Tag Archives: quartertonality

Week in Review: February 3rd-7th, 2014

Here’s what went up on the blog this past week:

Monday: Continuing to trace a path through Sonic Youth’s entire output. This week featured a critical re-evaluation of “NYC Ghosts & Flowers.”

In Memoriam Sonic Youth XI: “NYC Ghosts & Flowers”

Tuesday: Guitar wall of noise master and symphonists Glenn Branca’s first solo release, “Lesson No. 1” gets a re-release on Superior Viaduct.

Re-release: Glenn Branca – “Lesson No. 1″

Wednesday: Check out some stoner/doom metal from Belzebong as well as a track featuring the Sabbath-esque stylings of Green & Wood.

Stream: Belzebong – “Dungeon Vultures,” Green & Wood – “Blind Seer”

Thursday: I talked a little bit about what drives me crazy about reading music blogs and a little more about navigating through a sea of unknown music.

Some thoughts on the state of music blogging

Friday: Finished off the week with a new track by Chad Vangaalen from his forthcoming album “Shrink Dust.” Definitely looking forward to this one.

Stream: Chad Vangaalen – “Where Are You?”


Album Review: Merzbow – “Takahe Collage” Part 3

Merzbow - "Takahe Collage"
Merzbow – “Takahe Collage”

Grand Owl Habitat

This third and final installment of posts about Merzbow’s “Takahe Collage” focuses on the closing track, the mere 12 minute “Grand Owl Habitat.”

Probably the least active and cluttered of the album, “Grand Owl Habitat” takes a clearly sectionalized approach that even may vaguely (in some ways) resemble ABA form. Or, if it can’t quite be thought of as ABA form (and really it can’t, but hear me out) there is at the very least elements that appear and disappear at intervals making it sound as if the spaces without the pitched, more focused sounds form a point of recurring repose against spaces that contain those sounds and therefore stand as a contrast.

Just as with the previous tracks there is introductory material here as the underlying beat is generated. The first section of the song, that which lacks the presence of pitch material for the most part, continues for the first minute. Following that is the entrance of some of the erratic pitch material and sound envelope manipulations.

The main thing, as far as this song is concerned, is that each time the more focused, pitched sounds enter they do so with an increased intensity with each recurrence. Meanwhile the sections of the song that alternate with these increasingly active sounds remain fixed. The stasis is fixed in sound and in tempo. No alterations whatsoever are made to the initial underlying beat that is generated at the beginning of the track.

From 2:06 to about 2:18 there is a drastic shift in texture that marks a new section, where everything is stripped away, save for the underlying structure. We have seen this many times before in the previous tracks, where there is a frequent stripping away and subsequent re-building of material to create motion through the song from beginning to end. There are even some interesting rhythmic moments in “Grand Owl Habitat” that can be heard when a lot of that material is stripped away. For example, at about the 6:40 mark there is a sort of polyrhythmic effect going on with two of the layers just before a screeching sound of a free-jazz saxophone bleat begins to dominate the texture. That sound, as it happens, will remain throughout the remainder of the track.

What I think may be most notable, other than the drastic ebbs in texture through this track, is the way that Merzbow manages to bring the piece to a close. As a composer it is absolutely crucial for one to know their compositional language inside and out, for that is how you learn to phrase your material and, more importantly, how to begin and end a piece. Essentially, when the material that you are using is created via a hierarchy that doesn’t included strictly pitched material, how does one go about cadencing, or closing the piece?

The way that Merzbow answers that question here appears at the 10:52 mark where suddenly that underlying rhythm is taken away. In an instant only the focused, more or less pitched material is left and seems to float above the surface. But without that underlying structure it is only a matter of time before they are not able to sustain themselves anymore and about a minute later they begin to fade out. This, in my opinion, makes for a truly satisfying end to not only this track, but to the entire album.

