Stefano Panunzi – Beyond the Illusion

Total Page：16

File Type：pdf, Size：1020Kb

Stefano Panunzi – Beyond The Illusion (67:16, CD, Vinyl,Burning Shed/Just For Kicks, 2021) Gar nicht einmal so unbekannt ist dieser Stefano Panunzi, war der umtriebige italienische Keyboarder bisher doch schon auf Produktionen von u.a. Mick Karn, Jakko M. Jakszyk, Gavin Harrison, Tim Bowness oder Richard Barbieri zu hören. Ein Fakt, das sich auch auf sein neues, drittes Soloalbum niederschlägt. Denn er kann sich hier auf eine illustre Gästeschar, darunter eben Tim Bowness (‚I Go Deeper‘) oder gar Gavin Harrison (‚We Are Not Just We Are‘) verlassen. Eher Pop, beziehungsweise Avantgarde-Pop-lastig denn rockig orientiert sich Stefano Panunzi hierbei an den schöngeistigen Liederzyklen von Japan oder David Sylvian, was aus ‚Beyond The Illusion‘ einen ebenso schöngeistigen Liederzyklus macht. Die Bässe, liebevoll energisch eingespielt von seinen Landsmännern Lorenzo Feliciati, Nicola Lori und Fabio Fraschini, kommen mit der gleichen pumpend, semi-jazzenden Attitüde eines Mick Karn (‚The Bench‘ ist dem Japan-Bassisten gewidmet, der auch auf Panunzis ersten beiden Soloalben spielte und leider schon 2011 verstarb), dezente Trompeten und die Vocals des Londoner Sängers und Musikers GRICE (der sich, und hier schließt sich der Kreis, durch seine Kollaborationen mit Steve Jansen und Richard Barbieri einen Namen machte) mit den melancholischen Art-Pop Atmos der AchtzigerDavid Sylvian-Produktionen, nordisch-kühlere Streiflichter mit der Ästhetik Nils-Petter Molvaer‘schen Cooljazz‘ (‚Mystical Tree‘). Bewertung: 13/15 Punkten Surftipps zu Stefano Panunzi: Facebook Twitter YouTube Soundcloud Spotify Deezer last.fm ProgArchives.

Copy Link

Recommended publications

Live Among the White Trash: a History of Nono----Manman on Stage
Live Among the White Trash: A history of nono----manman on stage “There are no No-Man concerts scheduled for the foreseeable future.” (from the official no-man website) Anyone who has followed no-man’s career over the previous ten years or so will be acutely aware that the band does not play live. If no-man “exist” as a band at all – and their infrequent releases mean they are more an ongoing understanding between two men rather than an active unit – it is only in the studio. Over a series of uncompromising albums no-man’s music has become ever more complex, yet ironically, “live sounding” than the release which proceeded it. But this organic “liveness” is mainly an illusion; the feeling of spontaneity often the result of numerous edits and takes which only the precision of studio work can produce. Others have tried to perform equally difficult music live: Radiohead ambitiously thrusting their clicks-and- cuts post-rock upon the world’s stadiums, for example. But for a variety of reasons, no-man simply haven’t tried – at least, not since 1994 and not until a one-off performance in 2006. The only comparable case is Talk Talk’s retreat into the studio in the late 1980s. Both bands have undoubtedly crafted their best work without going near an audience. 1 But it wasn’t always so. no-man were once very much a live act, promoting singles and albums with dates and undertaking two full-blown tours – though they rarely played outside London, never went further north than Newcastle, and never played outside Great Britain.
