Tuesday, January 27, 2009
All Tomorrow's Music
A weekend's parties tend to come and go with a soft, sibilant deflation. We're left to throw back a couple ibuprofen, pick up the Dixie cups, wash out the stains, and start over again planning all tomorrow's parties. With music, thankfully, it's not like that. Each new work gets listened to, pored over, loved, reviled, shrugged at, then thrown into that same reactive cauldron with all the other music that's ever been heard. It grows on itself, it morphs and makes freakish children, and it leaves us to perpetually absorb All Tomorrow's Music.
This blog's name is deceptive (duh). Justifying its first word would be a Sisyphean task. So instead of trying to catalog "all" the records that are about to hit stores, this site will focus more on analysis of music that's highly anticipated and/or noteworthy.
In terms of that "tomorrow" in the title, the focus will absolutely be on new releases, although there are always reasons for a glance in the opposite direction. 2009, for instance, marks the 50th anniversary of the year that more than any other changed the shape of jazz to come. I'll take advantage of this with a series of posts on some of 1959's watershed jazz albums. I'll also publish an extended piece every week that compares a new release to a legendary "parent" album, of sorts, from years ago; the first installation lines up Animal Collective's buzzed-about Merriweather Post Pavilion with its Beach Boys-bred progenitor, Pet Sounds.
Most of the music I write about here will inevitably be of the "indie" stripe. (One look at this week's Top 40 is proof enough that tomorrow's music, the stuff with true staying power, remains in a subterranean world that most radio waves dare not penetrate.) But there's room for anything here, from jazz to hip hop to last gasps from still-hanging-on classic rockers.