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PAST LIVES
The first time our editor-in-chief explained to me the concept behind this journal, I was a bit mystified. He talked quickly, and with his hands. Behind steamy glasses, his head throbbed with big ideas. He spoke of Muzak and Fluxus, and also of algorithms wherein n is a pre-chorus and x is a bridge. He had, in essence, quantified the logic of Pop music. He then applied to it the principles of graphic design and thus, the musical score to the right was born. We are now nine issues deep into the journal. I am still mystified. For the uninitiated, Seattle-based group Past Lives is a rebirth of the recently split Blood Brothers, a band of uncompromising ethos and bold musical grit. The Brothers were also pretty damn weird and their popularity makes me scratch my head. It also makes me smile. Music sucked a little less when they were around so if you could all be silent for a moment I'll stop scratching my sad, smiley head and get to scratching this Past Lives 45. Time for some deep listening. |
 Side A begins with a lilting waltz. A lone guitar enters and is augmented by bright synth arpeggios and plucks from a jaunty bass. A passing clarinet clouds, shimmers, and then fades away. I refer to the score. Everything appears to be in order. "All Is Well" moves into a plaintive lurch. New sounds emerge. I am dimly aware that this is all happening on paper. Everything halts. Something tells me the chorus is about to soar. Drums tumble clockwise. An airy falsetto - "aaaahhhh"- lifts the ambivalent refrain. The graph doesn't reveal that it would be this beautiful. It couldn't have known. I flip the record and toss aside the score. The men of Past Lives clearly share a hive musical mind. Sometimes it helps to demystify these things. Sometimes it does not. - Daniel Mitha |