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9

Article: Album Review

JC Sanford Quartet: Keratoconus

Read "Keratoconus" reviewed by Friedrich Kunzmann


A bubbling ostinato on trombone to the right. Treble register double-bass lines join in the middle. Muffled electric-guitar riffs imitate the same to the left--the guitar's dry tone seemingly hailing straight from a rustic 1960s Telecaster. Drums start banging ahead relentlessly; not in a constant motion though--they stop and go and stop and go, unsure whether ...

Article: General Articles

Il fascino sostenibile della leggerezza #2

Read "Il fascino sostenibile della leggerezza #2" reviewed by Alberto Bazzurro


In poche parole ci riproviamo: a tagliare una seconda volta in orizzontale, grosso modo a distanza di un semestre, una fetta di produzione discografica, a conti fatti dischi arrivati nell'ultimo paio di mesi (ma in due o tre casi usciti in precedenza), per soppesare quanto il titolo di quel primo “sopralluogo" (a tesi) (clicca qui per ...

90

Article: Live Review

Duncan Sheik: Bayshore, NY, December 9, 2011

Read "Duncan Sheik: Bayshore, NY, December 9, 2011" reviewed by Christine Connallon


Duncan Sheik Boulton Center for the Performing Arts Bayshore, NY December 9, 2011 Selecting “Stripped" to kick off the show at the Boulton Center for the Performing Arts on Long Island, NY seemed appropriate on many levels. Duncan Sheik stood center stage in the cozy, 260-seat venue, flanked by ...

58

News: Recording

Dance Music Icon Banco de Gaia to Release New Music February 8

Banco de Gaia, Songs From The Silk Road (Disco Gecko) Best of Founding Father of Eclectic Electronica Release: 02/08/2011 Persian strings and prog rock. Tibetan songs and ecstatic house. Welcome to the strange, wonderful world of DJ/remixer/dance music maestro Banco de Gaia (aka Toby Marks) whose work sprang from the hopeful exuberance ...

1,181

Article: Interview

Greg Kelley: Flesh to Metal

Read "Greg Kelley: Flesh to Metal" reviewed by Gordon Marshall


Boston trumpeter Greg Kelley takes an atom and constructs a world out of it. Taking his cue from the metallic tubes of his instrument and how they are connected to his mouth, and ultimately his body, his sounds are never wholly disembodied but rather maintain the precise quality of that apparatus that, in his hands, is ...


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