Benefit Comp featuring unreleased tracks by Thee Oh Sees, Cave Singers, Elf Power and more

Coming Together for a Cure Vol. 2
Coming Together for a Cure Vol. 2

We all love music, that much is obvious. It’s why you are reading this, it’s why I’m writing this. Sometimes music has the opportunity to really make a difference. Those differences can come in the form of small things – helping to make mundane chores bearable, perhaps giving us some new perspective on the world, showing us beauty in new things, new sounds and on and on. And sometimes music is able to do so much more, something that is bigger than all of us.
This compilation gives us all a chance to let music make a huge difference in the lives of so many. One such person is Ryan Benton, diagnosed with Duchenne Muscular Dystrophy at the age of 3, who is the curator of this compilation that puts together a ton of unreleased tracks from more great bands than you could even conceive of. In Ryan’s own words:
I was given a life expectancy of late teens to early twenties. I am currently twenty seven.  In the fall of 2008 I traveled to Costa Rica to be treated for the first time with adult stem cells. I had to travel out of country because the all natural treatment was then and currently now not available in the states. After receiving my first treatment I began gaining back strength and have since gone back on seven separate trips for continued treatment.  
With the help of Air House Records, I have put together a benefit compilation featuring fifteen amazing tracks from national artists such as Thee Oh Sees, Cave Singers, Elf Power, Shine Brothers and The Wonder Revolution. Proceeds will go entirely towards helping fund adult stem cell therapy and research.
So in buying this album you will be helping Ryan as well as countless others that find themselves in the same situation. We all know that stem cell research will provide us with answers to medical problems that many Americans face every single day, yet it is currently outlawed in the United States. So why not take a stand against the ridiculous state of affairs that is the American Health Care System Inc. and buy this compilation for a great cause. Ryan continues:
Stem Cell Therapy is the first form of medicine that has ever truly helped with the digression of this disease. Stem Cell Therapy is one of the most promising and revolutionary forms of medicine to date. I can attest to this first hand after seeing the positive effects it has had on my debilitating health. Along with my disease it has shown great promise and potential in treating other fatal diseases. We need to embrace this remarkable form of medicine here in the U.S. and outlaw its ban. I am almost certain that without these treatments I would not be alive today.
The comp will be officially released on October 29th via Air House Records. You can listen to a sample of “The Factory Reacts,” a track previously unreleased by Thee Oh Sees, below.
The Factory Reacts
The compilation features unreleased tracks from not only Thee Oh Sees, but also Elf Power, Springs, Miracle Days, Cave Singers and a whole bunch more. I whole heartedly encourage everyone to buy this album to help support a cause and also to maybe discover some music that you may have not heard before. I’m listening to it right now and it’s a really solid collection of songs.
If you would like to know more about Ryan, watch the short documentary below. You can also listen to and purchase the first installment of this compilation at comingtogetherforacure.bandcamp.com.
Remember: October 29th is the official release and all proceeds will go to the Aiden Foundation to help fund adult stem cell research and therapy. I’ll remind you through Facebook and Tumblr.
Air House Records//Bandcamp//Youtube//Learn more about Duchenne Muscular Dystrophy//

Ongoing Projects and thoughts

I’ve been working on a bunch of different things lately, album reviews, show reviews, and I’m always busy transcribing and analyzing music, trying to dig into everything as deep as I can. That’s what it means to be a music theorist. Our job really is to try and figure out how music works, or why music works. Sure it can all get pretty subjective sometimes, but if one really gets down into it music analysis is really as much science as it is art.

I’ve got several projects going right now that I’ll just mention briefly, as I don’t know exactly what they are going to turn into just yet. One ongoing project that I began last term involved transcribing the music of Women. Friends of mine already know that I listen obsessively to this band, and that obsession has given way to an intense desire not only to figure out specifically how the songs on their 2 albums “work” as far as guitar voicings are concerned, but also how all the elements of their sound come together to form a cohesive whole. I’m interested in exploring their formal structures, the counterpoint, the chord progressions, pitch collections, use of noise, how things were recorded, how the songs were conceptualized, just everything. Beyond that I’m interested in finding what the music really says, beyond just the sound and all the elements that I just mentioned. This is the project that I have made the most progress with, I’ve taken several different analytical approaches to many of the songs, and written page upon page of descriptions and come up with some possible conclusions. At least I’ve begun working towards conclusions is what I really mean.

As a music theorist I’m always interested in how the music comments on culture, and how the things that the music does describes some sort of philosophical standpoint, how the music stands to represent an idea, how it proves, disproves, or calls into question an idea. It’s in this way that we keep evolving our thinking, and I like the idea that music can be some small part of that.

