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Caviar Gold's Melancholia is the soundtrack to the imaginary sequel of Pretty in Pink. You can imagine Duckie and Andie sitting in her bedroom and listening to the eight songs on the Ann Arbor trio's debut album as they write poetry and wonder whatever happened to Blane.
Created over the course of nearly six years, Melancholia is awash in moody synths, melodic bass lines covered in chorus effects, and plaintive vocals crooning sorrowful tales. Jason Lymangrover handled the music; Josh Thiele the vocals. Crystal Collins also sings on the album and she's also now a member of Caviar Gold, which celebrates the release of Melancholia with a concert at Ziggy's in Ypsilanti on March 15.
Stream Melancholia below as you read Lymangrover's answers to some questions about how the album was created and how Caviar Gold came to life.
Nadim Azzam has a lot on his plate. He’s launching a new "music-based, local-focused media company," writing new songs, and doing social media and marketing as part of his day job.
But he’s recently carved out some time to record a five-song EP with the band he’s been fronting in recent years. Even as his new music is adding more electronic elements, he wanted to honor and preserve the sound he’s become known for -- a smooth, seamless combination of acoustic pop and hip-hop.
Azzam makes the blend work perfectly, with a typical song offering up a catchy guitar hook and traditionally structured lyrics that slide directly into a rap break and then back again. He’ll showcase the sound -- and in particular, the songs on the new EP -- at a Blind Pig show on March 15. (CDs will be available at the show; the EP hits streaming services in April.)
Korde Arrington Tuttle and The National's Bryce Dessner examine photographer Robert Mapplethorpe's work through song in "Triptych (Eyes of One on Another)"
By the time the singers, musicians, and iconoclastic images of photographer Robert Mapplethorpe take the stage at Ann Arbor's Power Center on Friday, March 15, everything should be in place for the premiere of a new UMS-commissioned work examining the late photographer's work and legacy through song.
But just a little over a week ago, composer Bryce Dessner admitted some tweaks were still being made.
"With these types of new works, the music and the staging and the piece is always evolving," he said. "The ink is still drying, so we can kind of feel that, which I think is exciting. There are some last-minute changes I'm making to the score. By the time it gets to Ann Arbor, it will have settled more."
"It" is Triptych (Eyes of One on Another), a re-examining of Mapplethorpe's work 29 years after the famous obscenity trial over a retrospective of his photographs in Cincinnati -- and 30 years after the artist died of AIDS -- made a lasting impression on a teenage Dessner.
Produced by Thomas Kriegsman at ArKtype, with music by Dessner, libretto by Korde Arrington Tuttle, and direction by Kaneza Schaal, the show also features Grammy-winning vocal group Roomful of Teeth with soloists Alicia Hall Moran and Isaiah Robinson.
Dessner has a Wiki entry full of impressive composing credits; he's performed with new music giants, like Steve Reich, Philip Glass, and David Lang; and he plays guitar in Grammy-winning indie rock band The National, which also plays Hill Auditorium on June 25 in support of its latest record, I Am Easy to Find.
I caught up with the prolific musician by phone on the eve of Triptych's music premier at the Walt Disney Concert Hall in Los Angeles.
Siblings always have issues.
Sometimes the older they get the testier they become, especially when their paths diverge.
This idea became the inspiration for Christopher Durang’s Tony Award-winning play Vanya and Sonia and Masha and Spike, a comedy about sibling resentments that takes some inspiration from Russian short-story writer and playwright Anton Chekhov.
Cassie Mann, who is directing a production of Vanya for the Ann Arbor Civic Theatre, March 14-17, said she fell in love with the play when she read it.
Ypsilanti writer and Eastern Michigan University professor Rob Halpern considers the relationship between the personal body and political violence in his new book, Weak Link. Through several forms ranging from poetry to numerical essay, Weak Link examines physicality, art, politics, and war, among other topics, and also is self-referential.
How the writing is working and what it is doing are explicitly addressed and questioned within the text itself. How do we understand and connect with that which we haven’t experienced? How do we go beyond ourselves and situations while still recognizing where we are and what is? What can poetry be and do? These questions and many more populate the collection.
The text expresses a desire to make connections between the public and the personal, between socio-political issues and the self who is interacting with them. At times reading like a stream of consciousness and at others like a well-plotted argument, Weak Link simultaneously consists of a thought experiment, aspirational view of poetry, and penetrating depiction of reality.