| | Glenn Kotche Mobile CD Glenn Kotche Discography of CDs
 |
|
Our Price: $13.89  CDFor Sale Usually ships in 1-2 days
Our Price: $7.59
|  |
Glenn Kotche's major-label debut, MOBILE, is a tour de force of percussive exploration. Kotche's imaginative journey begins with "Clapping Music Variations," his tribute to serial music composer Steve Reich, which uses Reich's original "Clapping Music" as a foundation for the drummer's own percussive improvisations, while "Monkey Chant" takes as its inspiration vintage recordings of Balinese singers, which Kotche interprets with different rhythmic and tonal voices. About as far away from a conventional drummer's solo album as it's possible to get, MOBILE is a coherently assembled and thought-provoking experience.
Recording information: Semaphore, Chicago, IL (2005); Soma E.M.S., Chicago, IL (2005); The Loft, Chicago, IL (2005).
Photographer: Michael "Mick" Wilson.
Personnel: Glenn Kotche (percussion).
Audio Mixer: Glenn Kotche.
Uncut (p.114) - 3 stars out of 5 -- "[The album's centrepiece] is a showcase for his range of tweaks, metal groans and rhythmic thunder."
The Wire (p.59) - "CLAPPING MUSIC VARIATIONS introduces a technique that's central to MOBILE's rationale -- rests are transformed into notes, while rhythmic patterns have pitches assigned to them to create melodies."
Down Beat (p.85) - 3 stars out of 5 -- "It's big brainy stuff, with lots of chops, too....The skill is something to admire. The ambition, as well."
Global Rhythm (Publication) (p.46) - "[I]t displays his interests in Indonesian and African rhythms, jazz, and even the minimalist classical compositions of Steve Reich....It's brilliant."
Mojo (Publisher) (p.112) - 3 stars out of 5 -- "[P]iano, thumb piano and electronics take on rotating forms evocative of the album's title....Ambitious, accessible and beautifully played." Glenn Kotche Mobile Songs Mobile Review
GuidelinesRemember to focus your comments on Glenn Kotche Mobile CD. Check our review guidelines for specific details regarding customer review policy. To submit your review, please fill out the above form and click "Submit Review." A staff member will then verify your review meets our guidelines. Upon approval, your review will be published within a few days. Please do not use this form to comment on web site errors or for order related questions. If you have concerns of this nature, please contact customer service by filling out this form.
Purchase Mobile CD To buy, Click on price to add to cart | Fall I Can Hear The Grass Grow (2005)
Mobile album
 $7.99 
| | Sigur Ros Takk... CD (2005) Digipak
Mobile CD music
$10.65  
| | Grizzly Man CD (2005)
Mobile music CDs
$14.55 
| | Loose Fur Born Again In The U.S.A. CD (2006)
Mobile songs
$12.69
| | Joanna Newsom Ys CD (2006)
Mobile album
$12.69  
| | David Byrne Knee Plays CD (1985) Bonus DVD
Mobile CD music
$15.65
| | Mudvayne L.D. 50 CD (2000)
Mobile music CDs
$8.99
| | Emerson, Lake, And Palmer Original Bootleg Series From Manticore Vaults, Vol. 1 CDs (2001)
Mobile songs
$45.35
This set and its companion, the eight-CD volume two, display all the strengths that made Emerson, Lake & Palmer one of the world's most popular bands during the '70s, and the weakness that comes with a trio's attempt to play complicated music. Keith Emerson was a virtuoso keyboard player, Greg Lake supplied a pleasant voice and flair for writing melodic songs, and Carl Palmer played drums as though he would perish if he stopped. But the group lacked the depth of fellow progressive rock bands, such as Yes and King Crimson. Those groups supplied multiple lead instrumentalists -- Yes with their guitar/keyboard tandem and Crimson with their venerable guitarist, Robert Fripp, and a series of cohorts who played saxophone, violin, or second guitar. These and other bands (e.g., Genesis) also relied on more than one songwriter. In ELP, Emerson was the lone lead player of consequence, while Lake was the only distinctive songwriter (for a handful of albums, anyway); Emerson was better at adapting pieces written by his classical heroes, especially Aaron Copland, than writing original material. When the band was on a roll, however, few of any genre could match them. The title of this package tells the story; these concert tapes were obtained from bootleg sources, most of them well-known to ELP aficionados. Inevitably, bootlegs display less than perfect sound. This collection is no exception. On the plus side, all are listenable. These shows, recorded between September 1971 and August 1972, contain much repetition. The lengthy "Take a Pebble" appears in all four concerts, as does "Tarkus" in its entirety. You'll have your fill of Mussorgsky's "Pictures at an Exhibition" and Copland's "Hoedown." ELP diehards won't mind because the improvisation breaks by Emerson make each version distinct. Casual fans and the prog-curious will find this to be a bit much and would do better to search for the two-CD King Biscuit Flower Hour: Greatest Hits Live set or one of the band's early studio efforts. Three of the programs in volume one either support or introduce material ...