I’ve also been thinking a lot about the music of Godspeed You! Black Emperor. After listening to the album “Lift Your Skinny Fists Like Antennas to Heaven” several times a day for several weeks in a row I started to wonder about how those songs are held together. This of course means that I have to take that first step and start transcribing, which is going to undoubtedly prove to be a considerable challenge, because it’s hard to tell even how many people are playing from track to track, minute to minute – not to mention that the songs go on for 20 minutes at a time in most instances. But I have learned a few things about their typical construction and it won’t be nearly as difficult as I once feared. I’m looking to discover similar things with their music as with the Women project. There is also an element of what I’ll call here “spiraling”, or Jacob’s Ladder type construction of bass lines. It’s a small detail that would take much too long to explain here, but it’s an element that appears in their music quite a bit that I am going to look into how it effects the bigger picture. So much can be said about their music, how it moves, how it doesn’t move, how it is all held together. It’s really fascinating and I’m excited to uncover these things and talk about them.

Which brings me to the other point of being a music theorist. Sure, discovering all of these things is great, and strengthening those findings with scholarship in other disciplines, but the field is admittedly not inviting to those that are not involved in music scholarship. It’s a very insular group, much like anything scholarly. I’m sure not too many of us are interested in reading the findings of university physicists, microbiologists and mathematicians in our spare time. The difference, in my opinion, is that music is something that we all share. We all experience it differently, we all share our opinions on our favorites with friends, and in that way music spans that divide between scientific and non-scientific thought. One doesn’t have to have a degree in music in order to discuss music, and one doesn’t even need to be a musician to be involved in discussions.

I think that there is a great opportunity to bridge that gap and create an avenue for greater understanding and appreciation of music in a way that doesn’t alienate music fans, but also doesn’t compromise. There is still a lot more that I am thinking about as far as this is concerned, and I’m busy filling notebooks with my thoughts on these things. There are definitely things that I despise seeing, hearing and reading about music, and there are things that I absolutely love. I’m sure that I will get into those specifics in future posts.

All of these things that I have been thinking about have also lead me to think about what I want this blog to be. I do enjoy providing album reviews and news blurbs, but there is always this nagging feeling that I’m wasting my time because almost all of the information that I provide as far as news goes can be found in several other places on the internet, and those sites (Stereogum, Pitchfork, Brooklyn Vegan etc.) get far more traffic than my site can ever hope to get. So I’m left thinking about what I have to say, what sets me apart, or what is going to set me apart? I guess I really don’t know the answer to that. I only hope that the content on my blog speaks for itself and takes a different angle than most other places around. I’m starting to get less concerned with hits (because I’ve never really gotten that many) and more concerned with just continually producing the best content that I can regardless of who is or isn’t reading. I’ve changed my perspective to doing this for myself, and if other people find enjoyment reading it, and appreciate my opinion then that is great. If not, that’s fine too.

What I really need to do now is continually work. That means more writing, more analysis, more listening, more reading… it’s only through continually doing these things that I will get better and I hope that some of you will follow along. I do want to do more posts like this where I share opinions and other things that are going on with me. Though one thing that I refuse to do is talk about anything that isn’t music related. I also am trying to strike that balance between posting too much, and not posting enough. I am only one person, and in my desire to provide unique content I want to avoid simply reposting things from other, aforementioned, sites. Trust me, if I simply took every press release that came into my inbox and every request from every person with a bandcamp that I got in my inbox every day I would be able to simply copy and paste with relatively little effort and have 10 posts a day. Being that that is typically how one gets their blog to get a lot of hits, through incessantly posting, is something that I struggle with accepting. I know that typically the text on any music blog is ignored while the reader searches for the free mp3 download or stream. I’m painfully aware that few people have even bothered to read this far (1,100 words now) into this very post, but it’s something that I am not willing to change.

Music has a lot of things to say that goes beyond the attention span required to listen to a 3 and a half minute long pop tune. It should be the duty of the music writer to go beyond simple description and meaning to try and tie a song and an artist to a much larger and relevant narrative. We should be thinking about how all of the pieces fit and not just how to sell a few more records, or how to get a few more people to go to a show. Change the narrative, change people’s expectations, increase the level of discourse. That’s what I hope to do. Some day. Many things have to happen before that though.

There are a couple other projects that I’m working on that I didn’t mention in this post, but I will talk about them soon enough. Thanks for reading.


Pitchfork Music Festival 2012 Preview Pt. 1

As is tradition for me around this time (almost) every year, I take off to Chicago to catch the Pitchfork Music Festival that has been happening every year since 2006 in Union Park. Though I didn’t have a chance to go last year, due to an expensive cross country move that I was going to be partaking a month after the festival, I am excited to return to the tradition again this year. Just as I did in 2010 I’m going to break the weekend up into 3 posts, one for each day of the fest, detailing each of the acts that I am looking forward to catching and hopefully helping you to discover some new acts even if you aren’t going to the festival. With any luck I’ll be able to update after each day of the fest to inform you as to what exactly went down, with links to any pictures and video (of at least reasonable quality) that I can find.

