Posts tagged David Bowie
Elegy for David Bowie

SAINT BOWIE: Dedicated to the Orlando victims and their families.

I was planning to release my Elegy for David Bowie today, which I feared would be too late, but I see that the timing is actually just right. This sad week of the massacre in Orlando is a good time to celebrate Bowie, to be consoled by his bravery. Nobody did more to open the pathways to sexual and gender freedom than David. Please share this video.

In this piece of original music for cello, I'm joined by the wonderful Wells Hanley on piano. The recording was mixed by Mark Plati, Bowie's longtime co-producer, music director and friend. 

David was a messenger from another realm. The Man Who Fell to Earth wasn't just a movie role. He came from another planet, another space and time in which Freedom is just another part of life. Where being a sexually diverse being is normal and why wouldn't everyone appreciate that? He shared that vision with a planet just beginning to rotate into sexual freedom- when Space Oddity hit the airwaves in 1969, mainstream America was just figuring out that you don't have to be married to have intercourse. David’s being was so far beyond that envelope, somehow representing the entire spectrum of sexual possibility and gender identification, a single flash of his physicality sufficient to convey a huge throb of freedom. As the tweets of the Arab Spring called dissidents to mass demonstrations, David’s body language sent climactic shudders down the spine of Western sexuality, calling us to throw off the tyranny of the heteronormative and gender binary. In his music, he gave the bird to the monolithic shame which obscures our complex sexuality- helping millions to shine a light into previously darkened corners of existence.

What a service he did his adopted planet. Whether we identify as LGBTQ or identify with them, empathizing with their path of freedom, we can appreciate the changes Bowie brought with him to Earth. To live under the dumbed-down version of sexuality and gender provided by the mainstream is to accept a lesser view of ourselves as humans. Without the much deeper, complete view of who we are as sexual beings, we’re forced to settle for a broken mirror. Seeing ourselves through the shards of this pane damages our ability to fully know ourselves. And if the Oracle’s imperative, ‘Know thyself,’ is the key to our well-being, we can never truly be well.

As a teenager silently struggling to recover from sexual abuse and to understand my own place in the sexiverse, David held up a looking glass that was fully whole. I’ve said many times that he saved my life, and I say it again because it’s true. No one in my life was so able to reflect to me the alright-ness of my experience and inner world. And I think this was true for so many hundreds of thousands, largely because of the enforced code of silence and shame around sexual and gender diversity. David penetrated those private places without us even needing to speak of our struggles. Flying his UFO of radio and record, he came right into our worlds and healed us, lightening our burdens and removing our grief. If you want to assess his impact on our culture, just imagine if he hadn't been here; imagine the breadth of personal devastation had he not descended to Earth. Massive worldwide mourning at his death and ascension reflect the impact he had not just on the world of sound, but on the inner world. And to address his impact on sexuality is to address only one facet of his complex and radical impact on society.

So with these words, I bow down to Saint Bowie and I give thanks for his tremendous impact on my life, knowing that his influence will remain forever. The Changes he brought us can never be undone.

Indie Artist Buzzzzzzzzed!!

Photo by Gretchen Robinette

Great to be featured this week in an interview with Independent Artist Buzz.  These guys ask some funtastic questions!  Here's how it went down:

We think it’s safe to say that when you think of ROCK, cello is not one of the first things that comes to mind. Since rock’s inception though we’ve come to realize that rock music is more about rocking than it is about fads and stereotypes. 

Noah is here to rock and debunk all the false notions you have about what that means. 

We sat down with the NY native and asked him a few questions about his cello rock release Play Human.

1. Do you feel that rock is more “exposing” than classical music? Which genre feels more revealing to your fanbase? 

I don’t think either is really more exposing. They both expose me in different ways. Playing classical music, I’m able to really bear my heart through another person’s composition. When I play, I’m expressing who I am while trying to bring out the identity of the composer as well.  With rock, I’m doing it through my own music. Same passenger. Different boat. Both ways, I feel really exposed!  Since my rock music is new for my fans, it’s like opening another door for them into who I am. They’re hearing a side of me they didn’t know was there. That’s fun.

2. Cello-Rock is a hybrid between classical and rock. How do you dress for that part?

Haha! It’s not so much a hybrid of classical and rock as it is about bringing a typically classical instrument -the cello- into a rock setting and then using it to rock the f out. I think leather is the best option, don’t you? 

3. What are you listening to these days for musical inspiration?

I’ve been watching the “Muscle Shoals” documentary and that’s been inspiring the hell out of me. All the truly great artists who made music in that one spot- Aretha, Wilson Pickett, Etta James, and so many more, along with the amazing backing band and producer-. If you haven’t seen the movie, do yourself a favor. The passion that came out of that place is a great reminder of what music can be.

4. There’s a lot of graffiti in your videos and photos. Is there something that draws you to this imagery?

That’s a good question and one I’ve never asked myself. I can’t say for sure why I’m so drawn to it, but I’d guess it’s ‘cause graffiti is a form of art that inherently bucks the system. By its very existence it’s violating the rules and telling the powers that be that it can’t be controlled. I think all art should play that role, especially in our society who’s priorities are so backward, where greed is king and racism keeps us from caring for our brothers and sisters. I hope my music conveys some of the same message as graffiti does. 

5. What is your favorite Bowie Phase? Favorite album or track - tell us more in depth!

It’s always changing! Right now, I’m in love with the early album 'The Man Who Sold The World.’ 'The Supermen’ is my favorite track. It’s an album where fantasy really rules the lyrics and David’s conjuring up these amazing images of an ancient world or maybe a world outside of time. I love it that he’s willing to go there. Not so different from Zeppelin singing about the Hobbit I guess, except Bowie does it in his own special way. It’s outrageous as always. If you don’t know it well, check it out! Nirvana of course did a great cover of the title track, but the original is super powerful.

Listen Here to the new album Play Human and Follow me on SoundCloud!  I'll follow you too!

Baeble Music Full Album Stream and Review

So thrilled that the great website Baeble Music has premiered my record Play Human and given it a glowing review entitled "Noah Hoffeld reshapes Classical Rock" this week. Baeble says "On his new LP, Noah Hoffeld brings the best of classical music and modern rock to bear to gorgeous effect."  Baeble managing editor Don Saas writes, 

"We have the premiere of Play Human, and it's a record that defies simple categorization though familiar sonic touchstones are there for those willing to dive into the rich textures of the record. There's a little bit of David Bowie's 'Berlin' Trilogy (particularly Low) in the sweeping, cinematic use of strings as a counterpoint to the wall of sound production (though I use that phrase in an intentionally minimalist sense). There are hints of the avant-garde 70s rock of Electric Light Orchestra in the twisting and churning of Hoffeld's vocal melodies. Hoffeld utilizes modern production flourishes to create a rich sonic soundscape to lose yourself in. 

But that guessing game of "where does Noah's unique sound come from" is meaningless if the songs aren't good. Fortunately, they're very good. "Role of Rock" is the most propulsive track on the record and it's also where Noah's background as a classical musician shows itself the most. It is a track with genuine movements and a sense of the building and releasing of tension. Other tracks like album opener "Play Human" turn Hoffeld's strings into futuristic reverbed buzzes of sound without sacrificing tightness of melody and composition."

Read the full review and listen to the album HERE