If you’re in eye-shot of this blog – I urge you to “sit” for a composition. But first, you ask, just what is Lifehouse Method? Well, let me go back in time a bit to explain……………
It was one of those experiences that gets indelibly burned into the brain. I was 13 years old and babysitting for some friends across the street from my parents’ house in Conroe , Texas -- nearly midnight , and my charges were fast asleep. The patriarch of the household was a stereophile who had amassed an incredible system equipped with a pair of Koss headphones so massive with insulation they weighed a ton. Late night FM radio in Houston was still a rather dubious affair – the infamous Crash Collins was known for his smoky growl and strange “inhaling” noises while spinning the some really heavy vinyl and the tell-tale spaces of dead air (indicating that he’d once again nodded out). I wasn’t allowed to listen to such “garbage” at home.
Collins must have had some really good stuff that night, because he decided (perhaps inadvertently) to spin an entire album side (rare in those days) from the Who’s 1971 album “Who’s Next.” Townshend, the creative force behind the Who, had earlier in 1969 penned the first Rock Opera – "Tommy" – and I remember thinking “Well, if this is half as good……” When the opening synthesizer riff began, I was instantly mesmerized as if something internal was vibrating in harmony with the song. As Townshend’s initial power chord struck, I was totally captivated. When Entwistle’s thunderous bass finally joined the fray, I was awestruck, captivated and I knew I had found my anthem – Baba O’Riley! I immediately struck out to learn more about the album, the band, and eventually the concept that lay underneath some of the best rock-n-roll ever heard!
I was surprised to learn that the hypnotic synth riff that opens “Baba” was actually constructed using personal DATA about Townshend’s Spiritual Leader, Meher Baba, that had been somehow fed into an algorithm which transformed it into music! In fact, the entire Who’s Next album was indeed a collection of songs salvaged from a failed project conceived by Pete to gather vital statistics from individuals and reflect this information back to the audience in the form of music. “Lifehouse” as the project was called, was another rock opera of sorts – a story set in the future when humanity was controlled by the government via stimuli force-fed to them over a “GRID” – a hardwired information network with leads to each individual called “experience suits.” The protagonists in Townshend’s story were rebels who managed to free humanity by hacking into the Grid and flooding it with music. This music, created by their own algorithms, culminated in a crescendo so powerful and celestial it took down the Grid.
While the story was fiction (at the time) – Pete’s desire to find the “lost chord” via synthesized information wasn’t. Additionally, he aimed to make performance a two-way street wherein the audience participated in the creative process. At one point, Townshend had actually gathered a group of subjects in the Old Vic Theater in London to attempt this artist/audience interaction. The project failed mainly due to the fact that Townshend lacked the complex technical equipment to process the information. The few songs he had written to score the original Lifehouse opera were pieced together and released as the seminal “Who’s Next.” Practically no one knew the backstory!
And then, along came the Grid.
I have to snicker to myself whenever the argument over “who predicted the internet” points an appreciative finger in Al Gore’s direction. As the net grew, many remembered Townshend’s vision of a society grown complacent compliments of their addiction to an orchestrated information feed. New technology flooded the music industry, allowing artists to experiment with input, output and everything in between. In 1999, Townshend resurrected Lifehouse, finally mixing and re-arranging the now classic Who’s Next tracks back into their original form.
Initially, participants may “sit” for 3 pieces of music. In order to interact with the software, you are asked to provide a sample of your voice, an image, a sound, and a rhythm. In return, the system composes your 5-minute musical portrait. The results are astounding! The Method will be open to the public until July, and eventually many of the “portraits” will be combined into a larger work which will be performed live! Having spent many decades wondering “what if” with regards to Lifehouse – I can say I am absolutely elated that my "what if" dream has at long last turned into a reality that exceeded my expectations tenfold!
www.lifehouse-method.com
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