| | Bossa Nova: Cafe Leblon CD - Import
A collection of bossa nova songs released in 2004.
Import exclusive compilation. Details TBA. Cid. 2004. Bossa Nova: Cafe Leblon Music Bossa Nova: Cafe Leblon Review
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Michael Buble's third major US release (including the mostly live COME FLY WITH ME) stays on message--this young Canadian loves the lush, swaying music of his parents' and grandparents' generations. Buble's albums, however, are much more than mere back-in-the-day exercises. The production and arranging of David Foster (Celine Dion, Josh Groban) is eclectic in a way that firmly places the tunes at the dawn of the 21st century, and, more importantly, Buble possesses the chops and sense of style to re-imagine the adult-contemporary vocal genre in a distinctive manner. In addition to standards by Gershwin and Porter, Buble embraces a variety of sounds, from Motown ("How Sweet It Is") to bossa nova ("Quando, Quando, Quando" with Nelly Furtado) to the Beatles ("Can't Buy Me Love" with a "She Loves You" tag). With his smooth croon and charming persona, Buble is a natural performer, and, ...
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Picking up where the dreamy, hypnotic folk-pop of Milkweeds left off, Milksop Holly's Time to Come In features more of Mara Flynn's sweet, slightly twangy voice and plaintive acoustic guitars and adds strings, synths, and stronger songwriting. The result is a subtly powerful collection of songs like "Rust," in which Flynn sings sweetly malevolent lyrics like "Love is a slow fire that eats at your heart like rust... my face is full of poison" over a backdrop of acoustic guitars and rich cellos. The album ranges from earthy, countrified numbers like "When I Get Home" to spacious, psychedelic epics ...
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A collection of tracks from 7"s, a compilation, and unreleased live recordings, Intervention: Collection + Remix is not Waxwing's most consistent album, but it compiles incredible songs that every fan of the band should hear. The tracks off of the self-titled 7" (on Henry's Finest Recordings) are a little more rough-hewn than Waxwing's album material, but this gives them a powerful immediacy and, as always, the songwriting is downright impressive. The title track and "Kill the Messenger" (one of its original B-sides), true to Waxwing form, alternate between drifting emotion and powerful attacks. "Manicotti" (the second B-side) is the real oddity, with start/stop intensity and spiraling riffs that make it more of a hardcore cut then anything else in Waxwing's catalog. "Laboratory" could easily be on a Rocky Votolato solo record, until it breaks into a dark guitar wail matched by disturbed, shouted vocals. The live songs include a propulsive version ...
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Why is a successful visual artist presenting a music CD?Believe me, you’re not the first to ask. One very good answer is- that it’s fun.Next, maybe even better, is that I always wanted to do this. Since I was a kid playing with electronics in our garage, making music for the ears, or music for the eyes- are all the same to me. My approach to making sounds that fit together is much the same to me as painting.When I compose a work I am aware of the edges as much as the space in the middle.I am aware of silence and openness, and I am aware of sound as a graphic element that forms a boundary, or is a gesture. Gesture brings me to the Theremin. It is so simple, yet it takes a Tai Chi master to play it well. It takes a strong sense of pitch. (not perfect- nothing is perfect until it is dead.) This is all very intriguing to me.The Theremin is an endless breath that defines a space by moving effortlessly through it. It is so much like a voice, be it in this world, or as an unknown voice in another. Deep in the ocean is a mysterious world that is just within reach. We have yet to really explore those depths. Beyond our thin protective atmosphere is truly limitless space that cannot support us as we now exist. We are creatures of gravity and breath, and we have to take our planet with us to explore there. The Theremin is suggestive of both these kinds of Otherspace.My compositions are more informed by Classical composers. I grew up listening to European Baroque and Romantic composers when my friends were destroying their hearing and mental capacities with sensational acts like Led zeppelin and Jimi Hendrix. Never mind, I finally got around to them, too, but I listened ...
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