La Moto From Septiembre 2015 Pdf

The duo of modern Italian prog notables Fabio Zuffanti (Finisterre, Höstsonaten, La Maschera Di Cera and his own solo works) and Stefano Agnini (La Coscienza Di Zeno) collaborate on the new Italian progressive super-project La Curva Di Lesmo. Inspired by the first story of the surreal, erotic and sci-fi comic books `Valentina' created in 1965 by artist/writer Guido Crepax, the pair wished to combine that shared interest with elements of the most mysterious and esoteric progressive releases, both Italian and worldwide…

While this first recording of 32 of Costanzo Festa’s 125 variations on the popular cantus firmus melody La Spagna is expertly performed and sounds terrific, this definitely is a disc that will appeal primarily to specialists and other devotees of 16th-century instrumental music. Listeners who appreciate such things will be fascinated with Festa’s imaginative and highly skilled treatment of the 37-note “theme”, which he preserves intact throughout each of his contrapunti, which employ varying numbers of parts, from three to 11. The latter, Contrapunto 125, which is “the last variation of the manuscript”, is grand and richly harmonious and Paul Van Nevel’s choice of instruments fully exploits these attributes.

Battles' John Stanier, Ian Williams, and Dave Konopka always sound psyched to play together, but never more so than on their first entirely instrumental album, La Di Da Di. While vocals – first provided by Tyondai Braxton on their early work and by a host of collaborators on 2011's Gloss Drop – might have seemed necessary to humanize their experimentation, they're not missed on the band's third full-length. If anything, removing them gives the trio's ideas to generate sparks the way they did on Mirrored (particularly on "Tricentennial," which recalls the mischievous alien anthems of their debut) while keeping Gloss Drop's immediacy. Battles' mix of muscular drums and riffs and heady melodies and electronics has never sounded so liberated, whether on "The Yabba," a thrilling seven-minute excursion that sounds more like seven one-minute songs strung together, or on the relatively serene "Luu Le," which uses the same amount of time to close the album with a sun-dappled suite. Here and throughout La Di Da Di, the band sounds mercurial but not chaotic, with an interplay that ebbs and flows like creativity itself.

Formed in Florence in 1964 with a line-up which included brothers Ugo and Raffaele Ponticiello along with bassist Giuliano Giunti and drummer Ubaldo Palanti (later replaced by Mauro Sarti, who also played with Campo di Marte and Bella Band), Spettri releases some singles in 1966-67, evolving then from the intial beat style to a rock sound with hard influences. Drummer Giorgio Di Ruvo joined them in 1968 and the line-up was enriched by organist Stefano Meloni in 1970 and bass player Vincenzo Ponticiello in 1971. The group's live repertoire was made of covers by the likes of Deep Purple, Black Sabbath, Spirit, but they began composing original material in form of a suite, issued on record for the first time only in 2011 and often played at the time in their concerts held in Tuscany and Lazio…