Posts Tagged ‘Love This Giant’

david byrne 1989

If mere mortals were as capable and accomplished as David Byrne then we would most definitely be having this conversation in this galaxy so far, far away!

David Byrne first introduced himself to the world in 1975 as the frontman of the American new wave pioneers, Talking Heads. Since their disbandment in 1991, he has released a prolific collection of solo albums and works across a broad range of media including film, photography, opera, fiction, non-fiction and theatre.

Here are some of the great moments in the career of an artist boasting limitless creativity, and an overwhelming passion to transform the world around him for all.

TRUE STORIES,

David Byrne made his debut on the big screen in 1986 when he wrote, directed and starred in True Stories. He described the film as ‘… an ode to the extraordinariness of ordinary American life …’, reviewers described it as ‘60 minutes on acid’ – proving that with David Byrne at the helm, even an exploration of the mundane is a potentially mind-bending experience!

To celebrate the anniversary of the film’s release,True Stories, A Film by David Byrne: The Complete Soundtrack will be released on vinyl LP, CD, and digital formats on November 23rd

AMERICAN UTOPIA

Released earlier this year, American Utopia is a celebration of euphoria designed to remind us of all that’s good in the world. The first single, “Everybody’s Coming to My House” was co-written with longtime collaborator and all-round musical superhero, Brian Eno.

“The chicken imagines a heaven, full of roosters and plenty of corn,” sang David Byrne on Everyday Is A Miracle, an avian highlight from this, his first solo album since 2004. Though it isn’t quite the accessible treat some were anticipating, for others, American Utopia is one of Byrne’s best; heavily electronic, the record boasts production by Thomas Bartlett, Daniel Lopatin and Rodaidh McDonald, among others, and there are pleasing touches of the global, electronic funk Byrne has regularly released on his Luaka Bop label. The likes of Gasoline And Dirty Sheets might bounce along on a sturdy dancehall beat, but much of American Utopia is a wry reflection of the times we live in: Bullet is a joyous song about a brutal shooting, for example, while I Dance Like This moves suddenly between pretty piano verses and industrial choruses. More than poultry thrills here, it turns out.

“These songs attempt to describe the world we live in now—and that world, when we look at it, as we live in it, as it impacts on us – immediately commands us to ask ourselves – is there another way? A better way? A different way?

ABORETUM

Since the 1990’s, David Byrne’s visual art has been shown in contemporary art galleries and museums around the world.  In 2006, his sketchbook of tree drawings titled, Arboretum was published, featuring a decade’s worth of “mental maps of imaginary territory” earning him the title of ‘visual philosopher’ in the art community.

LOVE THIS GIANT

David Byrne has released an extensive range of experimental collaborations with cutting-edge female artists. One shining example is the brazen album, Love This Giant(2012), written and recorded with St. Vincent. The formidable pair of alt-art-rockers combine dissonant textures and eclectic, juxtaposing, melodic hooks to create an immersive but challenging work unlike anything else in either musician’s prior solo efforts.

TALKING HEADS 

In 1974 Byrne moved to New York City with a dream of starting a band. He was joined by friend, Chris Frantz and his girlfriend Tina Weymouth who would become the band Talking Heads by 1975.

The group found themselves at the forefront of the new wave movement that was bubbling up in New York’s underground music scene, setting themselves apart and defining an era with their refined, minimalist sound, slick suits and intellectual overtones.

MY LIFE IN THE BUSH OF GHOSTS 

During his time in Talking Heads, Byrne also took on a number of outside projects. In 1979 he collaborated with Brian Eno on an album titled, My Life in the Bush of Ghosts which attracted considerable critical acclaim due to its early use of analogue sampling and found sounds that would form the basis of modern-day electronica.

CYCLING 

Motivated by the freedom and exhilaration, David Byrne is an avid cycling enthusiast. In 2008 he designed a series of bicycle parking racks that were later sold as artworks, featuring images corresponding with their locations. He has also written widely on the subject in his 2009 non-fiction book, Bicycle Diaries.

THE SIMPSONS 

In 2003, Byrne set a benchmark for cameos when he guest starred as himself on The Simpsons in an episode titled, ‘Dude, Where’s My Ranch?’ for which he penned and performed the classic number, ‘Everybody Hates Ned Flanders’.

HERE LIES LOVE 

In late 2005, Byrne teamed up with electronic artist, Fatboy Slim to produce, Here Lies Love, a disco opera about the life of Imelda Marcos, the controversial former First Lady of the Philippines. Some music from this piece was debuted at Adelaide Festival of Arts in Australia in February 2006.

REASONS TO BE CHEERFUL

Obama was on his way out, Trump was on his way up, and Byrne wanted to alleviate the gloom by collating stories of positive change from around the world. Playing the part of a dapper academic with his sharp grey suit and shock of white hair, David Byrne presenting a slide show of uplifting human stories designed to remind audiences of all the Reasons to be Cheerful.

