Written, produced and performed by Roelof Broekman
Voices: Yuma Funai (Japan, member of Het Nationale Ballet), Edward Horsman (GB, Conservatory Amsterdam), Leya Broekman (NL, my lovely daughter), prof. R.W. Broekman (NL, my grandfather) and Jelle van Baardewijk (NL, Philosopher at VU university) |
Hesperus - Death of my Dear Demons (©2019)
1 Genesis (6:49) I. Genesis II. Darcropolis (1) III. Ein Mensch gewesen IV. Darcropolis (2) V. Mountain VI. Compassion 2 Death of my dear demons (11:07) I. Foreboding sentinals II. Malevolence III. Isolation IV. Hermeneutic circle V. The black storm VI. Death 3 Observing the hyperworld (8:11) I. I disappear II. Into the virtual III. A cell of space 4 Reconsideration (7:46) I. God II. A mystery III. Reconsideration (guitar solo) IV. Enzymes of time V. Awakening |
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Hesperus on Spotify Hesperus on Apple Music Hesperus on facebook Hesperus on Bandcamp Black Heaven Productions 002, ©2019 distributed by Sepulchral Silence, Italy |
- REVIEW WIngs Of Death magazine by Chris van der Aa:
"Hesperus is exciting, unexpected, far from predictable. Music with deep content, a story, well thought out, technically a strong performance and well produced. I experience a huge attraction and curiosity." - REVIEW DPRP magazine by Colum Gibson: "I would absolutely suggest you pick this album up. It is one of the best I've heard this year! The opening track, Genesis is a phenomenal instrumental of melodic and symphonic doom. The title track makes me think of a mix of early Sepultura and the Master Of Puppets era of Metallica, but heavier and better written. Observinge The Hyperworld is like sorrowful sounds of doom metal, but with a superb load of soloing thrown in. Finally we have the closer Reconsideration. A fantastic closing track, filled to the brim with emotion, riffing and solos. It sounds like a summary of all that has come before and it works so well." - REVIEW Everything-is-noise magazine by Robert Miklo: "Death of my dear demons is a powerful record which showcases a standout vision of how music is or should be made. It’s as if we’re witnessing the aural incarnation of one of the inner most processes we go through, the process of evolution in which we destroy or tame our demons." 
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Written, produced and performed by Roelof Broekman.
For ordering CD package (with lyrics) go to: bandcamp.com. Distributed by Sepulchral Silence Italy. |
Hesperus - Crepuscular Rays (©2017)
1 Om Ah Hum (8:30) 2 Crepuscular Rays (8:37) 3 Black Heaven (6:31) 4 Enoch (10:41) Hesperus on Spotify Hesperus on Apple Music Hesperus on facebook Hesperus on Bandcamp
Black Heaven Productions 001, ©2017, distributed by Sepulchral Silence, Italy |
1 Om Ah Hum
The overture of the album. Introduction of the grand guitars. Drums stumbling around, in search of a rhythm, an affiliation, a destiny, all under the watchful eyes of the gods from the mountain. The mantra Om Ah Hum, repeated three times, is commonly used at the end of a meditation. Om is the primal vibration out of which all things came forth. Ah is the symbol of the primal state of the spirit. Hum is the descent from universality (Om) into the human heart.
2 Crepuscular Rays
Rain. Thunder. Guitar swells. The harbinger of things to come. A small village near the sea. Impressive sails on the horizon. Men with polished swords. The villagers know they don’t stand a chance. But they know who will wind up in hell. After the slaughter, through the rays in the sky, the souls of the villagers reach the sparkling beauty of the entrance of the heavens that await them.
3 Black Heaven
Through the crepuscular rays in the sky, also known as Jacob’s ladder, one reaches the heavens. One of them is Black Heaven. And as we know, black is beautiful. But it takes a winter and a storm before the entrance opens up.
4 Enoch
‘Enoch walked with God, and he was not, for God took him’. The book of Enoch is an ancient Jewish religious work. Enoch learned about the stars and the planets when visiting heaven under the guidance of the archangel Uriel. In a world of evil and impurity brought to humanity by the fallen angels, before the biblical flood, Enoch stayed righteous. And so God took him.
