<![CDATA[[MusicRatty] tag: composer]]> http://www.musicratty.com/tag/composer Wed, 03 Dec 2008 16:40:49 +0000 iRatty Engine http://blogs.law.harvard.edu/tech/rss <![CDATA[Slash, Melissa Etheridge, Jack Black Protest Californias Prop 8]]> http://www.musicratty.com/article/49650c5d983f1b69f81a60deda8ae0cc http://www.musicratty.com/article/49650c5d983f1b69f81a60deda8ae0cc

Two months ago, voters in California approved Proposition 8, which banned same sex marriage in the state. Since then, a wave of protests have popped up throughout the state in opposition to the new law. Many rockers have weighed in on the situation, including Slash, who made the video above with his wife Perla to drum up support for a protest several weeks ago. “I married my sweetheart,” Perla says as her husband plays “The Star-Spangled Banner” in the background. “You should be able to marry yours too.”

Others have joined in the fight. Melissa Etheridge, who posted a long anti-Prop 8 screed on her website in the days before the election, has vowed to not pay taxes as long as Prop 8 is law. “Okay, I get it,” she writes. “51% of you think that I am a second class citizen. Okay, so I am taking that to mean I do not have to pay my state taxes because I am not a full citizen. I mean that would just be wrong, to make someone pay taxes and not give them the same rights, sounds sort of like that taxation without representation thing from the history books.” Meanwhile, new dad Pete Wentz issued a statement that said, “I believe that this is, and has always been, a civil rights issue. We should not allow inequality like this in America.” Christina Aguilera also called the decision “descrimination.”

Composer Marc Shaiman has gone a step further, recruiting Tenacious D’s Jack Black and Walk Hard star John C. Reilly for “Proposition 8 - The Musical,” which recently premiered online at FunnyOrDie.com. It features the argument over gay marriage in song, until Neil Patrick Harris shows up to remind everybody that gay marriage could fix the economy. Check it out below.


Related Stories:

• Same Sex Setback: Why the Activists Who Opposed Proposition 8 Ran a Lousy Campaign

• Melissa Etheridge Blasts California’s Prop 8 as “Blatantly Hateful”

]]> Thu, 04 Dec 2008 15:27:15 +0000 rights jack black prop gay marriage civil rights issue melissa etheridge neil patrick harris wife perla proposition Slash, Melissa Etheridge, Jack Black Protest Californias Prop 8 <![CDATA[WIGWAM - Fresh Garbage - Rarities 1969-1977 (2000)]]> http://www.musicratty.com/article/739b59fc3c227be27e785871611f1bfe http://www.musicratty.com/article/739b59fc3c227be27e785871611f1bfe

One not very profound notion argues that, often, the most interesting bands are those where the individual members are pulling in different musical directions. Somehow, they just manage to hold it together – for a time, at least. The Beatles spring to mind, obviously. But lesser lights fit the bill also – Buffalo Springfield, the great 5-piece version of Spirit, the first incarnation of Weather Report with Vitous and Gravatt, the original Mahavishnu Orchestra. Wigwam are cut from the same cloth. The classic 4-piece line-up featured a tasteful, jazzy drummer; a proggy Zappa-esque bassist/composer; a soulful, Winwood-influenced organist/vocalist (albeit one with a penchant for complex song structures); and a gifted, if uneven, songwriter/vocalist with pop leanings. This line-up, with help from a mate or two, produced two of the finest examples of 70’s Scandanavian prog.: ‘Being’ and the somewhat patchier ‘Fairyport’. (‘Being’ is the better of the two quite simply because the variety of musical impulses are integrated more effectively than on ‘Fairyport’, where they tend to lie side by side, generating a kind of schizophrenia – or should that be quadrophenia? – from track to track.)

The later incarnation of the Wigwam – from late ’74 onwards – tends to confirm another not very profound notion – that once things have blown apart, members of interesting bands, or re-jigged versions of the same, find it difficult to match up to the legacy created first time around. The constituent parts/later versions of the Beatles, Spirit and the Mahavishnus (McLaughlin excepted) clearly didn’t, though we might quibble about Springfield and Weather Report. In Wigwam’s case, with the possible exception of ‘Nuclear Nightclub’ (my entry point into the band, and thus a record for which I have a bit of a soft spot), later output never quite reached the exalted heights of the earlier albums.