[Show full text]
Annual Report 2019
Annual Report 2019 Table of Contents Year In Review........................Page 4 Financial Report.....................Page 6 Treasurer’s Report................Page 7 Contributors............................Page 8 Gifts in Honor/Memory.......Page 16 Volunteers................................Page 25 Accessions...............................Page 26 Oral Histories.......................... Page 27 Board & Staff...........................Page 28 3 2019 Year in Review How do we even begin to capture what an eventful campus in those first nine months. We gained 1,000 and historic year 2019 was for the Martha’s Vineyard new members and 10,000 new followers on social Museum? It was the year when our cherished, media. More than 1,000 people came to our Pecha long-held dream finally came true, but there is so Kucha presentations — now held at the Museum much more to share! for the first time in our history — and 8,560 visitors came to the Edgartown Lighthouse and 548 to the Yes, the Martha’s Vineyard Museum finished East Chop Light. Free Tuesday evenings, sponsored restoring and improving the landmark 1895 by Cronig’s Market and Cape Cod Five Bank, Vineyard Haven Marine Hospital. Yes, Island history allowed us to give free admission to over 6,000 finally took its rightful place center-stage, at the top visitors. Inquiries to the MVM research library more of a majestic hill. Yes, the museum was warmly than quadrupled. embraced by the Island community beginning March 13th, the day it opened to the public for the Education programs grew at a healthy pace in 2019, first time. All these things were dearly hoped-for. with 119 classes being taught to 1,015 unique Island But 2019 brought a plethora of wonderful school children.
[Show full text]
Porcupine Tree — the Sound of Muzak 13 — 14
Porcupine Tree The Sound Of Muzak Track Porcupine Tree — The Sound Of Muzak 13 — 14 Als 2002 zum Album „In Absentia“ Gavin Harrison als neuer Drummer zu Porcupine Tree kam, holte man damit einen echten Spezialisten für vertrackte Rhythmen an Bord. Polyrhythmik, Akzentverschiebungen und ungeraden Rhythmen machen sein Spiel unverwechselbar. Genau diese Stilelemente findet man auch in „Sound Of DH: Was macht den Drumpart von „The Sound Of Muzak“ Muzak“. Dazu kurz vorweg: Dieser Song ist rhythmisch und denn so charakteristisch? spieltechnisch ein echter Brecher, also nicht unbedingt was für Einsteiger. Aber dafür dürfen wir mit Stolz verkünden, Gavin: Es is ist das spezielle Feel in der Strophe. Den dass Gavin höchstselbst unsere Transkription gecheckt hat Hauptrhythmus denke ich als 7/8-Takt, aber darüber spiele und als „... the most accurate version I've seen of this Song!“ 7/4. Das gibt dem Hörer eine bessere Orientierung. Wenn bezeichnet hat. ich diese Viertel-Akzentuierung wegließe, wäre es ein sehr Zudem stand Harrison uns noch für das folgende Mini- ruckeliger Rhythmus. Interview Rede und Antwort: DH: Wie lange benötigtest du, um deinen Drumpart für „The DH: Gavin, die meisten Songs von Porcupine Tree schreibt Sound Of Muzak“ aufzunehmen? Steve Wilson. Gibt er dir auch genau vor, wie du deinen Part zu spielen hast? Gavin: Ich glaube, der Song war mit dem ersten Take im Kasten. Gavin: Also, dieser Song war fertig, bevor ich zur Band stieß. Ich flog nach New York als Session Drummer und spielte das Album in sechs Tagen ein. Steve hatte das 7/8-Pattern auf einem Drumcomputer programmiert.