Special thanks to music distributor Sepulchral Silence (Italy), especially to Matteo Antonelli who found me and introduced me to their organisation.
All music under licence of Black Heaven Productions, all copy-rights Roelof Broekman.
All music under licence of Black Heaven Productions, all copy-rights Roelof Broekman.
About the name hesperus...
This painting by Evelyn de Morgan depicts the Greek gods Phosphorus and Hesperus. Phosphorus (Eosphoro, Lucifer) and Hesperus (Hesperos, Vesper) are brothers, sons of the rosy fingered goddess of dawn, Aurora (Eos, Dawn).
Phosphorus is the planet Venus when it appears as the morning star. Hesperus is the planet Venus when it appears as the evening star. The early Greeks believed these to be two distinct astronomical bodies and assigned two distinct deities to the planet as it appeared respectively in the morning and evening. The later Greeks adopted the Babylonian view that the morning and evening star were a single wandering star and associated it with the goddess Aphrodite (Venus).
Like the goddess Venus and the stars themselves, Phosphorus and Hesperus are eternally young and beautiful. Only their mother Eos (Dawn) and her sister and brother, Selene (the moon) and Helios (the Sun), shine more brightly in the heavens.
It is Phosphorus, the bringer of light, who wakes his mother Eos from her sleep in the depths of the sea each morning and ushers in the dawn. It is Hesperus who ushers in the evening at dusk. Hesperus brings all good things home at the end of the day. He is the god of the hearth and domestic happiness. One might curse Phosphorus when getting up in the morning to go to work and bless Hesperus in the evening when returning to the comfort of home.
Evening, thou that bringest all that bright morning scattered; thou bringest the sheep, the goat, the child back to her mother. - Sappho
Phosphorus is the planet Venus when it appears as the morning star. Hesperus is the planet Venus when it appears as the evening star. The early Greeks believed these to be two distinct astronomical bodies and assigned two distinct deities to the planet as it appeared respectively in the morning and evening. The later Greeks adopted the Babylonian view that the morning and evening star were a single wandering star and associated it with the goddess Aphrodite (Venus).
Like the goddess Venus and the stars themselves, Phosphorus and Hesperus are eternally young and beautiful. Only their mother Eos (Dawn) and her sister and brother, Selene (the moon) and Helios (the Sun), shine more brightly in the heavens.
It is Phosphorus, the bringer of light, who wakes his mother Eos from her sleep in the depths of the sea each morning and ushers in the dawn. It is Hesperus who ushers in the evening at dusk. Hesperus brings all good things home at the end of the day. He is the god of the hearth and domestic happiness. One might curse Phosphorus when getting up in the morning to go to work and bless Hesperus in the evening when returning to the comfort of home.
Evening, thou that bringest all that bright morning scattered; thou bringest the sheep, the goat, the child back to her mother. - Sappho
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Hesperus brings all things back
Which the daylight made us lack, Brings the sheep and goats to rest, Brings the baby to the breast. (Edwin Arnold, 1869) Hesper, thou bringest back again All that the gaudy daybeams part The sheep the goat back to their pen, The child home to the mother's heart. (Frederick Tennyson, 1890) |
Evening, all things thou bringest
Which dawn spread apart from each other; The lamb and the kid thou bringest, Thou bringest the boy to his mother. (J.A Symonds, 1883) Hesper, whom the poet called the Bringer home of all good things. (Frederick Tennyson, 1886) |
inspiring recent listening...
inspiring live music attended by hesperus...
Black Earth Festival 2019, Utrecht
The great OM... at Tivoli, Utrecht
The great, great OM... at Vera, Groningen
The holy YOB... at Doornroosje, Nijmegen
Zeal & Ardor at Valkhof festival Nijmegen
Black Sabbath at Ziggo Dome, Amsterdam
Wreckmeister Harmonies in Utrecht
Japanese group Boris, at De Patronaat, Haarlem
Sunn O))) at Paradiso, Amsterdam
Darsombra live at The Cave, Amsterdam... 2019
Hesperus at the Undisputed Attitude festival. Thanks Unison Theory (Italy) for the nice conversation afterwards! Pics Unison Theory, Zenit and Thank U For Smoking...
