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The Philosophy of Velocity
''The Philosophy of Velocity'' is a 2006 concept album by the rock band Brazil. Many of the songs on the album are lyrical short stories and vignettes, focusing on themes of isolation, paranoia, anxiety, and the supernatural with an emphasis on absurdity, dark humor, and camp. It has been recently hailed by critics as a crucial maturation and vital realization of Brazil’s vision and artistic approach, which combines a variety of genres, eras, and sound sources into a unique but recognizably signature style. It is the first Brazil record listing the band as a co-producer.
==Concept==
''The Philosophy of Velocity'' is conceptually a two-layered work. The meta-layer focuses on an unnamed author trying to write a novel but suffering a severe mental block. This is alluded to in the opening sequence with the sound of typing over a delicate piano etude. The author eventually falls into bouts of paranoia and delusional psychoses, episodes of which are illustrated in several places on the album including the backwards speech between The Vapours and Cameo, the haunting whispers and absurd lyricism of Strange Days, and the disconcerting sub-harmonic frequencies used in The Remarkable Cholmondley Chute System. The second layer focuses on the songs as individual short stories or small vignettes, the subjects of which form various fragments of the author’s reality. The album ends as it starts, with the nameless author continuing to type away at his novel that will never be completed. Singer and lyricist Jonathon Newby said his major influences on the album were Nick Cave, Tom Waits, Mark Smith, Captain Beefheart, Bob Dylan, and the poetry of Edward Gorey.
Musically, Brazil strove to create a sound as haunting and ethereal as the lyrics and purposefully blurred the edges of the sonics to create an aural tapestry that would envelope the listener in colors and volume. Fridmann was instrumental in helping the band achieve the spacious and expansive sound on the album, borrowing from production values not in mainstream use since the sixties and seventies to create a warm bed of sonics reminiscent of cassette tape hiss, and pushing the EQ levels far above normal to harness a level of volume not heard in most current music.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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