[Show full text]
Forma Y Fondo En El Rock Progresivo
Forma y fondo en el rock progresivo Trabajo de fin de grado Alumno: Antonio Guerrero Ortiz Tutor: Juan Carlos Fernández Serrato Grado en Periodismo Facultad de Comunicación Universidad de Sevilla CULTURAS POP Índice Resumen 3 Palabras clave 3 1. Introducción. Justificación del trabajo. Importancia del objeto de investigación 4 1.1. Introducción 4 1.2. Justificación del trabajo 6 1.3. Importancia del objeto de investigación 8 2. Objetivos, enfoque metodológico e hipótesis de partida del trabajo 11 2.1. Objetivos generales y específicos 11 2.1.1. Objetivos generales 11 2.1.2. Objetivos específicos 11 2.2. Enfoque metodológico 11 2.3. Hipótesis de partida 11 3. El rock progresivo como tendencia estética dentro de la música rock 13 3.1. La música rock como denostado fenómeno de masas 13 3.2. Hacia una nueva calidad estética 16 3.3. Los orígenes del rock progresivo 19 3.4. La difícil definición (intensiva) del rock progresivo 25 3.5. Hacia una definición extensiva: las principales bandas de rock progresivo 27 3.6. Las principales escenas del rock progresivo 30 3.7. Evoluciones ulteriores 32 3.8. El rock progresivo hoy en día 37 3.9. Algunos nombres propios 38 3.10. Discusión y análisis final 40 4. Conclusiones 42 5. Bibliografía 44 5.1. De carácter teórico-metodológico (fuentes secundarias) 44 5.2. General: textos sobre pop y rock 45 5.3. Específica: rock progresivo 47 ANEXO I. Relación de documentos audiovisuales de interés 50 ANEXO II. PROGROCKSAMPLER 105 2 Resumen Este trabajo, que constituye un ejercicio de periodismo cultural, en el que se han puesto en práctica conocimientos diversos adquiridos en distintas asignaturas del Grado de Periodismo, trata de definir el concepto de rock progresivo desde dos perspectivas complementarias: una interna y otra externa.
[Show full text]
Richard Barbieri – Under a Spell
Richard Barbieri – Under A Spell (49:28, CD, Vinyl, Digital, Kscope, 2021) Zwar ist Richard Barbieri bereits seit vielen Jahrzehnten aktiv, doch „Under A Spell“ ist erst das vierte Soloalbum des einflussreichen Künstlers, der vor allem durch seine Mitarbeit bei Japan oder Porcupine Tree, sowie diversen Kollaborationen in Erscheinung trat. Das aktuelle Album war in dieser Art so nicht geplant. Die ursprüngliche Idee hatte vielmehr eine Fortsetzung seines 2017er Albums „Planets + Persona“ als offene Zusammenarbeit von verschiedenen Musikern vorgesehen. Doch dann kam die Covid-19 Pandemie und auf einmal veränderte sich alles. „Ich schrieb und nahm das Album in meinem Studio zu Hause auf, während sich draußen diese eigenartigen Dinge abspielten. So wurde es etwas komplett Anderes: ein verrücktes, unabhängiges, in einer Art Traumzustand befindliches Album.“ So stehen bei diesem Werk in erster Linie Stimmungen im Vordergrund, es scheint mehr darum, zu gehen, den eigenen Geisteszustand zu reflektieren, als sich um ausgeklügelte Arrangements und Melodien zu kümmern. Die offensiven elektronischen Elemente, die man teilweise von seinen anderen Werken kennt, sind mehr in den Hintergrund gedrängt, vielfach schweben die abstrakten Sounds mehr, als dass sich eine prägnante Tonfolge erkennen lässt. Dennoch gelingt eine überaus spannende Verbindung aus Ambient, Electronic und jazzigen Farbtupfern. Einerseits erkennt man bei ruhigeren Stücken ‚Clockwork‘ oder ‚Star Light‘ den innerlichen Stillstand, wird bei mehr treibenden Nummern wie ‚Flare 2‘, dem düsteren ‚Sketch 6‘ oder dem geisterhaften ‚Serpentine‘ die Unbestimmtheit, Verlorenheit und Nervosität greifbar. Selbst wenn Richard Barbieri vieles im Alleingang einspielte und mit diversen Samples arbeitet, so verzichtet er dennoch nicht auf Gastmusiker. Marillion Frontmann Steve Hogarth und die schwedische Sängerin Lisen Rylander-Löve bringen ihre Stimmen auf experimentelle Weise ein, ohne diese gesanglich zu verwenden.