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...Hesperus with the singer from Unison Theory: Luigi Valenti, a guitar builder from Italy, see his tv interview ... |
Hesperus at Azzurro Rock pub and Guggenheim, Bilbao, 2019
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At Lowlands 2018 with Iggy Pop... The guy standing behind him is their roadie: I met him in an airbnb in Kopenhagen just a few weeks before this concert, he had a van with him with all the equipment of the band. We had a nice chat, nice guy. By the way: the Danish owner of the airbnb had been to Jimi Hendrix in 1969, on the wall of the living room in his white villa with swimming-pool was a large framed picture of Hendrix during that concert.
Metallica deluxe experience with best friends Chris, Robert and Bas. In 1983 Metallica was the highpoint following the NWOBHM. Back then we were all into Judas Priest, Black Sabbath, Motorhead, Iron Maiden, Accept, Tygers of Pan Tang, AC/DC, Loudness and much more... but when Kill 'em All came out it was something different, the speed, the crystal clear production and the energy!
Hesperus at St Pancras Church, London...
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Hesperus private studio where Crepuscular Rays was born...
album reviews by hesperus
Soulfly - Rituals
So much creativity, freedom and superb interplay in a condensed recording is staggering. The twists and turns keep it so alive throughout the record, it never, not for one second, fails to entertain on a high level. Constantly interesting changes in rhythm, timbre or the delivery of the vocals. All music written by Max Cavalera, as always with thoughtful lyrics. What more do you need? Well, maybe a fantastic out of place closer: a soft tune with a free-floating saxophone. Genius stuff.
So much creativity, freedom and superb interplay in a condensed recording is staggering. The twists and turns keep it so alive throughout the record, it never, not for one second, fails to entertain on a high level. Constantly interesting changes in rhythm, timbre or the delivery of the vocals. All music written by Max Cavalera, as always with thoughtful lyrics. What more do you need? Well, maybe a fantastic out of place closer: a soft tune with a free-floating saxophone. Genius stuff.
Sleep - The Sciences
What a triumph: this great and heroic return of Sleep succeeds and delivers on all levels. From the beautiful cover, the package, the twisted and playful lyrics full of Sabbathology to the intense and overwhelming music with all it's rage, twists and turns, stunning heaviness combined with instrumental storytelling to the max. The sometimes dramatic change in moods is so clever and feels improvised but always well aware of circumstances. Strong and nicely dry production that keeps all instruments balanced without sacrificing the brutality the individual members postpone on this epic record that is easily the best in it's genre so far. I love every single minute of it...
What a triumph: this great and heroic return of Sleep succeeds and delivers on all levels. From the beautiful cover, the package, the twisted and playful lyrics full of Sabbathology to the intense and overwhelming music with all it's rage, twists and turns, stunning heaviness combined with instrumental storytelling to the max. The sometimes dramatic change in moods is so clever and feels improvised but always well aware of circumstances. Strong and nicely dry production that keeps all instruments balanced without sacrificing the brutality the individual members postpone on this epic record that is easily the best in it's genre so far. I love every single minute of it...
Om - Advaitic Songs
This devout atmosphere seems to be brought to you through a well understood concentration by musicians who know, or should I say: feel, what they are doing. A wonderful concept that works, as well directly, as over a period of time. And time being an essential part of the marvelous 'experience' here, as I am seldom confronted with a piece of art that takes you really out of the clock. And better so, because that is what we should listen for in music, or read great novels: to be drawn into a unique world, a challenge for the heart and mind, without burning your nerves, and quite the contrary on Advaitic Songs: you are welcomed in smooth spaces and delightful rooms of excellent produced music wherein instruments float that are all clearly recognizable and contain their own environment without losing cohesion. Advaitic Songs delivers a sound-world full of movement and connectivity. Most of all I am enchanted by the rolling drums, here and there, everywhere. The tandem of the bass and the toms rumble still long after the record is finished. God, I love this. Did I already mention the beauty of the cover?