With a dedication to making the world a better place at the heart of all of his projects, David Byrne is a rare and true example of the highly evolved. The artist has dedicated his life’s work to looking on the bright side and asking if things can be done differently – for the better of all.

American Utopia

“The chicken imagines a heaven, full of roosters and plenty of corn,” sang David Byrne on Everyday Is A Miracle, an avian highlight from this, his first solo album since 2004. Though it isn’t quite the accessible treat some were anticipating, for others, American Utopia is one of Byrne’s best; heavily electronic, the record boasts production by Thomas Bartlett, Daniel Lopatin and Rodaidh McDonald, among others, and there are pleasing touches of the global, electronic funk Byrne has regularly released on his Luaka Bop label. The likes of Gasoline And Dirty Sheets might bounce along on a sturdy dancehall beat, but much of American Utopia is a wry reflection of the times we live in: Bullet is a joyous song about a brutal shooting, for example, while I Dance Like This moves suddenly between pretty piano verses and industrial choruses. More than poultry thrills here, it turns out.

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To mark the release of David Byrne’s eagerly awaited American Utopia album, here are the former Talking Heads front man’s variegated and all-too-sporadic canon of solo and collaborative albums.

America Utopia is David Byrne’s first solo album in 14 years, and only his ninth studio LP since the break-up of Talking Heads in the late 1980s. Of those nine, four have been co-headlined with other artists: Brian Eno, Fatboy Slim and St Vincent. The emphasis has been on quality rather than quantity.

But Byrne has not been sitting on his hands. Along with lecture tours, writing books and operating his own Luaka Bop and Todo Mundo labels, he has composed extensively for cinema and the stage. Byrne has, in fact, notched up more soundtracks than he has own-name projects, from big budget Hollywood productions such as Bernardo Bertolucci’s The Last Emperor through to scores for experimentalist ballet choreographers Twyla Tharp and Wim Vandekeybus. Some of his best soundtracks have, happily, been released on vinyl.

Born in Scotland in 1952, but resident in the US from 1960, David Byrne has been based in New York since 1974, where he co-formed Talking Heads a few years later. He has been at the cutting edge of the avant-music scene for four decades, an achievement equalled by only a handful of musicians, one of whom is Brian Eno.

Brian Eno/David Byrne – My Life In The Bush Of Ghosts
(Sire LP, 1981)

Byrne first worked with Brian Eno in 1978, on Talking Heads’s More Songs About Buildings And Food, which Eno produced. The collaboration continued on My Life In The Bush Of Ghosts, Byrne’s first album outside Talking Heads. The music is an art-rock extension of Eno’s groundbreaking 1980 collaboration with the beyond-jazz trumpeter Jon Hassell, Fourth World Vol. 1: Possible Musics, which wove together electronica, tape manipulation and found sounds with jazz, African, Asian and Middle Eastern roots musics. Ghosts is a high-water mark in both Byrne and Eno’s catalogues, with ‘The Jezebl Spirit’ becoming an unlikely Paradise Garage classic. Remarkably, the duo did not co-headline again until 2009’s Everything That Happens Will Happen Today.

David Byrne  –  The Catherine Wheel
(Sire LP, 1981)

For a couple of years in the early 1980s, Byrne and the choreographer Twyla Tharp were an item. The Catherine Wheel, a patchwork of spacey electronica and earth-bound motor rhythms, is his score for Tharp’s Broadway-meets-ballet project of the same name, or to be precise, highlights from the score, which in theatrical performance runs for around 80 minutes. Like so much of Byrne’s stage and screen work, the music stands up well even when separated from the visuals. Alongside Byrne on vocals and guitars, contributing musicians include Brian Eno and Bernie Worrell on keyboards and synthesisers, drummer Yogi Horton and Talking Heads guitarist Jerry Harrison.

David Byrne  –  Music For The Knee Plays
(ECM LP, 1985)

Another of Byrne’s notable theatrical partnerships during the 1980s was with the iconoclastic playwright and director Robert Wilson. Music For The Knee Plays is Byrne’s part of the score for Wilson’s epic opera The Civil Wars, which also included sections by Philip Glass and Gavin Bryars. Byrne’s 19-piece collective line-up of musicians is made up almost entirely of jazz and funk horn players and his arrangements, which reference revivalist New Orleans’s outfits such as the Dirty Dozen Brass Band, effectively evoke the American Civil War-era which contextualises Wilson’s production.

David Byrne – Music For The Knee Plays Rei Momo
(Luaka Bop LP, 1989)

Byrne’s first solo outing after the break-up of Talking Heads is a heady cocktail of mambo, rumba, samba, cumbia, son and cha-cha-cha. The line-up is dominated by Cuban and Nuyorican musicians, including star stylists Celia Cruz, Willie Colón and Johnny Pacheco, augmented by Byrne and fellow vocalist Kirsty MacColl, whose husband, Steve Lillywhite, produced the album. Respectful of the traditions it celebrates without being in thrall to them, Rei Momo is a delight.