[Show full text]
Seattle Symphony Runs: April 7-29 CONTENTS NO NEED to HOLD the APPLAUSE the Vision and Commitment of United Way’S Million Dollar Roundtable Is Music to Our Ears
APRIL 2017 MORLOT CONDUCTS BRUCKNER LEIF OVE ANDSNES & MARC-ANDRÉ HAMELIN DUO RECITAL TALL-TAKACS’ MUSICAL LEGACY Encore Magazine: Seattle Symphony Runs: April 7-29 CONTENTS NO NEED TO HOLD THE APPLAUSE The vision and commitment of United Way’s Million Dollar Roundtable is music to our ears. This group is leading the way, building a foundation for our community where people have homes, students graduate and families are financial stable. These generous donors have committed to gifts of $1 million or more over a period of five years or less. So, no need to wait to clap. Cheering them on means cheering our community on. Ginger Ackerley Theresa E. Gillespie and Satya and Rao Remala Foundation Anonymous (1) John W. Stanton John and Nancy Rudolf Bacon Family Foundation Anne E. Gittinger Herman and Faye Sarkowsky Ballmer Group Greenstein Family Foundation Charitable Foundation Stan and Alta Barer Matt Griffin and Evelyne Rozner The Schultz Family Foundation Carl and Renee Behnke Nick and Leslie Hanauer Jon and Mary Shirley Foundation Foundation Brettler Family Foundation Jim and Jan Sinegal John C. and Karyl Kay Brad Smith and Kathy Surace-Smith Jon and Bobbe Bridge Hughes Foundation Orin Smith Family Foundation Jeffrey and Susan Brotman Craig Jelinek Charlie’s Produce James Solimano and Firoz and Najma Lalji Karen Marcotte Solimano Barney A. Ebsworth and John and Ginny* Meisenbach Rebecca Amato Tom Walker Blake and Molly Nordstrom Ellison Foundation Robert L. and Mary Ann T. Wiley Brandy and Pete Nordstrom Fund Richard and Barrie Galanti Bruce and Jeannie Nordstrom Gifts are as of December 31, 2016.
[Show full text]
Working Together and Working: Public and Private School Collaboration. INSTITUTION Columbia Univ., New York, NY
DOCUMENT RESUME ED 406 726 EA 028 279 AUTHOR Lee, Alec, Jr. TITLE Working Together and Working: Public and Private School Collaboration. INSTITUTION Columbia Univ., New York, NY. Esther A. and Joseph Klingenstein Center for Independent School Education. PUB DATE 6 May 94 NOTE 72p. PUB TYPE Reports Descriptive (141) Tests/Questionnaires (160) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS *Cooperative Programs; *Educational Cooperation; Elementary Secondary Education; Nontraditional Education; *Partnerships in Education; *Private Schools; *Public Schools; School Business Relationship ABSTRACT How might independent schools play an effective role in educational reform through public-private collaborations? This study, a project of the Klingenstein Fellowship, surveys the types of partnerships, explores varying degrees of collaboration, and examines the impact of collaborations on schools and communities. Portraits of five collaborative projects between public and private schools are presented:(1) Springside and Philadelphia All-Girls High School (Pennsylvania);(2) Crossroads and Los Angeles Public Schools (California);(3) Aim High: San Francisco (California) and St. Louis (Missouri);(4) Katherine Delmar Burke School and Martin Luther King, Jr., Middle School (California); and (5) The Hyde School of Greater New Haven (Connecticut). Contains a directory of 30 collaborative programs that work and 3 appendices that provide an overview of school-university collaborations, school-business partnerships, and a copy of the survey. (LMI) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** WORKING TOGETHER AND WORKING: PUBLIC AND PRIVATE SCHOOL COLLABORATION A study for the Klingenstein Fellowship f. Alec L. Lee, Jr. The Klingenstein Fellowship 1993-94 Professor Pearl Kane May 6, 1994 U.S.
