http://ranprieur.com/#9a417fe513f58988c3b5b1e84cfc57397194a79b 2018-02-01T13:50:04Z Ran Prieur http://ranprieur.com/ ranprieur@gmail.com http://ranprieur.com/#02814d04c74641c1f3895afde6c8c9af19a2297b 2018-02-01T13:50:04Z February 1. Going early into the weekend, first I want to mention this new accountt1234 post, The City Of The Future, which includes a great defense of the supposedly dystopian Kowloon walled city.

Now music. Two weeks ago I posted four songs, and the one readers liked the most, Satori Pt 1, was the one I liked the least. So I thought about how it's different from the one I like the most, Mirrorball.

It's about time scales. If you listen to two minutes of Satori, there's a lot going on, with as many as four riffs, two in guitar and two in vocals. Then if you listen to two minutes of Mirrorball, it's just the same riff the whole time, plus a confusing background cacophony. But if you listen to two seconds, then Satori might give you a few notes of a sound that's not very interesting, while Mirrorball gives you a mind-blowing tiny symphony. Even Ornette Coleman's Free Jazz is nowhere near as dense.

So now I'm looking for music that sounds great on every time scale, and where I'm sometimes finding it is in older pop songs, where the large scale has good melody and structure, and the small scale has beautiful blends of sounds, usually voices. Recently I gave a close listen to Tracey Ullman's 80's hit They Don't Know, and it blew me away. And I'm not sure, but Kirsty MacColl's original might be even better.

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