Anyway, what do we have here? The first CD is the more interesting. It gets off to an inauspicious start with 3 pieces of rather average, psychedelically tinged rock from ’69. Jukka Gustavson nudges the band into a more distinctive mode with the fine ‘Pedagogi’ (track 4); but it’s early bassist Mats Hulden who really gets things moving with his ‘Haato’ from 1970, an entirely successful multi-sectioned effort. Quality drops for the next 3 tracks – all covers: the Band’s ‘Chest Fever’ and ‘King Harvest’ and Spirit’s ‘Fresh Garbage’. The rest of the CD – tracks 9-15, also live – is first rate, featuring the classic line-up. Standouts include a blistering ‘Losing Hold’ from ’71 and a genuinely magnificent reading of Jukka Gustavson’s ‘Fairyport’ from ‘73. The vocal performance here is much more confident than the rather tentative effort on the studio album. This track – by turns, both deeply touching and irresistibly swinging - is worth the (fairly hefty) asking price alone.

The second CD, mostly featuring the post-‘74 version of the band, is less compelling. Jim Pembroke’s songwriting dominates and whilst the band is never guilty of producing anything less than tasteful, well- arranged rock, it lacks the quirkiness of Wigwam’s best stuff. Guitar solos, hardly featured on the early material, tend to outstay their welcome. Tracks 8 and 9, though, see a partial reunion of the classic formation (minus Pohjola) and matters lift considerably.

As the distance in years becomes steadily greater, the ‘70’s seems less a falling off from the high point of the ‘60’s than a musical golden age in its own right. That is, at least until the combined forces of punk and technology made musicianship unfashionable/unnecessary. What other age produced output as interesting and diverse as that of Van Der Graaf Generator, King Crimson, Eno’s Roxy Music, Genesis, Steely Dan, Bowie, the superb Italian prog. bands (Banco, PFM, Area and others), the Canterbury set (the Hatfields, the Softs, Caravan, Gilgamesh, et al), Magma, the Mahavishnus, early Weather Report and Return to Forever, Gentle Giant, Tasavallan Presidentti, the whole gamut of ‘Krautrock’ – and Wigwam?

In summary: not perhaps a set for the uninitiated, who would be better advised to start, like I did, with the more user-friendly ‘Nuclear Nightclub’ and work backwards. For me, though, this is 20 quid well and truly spent.

by tads51


WIGWAM Music Online:
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]]> Thu, 04 Dec 2008 06:30:36 +0000 wigwam wigwam music online cd tracks line-up bands chest fever patchier fairyport tracks bands fairyport WIGWAM - Fresh Garbage - Rarities 1969-1977 (2000) <![CDATA[Lil Wayne and Coldplay lead Brit-heavy Grammy field - Reuters]]> http://www.musicratty.com/article/f11b73bd33f9f5ea4458fd496bfae9f3 http://www.musicratty.com/article/f11b73bd33f9f5ea4458fd496bfae9f3
Lil Wayne and Coldplay lead Brit-heavy Grammy field
Reuters - 2 hours ago
If the 37-year-old musician sweeps the Grammys, she will tie for third with French composer Pierre Boulez. Only late conductor Georg Solti (31) and producer ...
 ]]> Wed, 03 Dec 2008 21:00:00 +0000 lil wayne 37-year-old musician sweeps conductor georg solti reuters hours ago tie grammys producer Lil Wayne and Coldplay lead Brit-heavy Grammy field - Reuters <![CDATA[Good Weekend for December 5-7 - The San Francisco Examiner]]> http://www.musicratty.com/article/cd454acbf90124feb973b391853ef21b http://www.musicratty.com/article/cd454acbf90124feb973b391853ef21b
Good Weekend for December 5-7
The San Francisco Examiner, California - 1 hour ago
[9 am, Music Concourse, Golden Gate Park; www.gotrbayarea.org] Composer centennial: Festival salutes composer Elliott Carter, who turns 100 this month. ...
 ]]> Wed, 03 Dec 2008 21:00:00 +0000 san francisco examiner org composer centennial weekend music concourse hour ago december month california park Good Weekend for December 5-7 - The San Francisco Examiner <![CDATA[Q&A with composer Elliott Carter - Boston Herald]]> http://www.musicratty.com/article/fe0d9e1bcb70778673a65bcca65fa4f7 http://www.musicratty.com/article/fe0d9e1bcb70778673a65bcca65fa4f7
Q&A with composer Elliott Carter
Boston Herald, United States - 9 minutes ago
People have been saying that my music has become more transparent, and I suppose it has, since at one time it was much more complex. ...
 ]]> Wed, 03 Dec 2008 21:00:00 +0000 composer elliott carter boston herald minutes ago time complex people music transparent suppose Q&A with composer Elliott Carter - Boston Herald <![CDATA[Wolfgang von Schweinitz, "Variations on a Theme by Mozart)"]]> http://www.musicratty.com/article/afa38fa4c7d5ebeef9a7de94962dab6b http://www.musicratty.com/article/afa38fa4c7d5ebeef9a7de94962dab6b Variationen iiber ein Thema von Mozart
(Variations on a Theme by Mozart)