[Show full text]
Bad Building Loans Pile up at Area Banks
nb14p01.qxp 3/30/2007 7:44 PM Page 1 TOP STORIES BUSINESS Mets ticket sales LIVES soar, but catching New York’s the Yankees is a CEO authors daunting task mean business PAGE 2 ® PAGE 35 Wall Streeters gamble on slippery slope by buying VOL. XXIII, NO. 14 WWW.NEWYORKBUSINESS.COM APRIL 2-8, 2007 PRICE: $3.00 ski resorts PAGE 3 THE YOUNG AND THE RESTLESS Ad pages at Hearst’s teen titles are falling as Condé Nast’s Teen Vogue gains. Bad building Why the long delay in granting Verizon a cable franchise? loans pile up GREG DAVID, PAGE 13 Grocery store chief at area banks joins the GOP, eyes bid for mayor; way too fast,” says Charles An- hospital squabble But hedge funds, tonucci, chief executive of Man- 177 283 328 other developers hattan-based Park Avenue Bank. THE INSIDER, PAGE 15 “Nobody was paying attention to come to the rescue; how fast.” Brooklyn paper’s -19% -6% +3% NJ the epicenter But to a surprising degree, obsession with lenders are being rescued from the I 2007 ad pages, through April I One-year % change Source: MediaWeek flood of bad debt. Hedge funds are Atlantic Yards BY TOM FREDRICKSON buying delinquent loans, some- PAGE 17 times for 100 cents on the dollar, delinquent construction loans and new developers are taking over are soaring in the New York area. from tardy borrowers and finishing Hearst playing Some $108 million worth of projects. REPORT building loans were late in the “There is tremendous liquidity YOUNG fourth quarter, a 161% rise from in terms of redistributing the AND RICH the teen angle the year-earlier period, according debt,” says State Bank of Long Is- G Wall Street makes to data from SNL Financial.
[Show full text]
Porcupine Tree Coma Divine (Recorded Live in Rome) Mp3, Flac, Wma
Porcupine Tree Coma Divine (Recorded Live In Rome) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Coma Divine (Recorded Live In Rome) Country: Japan Released: 2008 Style: Space Rock, Psychedelic Rock MP3 version RAR size: 1583 mb FLAC version RAR size: 1556 mb WMA version RAR size: 1285 mb Rating: 4.5 Votes: 527 Other Formats: AC3 XM VOC ASF AUD MMF VOX Tracklist 1-1 Bornlivedieintro 1:25 1-2 Signify 5:29 1-3 Waiting Phase One 4:36 1-4 Waiting Phase Two 5:23 1-5 The Sky Moves Sideways 12:40 1-6 Dislocated Day 6:35 1-7 The Sleep Of No Dreaming 5:19 1-8 Moonloop 11:50 2-1 Up The Downstair 7:40 2-2 The Moon Touches Your Shoulder 5:05 2-3 Always Never 5:41 2-4 Is...Not 6:09 2-5 Radioactive Toy 13:30 2-6 Not Beautiful Anymore 9:39 Companies, etc. Distributed By – WHD Entertainment, Inc. Marketed By – Victor Entertainment, Inc. Copyright (c) – Snapper Music Plc Copyright (c) – Porcupine Tree Manufactured By – Snapper Music Plc Credits Bass – Colin Edwin Drums, Percussion, Backing Vocals – Chris Maitland Engineer [Recording] – Chris Thorpe Guitar, Vocals, Producer, Mixed By – Steven Wilson Keyboards, Synthesizer – Richard Barbieri Notes Recorded live In Rome 1997. Comes in a CD sized papersleeve (gatefold), with obi-strip and two inserts of notes/photos. Barcode and Other Identifiers Barcode (Scanned): 4582213912036 Barcode (Text): 4 582213 912036 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Porcupine Coma Divine (CD, Delerium DelecCD067 DelecCD067 UK 1997 Tree Album, RE) Records
[Show full text]
OF DIFFERENT ERAS Tween These Two Bands, and These Two Men, Literally Full Circle: Surround Sound
Wilson who, after first adopting the moni- ker Porcupine Tree in 1987, recruited an actual band under that name 6 years later and steered it to the point where, today, it’s at the top of its genre. For lack of an- » other name, that genre is still known as TWIN progressive rock. Call it what you will, but it’s the modern equivalent of what King Crimson trailblazed 4 decades ago. Acknowledging the link, Fripp guested on Porcupine Tree’s 2007 album, Fear of a Blank Planet. But there’s something more KINGS profound that brings the connection be- OF DIFFERENT ERAS tween these two bands, and these two men, literally full circle: surround sound. Surround mixes of classic King Crimson and After learning the basics of surround from engineer/producer Elliot Scheiner, fresh Porcupine Tree ensure that the cause of who did multichannel mixes of Porcupine multichannel music is still progressing. Tree’s In Absentia (2002) and Deadwing (2005), Wilson went on to make his own Reviewed by KEN RICHARDSON surround mixes of Planet and his solo al- bum of earlier this year, Insurgentes. Now, ucky is the person who, at work or “The Christmas Song.” Steven Wilson, as 12 months after the release of Genesis play, finds a kindred spirit. I was he now sings, “was born in ’67, the year 1970–1975 compelled me to write in this L fortunate enough to find one of Sgt. Pepper and Are You Experienced.” magazine that “it’s getting harder to find when, reading Eric Tamm’s 1990 book Rob- Which means that Wilson was in the crib something that qualifies as a genuine KE ert Fripp: From King Crimson to Guitar when Fripp began his professional music event” in the realm of music in surround, H Craft, I came across this passage about career.
