Miklos Spany - C.p.e. Bach: Solo Keyboard Music 31 - COMPACT DISCS [CD]

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave. Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing it's unpredictability and forcing him to channel all the feelings that come with it into Profit Prison's music. It's no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison's vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral. Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings InchBut I lost it allInch. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70's italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys. What's more, tracks got longer in Parker's recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54. Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record. Genre Alternative / Synthwave

This album features solo keyboard arrangements of works by Carl Philipp Emanuel Bach originally scored for other instruments. In the second half of the eighteenth century the demand for keyboard music increased rapidly, as musical skills became a social requisite for young ladies of the upper classes. To provide compositions for these new keyboard players was financially profitable, but Bach also had another reason for welcoming arrangements the keyboard instruments were his favorite medium, and he devoted himself to making them into solo instruments as important as the violin and other melody instruments. The eighteen short pieces on this well-filled disc all exist in versions for various small groups of instruments or, in some cases, for mechanical instruments such as the barrel organ. Miklós Spányi has grouped them around three larger-scaled works, of which two are arrangements of symphonies while the Concerto in F major for solo keyboard may in fact be an original composition a version for keyboard and orchestra exists, but is possibly a later development. In the case of several of the arrangements it is uncertain who made them - some of them only survive in the hand of one of Bach's admirers. In his liner notes to the disc, Spányi proposes that they could in fact be the original versions, however, as he sees a striking similarity to Bach's other, indisputably genuine small keyboard pieces.

Bach,C.P.E. / Spanyi,Miklos - Solo Keyboard Music 30 [COMPACT DISCS] date 08/14/2015