In 1977 the Westdeutscher Rundfunk in Cologne, in its concert series "Musik der Zeit" presented two "mini-festivals" on revealing topics. One of these, in January, was on "New Simvlicity". This was explained as follows: "New Simplicity refers to cross-connections beyond historical and geographical boundaries. It stands outside all categories of style and genre. The 'new' thing- about it is that it reflects the complications of serial and post-serial music, which forms a backdrop for its basic procedures. 'New Simplicity' means the close kinship of periodic music from the USA (Steve Reich) to gamelan and African music, of new European monophony (John Cage, Morton Feldman, Walter Zimmermann) to the musical tradition of Korea. 'New Simvlicity' is a stance towards contemporary music which can be observed in many different countries: the basic simplification of the sound and the displacement of complex structures into the 'interior' of musical forms and performance."

The second topic, obviously closely related to the first, was called "Encounters with Traditions". Here there was no confrontation between young composers and their immediate forebears such as Stockhausen, Boulez and Nono; instead they completely avoided these potential mentor figures and cast a backward glance a.t the great composers of the past. Several of them took up Beethoven and then Schubert - and not simply for extrinsic reasons such as centennial celebrations. They were seeking a foothold in the past which they could no longer find in the present.

One of the composers who probed deeply into both of these topics - and not just in 1977 - was Wolfgang von Schweinitz. As early as 1974 his search for new freedom in fixed forms as a response to aleatoric music and the "anything goes" attitude of the years immediately preceding had led him to write a piece for three winds and two strings with the revealing title "Motetus". Allegiance was pledged to the uncoinpromising "simplicity" of Morton Feldman. Monistic form united with strongly constructivist principles and novel harmonic and rhythmic constellations, resulting in clear sonorities which increased and decreased in density without sacrificing formal stability.

In Schweinitz's Second String Quartet op. 16 of 1978, an "Hommage A Franz Schubert", he took up what might be termed Schubert's early attempts to break the bonds of tonality. At first one has the impression one is sitting in an airplane 1isteni.ng to Schubert amidst the surrounding noise. Scarcely does the original appear than it is destroyed, rent asunder, rhythmically displaced, harmonically distorted. A feeling of despair is invoked as the composer compresses the layers of sound. sometimes cleverly, sometimes with heartringing expression. Exhausted, the piece ends in a fade-out of heightened tensions or, as the composer calls them, harmonic "pollutions".

In this work Schweinitz attempted to "think back to the music and expressive universe of late Schubert: images emerge as in the labyrinth of memory, their former utopian beauty now contorted and thus apparent only to the imagination". In later works he sought a "tension between the yearning for beauty and the awareness of an unresponsive and forbidding reality" and trcied to project a "message about the present world with its hypertrophized rationalism and materialism, a world in which our need to overcome our increasing alienation is becoming more and more urgent and less and less possible".

These words mark the composer. Wolfgang von Schwein, itz was born on 7 February 1953 in Hamburg, where he also received his first instruction in music. From 1973 to 1975 he studied with Gyorgy Ligeti. He then spent a year at the Center for Computer Research in Music at Stanford University, California. A further grant enabled him to spend 1978-9 at the Villa Massimo in Rome. Even before his term with Ligeti he had visited the USA, studying theory and composition with Esther Ballou at the American University in Washington, DC. He was made a fellow of the "Studienstiftung des Deutschen Volkes", and received the Hamburg Bach Prize and the Stuttgart Prize for Young Talent. When the city of Darmstadt celebrated its 650th anniversary Schweinitz wrote a concert overture which he referred to as a particularly radical "experiment in tonality as a utopian allegory of a non-alienated, psychically integrated harmonic language. Whereas in earlier works the harmonic progressions were subjected to a precompositional process and were limited to a few elementary tonal roots, in this work the harmonic connections are more varied: rather than being pre-programmed they are largely allowed to form their own spontaneous functional relations".

