Magicians have always captivated audiences with their awe-inspiring tricks and illusions, using their skill and creativity to create moments of wonder. But what if there was a unique breed of performers who blended the art of magic with the power of music? These magically inclined music performers are a rare breed, using their musical talents to enhance their enchanting performances. One such performer is David Copperfield, renowned both as a master illusionist and a talented musician. Copperfield is known for his ability to seamlessly integrate music into his acts, using it to heighten the suspense and create a sense of anticipation. His creative use of music adds an extra layer of magic to his performances, allowing the audience to be transported to a different world. The integration of music and magic is not limited to traditional magic shows.
If you’re a parent in the Nashville area with a child showing interest in music, you might be wondering if your child has the potential to excel at their instrument. As we all know, music holds a special place in the heart of Middle Tennessee. Here’s how to tell if your little Nashvillian is musically gifted.
Similarly to how Bladesingers fought in combat, they had the ability to sing their magic even amidst the chaos of the battle, while dodging and dancing around, or while wounded, so long as they could intone their musical prayer to their goddess. Also, give us a call today at 615 771-0020, chat with us by clicking on the chat icon below, or fill out a form by clicking on one of the form buttons in the sidebar.
The integration of music and magic is not limited to traditional magic shows. There are also musicians who incorporate elements of magic into their performances. One such musician is Bruno Mars, known for his dynamic stage presence and suave performances.
Slanted and Re-enchanted: Magic Oneohtrix Point Never by Dean Kissick
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never, Courtesy and © Robert Beatty.
Hypnagogic pop star Daniel Lopatin, thirty-eight, who performs as Oneohtrix Point Never, has just released his self-titled record Magic Oneohtrix Point Never. It’s his ninth, or twelfth, or fourteenth album, depending on how you count them, and ties up some of the strings of his career so far. An ode to riding the radio waves and making tapes growing up, Magic Oneohtrix Point Never was made this summer in Queens, in the post-Ballardian skyscraper he calls home, during New York’s vague stages of lockdown. Its first video, for his vocoder duet with Caroline Polachek, “Long Road Home,” was directed by writer Charlie Fox with puppeteer Emily Schubert and features a devil having sex with a bat in a dark, gloomy interior: a perfect summation of 2020. This record makes me disassociate. Listen to this record for too long and you’ll fall into a trance; nonetheless, Lopatin wants you to listen to it all the way through. He recently scored the soundtrack for Josh and Benny Safdie’s anxious-euphoric New York symphony Uncut Gems (2019) and wrote some songs for The Weeknd’s album too. They performed together on Saturday Night Live the same week as Elizabeth Warren. Lopatin staged his previous album, Age Of (2018), as an experimental vapor-baroque opera at the Park Avenue Armory. This new record, however, is for casting spells on yourself on your own, walking through the dirty streets, looking at pixelated shadows cast by LED streetlamps.
Dean Kissick: What were you thinking about when you made this record?
Oneohtrix Point Never: For a long time I toyed with the idea of doing an eponymous record, a self-titled record, and I always thought it was inappropriate, because for me to do one, I want to do something that encapsulates the various musical strains I’ve been interested in, and there’s been a lot. So I was building up to this over the course of a decade more or less. Artists tend to think of a self-titled record as their best record. And I do think that about this record, but really what I wanted to do was capture all of the strains and deal with the name itself, Oneohtrix Point Never; the first tape I put out in 2007 on my friend’s tape label Deception Island was called Magic Oneohtrix Point Never, after a soft rock radio station in Boston called Magic 106.7. So I started really picking up steam on this thing during the quarantine because I was listening to music a lot, but in particular, I was listening to a lot of Elara radio and was really impressed by it.
And it was also a reminder for me of the roots of the OPN project, of a latent interest in the aleatory experience of listening, that it’s active, that it’s not just… For me anyway, growing up spinning the dials and creating radio mixtapes was a way to be in the world but still have boundaries and have a distance from it. That was a very nice, functional way of being an introvert for me. I loved the radio for that reason.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
DK: Let’s talk briefly about Elara.
