIEW: Jazz Under the Wreckage
Milo Tremaine
2014
GENRE: Post-Industrial Jazz
LABEL: Interscope Records
REVIEWED: October 31st, 2014
Milo Tremaine takes the fledgling Post-Industrial Jazz genre to new heights, offering an experience that is as poignant as it is dissonant, while paying homage to the genre’s roots.
In 2009, Trent Reznor’s jazz albums “Ballgag” and “The End of History” not only shocked the music industry but also gave birth to what we now recognize as Post-Industrial Jazz. Milo Tremaine’s “Jazz Under the Wreckage” is the latest entry in this still-growing genre, and it might just be its most compelling yet.
From the opening strains of “Rusted Elegance,” it’s clear Tremaine is both honoring the origins of Post-Industrial Jazz and expanding its boundaries. Replete with wailing saxophones and grinding mechanical textures, the track showcases Tremaine’s finesse in balancing musicality with abrasive soundscape.
As we slide into “Neon and Decay,” the sonic spectrum expands to include more explicit elements of electronic manipulation. It’s a disorienting meander through dark alleyways, where bebop meets dread, and it serves as an appropriate bridge to the album’s experimental midpoint, “Fractured Harmonics.”
“Fractured Harmonics” and “Lost in Echoes” are the high-water marks of Tremaine’s sonic architecture. Where the former entices with irregular time signatures and haunting flute melodies, the latter delivers a more contemplative experience. “Lost in Echoes” sits with you like a ghost, its mournful trumpet notes lingering long after the final chord.
While “Jazz Under the Wreckage” doesn’t necessarily bring something new to the genre, it expertly navigates the established thematic dichotomies: dissonance vs. melody, the organic vs. the artificial. Tremaine does not merely imitate; he innovates within constraint, honoring the vision of genre pioneers like Reznor while undoubtedly making his mark.
However, it’s not without its weaknesses. At times, the album leans a little too much into its influences, and some tracks do get lost in their own audacity, turning the “post-industrial” aspect into a sort of self-parody.
But these are minor transgressions in an otherwise landmark release. Tremaine brings his A-game to a genre in desperate need of vitality, and “Jazz Under the Wreckage” is his definitive statement: a cacophonous love letter to a genre that revels in its own contradictions.
Rating: 8.7
By Alex Mendelson
The Loss of Angus Young – A Hero’s Exit That Shakes the World of Rock
Published: December 22, 2014
By Jim Kozak
In an incident that has shaken the world of rock music to its core, Angus Young, the iconic co-founder and lead guitarist of AC/DC, lost his life in a tragic accident during a performance in New York City on their “Or Die Fighting” tour. The event was marred by a catastrophic lighting failure that led to a cascade of unforeseen and horrifying circumstances.
The tragedy unfolded when a set of poorly secured stage lights plummeted, striking Henry Morgan, one of the touring band members. In what can only be described as a freak occurrence, Morgan experienced an “Activation” event at that moment, suddenly manifesting uncontrollable electrokinetic powers in response to the broken equipment. Without his control, his body began channeling away the electricity that would’ve otherwise been flowing through him – towards the crowd and other band members.
Angus Young, displaying the courage that defined much of his life, intervened without hesitation. He fought to detach Morgan from the entangled wreckage of fallen equipment, absorbing the volatile electrical discharge in the process. This selfless act saved not only Morgan but potentially countless fans and fellow band members from catastrophic injury. Young succumbed to the injuries inflicted by the electricity shortly thereafter.
Henry Morgan, who has publicly taken full legal culpability for the incident, is devastated. “Words cannot express the guilt and sorrow I feel,” he stated in an interview. “I’d give anything to go back and fix it. Angus was more than a friend; he was a hero in every sense. He did what he always did — step in and save the day. Except this time, it cost him his life.”
Yet the band is adamant that a thorough investigation into the event crew’s preparation and safety measures must be conducted. “Angus didn’t just die; he was let down,” stated Brian Johnson, AC/DC’s lead vocalist. “And we owe it to him and to every fan out there to find out how this could have happened.”
Statements have flooded in from rock legends expressing their sorrow and admiration for Young. Bruce Springsteen stated on his official website, “Angus was a titan. His loss leaves a void that can never be filled.” Similarly, Slash, the legendary Guns N’ Roses guitarist, conveyed his condolences during a radio interview, “The world didn’t just lose a great guitarist; we lost a great human being.”
The family has asked for privacy during this time but plans to hold a public memorial to honor Young’s legacy. As the world mourns this terrible loss, one thing is crystal clear: Angus Young was a hero until the very end.
And so, while the circumstances surrounding Young’s death are undeniably tragic, his final act on this earth encapsulates the man he was—a selfless hero. His legacy, both musical and personal, will live on forever. For Angus Young didn’t just play rock ‘n’ roll; he lived it.
For our ongoing coverage of this story, including the investigation and upcoming memorial services, stay tuned to Rolling Stone.
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