Remarks of this sort indicate that Schweinitz does not wish to be categorized in a narrow "group" of "neo-tonalists", as all too hastily happened. Like his like-minded friends Wolfgang Rihm, Hans-Jurgen von Bose and Detlev Muller-Siemens, his aim is to "give a hearing to individual spirit and expression", not by turning back to the 19th century but by confronting afresh the music of the 50s and 60s as well.

Notwithstanding this outlook Schweinitz repeatedly provokes "encounters with traditions", as for example in his "Variationen uber ein Thema von Mozart" of 1976 for full orchestra. This piece was given its premiere on 20 May 1977 at the ISNM International Music Festival in Bonn, with Hans Zender conducting the Saarbrucken Radio Symphony Orchestra. As the composer himself commented the work was written in California and uses an eight-bar excerpt from Mozart's Masonic Funeral Music KV 477 as its theme: "In their sequence of moods the Variations resemble a symphonic cycle in miniature - as it were, an extreme compression of the symphonic principle: Introduction: Adagio; Theme: Adagio (bars 13-20); Variation I: Largo (measured, quietly intense); Variation 2: Scherzo I (very fast and emphatic); Variation 3: Trio, Pastorale (Andantino - mild, dreamily indistinct); Variation 4: Scherzo 2 (as for Scherzo I); Variation 5 : Adagio (slowly and with utmost intensity of expression); Variation 6: Funeral March (march tempo, with emotion); Coda (tripartite).

"Variation 6 leads to the climax of the piece, marked by a solo gong stroke. Once the gong has faded away the coda begins with a quotation of the final eight bars of Mozart's piece (very soft, as though dimly recollected). The final chord (C major) grows into a quotation from the First String Quartet by the Munich composer Hans-Jurgen von Bose, here used to obscure the harmony. This quotation leads to the final section which integrates the chorale 'Es ist vollbracht' from Bach's St John Passion and musical material from Variation 5 (with utmost intensity of expression). The harmony of the piece is quasi-tonal in that it derives rigorously from the harmonic progression of Mozart's theme in the manner of a passacaglia. However, it is permeated with trenchant microtones, and these form the main vehicle of expression within the harmony. A similar process takes place in the melody: the expression is heightened by the heterophonic splitting of the melodic lines, at times intensified almost to the breaking point."

In short, a composer of strong sentiment with a wealth of ideas. -- Wolf-Eberhard von Lewinski (Translation: J. Bradford Robinson) ]]> Wed, 03 Dec 2008 21:00:00 +0000 schweinitz music periodic music contemporary music african music wolfgang von schweinitz aleatoric music post-serial music harmonic Wolfgang von Schweinitz, "Variations on a Theme by Mozart)" <![CDATA[Gare du Nord - In Search of Excellounge [2001]]]> http://www.musicratty.com/article/2693335cec312bf71fd2faef7e12ad93 http://www.musicratty.com/article/2693335cec312bf71fd2faef7e12ad93
1. How Was It for You?
2. Taxi au Moulin
3. Tune Up
4. Pablo's Blues
5. Excellounge Bar
6. Disco-Tèk (Boogie All Night Long)
7. Room 69... Moi?
8. Searching Gainsbourg
9. Poem Rouge

Gare du Nord is a Dutch/Belgian lounge-duo formed by Doc (Ferdy Lancee) and Inca (Barend Fransen). Ferdy Lancee and the Belgian saxofonist Barend Fransen started their cooperation in 2001, as a result of a soundtrack for one-off lounge in Belgium. Music comes in the hands of the large independent label Play It Again Sam in Brussels which results in the album Excellounge (2001) and Kind of Cool (2002). Some tracks can be found on the soundtrack of the series Six Feet Under and the horrorfilm Ghost Rider (2006). In 2003, Gare du Nord continued with nine men touring the Netherlands and Russia. In their own Cell4-Studio in the Netherlands the third album Club Gare du Nord (2005) has been made. In the Netherlands, Gare du Nord got a wider audience after the release of their new album “Sex ‘n Jazz” due to their cooperation with lingerie designer Marlies Dekkers and controversial author Heleen van Rooyen. The latter used their CD as a soundtrack for the release of her new book “Stout”, which means ‘naughty’ in Dutch. The publicity around this book created a lot of exposure for the composer duo…The album “Sex’n Jazz’ also marks the appearance of sensuous Italian singer Dorona Alberti, who’s voice accompanies sexy tunes reminiscent of Parisian Jazz clubs.

