| | Will Ackerman Conferring With The Moon: Pieces For Guitar CD Will Ackerman Discography of CDs
 (1 Customer Review)
The follow-up to 1983's PAST LIGHT, 1986's CONFERRING WITH THE MOON continues that album's exploration of new settings for William Ackerman's inimitable guitar style. The album expands on its predecessor by increasing the number and variety of instruments Ackerman plays with, but it steps back from that album's sometimes over-filled, busy arrangements by focusing on duets and trios.
Ackerman's own guitar playing, as usual, is overdubbed to add richness and depth to the sound, to the extent that his solo performance of the title track sounds in spots like two or three guitarists playing nearly--but not quite--the same piece. Elsewhere, shards of keyboard, both electric and acoustic, buffer Ackerman's watery yet never aimless playing, with reeds and percussion appearing occasionally for color. These 11 brief pieces explore and develop a variety of moods.
Editor: Stewart Whitmore.
Unknown Contributor Roles: Enrique Cruz; Stewart Whitmore.
Arranger: Eugene Friesen.
Personnel: Will Ackerman (charango); Charlie Bisharat (violin); Eugene Friesen (cello); Enrique Cruz (quena); Robert Hubbard (English horn); Ira Stein, Philip Aaberg (piano); Chuck Greenberg (lyricon).
Recording information: Fantasy Studios, Berkeley, CA.
Conferring With The Moon: Pieces For Guitar Music Will Ackerman Conferring With The Moon: Pieces For Guitar Songs Conferring With The Moon: Pieces For Guitar Music Review Purchase Conferring With The Moon: Pieces For Guitar CD To buy, Click on price to add to cart | Beegie Adair Jazz Piano Christmas CD (1999)
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This release includes a bonus DVD featuring a music video for Disturbed's "Liberate."
Anyone curious about the state of nu-metal in 2004 need look no further than MUSIC AS A WEAPON II, named after the second successful tour led by headliners Disturbed. Along for the ride on this compilation of live performances are Chevelle, Taproot, and Unloco. On stage, as in the studio, Chevelle's Loeffler brothers proudly wear the odd-tuning and off-kilter-tempo influence of Tool on their sleeves by way of "Forfeit" and "The Red," brandishing an intriguing maelstrom of riffs. Taproot equally stakes its ground by punctuating loud-soft dynamics with Stephen Richards's sporadic death metal yowl on "Myself" and "Poem." But of all the bands on this bill, Disturbed is the most adept at breaking away from the screaming aesthetic that defines so much of nu-metal. Frontman David Draiman is a quietly intense vocalist whose glowering presence on an acoustic version of "Darkness" and the previously unreleased "Dehumanized" make for a far more powerful effect than any amount of amped-up distortion or howling can achieve. The piece de resistance is Disturbed's take on Metallica's "Fade to Black," a reading that perfectly captures the power and nuance of the original.
Music as a Weapon II is a keepsake of Disturbed's 2003 tour of the same name, which also featured Taproot, Chevelle, and Ünloco. But it's ultimately about Disturbed. The Chicago combo isn't entirely free of genre homogeny, but its vigilant dedication to melody and a decent standard of bone-crushing metallurgy have helped carve a unique sonic niche. Both traits are evident on Weapon. A brooding introduction sidles up to the spiky, thick boot-heel strut of "Bound," and the previously unreleased "Dehumanized" -- "Let me see those fists!" David Draiman implores the gathered throng midsong -- should satiate those lying in wait for the band's next full-length. Disturbed know how to bring the house down, which they absolutely do with an incredible closing version of "Stupify." Too bad Beavis isn't around anymore. He would've loved Draiman's guttural yawps. "Don't denyeee meeee!" [Reprise issued a CD/DVD edition in 2004.] ~ Johnny Loftus
Music as a Weapon II is a keepsake of Disturbed's 2003 tour of the same name, which also featured Taproot, Chevelle, and Ünloco. But it's also a time capsule for the active rock radio format, which in 2002 and 2003 was bombarded by bellowing pretenders to the Korn and Tool throne. Minor leaguers like Taproot and Chevelle had nothing to offer beyond compressed production, roaring guitar sludge, and laughably stale woe-is-me lyrics; naturally, they sold millions of records. Here, Taproot get the worst of it. Music as a Weapon's shallow sound quality is a definite disservice to all of its bands. Still, Taproot's "Myself" is a painfully uninspired mess of overcompensating vocals (in both the melodramatic moan and scary growling departments) and tuneless guitar. "Sumtimes" and the hit single "Poem" fare ...
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