#One moment in time chords full

Graham Coxon -another creative soul from Blur - joins the interview. She told Rolling Stone that their encounter “ended up being one of those ‘don’t meet your idol’ moments.” One recalls how he criticized Adele when she attempted to collaborate with him on some songs. It’s difficult to find the authentic city that I discovered in 1988,” Albarn sighs. We’re set to meet him on the terrace of a seaside Barcelona hotel, just a few hours before his concert at the Primavera Sound Music Festival. He has phlegm in his British accent, which gives him the gravitas of a Roman emperor.Ī few minutes before the interview, his publicist drops by to tell us that Albarn isn’t in a good mood. “What, exactly?” Damon Albarn, 55, answers his first question from EL PAÍS with a touch of detachment. The album is joyful, reflective and brings the listener through a beautiful story.ĭaily Arts Writer Max Newman can be reached at. It is an emotional musical journey that grabs listeners’ attention from beginning to end with an easy almost half-hour runtime. The climactic end of the song reflects its namesake’s galaxy-spanning universe with grand chords reminiscent of the “Imperial March.”įor listeners with less experience looking to delve into the classical genre, Reflections is an excellent starting point. Its occasional dive into triplets makes the melody seem to run circles around the listener. Overall, the song seems to be teasing the listener as it jumps from motif to motif with seemingly nothing connecting it but its attitude. Its sassy bassline serves as a motif throughout the song, returning in various forms to ground the piece in its playful mood. “And I Shall Come To You Like a Stormtrooper In Drag Serving Imperial Realness” was my favorite track and a worthy closer - and not just because of its wonderful title. It maintains its structure all the way through, fading into the background in a way that lives up to its reflective title. “Reflexion” maintains a constant motif from its beginning, using an unconventional and difficult-to-identify time signature to juxtapose its steady feel by inserting quick measures in cut time. The song truly follows the journey of its titular supercontinent, slowly breaking apart and forming the planet we know and love today. By the end, the song gains confidence and soars through graceful arpeggios and quick, waltz-like chords with a driving melody. It seems unable to decide whether it wants to be major or minor, occasionally dipping into a darker feel and adding to this feeling of experimentation. It takes its time settling into itself, quiet bass chords guiding the higher melody through the song. Stepping away from the endlessness of the previous track, “Rodinia” is hesitant and curious, as if the player is exploring the piano for the first time. It seems to fade into oblivion as the piano freely explores the melody, ending on a settled chord.

#One moment in time chords full

Its use of the piano’s full range of notes feels like a gentle rainstorm, drops bouncing gracefully off of puddles. This seamlessness is fitting for the track’s name, shared with that of the Greek goddess of memory.

Its melody is so continuous that it’s difficult to pick out a steady time signature, though this is no detriment to the tune. “Mnemosyne” opens much more calmly than its predecessors.

Though it ends rather abruptly, it transitions nicely into the next track. The track reminds me of classic and notoriously complicated Jason Robert Brown piano tunes like “I’m Not Afraid of Anything” from “Songs for a New World”. About halfway through the track, a steady bassline transports the listener to a Red Riding Hood-esque skip down a woodland path. It smoothly transitions between a high staccato melody and legato, deeper chords which expertly use the piano’s resonant pedal. The next track, “Euphoros,” lives up to its name, a happy tune that begins with a grand glissando and twinkly melody. It sweeps between grand, climactic chords and lighter sections of steady melody that truly take the listener out of Kansas.

With a similar yet more sophisticated or serious feel compared to/ the previous track, this one feels like being caught in a tornado the likes of which could take you to Oz. The song is reminiscent of George Gershwin greats, like “Rhapsody in Blue,” with its slightly dissonant chord structures.

“Revanche” comes in just as confidently as the previous track, though more dissonant and chaotic (a fitting feeling for the title’s meaning - “revenge” in French).