Tag Archives: Interlude One

Flute Interlude & Interlude One (Big Thing) – The Daily Duranie Review

Yes, we know it’s been a few weeks since we reviewed something from Big Thing…so today we’re trying to get back on schedule! Remember the 33 second pieces of music that pop up on Big Thing, first between “Palomino and “Land”, and then again between “Land” and “Edge of America”?  This is our super short review of both “Interlude One” and “The Flute Interlude.”

Since these interludes are pretty short – we’re not going to structure this review like most others, as you’ll read below. It’s a quickie!!

Rhonda

Each interlude is each incredibly short, as in, “Yawn for too long and you’ll have missed the entire thing.” To be fair, they are snippets that, unless I am paying rapt attention – I don’t even notice. I feel badly about that, because obviously the band felt strongly enough about each of them to include on the album, but it just doesn’t add enough power or punctuation to “Palomino, “Land”, or “Edge of America”, for me to really sit back and notice.  It begs an answer to the question of why they may have been included. Each piece is very experimental in nature, and likely the most experimental bits of music the band had included on an album to the date of Big Thing. “Interlude One” has a very cartoon-like sound to it – reminding me very much of something I’d heard on one of the Chipmunks albums I had as a kid.  I don’t really hear how the sound helps to usher in “Land”, but perhaps if the music were slowed down I’d recognize something. “Flute Interlude”, however, sounds much more comfortable in it’s musical place.  I can see how it fits right between “Land” and “Edge of America”, because if you listen to the fade-in, it begins with flute – very light and airy in nature, which truly isn’t that dissimilar from “Land” in some respects.  This flute is very much layered with other sampled sound effects, and then it fades back out as an electric guitar fades in, thus signaling the beginning of “Edge of America” – which, I don’t want to give anything away since we’ll be reviewing that song soon – but it’s a song with a pretty hard-edged guitar.  So the “Flute Interlude” serves the purpose of blending those two seemingly juxtaposed songs together.  It ends one statement while beginning another. I struggle to say the same for Interlude One, to be honest. Even so, I like the way the piece seems to snap a listener out of daydream at the end of “Palomino”, opening the door for “Land” to begin.  While I do like the way the pieces seem to not only mark the end and the beginning with a sort of punctuation mark, I still stand by the fact that if I’m not paying full attention, I almost don’t even hear them most of the time. The punch isn’t powerful enough, and so I have to wonder if it was really that necessary or effective. I’m left feeling that if the idea had been developed for just a little bit longer, perhaps a little more given to the length, the interludes would have met a fuller potential.

Cocktail Rating: 2.5 cocktails!  Two and half cocktails

Amanda:

These interludes are so short.  Of course, it won’t be the last time that Duran includes super short instrumentals on their albums.  Yet, unlike songs like “Return to Now” on All You Need Is Now, these don’t grab my attention in the same way.  I’m not sure why.  The length?  The instrumentation used?  The fact that they are both so experimental vs. more classical, in nature?  Anyway, I always welcome these reviews so that I take the time to REALLY listen and pay attention.  When I listen, I am grabbed by the most obvious aspect of both, which is how the volume starts out slow and gets louder until it changes again towards the end.  As far as “Interlude One” goes, once there is enough volume, you notice how random the instrumentation/sounds are.  It almost reminds me of a record being played on the wrong speed combined with some extra keyboard sounds thrown in for good measure.  It isn’t the most pleasant of sounds, really, as the track is really pretty jarring.  What is interesting, then, is its placement between two slower tracks of “Palomino” and “Land.”  Did they do that to break up the quietness found in those songs?  Did they worry that those songs would be missed or overlooked otherwise?  “Flute Interlude,” on the other hand, comes after Land and before “The Edge of America.”  While “TEOA” is somewhat of a slower tempo, it isn’t as ballad-like as Land and Palomino.  What is interesting is that this interlude ends with a lot of guitar and “The Edge of America” features a lot of guitar.  Is that the connection or the reason for this song’s placement?  Like the previous interlude, this song builds in volume and intensity.  It almost feels like a rapidly increasing heartbeat.  As it grows in intensity, the flute is very much present as is other instrumentation until it is not, leaving only guitar and some additional sampled sounds.  In general, I much prefer this one over “Interlude One.”  The instrumentation is just much more pleasant.  While it is still somewhat jarring at the end, it is not like the sounds of a record being played backwards, which is what the first interlude reminds me of.  Both of these very short tracks, though, remind you that the band really was experimenting with sound in a very different way than they ever had been before.  Overall, these tracks are interesting but still can be easily overlooked.  More importantly, I’m not sure that they really enhance the album much, especially “Interlude One.”
Cocktail Rating:  2.5 cocktails Two and half cocktails