This devout atmosphere seems to be brought to you through a well understood concentration by musicians who know, or should I say: feel, what they are doing. A wonderful concept that works, as well directly, as over a period of time. And time being an essential part of the marvelous 'experience' here, as I am seldom confronted with a piece of art that takes you really out of the clock. And better so, because that is what we should listen for in music, or read great novels: to be drawn into a unique world, a challenge for the heart and mind, without burning your nerves, and quite the contrary on Advaitic Songs: you are welcomed in smooth spaces and delightful rooms of excellent produced music wherein instruments float that are all clearly recognizable and contain their own environment without losing cohesion. Advaitic Songs delivers a sound-world full of movement and connectivity. Most of all I am enchanted by the rolling drums, here and there, everywhere. The tandem of the bass and the toms rumble still long after the record is finished. God, I love this. Did I already mention the beauty of the cover?
Thom Yorke - Tomorrow's modern boxes
Listening with attention, you will notice that this record differs from Eraser, allthough most basic elements involved in Eraser are here as well. But with a darker feel, a more introspective touch (yes, even more seems possible within the soundworld of Yorke). And this one needs a longer span of concentration by the listener... It all adds to, again, a deep listening experience on different levels: the sound (production wise), his voice (obvious great, though sparse here and there), the lyrics, and the subtle changes in a continuous changing landscape. The way Yorke intertwines melody, rythmic adventures and compositional intelligence is unique. I love it. The genius part are the LP scratches he incorporates in the composition on side B, the last track, even till the bitter end...
Listening with attention, you will notice that this record differs from Eraser, allthough most basic elements involved in Eraser are here as well. But with a darker feel, a more introspective touch (yes, even more seems possible within the soundworld of Yorke). And this one needs a longer span of concentration by the listener... It all adds to, again, a deep listening experience on different levels: the sound (production wise), his voice (obvious great, though sparse here and there), the lyrics, and the subtle changes in a continuous changing landscape. The way Yorke intertwines melody, rythmic adventures and compositional intelligence is unique. I love it. The genius part are the LP scratches he incorporates in the composition on side B, the last track, even till the bitter end...
Boulez-Complete Works - All music composed by Pierre Boulez
It's there. A bold attempt to put out a complete works of the wonderful composer Pierre Boulez. His pieces appeared throughout the years on different labels in all sorts of recordings spread out over decades. I almost lost the perspective: well, finally, yes, order! That's exactly what is done so very well within this offering. It starts with the box itself, tasteful and provided with a very well made booklet with lot's of relevant information about the background of all the compositions and their transformations. It gives a lot of insight mainly because the whole set is put in a chronological order, with the exception of two nice and well chosen bonus discs of course. And what about the actual recordings? Ha! Listen to le Marteau sans maitre, the excellent recording from Deutsche Grammophone, with lot's of detail and depth in all the instruments, as if they are playing in your room. Or his true masterpiece: Pli selon pli...especially the colorful percussion everywhere, the marimba's, voices etc. etc. And there is more: Pollini on piano... and the pieces with interference of manipulated sounds through computer-systems, Explosant-fixe, or Repons. Well, what can I say, listening through all these works in the last few weeks one thing comes to mind: it's unbelievable diverse in all possible ways modern music is thinkable of. Again and again I'm struck by the inventiveness of this love-able composer which I'm so happy to have seen a couple of years ago conducting his own music, here in Amsterdam. I hope he will stay with us a little bit longer... And no, I'm not an academic, I really like to listen to this music which has grown to me over the years, like Boulez advises for new listeners: start slowly with simple pieces, relax, let the music speak to you, and it will come...
It's there. A bold attempt to put out a complete works of the wonderful composer Pierre Boulez. His pieces appeared throughout the years on different labels in all sorts of recordings spread out over decades. I almost lost the perspective: well, finally, yes, order! That's exactly what is done so very well within this offering. It starts with the box itself, tasteful and provided with a very well made booklet with lot's of relevant information about the background of all the compositions and their transformations. It gives a lot of insight mainly because the whole set is put in a chronological order, with the exception of two nice and well chosen bonus discs of course. And what about the actual recordings? Ha! Listen to le Marteau sans maitre, the excellent recording from Deutsche Grammophone, with lot's of detail and depth in all the instruments, as if they are playing in your room. Or his true masterpiece: Pli selon pli...especially the colorful percussion everywhere, the marimba's, voices etc. etc. And there is more: Pollini on piano... and the pieces with interference of manipulated sounds through computer-systems, Explosant-fixe, or Repons. Well, what can I say, listening through all these works in the last few weeks one thing comes to mind: it's unbelievable diverse in all possible ways modern music is thinkable of. Again and again I'm struck by the inventiveness of this love-able composer which I'm so happy to have seen a couple of years ago conducting his own music, here in Amsterdam. I hope he will stay with us a little bit longer... And no, I'm not an academic, I really like to listen to this music which has grown to me over the years, like Boulez advises for new listeners: start slowly with simple pieces, relax, let the music speak to you, and it will come...
