The Grammys happened a few days ago – the biggest annual event in the music world. All the biggest stars descended on Los Angeles for a night of pop music, awards and far too much attention over a dress code.
But I’m not going to talk about the show. I’m not even going to talk about any music that was featured on the broadcast.
No, instead I’m going to go a bit out there for this column, into the world of ambient music and of art. This is definitely a B-side of a “B-Sides” column, but stick with me.
On Feb. 5, Spin Magazine reported that Eluvium (aka Matthew Cooper), a giant in the world of ambient electronic and instrumental music, will release a new double album titled “Nightmare Ending” on May 14. The announcement came with the cover of the yet-to-be-released album. And that’s where this column takes off.
The cover of this upcoming album, as with most of Eluvium’s albums, is from a series of artistic works by Cooper’s wife, Jeannie Paske. The series, called “Obsolete World,” is a massive collection of works taking place in their own world. The figures in it are wispy and humanesque, and the works are lonely, innocent and altogether beautiful. The colors range from warm and vibrant to grayish and cold, depending on the personality of the piece.
On its own, Eluvium’s work would be great ambient music. Just as, on its own, “Obsolete World” would be wonderful art. But the beauty of this Internet age is that they can be interpreted together, almost as one cohesive product. Because his wife’s art is the album art for most of his music, Eluvium’s work can almost be listened to as a soundtrack to “Obsolete World.”
Take a look at a few titles from “Obsolete World”: “Something Different From What We Believe Ourselves To Be,” “There Were a Great Many Things He Could Not Remember,” “At The Quiet Limit Of The World,” “You Will Still Be Here Tomorrow, But Your Dreams May Not.”
Now, some song titles off of Eluvium’s various albums: “Leaves Eclipse the Light,” “I Will Not Forget That I Have Forgotten,” “An Accidental Memory,” “In a Sense.”
Both sets have a similar personality: a wistfulness that is hopeful, majestic and sad at the same time. It infuses “Obsolete World” and it infuses Eluvium.
Now, head over to the website for “Obsolete World.” A simple Google search will get you there. Open up Myspace or iTunes and pick an Eluvium album to play. Any one will work, though “Copia” and “Similes” are especially good for this purpose.
As you look through the art on the website, play the music of Eluvium. It’s remarkable, but the music opens up the world of the art. It fits the appearance and personality of the figures in “Obsolete World,” and makes them come alive in a way that makes them even more accessible to casual art fans and casual music fans because the mood of much of Eluvium’s music fits perfectly with the mood of the art. Together, the pairing becomes even more powerful.
Music and art have the potential to do this for each other. One can inform the other and make it stronger. I don’t know how many times this has been done or what degree of success it has earned. But I think that, if truly pursued, this intersection of art and music can become a staple in the world of popular culture. Think of it as similar to a movie soundtrack.
Photo exhibits, art exhibits, sketch books, even poetry and literature can be scored by music in a way that makes them even deeper. The music would serve as somewhat of a concept album, capable of being heard on its own but far more powerful when listened to along with its artistic partner.
The current music world may be dominated by Top 40 hits, but it has the potential to partner with the world of art and greatly increase the audience and viewership for both worlds.
Have you ever heard music that fit perfectly with art? What was it? Let Bain know at abain@media.ucla.edu. “B-Sides” runs every Thursday.