Member Since: 7/1/2005
Total Mixes: 104
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Other Mixes By abangaku

CD | Theme - Narrative
CD | Mixed Genre
CD | Rock - Prog-Rock/Art Rock

The Wild Cathedral Evening

Artist Song Buy
Nobuo Uematsu  Aeris' Theme  buy on itunes
Dean Martin  Mambo Italiano   buy on itunes
They Might Be Giants  The Statue Got Me High   buy on itunes
Orfeón Donostiarra & Orchestre du Capitole de Toulouse, cond. Michel Plasson  Dies Irae  buy on itunes
Patti LuPone & Howard McGillin  You're The Top   buy on itunes
Splender  Yeah, Whatever   buy on itunes
abangaku  Poligeai  buy on itunes
Kenneth Branagh, Alessandro Nivola, Alicia Silverstone, Natascha McElhone, Matthew Lillard, Adrian Lester, Emily Mortimer & Carmen Ejogo  Let's Face The Music And Dance  buy on itunes
Vienna Philharmonic Orchestra, cond. Herbert von Karajan  Overture  buy on itunes
The Flaming Lips  Fight Test   buy on itunes
Michael York  Dreamland  buy on itunes
Utah Saints  Theme From Mortal Kombat  buy on itunes
Emerson, Lake & Palmer  Still . . . . You Turn Me On   buy on itunes
Paul Robeson  Ol' Man River  buy on itunes
ABBA  Dancing Queen   buy on itunes
Bob Dylan  Chimes Of Freedom   buy on itunes
Michael Crawford & Sarah Brightman  The Phantom Of The Opera  buy on itunes
The Crew Cuts  Sh-Boom (Life Could Be A Dream)  buy on itunes
Sena Jurinac & Vienna Philharmonic Orchestra, cond. Herbert von Karajan  Voi Che Sapete  buy on itunes
They Might Be Giants  See The Constellation   buy on itunes
Don McLean  American Pie  buy on itunes


Thirteen years in the making (give or take), The Wild Cathedral Evening actually reaches back even further than 2007: it’s a mix composed mostly of music I appreciated during my senior year of high school and the summer after, 1999-2000. Many of the tracks here aren’t the versions I heard then — in fact, many of the versions I heard then were live performances, rather than recordings — but I’ve been collecting them over the years to arrive at what I’m hoping is a proper nostalgic vision.

My title, a line from “Chimes Of Freedom”, I think is worth some talking about. A math-oriented introvert for most of my school years, I suddenly, in twelfth grade, remade myself into something that fit much better into my school’s ideals at large: a creative, social artist and art-appreciator. What did I discover, that year? I discovered exactly this: the Wild, the Cathedral, and the Evening. “Holiness” was suddenly a big thing for me at that time — despite my belonging to no religion, a combination I might be suspicious of now, but back then, it was liberating. And the spirit I thought I was in touch with was achieved, at least in my mind, most reliably through evening wildness.

There was clearly a lot of musical theater in my life back then, and even a bit of opera: a classically trained Swiss soprano attended my school that year, and sang the Mozart aria “Voi Che Sapete” to great effect during our performance of Beaumarchais’ original Marriage of Figaro play (translated from the French), which also opened with a string quartet of students playing the opera’s overture. But, twelfth grade also presaged my growing focus on rock: I first heard They Might Be Giants’ album Apollo 18 on the day before Thanksgiving, 1999, and it became the soundtrack to all my evening mysteries. “They Might Be Giants are gods,” I would state, in awe. On a college visit, too, a fellow prospective student played me “Yeah, Whatever”; it revved me up in a way I wouldn’t have thought possible.

The two songs here that I didn’t hear that year were “Fight Test”, which wasn’t even released until 2002, and “Still . . . . You Turn Me On”. I added them both to this mix thinking that they fit pretty well mood-wise, despite the lyrics that referred to romantic relationships, which I certainly didn’t want anything to do with back then, despite certain longings. “Still . . . . You Turn Me On”, when I first heard it, sounded like a love song a video game character would sing; since video games were still an important part of my senior-year thoughts, it was in.

Lastly, it probably bears some explaining why I’ve chosen to include a track performed by myself. My friend Max’s poem “Poligeai”, which he wrote in the poetry class we were both in, obsessed me throughout the end of senior year and into the following summer, when I remember chanting it in rhapsody among the American Museum of Natural History’s collection of gemstones. Not surprisingly, no recording of “Poligeai” existed, so when I first envisioned this mix, I recorded one myself, triple-tracking my voice, accompanied by a combination of my own drumming and an Apple GarageBand rhythm. I think it fits in nicely...!
image for mix


Date: 8/27/2020
Props on that self-recorded "Poligeai."

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