This book by Ed Chang is a dream come true if you are into the music of Allan Holdsworth. I would never have thought that someone would bite his teeth into the enigmatic musical world of this highly original artist as deep as mister Chang does here, but he did, good heavens... The book serves as a reference book, where every record, recording, member of the group etc is easily found, but it also serves as a in-depth analysis through interview bits with Allan himself or his brilliant bass players, drummers and keyboard players. Each track written and recorded by Holdsworth is presented as a 'song breakdown', which helps you understand where to listen to, what the specific song structure is, where the highlights are, the themes, the solos. This is so helpful when listening to the music. After the wonderful box of all the remastered CD's from 2017, this book completes the unraveling of all the secrets of this strange and loveable artist.
Sunn O))) - Monoliths & Dimensions
More and more it seems possible to overgrow the sometimes deep valley between the classical role of the distorted guitar (as a concept of screaming attention) and the intelligence and fine subtleties involved in Art in general based on a deeper understanding of underlying interesting ideas. Sunn 0))) (Stephen O'Malley & Greg Anderson) has taken a deep breath and reinvented the lowdrone guitar once so wonderfully introduced by Tony Iommi. I still love that sound. But who could have thought that thunderous amps could be so meditative in relation with soundwaves that actually cut through your flesh and bone... And then the guest musicians so tasteful weaved into the music: what to think of Cuong Vu (trumpetplayer who played with Pat Metheny), choirs, spoken words and synths. The new avant-garde. Brilliant. Vital.
More and more it seems possible to overgrow the sometimes deep valley between the classical role of the distorted guitar (as a concept of screaming attention) and the intelligence and fine subtleties involved in Art in general based on a deeper understanding of underlying interesting ideas. Sunn 0))) (Stephen O'Malley & Greg Anderson) has taken a deep breath and reinvented the lowdrone guitar once so wonderfully introduced by Tony Iommi. I still love that sound. But who could have thought that thunderous amps could be so meditative in relation with soundwaves that actually cut through your flesh and bone... And then the guest musicians so tasteful weaved into the music: what to think of Cuong Vu (trumpetplayer who played with Pat Metheny), choirs, spoken words and synths. The new avant-garde. Brilliant. Vital.
Hemelbestormer - Aether
Apart from the beautiful cover which perfectly depicts the delivered content, this is a very well produced record due to a balanced philosophy that forms the basis of every good art. Put on your headphones and let you guide by the long tracks, the overall atmosphere, the instrumental stories and great playing. A classic!
Apart from the beautiful cover which perfectly depicts the delivered content, this is a very well produced record due to a balanced philosophy that forms the basis of every good art. Put on your headphones and let you guide by the long tracks, the overall atmosphere, the instrumental stories and great playing. A classic!
Complete Webern - music composed by Anton Webern
All has been said in the reviews posted here on amazon, but I think it's a good thing to remember everyone in 2013 that this box exists, and that it, after more then a decade, still stands as a true piece of love for music. Love which Webern lacked during his lifetime in not being played very often, sometimes not at all. Webern once asked a friend, who had heard a piece performed on the BBC radio: 'How did it sound?' Well, let's hope Webern has still the opportunity to listen together with us, to hear all the wonderful details he put in there and which Boulez took out of the players together with the engineers in the studio. Listening to Webern is an exercise in concentration, in awareness of the smallest moments of whispering beauty, only to be rebelled against with spare moments of growing intensity, but always embedded with a sensitive ability to keep it all as tranquil as possible, like hollow glass, breakable and sustainable at the same time...and no, not cold, on the contrary, this is the birth of modern music in it's most warm manifestation.
