| | Antologia Del Cante Flamenco Vol 1 CD - Import
Antologia Del Cante Flamenco Vol 1 Music | List Price | $38.99 (You save $14.40) | | Category | Latin Albums, Fandango CDs | | Label | Phantom | | CD Universe Part number | 7618540 | | Discs | 2 | | Release Date | Jan 22, 2008 | | Additional Info | Import |
Antologia Del Cante Flamenco Vol 1 Review
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Personnel: Rubén Blades (maracas).
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On his third album, and first in nearly three years, songwriter and singer Duncan Sheik more closely examines the territory he explored on 1998's Humming with two exceptions: The arrangements are even more sparse, and the songs were written in collaboration with poet and playwright Steven Sater, who wrote all the lyrics on Phantom Moon. That said this is easily Sheik's strongest, and most mature record to date. In fact, it's downright moving emotionally, even with Sheik's trademark detachment, perhaps because of it. On the album's prelude, "The Wilderness," Sheik accompanies himself with a harmonium and a piano, singing "The word is told now/the word is said/the word is old now/and the stone is bread/the heart is bone, now/the heart is flesh/the heart is known, now/and the no is yes." And that's it. It's over, but the major concerns of this "song cycle" have been set in motion. Simply put, all of the songs on Phantom Moon gaze deeply into the heart, that jeweled organ that is considered by all faiths to be the true center of the human being, the true mind. In various settings, either a guitar, a dobro, a piano, minimal drums and bass, or the London Session Orchestra frame these songs with a stark framework to allow their fragile melodies -- highlighted by Sheik's gorgeous baritone -- and poetic lyrics to come to the fore. One song ends as the next begins, nearly overlapping, carrying the listener ever deeper into a space of reflection and appreciation for this aesthetic whisper of an album. If ever Sheik were compared to Nick Drake, Phantom Moon would be the appropriate location for such a comparison, with the haunted string section framing "Sad Stephen's Song," with its skeletal dobro and dulcimer. Or perhaps the (relatively) up-tempo folk song structure of "Time and Good Fortune," which is lushly -- if understatedly so -- orchestrated by the not only the LSO but by Sheik's use of glockenspiel, harmonium, banjo, double bass, and drums. This track sounds as if Phil Ochs were singing a song written by Drake and arranged by John Cale. The listener wonders where the film is to accompany such striking yet subtle imagery. And with the appearance of labelmate Bill Frisell on the beautiful melancholy th
Recorded at Sear Sound Incorporated, TMF, New York, New York; Angel, London, England; Other ...
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Targ. 2004.
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From a technician's standpoint, DRIFT is among Flotsam & Jetsam's finest work, bridging the gap between progressive rock and backstreet thrash. Flotsam & Jetsam has always been a band that defies trends. DRIFT is more visceral than Queensr˙che, more clear-cut than Dream Theater, and fiercer than Fates Warning. Where CUATRO, the band's previous effort, seemed primarily single-driven, DRIFT is album-oriented metal. The band's craft is so sharp and so refined that even the cover of Black Sabbath's "Fairies Wear Boots" sounds like an original Flotsam & Jetsam track.
Flotsam & Jetsam are beginning to sound a little tired on Drift, their fifth album. Nearly a decade after their debut, the band still sounds tight and their musical skills are quite impressive. Nevertheless, there is a distinct lack of new ideas. That in itself wouldn't be so bad but they haven't fashioned strong songs out of their trademark formula, ...
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