▼Joined : March 28, 2009
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Cool: look at the shadows that railing casts on the catwalks.Fine-tuned setting of a shot: unsettling, even relaxing as stopping-stepping for a minute out of the world can be and more up to date than Munch's "Shout".In the thumb version of this cover I saw a drive bending at night ( very hitchcockian) and not a cat-walk.Some of the best shortest ghost stories written in many languages are set in corners like this.Clearly, Madawa did not listen to what I suggested in my previous review about diversifying his repertoire.In this cover I'd want to see Peta Wilson as "la femme Nikita", but he insists on placing under our noses
saints David Hasselhoff and Edward Mulhare.
I would suggest not to pay other tributes beyond those which are due ( to the State and to the Church, that's for sure ), because those given to figures and for reasons far less deserving than the above mentioned are a waste of time and spirit.So I am always wary of those albums or those concerts advertised as a "tribute" to artists no longer active or even passed away because I know that attending the same concerts would be as stupid as to play Lotto.
Listening to these three tracks by MischAPEX is refreshing and distracting like a short stroll along a lively waterfront, nothing more nothing less: that's what you get from this EP for free.
Refreshing and distracting but what has Malcolm McLaren got to do with it?It's a pity the work end in echoes from his "Fans".
A cette-ci je préfère la version 'en plein air' de Fos sur Mer pour la meme raison pour laquelle je préfère voir un film au cinema que dans un dvd; la partecipation du public, le seul instrument qu'on peut jouer sans mains et presque sans le contact phisique.Je le dis sans me cacher la généreuse interpretation de ce titre à lui que JLM a donnée dans un studio d'enregistrement, en créant une atmosphere plus conforme à la prémière nuit aprés la Liberation que ò la France contemporaine.
Le monstre satisfait en version carte qui se présente en vers ici avec le monologue que vous allez écouter maintenant, est assez mediocre: il ne se fache de rien, il ne se plaint de rien, car son auto-estime est sous controle, il n'a pas de soin pour son rapport avec la societé.C'est un monstre assez inoffensif.En autres epoques il aurait pu faire la ronde dans la ville, en criant de temps en temps:"Tout va bien, bons bourgeois, dormez tranquilles!"En effet, ce protagoniste n'a ni des victoires à célébrer ni des défaites à avaler.
Well, it seems you've obtained expectations from a heap of good people with this Bond-like sixtiesh single that deserves of being approached to Peter Cook's "I don't need you" from the 1967 "Bedazzled".
What we get from this single is a glimpse and a taste of the high life night premises, where the interpretative qualities of the young lady would be even more appreciated.Ay, if you can match up this single of yours for the duration of an entire album,do sell to the Devil your souls and seek a record contract!
Je viens de l'écouter et çela ne se répéterà:De 2010 à 2410: quatre cents ans d'ennui: Mais ce n'est pas un "Love Dream", alors, c'est un "Wedding Dream". Casse-pieds cauchemar.Cependent, l'idée d'une histoire d'amour qui se derpule pendent quatre cents ans,meme si médieval, est jolie...Tristan et Yseut, rien de quoi...et le choix de la photo, avec cet trompe-l'oeil assez sympa, heureuse.Puis il y a des accords
Pourtant ça n'a rien a voir avec la musique.Je n'aime pas ce
"Love Dream"; meme sans ce titre,meme sans titre, je n'aimerais pas ce qui se déroule du début jusqu'à la fin.En somme, si je me mettais au piano dans l'apres-dejeuner, je sonnerais vraiment ainsi et ce n'est pas l'envie qui me fait parler ainsi.Je perdrai mon temps seulement avec ceux plus bons que moi.
L'auteur ous a fait remarquer que "2010","2110","2210" etc. indiquent le vingt octobre, le vingt-et-un octobre, le lendemain...Meme pas dans l'écriture de plus ridicules textes d'alchimie on a fait récours à une notation aussi obscure et de la trouver employée par un musicien c'est surprenant, car chaque morceau de musique est mieux décrit par de simples nombres bien arrangés.
Ca explique mon bizarre allusion à une histoire d'amour qui se déroule pendent quatre cents ans, lisible ici sur.J'en revendique la paternité.Pourtant, je fais cadeaux aux musiciens enregistrés sur Jamendo.Com de cette trace d'un poéme simphonique ou d'une chanson ou d'une opera-rock: spremetevi le meningi, chers messieurs et soyez creatifs!
Proprio quello che mi aspettavo da Cometa, un artista nelle cui capacità rappresentative ho la massima fiducia, la occasione di ascoltare della musica a 360° pienamente convincente dala prima all'ultima pennellata ( con l'impiego di tecniche di cui ignoro tutto).
Composta e circospetta, questa raccolta - consentitemelo! - di "nocturnes" mi ha suggerito una gemellanza tra l'arte di Cometa e di Nick Drake che sorpassa lo iato dei decenni e delle possibilità esecutive materiali che li separano.Nell'Ottocento avevano bisogno di bravi percussionisti e che i timpani andassero d'accordo cogli ottoni, per tenere desta l'attenzione degli ascoltatori in sala, da un movimento all'altro.Fortunatamente, gli artisti che abbiano compreso a fondo i sintomi creativi dell'"ambience" non ricorrono più a quei polverosi trucchetti da direttore d'orchestra, conferendo non di meno un'eguale digntiositò alle loro composizioni.
How many musicians did dream these musical landscapes before?Quite a few, althought their works
on the same subject is nothing more but a footnote in the mind of the conscious listener of this one.
Canoply Games has steered in a different direction from that followed by his previous chapter of "Post Music", the moment he set himsel to work on this one.Weather Music; Exterior Painting; Siberia as a State of Mind;Inventory of Moments Not Even God Deems Worth to Remember;Ramblings on a Theme
Suggested by a Mirror as Vast as a Solitary Horizon or Just the Plain, Cheap Synopsis for the Same, Old SF Novel?It's up the my reader and his listener to decide but one thing not whimsical in Canoply Gemes's music, in plain sight in those titles distribuited between the tracks remains the
philosophical approach to a working definition of problems and discrepancies whose roots Canoply Games finds not in Music but in political Reality.
Incomplete if a show will never be drawn on its tempo.Should be experimental even the show, with some hints of positive exhibitions.After all, grace and mechanicalness intertwine into one another throughout these pieces and the spirit of Majakowskij hovers over this humoristic, or burlesque work.
Once upon a time there were "-isms", then came the "Post-s".PS2 swept the board of all this.It's too late to declare the Dawn of the Age of Post-Reviews to Post-Musics from Post-Communist Russia since, twenty years ago, a couple of Italian critics did it already: since then, one affirmation from them that sounds like "I'm a Turd", if associated or "Clipped" to any work of art, provides provisions fro a long journey for that item and for a long career for its maker.Let's strike a bargain, Canoply Games: that "Post" frees and encourages us, while listening to this composition of yours, to all previous musics: Andrej Tarkovsky's Movies Osts, late Sixties British Sci-Fi TV Serials,"repechages"of
even previous Italian Sci-Fi flics, most of all to Robert ALTMAN's "QUINTET" soundtrack ( but this correlation is suggested by the Bratsk's environs shot you put on the cover ).Sounds like the Seventies, but some next-door universe's sophisticated 70s, this work of yours. Americans would love ya for this, if ever you'd get them paying attention to your works.In that case, you'll be second after Gorby in their hearts.
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