All has been said in the reviews posted here on amazon, but I think it's a good thing to remember everyone in 2013 that this box exists, and that it, after more then a decade, still stands as a true piece of love for music. Love which Webern lacked during his lifetime in not being played very often, sometimes not at all. Webern once asked a friend, who had heard a piece performed on the BBC radio: 'How did it sound?' Well, let's hope Webern has still the opportunity to listen together with us, to hear all the wonderful details he put in there and which Boulez took out of the players together with the engineers in the studio. Listening to Webern is an exercise in concentration, in awareness of the smallest moments of whispering beauty, only to be rebelled against with spare moments of growing intensity, but always embedded with a sensitive ability to keep it all as tranquil as possible, like hollow glass, breakable and sustainable at the same time...and no, not cold, on the contrary, this is the birth of modern music in it's most warm manifestation.
Valgeir Sigurðsson
It certainly takes concentration to listen to this kind of music that flourishes on sensitivity for the detail, slow evolving movements, atmospheres of sound. A fresh experience in the overload of standard pop. Avant-garde without the intellectual distance often felt by listeners, although personally I don't have a problem with too much intellectualism, but still, this record works on many levels.
It certainly takes concentration to listen to this kind of music that flourishes on sensitivity for the detail, slow evolving movements, atmospheres of sound. A fresh experience in the overload of standard pop. Avant-garde without the intellectual distance often felt by listeners, although personally I don't have a problem with too much intellectualism, but still, this record works on many levels.
Chelsea Light Moving
If this is what follows after personal turmoil, maybe artistic differences, or whatever that I don't know of: it certainly provides us listeners with a wonderful energetic record that blows my mind away! I have to thank Thurston Moore and his new band to keep the faith in music that has it's roots in the late seventies but now mixed with a contemporary sound that cuts deep in my soul. I love every minute of this record, from the rawest energetic attacks to the mellower moves. There is no way you won't be entertained on this one. To keep listeners interested these days, after decades of recorded music, is the true gift of a real artistic artist. Thurston Moore delivers. Big time. And you know what? I don't like to write anymore: I'm listening to the record right now...and I just can't sit still, it f...s me up like hell: listen to Burroughs...wow!
If this is what follows after personal turmoil, maybe artistic differences, or whatever that I don't know of: it certainly provides us listeners with a wonderful energetic record that blows my mind away! I have to thank Thurston Moore and his new band to keep the faith in music that has it's roots in the late seventies but now mixed with a contemporary sound that cuts deep in my soul. I love every minute of this record, from the rawest energetic attacks to the mellower moves. There is no way you won't be entertained on this one. To keep listeners interested these days, after decades of recorded music, is the true gift of a real artistic artist. Thurston Moore delivers. Big time. And you know what? I don't like to write anymore: I'm listening to the record right now...and I just can't sit still, it f...s me up like hell: listen to Burroughs...wow!
Thurston Moore - The best day
The thing I love so much in Thurston Moore's output is his ability to be who he is, a long time already, even more than 30 years on, in a time we are able to land a spider-like object on a comet, a few miles away. And although this could be a warning: it is meant to be quiet the opposite. When an art is true to itself, why bother to artificially change? Music is no science. So, this record is in line with earlier musical outings, and still, despite the fact you know what's coming, it sounds so honest and like-able, I just love to listen to it, over and over again. Some moments make me dream a bit, drifting off into thoughts, mostly comfortable, and other moments I'm subtle alarmed with the always fresh sound of a dissonance, a (on this record particularly) controlled and musical feedback, or some nice lines softly sung, as if Thurston whispers his words in your ear, and so intimately comforts you. I especially recommend this for headphones, to catch subtleties otherwise unnoticed, and the for-mentioned intimacy of course. And yes, that's his mother in the lake, a long time ago...
