Continuing my week of composition, here is a set of fantastic violin pieces. Much of the stuff I have been posting is ultra-modern, atonal at times, often dark. These are much more conventional, but the energy and beauty here is quite uncommon. Urgent, precise energy and stunning technique.
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This one came as a surprise, not because the dude behind Pentimenti doesn't have talent, because he does, and lots of it, but because of just how far he has taken this line of thinking. Quiet now is one of the most assured and patient albums I've heard in a while, a sort of 'Imperial Distortion' with moments of dark ambiance, and even certain touches of musique concrete. I think of the cover when I think of its atmosphere: the viewer has perfect vision, but what is out there is blurry.
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I love this label. I own this, the Feldman piano pieces, and the Xenakis polytope collection. Tudor provided many of these masters with such inspiration, they wrote pieces specifically for him (some of which are on this set). He was a master of not just the structure of these pieces, but understanding the physical aspect, the recording environment within which her performed, and how distance and space could be manipulated to give depth beyond the notations.
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DJ Faust comes off as one of the most introspective of the "known" (how many really are?) turntablists. The music backs that up. There are the classic cuts that DJs appropriate here, sure, and if a record went without "fresh" screaching to a halt by some sharp cut, it would be a crime, but if you listen to the interludes, if you take the time to LISTEN...
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Tannoy frequencies sing notes of reverent mourn through the paved alleys of a submariner Pompeii. Undulating with the tide, guitar vibrations tear down walls, providing a constant rumble of percussion. Acoustic sonar blips break the roman dronescape tremors carrying with them the sirens of false rescue.

BIRD REQUIEM is the analogue creation of Summons of Shining Ruins, one of Shinobu Nemoto's respectable pseudonyms.

One of the greatest free jazz efforts ever. Cherry is known for a couple things, first, his time with Ornette when they set the jazz world on its ear. Later, Cherry fused a lot of "world" sounds into the music, and began playing extended sets. This is one of the best, but he has a lot of other, fine albums in this vein, especially Brown Rice. Lots of things by Cherry are shamefully out of print.
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This had gotten shuffled into some of my other albums, and I only recently listened to it after Alex said that some of the Marina Rosenfeld album worked like this. Well, he was not too far off. This album is sort of interesting because there is a pairing between noise and piano here that starts in unison, but eventually ends up out of phase. Both sort of work together, and end up working independantly of each other.
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