Friday July 13, 2012:

Tim Hecker, with the release of “Ravedeath 1972” in February 2011, blew pretty much everyone away with his expansive ambient drones. For me, as someone that doesn’t normally sit and listen to ambient music, there is something very intriguing about the sound of this album. It’s dense, complex, gritty, it may seem simple on the surface but there is a lot to dig in to. It’s an album to which I keep returning. I’m looking forward to his performance on Friday, but I’m also a little bit nervous that his brand of atmospherics may get lost to an outdoor venue. There’s a lot of subtlety to his music that may be hard to grasp in an open air venue. Typically the crowd at the festival knows (I’m making an assumption here based on my own personal feelings after years of attending) the music fairly well so I’m sure it will go as well as it can, but there is still a chance that it will end up like the disastrous (and BORING!) Panda Bear set from 2010.


Japandroids, are definitely not ones to disappoint. After the release of their first album “Post-Nothing” this Vancouver duo played the side stage of the festival in 2009. The energy of their songs and the catchiness of their hooks seemed to endear them to everyone. Every shout along chorus seemed familiar and inviting even to those in the crowd that may have only come to know the band that day. Not much has changed in the 3 years since that album was released. They have a new LP out, the aptly titled “Celebration Rock”, that is perhaps the best release of the year so far. The new one is even more exciting than the last, and that Japandroids have spent the majority of their time on the road has certainly helped. There is no question that this set will be fantastic, though I can’t hide my disappointment and frustration that Pitchfork has decided to once again relegate them to the smaller stage.

[audio:http://quartertonality.com/wp-content/uploads/2012/06/07.-The-House-That-Heaven-Built.mp3|titles=The House That Heaven Built]

Dirty Projectors seem to be in step with Japandroids. The last time we heard from Dave Longstreth and company was the same summer that the Vancouver duo released “Post-Nothing”. Both albums fought for my attention that summer, and neither one surpassed the other in listens. I loved (and still do love) “Bitte Orca”, and being that a stream of the latest Dirty Projectors album, “Swing Lo Magellan”, was just released yesterday (and it sounds fantastic) I’m sure this will be another hard fought battle for the summer. The official release date for the album comes just before the festival (July 10 on Domino Records), and may push Japandroids around for their spot as “best release of 2012 so far”. But all that is ok. This will also be a repeat performance, as they played in support of “Rise Above” in 2009 just before the official release of “Bitte Orca”. That was my first ever introduction to the band, and now that I am more familiar with their stuff (as is everyone else) I’m sure to get a lot more out of it.

As for the rest of the performances on the first day of the festival, I have never really been the biggest fan of Feist. I found “The Reminder” quite boring and because of that I haven’t even bothered checking out her new one, “Metals”. Perhaps I will be pleasantly surprised.  Though earlier in the day I am going to have to check out The Olivia Tremor Control as they have been in the back of my mind forever as a band that I definitely need to check out. All that I know about them is that they are one of the original bands in the Elephant 6 collective. That alone is enough to get my attention. I also realize that I lose about a million hipster cred points for not checking them out sooner.



Download: Titus Andronicus Mixtape Vol. 1

Titus Andronicus
Titus Andronicus

Titus Andronicus has released a mixtape through their tumblr presence that not only includes properly recorded versions of two new tracks, but also a whole host of collectible material from their early days prior to the recording of their first album, outtakes from their 2010 masterpiece The Monitor, acoustic demos and even some Weezer (?!) covers. It’s travelling around the internet already, so grab it while it’s hot and pump yourself up for more new material from Titus Andronicus, but I would warn you against following Patrick Stickles on twitter as that dude stays up late and can be really annoying, but then again he also announces stuff like this via twitter so….consider yourself warned.

By the way, following the download link to their tumblr page will also provide you with several new live video clips. Be sure to check those out as well.

Download the mixtape.

