| | Grollo Healing Incantation CD Grollo Discography of CDs
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Our Price: $13.25  CDFor Sale Usually ships in 1-2 days
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Composers: Alberto Grollo; S. Capitanata.
Personnel: Sheila Mahadevi (vocals); Alberto Grollo (guitar, synthesizer, programming, background vocals); Riccardo Zappa (12-string guitar); Hariprasad Shastry (flute); Eneas 'Animesh' Da Silva (percussion); S. Capitanata (grand piano, organ, keyboards, synthesizer, gong).
Arrangers: Alberto Grollo; S. Capitanata.
Additional personnel: Riccardo Zappa. Healing Incantation Music Grollo Healing Incantation Songs Healing Incantation Review
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For a guy who takes his sartorial cues from teenage horror flicks (he plays onstage with a weird sort of hockey mask on his face), Buckethead sure does make pretty music. It was not always thus -- his work with Praxis, for example, has often been pretty challenging. But on this solo project, on which he plays both guitar and ...
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Additioanl personnel includes: Randy Bracker (trumpet); Rainer Bruninghaus (piano, keyboards); Luis Jardim (percussion).
Cynics might point out the reality that greatest-hits packages on artists who have left a label are a ploy to milk the consumer, but the consumers care more about a solid package full of their favorite songs from the artist. The new Acoustic Alchemy (with Miles Gilderdale replacing the late founding guitarist, Nick Webb, as Greg Carmichael's partner) is riding high on Higher Octave Music, but the material on this collection -- part of a new GRP collection series -- will always be, to the true Acoustic Alchemy fan, the real deal. AA's post-Webb sound is fancy and feisty, extremely soulful, and very attractive. Yet, there's something more intimate about the way Carmichael and Webb interacted; theirs was a union of true musical soul ...
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This is an enchanced CD containing a full audio program as well as an "hypertext" file readable by any Web browser. Also contains two bonus tracks not on the original release.
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Even before Carlos knew of a film project concerning A Clockwork Orange, ...
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To say that Steve Roach is prolific is both understatement and to miss the point. Roach makes a ton of records because he can: He has the means and the talent to record cheaply and quickly. The other half is his talent and his ability to "say" something new each time out. For this listener, the answer is an unqualified "yes." Roach is one of the last big theme composers: He finds an area, subject matter, psychological or emotional state reflected in both the inner and outer worlds and goes for an obsessively impressionistic investigation of it, both solo and in collaboration. He does so far more successfully than most, and he seldom, if ever, fails. This setting, with percussionist Jeffrey Fayman and guests Momodou Kah, a master percussionist, and the guitarist Robert Fripp, digs deeply into the percussive landscape of shamanic ritual, memory, and journeying. Unlike his other recordings, with the exception of the artwork, there are no notes about the process or intent of the recording; it is simply for the listener to encounter. The set opens with "Taking Flight," a wild, heavily percussive groove that feels tribal, ecstatic, and full of a determined purpose. This is high ritual music: It is loud, insistent, full of repetitive rhythms and themes, and its articulation of the human body and its participation in the music-making process -- you cannot help but feel this track inside you -- is singular. Fripp's contribution is not extroverted: His is everywhere, but as part of the mix, his guitar comes out of hiding as itself once in a while, but for the most part, is another layer of sonic exhortation to go further. The title track begins with a much more slowly developing series of rhythms and atmospheres. Articulation is placed on texture and chromatic shade as opposed to dynamic. Over nearly 17 minutes, its circular and hypnotic pathways envelope the listener in a cocoon of shimmering heat, shadows, and glanced-at emotions. "Year of the Horse" is a shock at first because its rhythms feel so synthetic and electro. If one didn't hear Roach's cosmic weave in the background that becomes the foreground about halfway through the ...
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In local corner store while purchasing a sixer.“I moved to San Francisco and into the Mission district in 1997. There is an agreeably artistic quality here for sure. Living in a shitty apartment with bum roommates, people crashed everywhere, mice running around digging in bags of chips, garbage, rotting food, beer cans, chew mold, and debris everywhere...helps.My unfoundedly dire lifestyle mixed with the insatiable brand of laziness and apathy my friends and I possess in this household surprisingly sparks massive musical inspiration.I always thought of these songs as an audio diary. I hope you listen to the songs and join in the fun.”Sitting in kiddy pool on sidewalk at 19th/SanCarlos.“My latest, most listen-able, and professionally produced album is called ‘The Sun Comes in Circles’. It’s about girls, Mr. Pibb, bars, beer, parties with live chickens, hangovers, losers, ...
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The foreboding crawl of the Hammond organ is what made Van Der Graaf Generator one of the darkest and most engrossing of all the early progressive bands. On H to He Who Am the Only One, the brooding tones of synthesizer and oscillator along with Peter Hammil's distinct and overly ominous voice make it one of this British band's best efforts. Kicking off with the prog classic "Killer," an eight minute synthesized feast ...
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