David Byrne  –  Uh-Oh
(Sire LP, 1992)

An engaging but often overlooked entry in Byrne’s canon, Uh-Oh is his post-Talking Heads flashback – poppy tunes, intricate but dance-friendly rhythms and splashes of Africana and Latin Americana. In 1992, after such daring experiments as My Life In The Bush Of Ghosts, The Catherine Wheel and Music For The Knee Plays, the album was widely perceived as unadventurous and anachronistic. With hindsight and the passage of years, its straight-talking charm is more apparent.

David Byrne –  Lead Us Not Into Temptation (Music From The Film Young Adam)
(Thrill Jockey LP, 2003)

Bleak but important, this is Byrne’s noir-soaked soundtrack for the film version of Young Adam, a 1954 novel about a murder on a Scottish river barge written by the minor Scottish Beat poet and major heroin user (and recruiting sergeant) Alexander Trocchi. Byrne’s arrangements for the string section, drawn from the Scottish Chamber Orchestra, add appropriately bleak textures, which are periodically lightened by Scottish folk musicians, hurdy-gurdy player Alasdair Roberts and accordionist John Somerville. Possibly Byrne’s best-realised film score to date.

David Byrne/Brian Eno  –  Everything That Happens Will Happen Today
(Todo Mundo LP, 2009)

Three decades after the historic collaboration that was My Life In The Bush Of Ghosts, Byrne and Eno reunite for another high-scoring shot from left-field. What kept them? Most of the composing and recording was done by email exchange between Byrne in New York and Eno in London, and the production sets in-the-tradition gospel vocals, written and sung by Byrne, against emotionally neutral, electronic backing tracks, mostly arranged and played by Eno. If that sounds a bit semi-detached, it all, as Byrne would probably not say, starts making sense as soon as you spin the record. Eno next crops up as co-producer of ‘Everybody’s Coming To My House’ on the upcoming American Utopia.

David Byrne & St Vincent  –  Love This Giant
(4AD LP, 2012)

And three decades after the brass-centric film score for Music For The Knee Plays, Byrne dips into that well again too, this time at the suggestion of singer-songwriter St. Vincent. Lyrically, the material is concerned with the idea of human transformation, as reflected in the prosthetically-enhanced cover photo. Love This Giant is an accomplished album, but one that is not quite greater than the sum of its parts. Byrne and Vincent’s respective takes on life and music, though delightfully quirky, are a little too similar to encourage each artist out of their comfort zones.

David Byrne  –  Live From Austin TX
(New West 2xLP, 2017)

Considering the many thousands of tour miles he has notched up over the years, there are relatively few live albums in Byrne’s catalogue – notable among them are Talking Heads’s Stop Making Sense from 1984 and a 2004 collaboration with Caetano Veloso, Live At Carnegie Hall (released in 2012 but not yet on vinyl). Live From Austin TX, recorded in 2001, goes some way towards plugging the gap, including as it does material from Talking Heads and Byrne’s solo catalogues. Made with an electric quartet augmented on most tracks by an acoustic string ensemble, it was well recorded by a local TV station.

American utopia

David Byrne’s new solo record, American Utopia, is released on Todomundo / Nonesuch Records. The album includes the track Everybody’s Coming To My House, co-written with Brian Eno, featuring contributions from TTY, Happa Isaiah Barr (Onyx Collective), Mercury Prize winner Sampha, and others. American Utopia fits hand-in-hand with Byrne’s vision for his series Reasons To Be Cheerful – an ongoing series curated by Byrne of hopeful writings, photos, music, and lectures – named for the song by the late Ian Dury. Over the last year, Byrne has been collecting stories, news, ideas, and other items that all either embody or identify examples of things that inspire optimism, such as a tech breakthrough, a musical act, a new idea in urban planning or transportation – something seen, heard, or tasted. Just as the album questions the current state of society while offering solace through song, the content of the series recognizes the darkness and complexity of today while showcasing alternatives to the despair that threatens us.

While David Byrne has collaborated on joint releases with Eno, Norman Cook (aka Fatboy Slim), and most recently St. Vincent over the past decade, American Utopia is Byrne’s first solo album since, 2004’s Grown Backwards, also on Nonesuch. American Utopia morphed during the writing and recording process, beginning with longtime collaborator Eno, and eventually growing to include collaboration with producer Rodaidh McDonald (The xx, King Krule, Sampha, Savages) alongside a diverse cast of creative contributors including Daniel Lopatin (aka Oneohtrix Point Never), Jam City, Thomas Bartlett (St. Vincent producer, aka Doveman), Jack Peñate, and others. The album was recorded in New York City at David’s home studio, Reservoir Studios, Oscilloscope, XL Studios, and Crowdspacer Studio and in London at Livingston Studio 1