There’s no question that Manchester’s Dead Sea Apes have made an impressive footprint in the world of heavy psych. Things change quickly from there though. Relying more on gravity - and gravitas - the heaviness of Dead Sea Apes is far beyond an arbitrary turning up of the volume knob and a trip to the the guitar shop for just one more fuzz pedal. Underneath the slow-burn bone-rattlings and rumblings, there’s a deliberateness and nuance to their catalogue that sets them apart from other bands that traffic in bringing the ‘heaviosity’. While their influences and methods may not be obvious to the casual listener, it’s the deep divers that Dead Sea Apes speak to…
The new Sorrentino's TV series is already a success and, as usual, the choice of the soundtrack is profound and extraordinary. The Young Pope soundtrack mixes classics with electronic music, forgotten Italian songs (Nada "Senza un perchè" / Roberto Murolo "Era di Maggio") with Jeff Buckley, Max Richter, John Adams, Bela Bartok, Antonello Venditti, Jefferson Airplane and Domenico Modugno. A mystic experience.
Sven Väth is looking relaxed. The global House and Techno scene continues to define his life but he deals with it now at his own pace. To his mind, all that stuff is not only brimming with life but also directed by a higher order or even by the kind of “soul” familiar to us from older historical genres such as Jazz or Blues.
In the 41 - year gap between these two sonatas Fauré, increasingly beset by deafness, withdrew into a more private, recondite world all his own. The Second, in consequence, has never enjoyed the popularity of the First—and in fact was conspicuous by its absence from the CD catalogue until this welcome new release. Collectors may recall that when Lydia Mordkovitch and Gerhard Oppitz recorded the First for Chandos they preferred to couple it with Richard Strauss's early Sonata in E flat. Comparison of the two teams in the A major Sonata, Op. 13, leaves me in no doubt that the newcomers would be my first choice. In saying that, I don't want to underestimate Mordkovitch. But with her fine-spun, silken tone and sensitively tapered phrasing she is far too often overpowered by Oppitz, who in the resonant acoustic of St Luke's Church, Chelsea, emerges not only too loud but also rather too often the victim of his own over-generously used right pedal. The Cologne venue accorded to Mintz and Bronfman is kinder: though anything but timid Bronfman preserves far greater textural clarity, and never allows his piano to outweigh Mintz's violin unless at the composer's own behest.(Gramophone, 1/1988)
Eventyr means “adventure.” Classical listeners may also recognize it as the name of Frederick Delius’s lovely 1917 tone poem, which is often translated as “Once Upon A Time” to underscore its origins in the folk tale collections of Norwegian scholar Peter Christen Asbjørnsen. Here, the name adorns one of Jan Garbarek’s most recondite efforts to date and, like its own “Once Upon A Time,” houses a world of lessons and signs for those willing enough to interpret them. Joined by John Abercrombie and Nana Vasconcelos, he spins a string of seven improvisations, rounded out by a standard, “East Of The Sun And West Of The Moon” (Brooks Bowman), that doesn’t so much end the album as open us to its nebulous center.