The thing I love so much in Thurston Moore's output is his ability to be who he is, a long time already, even more than 30 years on, in a time we are able to land a spider-like object on a comet, a few miles away. And although this could be a warning: it is meant to be quiet the opposite. When an art is true to itself, why bother to artificially change? Music is no science. So, this record is in line with earlier musical outings, and still, despite the fact you know what's coming, it sounds so honest and like-able, I just love to listen to it, over and over again. Some moments make me dream a bit, drifting off into thoughts, mostly comfortable, and other moments I'm subtle alarmed with the always fresh sound of a dissonance, a (on this record particularly) controlled and musical feedback, or some nice lines softly sung, as if Thurston whispers his words in your ear, and so intimately comforts you. I especially recommend this for headphones, to catch subtleties otherwise unnoticed, and the for-mentioned intimacy of course. And yes, that's his mother in the lake, a long time ago...
Frank Zappa - Chicago '78
This could easily become my favorite Vaulternative concert brought to us by the Zappa Family, particularly Joe Travers. I love it! The production is very good, very balanced. Especially the kickdrum in relation to the bassguitar, beautifully connected. This double CD is re-mixed in 2014 by Graig Parker Adams and he has done a great job! Still very live, not over-produced, all instruments are in their own space, easily distinguishable, and the drums of Vinnie Colaiuta are wonderfully spread in the stereo field and every aspect of his drumming is audible: great to hear all details of his fantastic playing at this young age. Also the rest of the band, the background guitars, the keyboards, all elements are mixed well, and on top of that some awesome guitar solo's by Zappa himself, with every solo delivering something else, something unique, different in playing style as well in sound and effects. It's obvious everyone was in a good mood this night, the playing relaxed and mature, largely musical. The opening of the concert is bold with an 8 minute guitar solo, Easy Meat is still in it's infancy, far away from the version on Tinsel Town, this one is ultra slow, but so great, as so Bamboozled By Love, slow but very good! Sy Borg has a nice sounding solo by I think Tommy Mars. The House I Used To Live In is expensive with the keyboards in a prominent role. Paroxysmal Splendor is a highlight of the record: some solo's, some strange sounds, and some loud steady rock with Vinnie Colaiuta going nuts on his drumset! Yo Mamma a touching song with a marvelous solo by Zappa (Possibly playing the Hendrix Strat on some solo's on this album..) and Don't Eat The Yellow Snow is a super rich performance, a musical tour the force with some funny remarks by Zappa during the audience participation... Strictly Genteel: nice version, dynamic, and last but not least a very, very good guitar solo in Black Napkins. What more do you want. A must have for Zappa fans, and fans of Vinnie Colaiuta.
This could easily become my favorite Vaulternative concert brought to us by the Zappa Family, particularly Joe Travers. I love it! The production is very good, very balanced. Especially the kickdrum in relation to the bassguitar, beautifully connected. This double CD is re-mixed in 2014 by Graig Parker Adams and he has done a great job! Still very live, not over-produced, all instruments are in their own space, easily distinguishable, and the drums of Vinnie Colaiuta are wonderfully spread in the stereo field and every aspect of his drumming is audible: great to hear all details of his fantastic playing at this young age. Also the rest of the band, the background guitars, the keyboards, all elements are mixed well, and on top of that some awesome guitar solo's by Zappa himself, with every solo delivering something else, something unique, different in playing style as well in sound and effects. It's obvious everyone was in a good mood this night, the playing relaxed and mature, largely musical. The opening of the concert is bold with an 8 minute guitar solo, Easy Meat is still in it's infancy, far away from the version on Tinsel Town, this one is ultra slow, but so great, as so Bamboozled By Love, slow but very good! Sy Borg has a nice sounding solo by I think Tommy Mars. The House I Used To Live In is expensive with the keyboards in a prominent role. Paroxysmal Splendor is a highlight of the record: some solo's, some strange sounds, and some loud steady rock with Vinnie Colaiuta going nuts on his drumset! Yo Mamma a touching song with a marvelous solo by Zappa (Possibly playing the Hendrix Strat on some solo's on this album..) and Don't Eat The Yellow Snow is a super rich performance, a musical tour the force with some funny remarks by Zappa during the audience participation... Strictly Genteel: nice version, dynamic, and last but not least a very, very good guitar solo in Black Napkins. What more do you want. A must have for Zappa fans, and fans of Vinnie Colaiuta.