]]> Wed, 03 Dec 2008 20:35:00 +0000 gare nord album club gare ferdy lancee barend belgian saxofonist barend netherlands independent label play book stout Gare du Nord - In Search of Excellounge [2001] <![CDATA[MOODY BLUES, THE - Seventh Sojourn (1972)]]> http://www.musicratty.com/article/416b11afa1e4275ab6fa6de909bdd294 http://www.musicratty.com/article/416b11afa1e4275ab6fa6de909bdd294

While the Moodys were often accused of conceptual preciousness and pretentiousness, and their spoken introductions advanced as proof of this quality, it would seem like they had tongue firmly in cheek rather than foot in mouth. By all accounts, "Seventh Sojourn" was done at a time when the band weren't having much fun at all, and they probably had little taste for faux pomposity. But the many critics who have savaged the Moody Blues over the years have already had their say, and now it's my turn. Whether the group was going thru the motions or not by this point, it remains that the last of the seven classic albums is yet another magnificent team effort.

The album is launched by a brief fade in, into one of Michael Pinder's most lushly depressive movements, "Lost in a Lost World". While lacking the range and degree of experimentation of "My Song" and the clarity of expression of "Melancholy Man", it remains a powerful opening. New Horizons is one of Hayward's most enduring melodies, a near perfect ballad with a touching chorus and a gripping solo, all awash in mellotron(Chamberlain). Ray Thomas is probably my least favourite vocalist and composer from the Moodys, but "For My Lady" is a pretty folk song without some of the trifling embellishments that characterize many of his contributions. The accordion and the imaginative backing vocals at the finish are among the highlights. The two hits on the album are both written by John Lodge and feature real strings, but are otherwise dramatically different. "Isn't Life Strange" is a slightly twee gently orchestrated tune that is highlighted by the band's trademark harmonies in the chorus, while "I'm Just a Singer in a Rock and Roll Band" is an incessant rocker that hints at some of the pressures and disillusionment that Lodge and his bandmates may have been experiencing. It seems clear to me that Electric Light Orchestra, for all their Beatle-esque pretensions, were heavily influenced by this song, but let's not hold that against the Moodys.

Elsewhere, Hayward and Edge combine for a more melodic uptempo number, "You and Me", which bests similar tunes like It's Up to You that had appeared earlier, while "Land of Make Believe" pushes beyond it's sing songy verses into a variety of exercises that would seem to have formed the blueprint for the Bluejays (Hayward and Lodge) album. "When You're a Free Man" is another morose Pinder song that aches with longing and nearly abandoned hope.

While "Seventh Sojourn" clearly represents the end of the road of sorts, in adversity the Moodys produced one of their finest and most cohesive soundscapes, even if this seems less of a concept album than any of the prior six. It could be argued that the band's legacy would have been better served if this album had remained the group's final resting place.

by kenethlevine


MOODY BLUES, THE Music Online:
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]]> Wed, 03 Dec 2008 17:31:34 +0000 moody blues pretty folk song seventh sojourn song concept album album morose pinder song roll band band MOODY BLUES, THE - Seventh Sojourn (1972) <![CDATA[British composer/arranger/pianist/vocalist Mark Northfield the subject of December's Fingertips Q&A]]> http://www.musicratty.com/article/88f67457bd347a92f6d3aca12a13e4be http://www.musicratty.com/article/88f67457bd347a92f6d3aca12a13e4be The latest installment of the Fingertips Q&A is now online, this one featuring British composer/arranger/pianist and sometime vocalist Mark Northfield. Northfield's haunting song "Zero" (he did in fact sing on it) was featured on Fingertips back in July, and I must say the gent has more going for him than one spiffy song. His startlingly thoughtful responses to five questions about the current and future state of the music industry are well worth checking out if you're interested in such things, or might be someday. Read the Q&A here, and find out more about Mark Northfield on his web site. The cat has no web site, to the best of my knowledge.]]> Wed, 03 Dec 2008 17:20:00 +0000 vocalist mark northfield mark northfield northfield web site fingertips spiffy song startlingly thoughtful responses song british British composer/arranger/pianist/vocalist Mark Northfield the subject of December's Fingertips Q&A <![CDATA[NASCITA DELLA SFERA - Per una scultura di ceshia (1978)]]> http://www.musicratty.com/article/19c5355aeef09b5631ee113704c32d10 http://www.musicratty.com/article/19c5355aeef09b5631ee113704c32d10