[Show full text]
Did You Grow up in a Musical Family/Environment (Was There Much Music Where You Lived)?
© www.totalmusicmagazine.com www.totalmusicmagazine.com Interview with Fish Total Music: Did you grow up in a musical family/environment (was there much music where you lived)? Tim Bowness: “A big no to both! I did find out after her death that my Mum had dabbled in theatrical productions and had dreams about being an actor, and my Grandmother (who lived next door) had been an accomplished Classical pianist. Despite that, music and the arts never figured highly in my household and my parents actively discouraged me from getting involved in bands.” “As for the area, the immediate surroundings - North Cheshire - were pretty dead in terms of venues and there was little to do except create entertainment yourself. Manchester and Liverpool were only twenty minutes away, so as a late teenager, I had access to a great deal more.!” Total Music: Did you play in any bands we may not have heard of in your formative years and what were you major influences? Tim Bowness: “A few, mainly in the Manchester and Liverpool areas. I‟d have been aged between 18 and 23. My three main pre No-Man bands were Still (from Manchester), After - or sometimes Always - The Stranger (from Warrington) and Plenty (from Liverpool). “Still had genuine musical scope and were quite original for the time I think. We were praised by the likes of Mark Radcliffe, but sadly it came to nothing. After The Stranger was more of a standard 1980s Indie Rock band in a Chameleons/Icicle Works/Smiths style. It had a grounding in King Crimson and Van Der Graaf Generator, so it wasn‟t wholly straightforward.
[Show full text]
Bass Heads, Cabinets & Combos | 2011/12 Www
BASS HEADS, CABINETS & COMBOS | 2011/12 WWW.EBSSWEDEN.COM EBS Professional Bass Equipment • 3 earing a great musician play is like watching the Northern Lights. It is a unique experience in which every single note stands out and Hshines, illuminating the world around it. Having had the privilege of designing equipment for some of the greatest bass players in the world for more than 20 years, we believe that all the great musicians, regardless of style, background or musical preference, have one thing in common: a unique sound that can be mistaken for no other. Our job is to help bass players bring their unique expression to their audience in its purest possible form. To make them sound like themselves, so they can shine. 4 • EBS Professional Bass Equipment EBS PREMIUM BASS GEAR PROFESSIONAL BASS EQUIPMENT MADE IN SWEDEN Combining an unrivalled tonal quality with a robustness that makes it perfect for professional touring and studio sessions, the EBS Premium Gear is a professional musicians dream. Easy to adapt to changing conditions and designed to suit any venue, the EBS Premium Gear will let bass players bring their distinct sound to their audience in its purest possible form. FEATURES EBS FAFNER II THE LEGEND IS BACK 2-Channel preamp The EBS Fafner II dual channel bass amp is a real monster. Learn how to master it and Built in compressor you will never want to be without it! Raw and pure tone and powerful to the extreme! Individual efx-loops for each channels The EBS Fafner II use a two channel preamp.
[Show full text]