| | Electric Soft Parade Holes In The Wall CD (2002) (Import) Germany
Mobile album
$10.55 
| | Jed Clayton Swing Into Action CD (2003) Import
Mobile CD music
$14.05
| | Andrae Crouch Soulfully CD (2005)
Mobile music CDs
$8.79
Live Recording
| | Jimmy Buffett Live In Hawaii CDs (2005) Bonus DVD
Mobile songs
$13.09
| | Greatest Voices Of The Century CDs (2006) (Import) Import
$17.69 | | Independents Eternal Bond CD (2006)
Mobile album
$10.15
in-de-pend-ence n. 1 the state or quality of being independent; freedom from the influence, control or determination of another or others 2 [Now Rare] an income sufficient for a livelihood - Websters New World Dictionary (Third College Edition) Y'see, no matter how far things spiderweb and branch out, its always gonna come back to one thing: scary. Scary, scary, and - since were already talking about it - scary.Hearsay has it that the only thing scarier to sprout from the muck and mire of South Carolinas swampland than guitarist Willy B is his partner-in-grime Evil Presly. Whereas Mr. B has that gentlemanly Southern smarm and a drawl that simply drips with git th shovel, Mr. Presly - a leather n leopard wrapped mass of mange, canines and charisma thats charmed the pants off more than one chimpanzee - is a brash, one-man avalanche. Put simply, put the two together on a stage, in a van or bar tab and somebodys gonna end up hurt and bawlin.In the early 1990s, the pair joined forces, vowing to destroy the boggy boredom and stereotypical sasquatchshit that was plaguing their local music scene. With an unhealthy devotion to horror films and frighteningly diverse musical tastes in tow, the Demonic Duo decided that the best way to pay tribute to their heroes - Conway Twitty, Iron Maiden, Etta James, The Specials and the Ramones among them - were to hammer them all into a shaker (no stirring, thank you) and serve the whole steaming and quickly-congealing mess over ice. A few years of doing so laid waste to not only a few band members, but a handful of demo recordings, compilation appearances and scads of hellish live shows as well, culminating into a deal with indie label Rockduster Records and the release of The Independents debut, IN FOR THE KILL. Extensive touring for IFTK resulted in shows with Voodoo Glow Skulls and Blink 182, as well as blossoming a friendship between Evil and Ramones bassist CJ Ramone. A few opening dates of the Ramones ACID EATERS tour followed, ending with The Independents being taken under the motherly leather wing of Joey Ramone, who volunteered to manage and produce the band. 1997 saw the band signing up to release the 7-song STALKER EP on Elevator Music, and then heading out onto the road yet again and teeming up with Rancid, Reel Big Fish, Green Day and several dates of the Ramones Farewell Tour, as well as the CMJ and South By Southwest conventions. Touring was followed by stints in the studio to record songs for the hilariously-hits-home Bruce McDonald film, HARDCORE LOGO, a Joey Ramone/Daniel Rey-produced cover of Danzigs Mother and several as-yet-unreleased ditties with Ramone himself handling vocals. 1998 was celebrated with the release of a self-titled single on Hellcat/Epitaph as well as dates on Vans Warped Tour, the New England Ska Fest and opening for everyone from Ronnie Spector ...
|
|
|
99157 
buttons below to play song samples
Adobe Flash
Email a Friend