Titus Andronicus:  Twitter | Tumblr | web

[audio:http://quartertonality.com/wp-content/uploads/2012/04/Titus-Andronicus-Upon-Viewing-Oregon’s-Landscape-with-the-Flood-of-Detritus.mp3|titles=Upon Viewing Oregon’s Landscape with the Flood of Detritus]

The meaning of Quartertonality

I’ve had this blog for a few years now, but only really been seriously writing for it for just under a year. The real beginning was in July 2010 when I began writing for groovemine.com. Mark, the owner of that site, began sending me more music than I had ever heard before. I decided then that I really had an opportunity to fine tune my skills as a listener and as a critic and writer.

I’m trained as a musician. I can read music (obviously) and know a lot about music theory. I read books on music theory for fun because that is what I am interested in. In becoming a “classically trained musician” one studies a lot of “classical” music (though I abhor the term, but that is neither here nor there.) Instead of calling it “classical” music let’s just call it concert music, or serious music if you prefer. The term “classical” is weighed down with so many connotations of time period and it brings to mind dudes in powdered wigs and the idea that that sort of thing is “out of date” or only of interest to people of the upper echelon of society. Anyway, concert music is fine.

In the interest of simplicity let’s just call everything else that isn’t serious music “pop” music. Yes, all of it. Pop music. That doesn’t mean only Top 40 music, it doesn’t mean stuff that is just played on the radio, I mean music that isn’t played in the concert hall, by a string quartet, or by a symphony. Let’s just keep it simple. So there is concert music and there is pop music. We can argue ad infinitum about how to divide up pop music some other day. Let’s just pretend that Lady Gaga and Megadeth are lumped into the same group for now, ok? Ok.

Anyway, when analyzing concert music it’s common to spend a lot of time carefully considering the cultural significance of the work. It’s also appropriate to analyze the functional harmonies, the use of chromaticism, the instrumentation, the orchestration, the tonal scheme etc. etc. There are several ways to go about this: there is Schenkerian analysis, Roman Numeral analysis, one can derive a matrix, find the different uses of tone rows, find uses of hexachordal combinatoriality, tetrachords, modes and on and on.

The thing with concert music is that there is a lot of time wrapped up in it all. The composer is seen as this guy, or gal, that sits hunched over a dimly lit desk, one hand on their head, the other desperately clutching at a pencil as they place each note down onto paper with a purpose. Every single note is wrought with meaning, every second they spend conceiving their “work” and producing it and rehearsing it has a framework of genius at work. When the work is finally completed it is foisted onto the public (which generally doesn’t want it, but that’s another topic entirely) and only after it has survived out there “in the trenches” for 10 years or more, only then does anyone take notice and finally decide, “Hey, this might be something that we might want to look at!” Eventually a musicologist spends several hundred hours hunched over a dimly lit desk, clutching his or her head in one hand and a pencil in the other marking the score, making connections and shouting “Eureka!” to an empty house. Perhaps he wakes the dog. Soon his truly genius writing is published in a journal that is only read by other musicologists, theorists and grad students that are writing papers for the musicologists and theorists.

The general public, goes about their business outside the music hall, unaware that any of this is happening, not that it would change anything if they knew that it did. They listen to people like Sarah Palin that says wonderfully encouraging things like, “arts funding is frivolous”. The general public loves this woman. She’s so much like them.

It truly is great to feel loved outside of ones art. God bless America!

John Adams is one of America’s most successful composers. He has found a niche of sorts writing works about current events. His first opera (yes, people do actually still write operas!) “Nixon in China” premiered in 1987, about Tricky Dick’s visit to China 15 years prior. He also wrote another opera about the hijacking of the Achille Lauro entitled “The Death of Klinghoffer” in 1991, 7 years after the trajedy. His most recent opera (hey, the guy likes to write operas, and he puts a lot of people in the seats!) “Dr. Atomic” is about the Manhattan Project. The opera premiered in 2005.

These are all great works, and I’m only taking an example from one composer for brevity’s sake. The subject matter that Adams is tackling is a tangled web of complex philosophical questions. His works are almost universally loved and accepted upon their premiere. Most composers are not so lucky, but then again most composers aren’t nearly half as good either. The problem that I see is that these works do take such an extremely long time to produce. Because of this lengthy turnaround it appears that the only things really worth writing about are these really monumental moments in extreme human struggle.

Yes these works are worthwhile, and yes they are worth more analysis and promotion. I believe that everyone should take some time to familiarize themselves with as many great works as they can. It is part of our culture, it’s far more than “entertainment”. That being said, so is pop music.

Before I delve into that I’m going to quickly tell a story about my favorite concert composer, Charles Ives.

