Coates 7

Incredible album of bleeding-heart catharsis from cellist Oliver Coates, think Arthur Russell doing drone metal with Fennesz, and you’re not far off Coates’ capacity for tear-jerking genius here.

John Wilson, today’s foremost conductor of film and British light music, finds himself the centre of attention this summer with a slew of performances and media appearances that cast the spotlight on his singular specialty, and particularly the music of Eric Coates, as heard on the Avie release ‘London Again’. A new album from John Wilson and the RLPO on Avie entitled ‘Made in Britain’, due for release in October, will feature music by Elgar, Vaughan Williams and Walton amongst others.

What’s this? Today’s holiday gift? One final transmission from the core of the planet! Cresting slabs of concrete and powdered bone, rich soil—improvisation freak flag flitters atop a gutted highrise: Gong Splat. Featuring Ryan Sawyer on drums, Greg Coates on upright bass, Wilder Zoby on synth and mellotron, Andres Renteria on conga, bongos and hand percussion, and John Dwyer on guitar, synths, pan flute, cuíca, hand percussion, space drum and effects. This one is spitting fat and neon night-light city drives, white in the corner of the pilot’s mouth. Furry, fuzzy and frenetic, motorik and full of blood-rich ticks… maggots unite! There’s a show tonight! Welcome back humans.

Gloria Coates - Indian Sounds (Symphony No. 8) (2002) {New World Records 80599-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 315 Mb | MP3 @320 -> 182 Mb
Full Artwork @ 300 dpi (jpg) -> 20 Mb | 5% repair rar
© 2002 New World Records | 80599-2
Classical / Contemporary Classical

Gloria Coates (b. 1938) is of a modernist generation for whom music is a vehicle for dark, disturbing emotions, for whom the range of musical sounds must be greatly expanded to blast through audience complacency and address the special horrors of our time. At the same time, she is capable, as few members of her generation are, of limiting her materials and welding a work into a single gesture. She realizes, as most serialist and expressionist composers have not realized, how much more intense a piece of music can become when it is narrowly focused, when it does not flutter around to every possible technique, but hammers away within well-defined limits.