| | La Escuelita De Mama Gallina Shapes (Las Formas) CD La Escuelita De Mama Gallina Discography of CDs
Shapes (Las Formas) Music La Escuelita De Mama Gallina Shapes (Las Formas) Songs | 1. | Circle :: Circulo |
| 2. | Square :: Cuadrado |
| 3. | Star :: Estrella |
| 4. | Triangle :: Triangulo |
| 5. | Rectangle :: Rectangulo |
| 6. | Oval :: Ovalo |
| 7. | Heart :: Corazon |
| 8. | Clover :: Trebol |
| 9. | Cookie Man :: Muneco De Galleta |
| 10. | Rhomb :: Rombo |
| 11. | Forms Remix :: Remix De Las Formas |
| Shapes (Las Formas) Review
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$15.75 Morals and Dogma is Deathprod's first solo effort in eight years -- his activities as a sound engineer and his participation in the improv quartet Supersilent have kept him very busy in the meantime. But despite a lot of water having run under the bridge, the album doesn't present a rupture or even a significant change in direction from its predecessors (especially Treetop Drive). There's a simple explanation to this: the album's magnum opus, "Dead People's Things," was recorded sometime in 1994, at the time Treetop Drive was going through its final stages of production. "Orgone Donor" is from 1996; the two remaining tracks were recorded in the fall of 2000 for a dance performance by the Kreutzer Kompani. Then again, Deathprod's music creates its own space out of time, so the chronological aspect (or the "newness" of the music presented here) has little relevance. What does matter, though, is the quality, and on that count Morals and Dogma features some of Deathprod's finest, most moving music. Presented as the stark accompanying soundtrack to the rituals of a secret society (hence the black-on-black design), the album consists of four engulfing drones. Hans Magnus Ryan and Ole Henrik Moe, faithful collaborators since Helge Sten's earliest experiments, provide once again the musical body in which Sten works what he calls his "audio virus." ...
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$12.59 Patrizio Buanne is veritably obsessed with the sound and style of the 1950s and '60s. As a child, he won an Elvis impersonation competition when he dressed as a young version of the King, and he grew up listening almost solely to Italian or Italian-inspired music from that same time period. And now, with his debut album, The Italian, he is able to sing many of the songs he loves. Recorded in London with the Royal Philharmonic, The Italian often harks back to the sound of the original recordings, like in Jimmy Fontana's "Il Mondo," Engelbert Humperdinck's "A Man Without Love," or Mario Lanza's "Come Prima," and Buanne sounds good, his baritone blending well with the orchestra. However, Buanne runs into problems when he tries to modernize the classics. While "Parla Pił Piano," from The Godfather, starts out nicely, the addition of a dance-like drumbeat sounds corny and forced. Even worse is the cover of Fontana's "Che Sarą," which turns the song into an easy listening radio favorite, culminating in a gospely choral extravaganza, with alternating phrases from the crooning Buanne, who transforms the lines of leaving one's prospectless town (but with the intention of returning) into overly dramatic lovesickness, and the choir, whose sharp interpretation of the normally fluid Italian syllables gives a threatening feel to the piece. The only truly successful of these adaptations is "L'Italiano," which adds a nicely moving piano line, an electric guitar, and a brass section to the already great song, and sounds new but not kitschy. Unfortunately, the same cannot be said of "Home to Mamma," which Buanne helped co-write. It's a bizarre mix of "Funiculi, Funicula," Lou Bega's "Mambo No. 5," and the Italian male's devotion to his mother, and is more confusing than anything else. The same adjective can also be applied to the Italian-language version of Crowded House's "Don't Dream It's Over" (called "Alta Marea" here), or the ...
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