This episode from Song Exploder gives us a good insight in how Goodbye by Apparat came to be.
The Netflix original series Dark debuted in December 2017. It’s a really mysterious, mind-bending German science fiction show with a unique tone. A big part of that tone is announced every episode with the music in the show’s opening title sequence. It’s the song “Goodbye,” by German electronic artist Apparat, the solo project of Sascha Ring. This song actually came out years ago, on the 2011 Apparat album The Devil’s Walk. Since then, before it was used as the theme song for Dark, it’s been featured in a bunch of films and commercials, and notably, in the Season 4 finale of Breaking Bad.
Back in the day I was really delighted when I heard it in the Season 4 finale of Breaking Bad as it complemented the camerawork, montage, and story.
It is a bit of a pity that the track is now known only as “The theme from Dark”, taking away the focus from Apparat’s other work which is also really good. How good? Let me put it this way: his album “The Devil’s Walk” (featuring Goodbye) didn’t make it into my top 10 of played albums over time for no reason 😉
I sometimes like to rewatch pieces from the Vox Earworm and Vox Borders video series. I especially liked this one on John Coltrane’s “Giant Steps” from the Vox Earworm series, for which they won the Emmy for “Outstanding New Approaches: Arts, Lifestyle and Culture”:
John Coltrane, one of jazz history’s most revered saxophonists, released “Giant Steps” in 1959. It’s known across the jazz world as one of the most challenging compositions to improvise over for two reasons – it’s fast and it’s in three keys. Braxton Cook and Adam Neely give me a crash course in music theory to help me understand this notoriously difficult song, and I’m bringing you along for the ride. Even if you don’t understand a lick of music theory, you’ll likely walk away with an appreciation for this musical puzzle.
Bach’s six cello suites are considered a rite of passage for cellists. They’re masterpieces of classical music, and the prelude in G major — the first movement of the suites — is perhaps the best example of Bach’s power as a composer. In it, he’s able to achieve rich and complex harmonic movements with just a four-stringed instrument, while using the very basic tenets of music composition. Those basic tenets are what Alisa Weilerstein, a renowned cellist and McArthur fellow, helps us understand.
The prelude will never sound the same after having seen this video.
On June 12, 1979, thousands of disco records were destroyed at Chicago’s “Disco Demolition Night”. Within one year, Chicago DJs and producers had reinvented the genre, and house music rose from the ashes of disco.
I’ve been enjoying – and have linked to – the videos by Vox quite a lot, especially those from Vox Earworm. This video on how disco’s newly invented vinyl format – the 12-inch single – revolutionized pop music in the ’70s, is something right up my alley:
For more than a year it’s been bugging me that iTunes “sometimes” would auto-rate played tracks. It happened on some albums, yet not all albums. Back in May 2018 I posted this video on YouTube showing the behaviour:
As you can see iTunes here automatically rates “En Masse” (track 10) from the moment it starts playing.
Back then I couldn’t quite put my finger on it, yet today I found out when this behaviour occurs: it happens when you’ve rated the album itself. For whatever reason iTunes copies over the album rating onto each track when you start playing it.
I don’t like this behaviour, as it’s unwanted: an album can be 5 stars, yet that does not mean all individual tracks on it are 5 stars.
(*) For the “Nachtlicht” album (from the second video) I’d make an exception though … it’s an exceptionally great album by Eefje de Visser and would highly recommend it to all who speak Belgian/Dutch!