It is currently Tue Sep 29, 2026 5:53 am
holy crap yes, thanks for pointing that one out.tadk wrote:The Contest of Pleasures - Tempestuous (on Another Timbre)
other future releases on this label also look very interesting
http://www.anothertimbre.com/page5.html
No, not particularly, though in the EAI world its probably not overecorded either. I just welcome the opportunity to hear musicians I know and am able to watch live on CD as well.hatta wrote:Why's that? Do you feel that region is underdocumented?Richard Pinnell wrote:...and a real UK lean to things, which for me is a real positive.
http://www.bbc.co.uk/music/release/qq9x/" onclick= "window.open(this.href);return false;Sid Smith wrote:
Listeners familiar with his erratic output of last couple of decades will know that when Scott Walker breaks those famously-long bouts of public inactivity the results can be perplexing, challenging and downright confrontational.
Commissioned by London?s South Bank Centre in 2006 to produce a score for a contemporary dance piece, Walker has turned in a series of oblique and angular strokes of the musical brush which coalesce into four edgy movements.
Whilst sharing the uneven contours that shaped The Drift as well as some personnel (including Mark Warman, co-producer Pete Walsh and Alasdair Molloy ? seen in the recently released SW documentary 30th Century Man being instructed to slap and punch a side of pork for percussive effect), the biggest difference is the absence of Walker?s haunted croon.
The resulting chamber music has the strings, woodwind, and brass of the London Sinfonietta deploy terse motifs and abrupt flicks of rhythm slashing at the air, trading places with ambiguity, silence and solitude. Cinematic echoes abound. The taut grunt of the bowed basses evoke flashes of John Williams, Bernard Herrmann and Elizabeth Lutyens, whilst the dissonant churning of ?4th Movement? has shrill galloping Louis Andriessen-like repetitions on the brass, colliding one on top of each other before being electronically accelerated into oblivion.
No stranger to the emotive cues and triggers required for movie soundtracks (in 1999 he provided the music to Leos Carax? Pola X), this score provides ample opportunity for dancers to make their mark. A master of his entrances and exits, Walker gathers all the loose ends thrown up in to the air during the previous 20 or so minutes, distilling them into a sustained D chord, and thus providing the album with a powerful sense of mournful resolution.
No doubt it?ll be labelled ?pretentious? by members of the critical orthodoxy that, by and large, prefers musicians and artists to remain firmly inside the box into which they?ve been interred. Walker has never been one to conform to anyone?s expectations and having been in the game this long, he?s not about to start now.
Sid Smith (2007-09-21)
I feel the same way, but I can't help but hope he'll pull it off this time...Dan Warburton wrote:Re: the new Scott Walker album And Who Shall Go To The Ball ? And What Shall Go To The Ball ?
Can't say I'm likely to run out and buy this one in a hurry, but if I come across somewhere I daresay I'll pick it up. Unless he sings something on it. Most of his orchestration is heavy, verging on the bombastic, but it works in context with the voice. The orchestral stuff on its own could be pretty turgid, I suspect. Pola X is the Walker album I play the least. (That should be on I Hate Film before anyone replies)
Based on Mode's press release, these are all new recordings and not re-issues of the recordings previously available.matinee wrote:
Gavin Bryars The Marvellous Aphorisms of Gavin Bryars: The Early Years (Mode), featuring his two tracks from Eno's Obscure series and two others. Hommages is also getting reissued soon by LTM.
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