Bolt - Movement and Detail - COMPACT DISCS [CD]

I'm told I was plonked down in front of the tv to watch the moon landing on 20th July 1969, at just six months old. It must've made an impression, as 50 years later here's a compilation album telling the terrestrial to celestial and back to terrestrial tale of Neil, Buzz and Mike's little holiday (John Jervis). THE MOON AND BACK features new and exclusive tracks from (among others) the Popguns, Rocketship, Darren Hayman, the Leaf Library, Feverdream, My Favorite, Famous Problems, the Great Electric and Spaceship, as well as haikus read by Amelia Fletcher, Pam Berry, Rob Pursey and Kevin Pickering (from indie legends Saturn V!). We start off on earth with the indiepop jangles of the Popguns and Whoa Melodic, the powerpop garage leanings of Mock Rockets, Pete Weiss and Famous Problems and the epic synthpop of My Favorite (they are Americans) and Rocketship before the Nameless Book undertake a 12 minute real-time kosmische accompaniment to the Saturn V lift-off. Things get altogether more spacey, ambient, floaty and dreamy once we leave the earth's atmosphere. Firestations sing about The Overview Effect (something that astronauts report feeling when they see the earth from space; a feeling that everything is somehow connected, fragile and precious), Deerful talks about Chronostasis (due to the nature of spacetime, a clock that is moving relative to an observer will be measured to tick slower than a clock that is at rest in the observer's own frame of reference) and Retep Folo describes a vision of a child's sense of not belonging to earth, and instead feeling more at home in another galaxy. We are touching down on the moon at the start of disc two (or track 20), playing tribute to Margaret Hamilton (the American computer scientist who developed on-board flight software for the Apollo space program), as well as Neil (and that missing syllable), Buzz (and the joy of kickin

Over the course of it's two-decade existence, Lightning Bolt has revolutionized underground rock in immeasurable ways. The duo broke the barrier between stage and audience by setting themselves up on the floor in the midst of the crowd. Their momentous live performances and the mania they inspired paved the way for similar tactics used by Dan Deacon and literally hundreds of others. Similarly, the band's recordings have always been chaotic, roaring, blown out documents that sound like they could destroy even the toughest set of speakers. Fantasy Empire, Lightning Bolt's sixth album and first in five years, is a fresh take from a band intent on pushing themselves musically and sonically while maintaining the aesthetic that has defined not only them, but an entire generation of noisemakers. It marks many firsts, most notably their first recordings made using hi-fi recording equipment at the famed Machines With Magnets, and their first album for Thrill Jockey. More than any previous album, Fantasy Empire sounds like drummer Brian Chippendale and bassist Brian Gibson are playing just a few feet away, using the clarity afforded by the studio to amplify the intensity they project. Every frantic drum hit, every fuzzed-out riff, sounds more present and tangible than ever before. Fantasy Empire is ferocious, consuming, and is a more accurate translation of their live experience. It also shows Lightning Bolt embracing new ways to make their music even stranger. Album Tracks 1. The Metal East 2. Over the River and Through the Woods 3. Horsepower 4. Mythmaster 5. Mythmaster 6. Runaway Train 7. Leave the Lantern Lit 8. Dream Genie 9. Snow White (& the 7 Dwarves Fans)

In addition to his popular compositions such as orchestral works and chamber music, György Ligeti also wrote vocal music, among them numerous and demanding a cappella choral works. These, just like his canonically treated instrumental works, reflect his changes of style. With the exception of the Latin 'Lux aeterna' (1966) and 'Three Fantasias' based on Friedrich Hölderlin (1982) Ligeti exclusively set Hungarian poetry to music, showing a marked preference for texts by Balint Balassa (1554-1594) and Sándor Weöres (1913-1989). Ligeti wanted to set the respective contents to music programmatically but focussed especially on particular phonetic sound sequences, rhythms, intonations and accentuations of the Hungarian language. Translations of this speech music are nigh on impossible and even dispensable as you do not have to understand the words in order to experience the choral works as music that is rich in tone colours, rhythmically concise and extremely expressive. The radio choir of SWR is one of the international top ensembles on the professional choir scene. Ever since the ensemble was founded almost 75 years ago it has devoted it's passion and extraordinary vocal competence to exemplary performances and the further development of vocal music. Award-winning Yuval Weinberg has been the chief conductor of the SWR Vokalensemble since the beginning of the season 2020/2021.