A dreamy experiment for fans of the avant-garde

Do you like Ummagumma’s studio side? How about “Alan’s Psychedelic Breakfast?” If you answered No you can probably stop reading. But if you like that kind of weirdness you may enjoy this super rarity from late ‘70s Italy that is being released by BTF for the first time ever on CD. Carlo Barbiera, keyboardist and composer of this group begins his description of the project as follows:

“To wrap up sculptures in a cloak of sounds, in search of tri-dimensional music…”

“Nascita della Sfera” (Birth of the Sphere) produced this sprawling conceptual work based on the life of Italian sculptor Luciano Ceschia (1926-1991). Barbiera wrote the piece and assembled a large troupe of musicians to record it. In the ‘70s the LP was a very limited private pressing, but BTF/AMS have remedied that with a tasty gatefold mini-lp sleeve CD release. I have seen the results described as “experimental electro-acoustic progressive” and also “proto-folktronica.” ItalianProg.com says the work reminds a bit of early Battiato. In general there are just enough flavors of the ‘70s RPI scene to appeal to its fans and the rest should be fans of the avant and electronic genres. It is a product of its time and a bit rough around the edges so be aware of that. If you like your prog polished with top notch production values and linear sensibilities, this is not for you. This is a home-made sounding project that pays no lip service to any commercial conventions, something that not everyone will appreciate but only adds to the fun for me.

It is charming and absolutely successful progressive music to my ears. While the CD is chaptered 32 times, the pieces are connected and this album plays like one long daydream. You move from one short sound experiment to the next: some are beautiful, some are dissonant, some are fairly traditional, some are totally musically insane. In short, just what the adventurous listener craves. To give a bit more description I’ll describe some of the more common track scenarios. One track will be an acoustic guitar just frittering away like Gilmour does during Psych Breakfast, very soft, nostalgic, beautiful. The next track will be short flute or sax solo that drifts off down a dark hallway. Then you might have cacophony of hideous loud clanging noises over voices. Then a piano solo or clocks ticking or running water. Then spoken word vocals. Then a variety of synthesizers creating a wall of sound. Then a child’s laugh. You get the point? It’s the kind of album one either loves or hates, which is why I referenced the two widely known Floyd pieces. This album is even a bit more “out there” and frankly a bit more sincere than the Floyd works I mention—Ummagumma sound a little contrived in places whereas this album feels more natural. The guitar playing is quite frequent and very enjoyable as the players try out several different styles from spacey acoustic to blues to jazz to even a brief bit of hard rock. The acoustic guitar of “Campenelli” literally sparkles with effervescence to great effect and are back by strange piano and synth sequences. The saxophone excursions near the end are like a person coming apart…beautiful at first but descending into some chaos. What I really like about this album is the complete freedom from the chains of a rhythm section. So much music is a slave to having constant drums thumping away—this album allows musicians to play free-form without being constrained by that. Like a situation comedy that is brave enough to not use a laugh track there simply are no rules here. This is about sound and the moods the sounds conjure, it is not about “songs.” Overall I find this album enchanting and perfect for a rainy day. My guess is that some fans of today’s more hard-core avant-garde projects may find this album a bit “quaint” as it doesn’t pack the in-your-face edge of someone like Toby Driver. But that doesn’t mean it isn’t viable. This album is interesting to me musically, historically, and has the charm of its creator coming through via boundless enthusiasm.

The BTF reissue is even more generous than usual with two separate, thick booklets, one in English and one in Italian. The liner notes written by Barbieri are some of the most heartfelt and humorous I’ve ever read. He recalls moments of his life in a sort of stream-of-consciousness burst which fits well with the music here. Great detail is given about other contributors also, their backgrounds, and what they are doing now. The sound is taken from the original master tapes and while not exactly awesome it is certainly acceptable to me. Barbieri and his 13 year old aspiring musician son worked together on processing 13 additional bonus tracks adding more than a half-hour to the dream sequence. There is some real bang for the buck here for the experimental music lover but it requires a listener with patience as well as an open mind about what “music” really is.

by Finnforest


NASCITA DELLA SFERA Music Online:
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]]> Wed, 03 Dec 2008 16:40:49 +0000 nascita della sfera album album feels awaythis album short sound experiment short bit rough bit avant NASCITA DELLA SFERA - Per una scultura di ceshia (1978)