Wednesday, May 4, 2016

Sunday, May 1, 2016


Why can't Robert Schumann be included among the elect 'B's of classical music fame?

He's a Bob.

And if there can only be three, well, I'm sure arrangements can be made.

Saturday, April 30, 2016

The Hyper-Rationalism...

"Again, this “theology of expiration” conflicts with the historical record, if not logic itself. The Church still casts out demons. She still performs miracles. She still prophesies. Does she not still speak in tongues? The answer is yes." --Mark Mallett, More on the Gift of Tongues

"...the hyper-rationalism of our day that excludes the miraculous is one among many of the powerful genuine deceptions in our times that is eroding belief in God…"

And from his previous post, The Gift of Tongues:

" our times, theologians have strained to give an interpretation to the gift of tongues that is a departure not only from reality, but from the Tradition of the Church." --Mark Mallett, The Gift of Tongues

"Would I be God if in giving I became poorer? And because I have been generous to one of Mine, does that mean that I shall not give him any more? Should he remain shy and aloof? Let him only venture to think that what he has received up until now is nothing at all for Me, and that I find My happiness in showering blessings upon him 'according to My means', as people say. Let him strive to meditate on the length and breadth and height of these means which cannot be compared with anything on earth. And if that child suspects that besides the power, I also have the longing to give - for what lover is not happy to adorn his beloved - he will lose his fear of imposing upon God's kindness or of being too daring with Him. Fully aware of his littleness he will understand His joy in being great for him.

"How often I have had abundant treasures in My tabernacle all ready to give, but no one came to ask Me for them. Yet a good many people came into the church for a short visit - absentminded and aloof, as though My body were dead in the Eucharist and My soul still in heaven.

"Make an effort to think of My Real Presence; it will help you to love Me. Does the life of stillness within you need your senses? Aren't you beginning to be more sure of the invisible than the visible? Aren't there moments when the certainty of faith suddenly breaks in upon you? It is at those moments that We descend into you, because you respond to Our purpose in creating you." --He and I

Friday, April 29, 2016

Such a great film

The Shire Theme

written by Antonin Dvorak:

You can hear other scores from various modern day films in this 1893 symphony as well.

If you wish to listen to another symphony an orchestral suite loaded with film scores long before the films were made, whether those film scores made direct use or, as with the above, slightly repurposed, then Gustav Holst's The Planets is a gold mine.

Another one is Sergei Rachmaninoff's Symphony No. 1.

Friday, April 22, 2016

Sunday, April 17, 2016

Saturday, April 9, 2016

Friday, April 8, 2016

Thursday, April 7, 2016

Tuesday, April 5, 2016

Synthi 100 Space Ambience

Switched on - by Russian geniuses. Oh, so sweet. So enjoyable. Such character.

Because they're interpretations of classic (and modern) works it gives the synth music some mysterious rootedness, even though it's doing stuff quite different with the original, or even if you're not familiar with the original works.

The Metamorphoses album (1980) tracks (from Orpheus Music):

01 - Edward Artemiev & Yuriy Bogdanov: Claude Debussy's 'Le vent dans la plaine'
02 - Vladymir Martynov & Yuriy Bogdanov: Claudio Monteverdi's 'Io mi son giovinetta'
03 - Vladymir Martynov & Yuriy Bogdanov: John Bull's 'Why aske you'
04 - Vladymir Martynov & Yuriy Bogdanov: Vladymir Martynov's 'Spring Etude'
05 - Edward Artemiev & Yuriy Bogdanov: Sergey Prokofiev's 'Sarcasms'
06 - Vladymir Martynov & Yuriy Bogdanov: Claude Debussy's 'Canope'
07 - Vladymir Martynov & Yuriy Bogdanov: Anonymous' 'Summer Cannon'
08 - Vladymir Martynov & Yuriy Bogdanov: Vladymir Martynov's 'Morning in the Mountains'
09 - Vladymir Martynov & Yuriy Bogdanov: Johann Sebastian Bach's 'Goldberg Variations Nos. 5 and 8'
10 - Edward Artemiev & Yuriy Bogdanov: Claude Debussy's 'Voiles'
11 - Edward Artemiev & Yuriy Bogdanov: Motion 

More Debussy than anyone else - heh.

