Do what you desire upon hearing the Middle-Eastern/Asian mash-up with the sitar featured in Michael Menert’s (yes, of Pretty Lights) “Sun/Shadow.” Listening to this combination of electronic and world music will have you feeling numb toward the temperamental Chicago winds thrashing your hair out of control while on your way to class. Its sudden switches from an arcade sound to its new age beat will have you on – yet again – an exotic adventure. Let this cultural combo take you on another journey, with the assistance of the feminine, wispy vocals that accompany this funky beat. The dissonance and spontaneity of this sound will keep you on the edge of your seat, as it falls into a sudden abyss filled simply by some synthesized bass, only to pick itself back up into the robotic and female vocals; these will send you into a blissful confusion.
Now to take a soothing break from the eclectic electric, bounce back into some jazzy/bluesy roots with Leonard Cohen’s “Darkness,” which laments an unforgettable and unpredictable youth. This beautiful bewailing translates through Cohen’s poetic regret for his self-allowance to be taken by seduction; he helplessly describes a fall into an unremitting darkness – one that cannot possibly be sensed by she who drew dark clouds over his suddenly foolish head. The periodic tinges of high piano octaves are tiny hints of approaching revenge, balancing with his low vocals.
Another sound of lamenting for loss – or possibly even victory of new prospects – is delivered by “Tonight the World is Always Ending” by The Jane Bradfords. Pitching their song with a slow, and gradual start drags us into another poem of imagination. Spark your imagination with the choir chords that glide like the aforementioned wisps of Chicago’s honest winds.
Spark your ears.