He was born in Danbury, Connecticut. A true Yankee New Englander. His father was a musician, in charge of a military band during the Civil War and leader of several community bands in Danbury. Charles, in his compositions, would include the sounds of his childhood whether it was the sound of two marching bands coming down the street in opposite directions, the sound of Central Park at night or the sound of the local hook and ladder company. He was not interested in what many other composers were doing at the time and didn’t actually make his living with his music, nor did he want to. He was an extremely successful insurance salesman who just so happened to be one of the most important American composers of the 20th century. Nobody knew this until after he died when conductors like Leonard Bernstein and Leopold Stokowski championed his music. Though during his life he did manage to win the Pulitzer Prize in composition for his 3rd Symphony. He declined the award stating simply, “awards are the badges of mediocrity.” Yes, someone that badass wrote serious music. Serious, experimental music.

One of his experiments involved the use of quarter-tones, an idea he got from his father. His father, equally as crazy, was trying to capture the pitches played by the local church bells. He would run outside to hear, and rush back inside to the piano to try and capture the pitches. Back and forth as many times as he could while the bells were still ringing. He was unable to capture the sound of the bells and concluded that the pitches they were sounding were notes that were located “between the keys of the piano”. He heard something that was so far outside of what was normal that he was not even able to reproduce it by normal means. He needed to wander far beyond what was accepted as normal in order to bring to fruition his music. Charles, throughout his works, continued this trend. He worked in near solitude, almost completely unknown by the serious music world and was truly innovative.

His music is truly amazing and I would urge you to check out his works.

To me Ives’ use of quarter-tones is the most identifiable and most unorthodox thing that he ever did. It was certainly the most notable thing he did as far as sound. If you hear his 3 quarter tone pieces for 2 pianos you will immediately notice a difference in sound. Nobody else was doing this at the time. Now there are several composers that work with exotic scales or scales of their own design in order to brand themselves with a unique sound.

What Ives was doing was writing music that was true to him and because of that there was a sense of immediacy. His music is also much studied to this day and much performed as well. Recordings are still being made and his name is firmly in place as one of the great American composers.

The point of this story is that at the time Ives was writing his music the divide of what was serious music and what was pop music was just beginning to be created. It was the time of Tin Pan Alley where songs were being cranked out by writers that were masters of formula, much like today’s mainstream music. A lot of that music has completely disappeared, but that time also gave us the music of George Gershwin, who doesn’t neatly fit into either category. Somewhere around this time it appears that the decision was made that serious music is worth being held up on a pedestal and being preserved through repeated performance and analysis and pop music is not worthy of the time it takes to listen to it.

With my blog I am directly challenging that idea. Pop music deserves better analysis, and serious consideration. The analysis of pop music needs to match the immediacy of the music. One can’t spend 20 years thinking about the implications of a certain album or a certain style of music because by then it is most likely irrelevant. The music deserves to be considered in its own time and it deserves to be considered by people that know what to consider, which is to say that typical blog-style analysis is not good enough for pop music.

I have read too many reviews that describe how an album makes the reviewer “feel”. That analysis is irrelevant to everyone except the reviewer. I want to know exactly why the guitar line is doing what it is doing. Where are things going harmonically and how does that compare to other music that we are currently hearing right now? I want to know where each band is getting their ideas from. I want to know why bands from Toronto sound different than bands from Bushwick. There are answers to all of these questions and the only way that they are going to be found is through repeated listening. Not just listening to one album over and over again, but listening to every album you can get your hands on, because each album is a piece of the puzzle and will help answer all of the questions that you have and bring to light some new ones.

The current state of pop musicology is ill equipped to handle this task. Most of them are still busy pondering the significance of Nirvana while the rest of us have moved far beyond that. Things take far too long in the university world, and by the time any studying is done the significance is completely lost.

Quartertonality is a word that is made up, but the meaning is real. Quartertonality is looking for new ways to do things. It is taking a serious analytical approach to current, worthwhile popular music. It’s the belief that just because something isn’t popular that doesn’t mean that it isn’t worth looking into. It’s finding the motivations behind everything, the reason behind things, digging further than anyone else, listening more than anyone else and providing thoughtful, honest analysis that is based less on opinion and more on fact. One has to move quick because the amount of music that comes out every week is staggering. There isn’t enough time to sit on an album for 20 years and then write about its significance because that changes every single day.

Sorry there’s no pictures in this post.