OPN: Yeah, sure. So Elara is a production company Josh and Benny Safdie started, but right when New York got locked down — that’s when I remember the first Elara streaming radio broadcast. And it felt like a very New York moment, because I would see these things get posted and think, “Oh, that’s Mike Billz [writer and director Michael M. Bilandic].” And actually Mike’s mixes were the mixes that stuck out the most, and in some weird way inspired me the most; not in style, but they just reminded me that I could do what I want. Because he was doing these happy hardcore, Looney Tunes happy hardcore mixes. It was just absolutely batshit crazy.
I remember, as an aside, I performed at the Armory with Anohni for her tour for Hopelessness. And Usher was in the audience. And I met him afterwards because he had some questions about what I was doing. And he goes, “Yeah, you know people think I’m an R&B guy, which I am, pop guy, but I like this kind of shit.” That’s what he said.
And I go, “Well, I would imagine you’re like a musical athlete par excellence; at some point you need a bigger dose, you need a harder hit.” And so I think sometimes when I’m attracted to very extreme music, it’s simply because I just require a harder dose.
So yeah, Elara’s happening, I’m listening all the time, I’m feeling kind of a nice connection to the community that emerges from it, and I end up making a mix myself for it called “Depressive Danny’s” — whatever I called it — “Witches Borscht,” I think. And that was a nice little rehearsal for the album, because I just started gaining confidence. So the whole thing started synergizing. I was thinking about the radio, I was thinking about Magic Oneohtrix Point Never. I was listening deeply again, I was hearing people wild out and do whatever the fuck they wanted. I made a mix that felt like a diary entry of my mood there. And that was it. That was enough to get to work, I guess. And so I started demoing right there in that room next to my bed.
DK: You spoke earlier about being influenced by many different genres.
OPN: So, this album to me is really the definitive index of my musical interests as a fan. [Daniel describes different songs on the record and their many influences in great detail, finally arriving at “Long Road Home.”] For me, it’s like I’m conflating Scritti Politti with Enya. That was an alchemical connection there. That makes a lot of sense with my tastes, my love of keyboards and weird MIDI-driven arrangements that you can only make on a computer, that were never possible to play—
DK: I noticed Enya when I came in [there’s a picture of Enya on top of one of Lopatin’s kitchen cabinets].
OPN: Yeah, I love her. There’s a sort of a stratum. There’s a Philip K. Dick quote that I love that I’ve been thinking about pretty much for the last year, which is, I’m going to paraphrase, but it’s, “Elements of the divine can be located on the trash stratum” [“The symbols of the divine initially show up at the trash stratum”].
And for me, what he’s saying there is that if you remain enchanted with the world, then pretty much, whether you’re in the gutter or wherever you are, however bad the smell is, it’s going to be really interesting because you’re alive, because you’re there to bear witness.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
Visuals: Robert Beatty’s official artworks for Magic Oneohtrix Point Never , Courtesy and © Robert Beatty.
DK: Well, I agree with Philip K. Dick there.
OPN: I really do. I think disenchantment is really the story of the twentieth century, and there are all kinds of reasons for it. Re-enchantment is the project for a lot of artists, for a lot of people that are trying to transform or to have a kind of modicum of contentment in their life. It means finding a way of being enchanted. And there’s so many ways to veer off course, and so many distractions. So there’s a lot of trash on the record I guess. There’s debris, radio debris and messy stuff. And elements of background music and Muzak and “beautiful music” [an old genre of background music that was played on the radio]. As I was saying, I sampled the Weather Channel a lot. I found a website that basically had a repository of every single piece of music to have been played on the Weather Channel. So that was interesting. There are a lot of weird layers to it. There’s a lot of layers to the trash.
DK: Magic Oneohtrix Point Never is a project of re-enchantment.
OPN: I hope so. If magic accomplishes anything, as a funny trick to play on somebody, it’s to make them suddenly feel very uncertain about what they know to be true. And I think that’s enchantment. That’s something I needed. That’s been my concern musically since the beginning. It’s the only reason I do it.
And there’s also a funny thing that my shrink pointed out to me. I started doing analysis for the first time in my life at age thirty-eight, with a Jungian therapist. And the funny thing about the analysis was his reading of my band name. He says there’s “tricks” in there. Then he says, “Yeah, there’s tricks in there.”