John Frusciante - Outsides
Honesty. That's what Frusciante is striving for. And adventure, for sure. For listening to his latest outing just open your ears and let the music do the work. Give yourself to it and you will be tremendously satisfied with his creative development. Track 2, Breathiac, is a particularly rare kind of breed, especially in the pop-world. And saying so: the definition of 'pop' seems out of place here. Even so to give it any kind of theoretical ground or categorization. Frusciante becomes more and more prolific in achieving his very personal expression-world. Anyway: it's nice to hear jumping octaves between the root and minor seconds, in the likes of Webern and Boulez, especially on guitar, and in this colorful environment. What also strikes me on his latest records is the wonderful and musical way he uses timbres, sounds, and patterns in the synth domain, like conducting an orchestra without becoming boring bombastic. It's tasteful everywhere. And yes, I really like the way he cut's up rhythms. It makes it all so alive and dynamic. You won't get bored a single moment: continuously there's something going on somewhere. I hope John keeps working in this direction: the honest listener needs it...
Honesty. That's what Frusciante is striving for. And adventure, for sure. For listening to his latest outing just open your ears and let the music do the work. Give yourself to it and you will be tremendously satisfied with his creative development. Track 2, Breathiac, is a particularly rare kind of breed, especially in the pop-world. And saying so: the definition of 'pop' seems out of place here. Even so to give it any kind of theoretical ground or categorization. Frusciante becomes more and more prolific in achieving his very personal expression-world. Anyway: it's nice to hear jumping octaves between the root and minor seconds, in the likes of Webern and Boulez, especially on guitar, and in this colorful environment. What also strikes me on his latest records is the wonderful and musical way he uses timbres, sounds, and patterns in the synth domain, like conducting an orchestra without becoming boring bombastic. It's tasteful everywhere. And yes, I really like the way he cut's up rhythms. It makes it all so alive and dynamic. You won't get bored a single moment: continuously there's something going on somewhere. I hope John keeps working in this direction: the honest listener needs it...
John Frusciante - Letur-Lefr Ep
This is why we need people like John Frusciante: for the sheer freedom of his mind that's able to connect 40 years of pophistory and electronics with this day and age. I was getting bored with pop. I took my turn to Contemporary Classical to get excited the way I got when I first listened to the catalogue of Zappa or later on Sonic Youth. I thought the time for big excitement was over (well, maybe 'Boris' from Japan), my ears just too much 'spoiled' with my 10.000 tracks on my ipod. And then: Letur-Lefr...thank god! I was personally in a minor mood because of a 'publisher thing' I was involved in as a writer, and then I listened to this record. It made me so happy! I always knew that Frusciante could do it, but the question for me was: when? As I read the explanation on his website about how he got here, I began to understand that this record didn't just came out of the fingers, but very much out of his mind. But I don't think the heartless cerebral mind, no, I mean the creative and sensitive mind! It's all over the place. And the strange thing is: the record is like velvet sounding on the one side, and food for thought on the other. It has gloom and depth. It intimidates and invites at the same time. It's wonderful to finally being able again to concentrate and enjoy music at the same time and on all levels. This is the challenging (art) music that helps me breathe, and inspires my own struggle. Thanks John for the good and hard work.
This is why we need people like John Frusciante: for the sheer freedom of his mind that's able to connect 40 years of pophistory and electronics with this day and age. I was getting bored with pop. I took my turn to Contemporary Classical to get excited the way I got when I first listened to the catalogue of Zappa or later on Sonic Youth. I thought the time for big excitement was over (well, maybe 'Boris' from Japan), my ears just too much 'spoiled' with my 10.000 tracks on my ipod. And then: Letur-Lefr...thank god! I was personally in a minor mood because of a 'publisher thing' I was involved in as a writer, and then I listened to this record. It made me so happy! I always knew that Frusciante could do it, but the question for me was: when? As I read the explanation on his website about how he got here, I began to understand that this record didn't just came out of the fingers, but very much out of his mind. But I don't think the heartless cerebral mind, no, I mean the creative and sensitive mind! It's all over the place. And the strange thing is: the record is like velvet sounding on the one side, and food for thought on the other. It has gloom and depth. It intimidates and invites at the same time. It's wonderful to finally being able again to concentrate and enjoy music at the same time and on all levels. This is the challenging (art) music that helps me breathe, and inspires my own struggle. Thanks John for the good and hard work.