Sunday, April 3, 2016

"If you marry the mood or the spirit of an age, you will be a widow in the next one." --Venerable Archbishop Fulton Sheen

Saturday, April 2, 2016


I am all in for complex beers and heavy beers, but this whiskey barrel aged 9.5 imperial stout ale is simply ridiculous. I really don't care for this sort of thing. And since it's a pint bottle and I didn't check the alcohol percentage before cracking it, I'm going to do a very embarrassing thing: re-cap it and put it in the fridge. I can't finish it right now. It's too much - too much a bombardment of heady yeast and malty tar. Yet I can't quite stop sipping at it.

What is hard to brew and not so common to find is a good solid standby beer. An ale or a stout or a lager that has depth but which you can drink on a more regular basis - a distinctive but friendly beer, rather than these specialty triple trappist fermented wrapped in a chastity belt brews that, frankly - to repeat myself - I couldn't care less about.

Some examples of good standbys of which one never tires is Russell's cream ale and St. Ambrose's oatmeal stout and Okanagan Spring's 1516 Bavarian lager and Vancouver Island's dark lager.

And of course, everything that Samuel Smith does is excellent.


Have you brushed up on your Soviet-Estonian progressive electronic cosmic music lately? You should, you uncultured nomad.


The night is engulfed in spring blossom! Full fair clouds of blossoms! One has to walk at night in order to catch the fragrances they release! The frog creaking and light jacket night! Fair west coast with its pouncing unannounced onslaught of grass and dandelions and all sorts of blooms and out of nowhere clean fair weather!


Donald Trump is a vacuous gasbag and a sociopathic harvester of the vague insecurities of the bored and numb masses. I find him neither funny, interesting, refreshing, "politically incorrect" or anything. It's all fake but worse: it's spiritual darkness that infects. He's so perfectly post-Obama. I find him utterly boring and vacuous. His fans need to get a life. The sooner you get off that social-suicide-bomb-rigged inferiority-complex bullet train, the better off you'll be.


The Revenant - meh. Soon as I got home from watching the film I googled "The Revenant Tarkovsky", because there was an image in the film that I immediately recognized as being the same from Stalker - not to mention a bunch of other images and scenes. Of course, I came upon a youtube video someone made that splits a double screen comparing sequences in The Revenant to various Tarkovsky films. Quoting? Homaging? Maybe, but not really.

Like The Tree of Life and Interstellar, it's all too high-strung. There is no room. I think too often when the medium is being abused, people take it to mean that the medium is being transcended. That's unfortunate.

I love Malick's first three films: Badlands, Days of Heaven and The Thin Red Line. And still, even his latter ones have those quicksilver, mercurial qualities of the former that I love.

The Thin Red Line was really Terrence Malick's first foray into the extensive rambling mode that is seen in The Tree of Life, with the multiple, reverential, floating voice-overs; as opposed to the singular, factual, plain-spoken, sometimes almost mumbling voice-overs employed mainly as counterpoint to the images of his first two films, which remain in my opinion his greatest - Badlands and Days of Heaven.

But in The Tree of Life Malick gets in his own way, precisely because of his clear purpose. His method has become his aim. The Tree of Life is so tendentious (without having anything to work against) that even in its most "beautiful" images, or rather particularly in its most beautiful images, I found myself, with some surprise, struck with revulsion.


The Revenant has the same stuck on the surface of the merely physically visual plane shallowness. It was the same with Stanley Kubrick - especially in 2001: A Space Odyssey and The Shining and A Clockwork Orange and the rest. The Killing though was pretty darn good, as well as Spartacus.

Sunday, March 20, 2016