Because it’s ones and zeros, it’s computer binary, and it’s tricks, that I play around with computers to make music that’s impossible to make otherwise. And he says, “Well, I think you have a trickster thing happening. There’s a trickster archetype at play in your stuff. And the trickster is a very effective point of view to embody as a young person. But it becomes increasingly difficult to remain a trickster, or understand how that integrates, in middle age.”
DK: I wrote down a quote from you from an interview in 2015. You said, “I think I do all this cool shit. But to the average celebrity I’m at best a magician or clown.”
OPN: Yes. I think the trickster part is very important. The clown thing is when I’m really falling apart, when I’m having a negative view of myself. But they’re part and parcel of the same thing, which is that I really do like to entertain. I feel like I fail when it’s not immediately intoxicating. It’s the way that music was for me, when I didn’t know how it was made, and I just listened; it needs to have that kind of intoxication; that makes me an entertainer.
Daniel Lopatin is a Brooklyn-based musician, composer, and Mercury Prize nominated producer who also records and performs as Oneohtrix Point Never. Lopatin has released numerous critically acclaimed albums including Age Of (Warp, 2018) and returns with his self-titled album, Magic Oneohtrix Point Never (Warp, October 2020), a culmination of his work over the last ten years. His production credits include The Weeknd, Anohni, FKA Twigs, David Byrne, Moses Sumney, Iggy Pop and Nine Inch Nails among others.
Dean Kissick is a writer and New York editor of Spike Art Magazine, for which he writes a monthly column titled “The Downward Spiral.” He’s recently written texts for Amalia Ulman’s book El Planeta published by Arcadia Missa, London, Yuri Pattison’s residency at FLACC, Genk, Matt Copson’s solo show at High Art, Paris, Guillaume Dénervaud’s solo show at Centre d’édition contemporaine, Geneva, and the group show A Fire in My Belly at Julia Stoschek Collection, Berlin.
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Throughout his shows, Bruno Mars incorporates elements of magic and illusion, leaving the audience in awe and wonder. These magically inclined music performers possess a unique set of skills that allow them to create immersive and unforgettable experiences. They harness the power of music and use it as a tool to enhance their magical performances, making for an incredible spectacle that is both visually stunning and musically captivating. The main idea is that there are performers who blend the art of magic with music, creating enchanting and immersive performances..
Reviews for "The Muses of Magic: How Music and the Supernatural Collide in Performances"
1. John - 2 stars
As someone who appreciates traditional music performances, I found the incorporation of magic in this show to be distracting and unnecessary. The performers seemed more focused on their tricks and illusions rather than showcasing their musical talent. Instead of being immersed in the music, I found myself constantly trying to figure out the secrets behind their magic tricks. I would have much preferred a straightforward and uninterrupted musical performance.
2. Sarah - 1 star
I attended the "Magically Inclined Music Performers" show with high hopes but left extremely disappointed. The magic tricks added nothing to the overall experience and only served as unnecessary distractions. The musicians themselves lacked any real musical skill and relied on gimmicky illusions to compensate. I was expecting to be captivated by the soothing melodies and impressive instrumental performances, but instead, I was inundated with cheap magic tricks that were more suitable for a children's birthday party.
3. Michael - 2 stars
While the concept of combining music and magic may seem intriguing, the execution in this show fell flat. The magic tricks themselves were average at best, and the musical performances were lacking in quality. It felt like a forced combination of two unrelated elements. I would have preferred separate performances of music and magic, allowing each artist to showcase their talents independently. The blending of these two art forms did not add any value, and instead, it detracted from the overall experience.
4. Emily - 1 star
I was extremely disappointed with the "Magically Inclined Music Performers" show. The whole concept seemed gimmicky and lacked depth. The magic tricks performed were basic and unimpressive, while the musical performances were mediocre at best. The show failed to create a cohesive and engaging experience. I expected to be taken on a journey through music and magic, but instead, I felt like I was watching a poorly executed variety show. I would not recommend this show to anyone looking for a truly magical musical experience.