78071 187 14782.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

78071 187 14782.Pdf 03 "Se han convertido en una de esas bandas que están más allá de los géneros" “Tuvo muy buen muy recibimiento, pero casi inmediatamente“Tuvo después se transformó en una rareza, era difícil de pillar. id Smith, colaborador de las presti- ro 30, pensé que sería bueno hacer la versión que ejercen escapa a los confines del rock progresivo y giosas revistas Prog Magazine, MOJO, nueva para esa fecha, veinte años después. Por creo que la razón es que la música creada por la banda Classic Rock y Record Collector —en- fortuna, fui capaz de sacarlo a tiempo”, dice desde los sesenta y setentas, hasta los años ochenta, ha tre otras— mantuvo desde el año 1999 riendo. Esquizoides en el siglo XXI cubierto mucho terreno estilísticamente. No solo han un blog en el sitio oficial de King Crim- tocado un único tipo de música. Los discos que van des- Sson, posteriormente llamado Krimson News y -Imagino que nunca pensaste ver a King Crim- de In the court of the Crimson King hasta Discipline en luego Postcards from the yellow room. En el son activo 50 años después de su creación. Al el 81 -e incluso más allá, como Thrak en 1994-, casi to- año 2001 editó la biografía titulada In the court comienzo el proyecto se disolvió apenas se lan- dos suenan diferentes, en especial los primeros cuatro. of King Crimson, coincidiendo con el aniversa- zó el disco debut, y ha pasado por muchos quie- Incluso así, todos suenan como King Crimson. rio número 30 de la banda. ¿Por qué? “La res- bres en su historia. puesta es simple. Yo había querido leer un libro Para mucha gente King Crimson y Robert Fripp son sobre King Crimson pero no había ninguno a -Como muchos fans de King Crimson, nunca sinónimos, pero en esos primeros cuatro discos Fripp mano. Eric Tamm había editado uno que se lla- esperé ver viva a la banda en 2019. La última estaba intentando tomar las riendas de un proyecto que maba Robert Fripp: from King Crimson to gui- vez que habían tocado en vivo había sido en en un comienzo no fue suyo. Podrían haber dejado de tar craft y que algo se metía en lo que era King 2008 en Norteamérica, cuando Gavin Harrison existir después del debut. Crimson, pero en su mayoría era sobre Robert se unió y en ese tiempo estaban Adrian Belew, Fripp. Y, aunque era un buen trabajo, no res- Tony Levin, Pat Mastelotto y Robert Fripp tam- -Puede decirse que King Crimson no hubiera tenido éxi- pondía las preguntas que para mí necesitaban bién. Cuando esa banda se terminó en 2008 yo to en su primera formación sin Ian McDonald, Michael respuestas”, explica al teléfono para Culto des- pensé que ese era el fin. Puedo decir que nadie Giles y Greg Lake. No era la banda de Fripp en un co- de su hogar en Whitley Bay, Inglaterra. estaba más sorprendido que yo de que volvie- mienzo. Cuando todos se fueron, la banda podría haber ran pero, hablando con muchos miembros de muerto en 1969. No hay nada que hubiera anticipado En 1999, Sid viajó a Londres para asistir al lan- la formación actual, todos estuvieron sorpren- que la banda iba a continuar existiendo, si no fuera por zamiento de las ediciones 30 aniversario de los didos de recibir una llamada de Robert Fripp la tenacidad y la visión de Robert Fripp y Peter Sinfield. discos de King Crimson, donde Robert Fripp en 2013, preguntándoles si les gustaría formar Primariamente, desde una dirección musical, era Fripp dio una breve charla. “Luego de que terminó parte de la banda en 2014. Nadie lo esperaba. quien quería mantener el espíritu de esa banda viva. de hablar, nos tomamos una taza de café juntos El hecho de que tengamos a King Crimson to- Creo que Robert dice precisamente que todo lo que —porque nos habíamos visto un par de veces cando y que vayan a presentarse ahora en Chi- pasó hasta Larks’ es tratar de encontrar una banda que antes— y en ese momento le dije: creo que voy le es algo muy sorprendente, nadie lo podría funcionara, tratar de encontrar un grupo de músicos a escribir una biografía de la banda. Él me dijo haber predicho. capaces de ejecutar las ideas contenidas en la música. Y que no lo hiciera, porque nadie estaría intere- no es hasta que tienes a John Wetton, Bill bruford, Da- sado y nadie lo iba a comprar (risas)”. A pesar -De cierta forma, King Crimson también siem- vid Cross y Jamie Muir junto a Fripp —la base de Larks’ de ello, Robert fue de gran ayuda, pues le dio pre se las ingenia para seguir teniendo fans. en 1973— que tienes una banda con la oportunidad no a Sid los contactos de varios ex miembros del Siempre una nueva banda está citando su in- solo de recrear sino que de mantener vivo y empujar proyecto, y algunos de los —en aquel momen- fluencia. hacia adelante el espíritu que había abierto la forma- to— actuales. Así comenzó a escribirlo y se pu- -Yo tengo un Google Alert cada vez que King ción de 1969. Robert dice que no es hasta el 1 de julio blicó en el año 2001. Crimson se menciona, eso me llega al email, y de 1974 que él siente esa misma corriente eléctrica en no exagero si te digo que cada día hay una no- la columna que sintió en 1969. Y, por supuesto, esa es la “Tuvo muy buen recibimiento, pero casi inme- ticia hablando de una banda, usualmente una última tocata que hace esa banda, porque luego se po- diatamente después se transformó en una ra- banda joven nueva, y esa nota de prensa dice nen a grabar Red y, para cuando Red se lanza, la banda reza, era difícil de pillar. Hubo una edición fir- que están “influenciados por King Crimson” (ri- se separa y se acaba. mada por muchos miembros de King Crimson sas) y, cuando los escuchas a veces esa influen- y se reimprimió dos o tres veces. La última fue cia está ahí y puedes escucharla, pero a veces -Pienso en esas bandas que se identifican como “in- en 2002, aunque el material contaba la histo- no es tan obvia. He visto la frase “influenciados fluenciadas por King Crimson”, y me pregunto a cuál de ria hasta 2001”. En los años siguientes, la gente por King Crimson” en bandas de heavy metal, todos se refieren. se acercaba a Sid preguntándole cuándo haría de hard rock, de speed metal, en música folk, una edición actualizada. Por muchas razones en cantantes de folk, en jazz, jazz rock… así que -Claro, depende de qué King Crimson estés hablando, le fue imposible llevar a cabo una revisión del King Crimson se ha convertido en una de esas cada una de esas bandas, de jazz, de heavy metal (risas), libro. “Hasta que, el año pasado, eventualmen- bandas que están más allá de los géneros. No apuntan a una versión que no es la otra. No hay mu- te en el verano de 2018, me senté y me puse a tienes que ser una banda de rock progresivo chos grupos donde pueda pasar eso. Hay algunas, pero pensar que tenía que hacerlo porque en 2019 para que ellos influyan en lo que haces. Puedes la variedad, el sentimiento, la intención y estilo es muy se cumplirían 50 años de King Crimson. Si ha- ser un cantautor como St. Vincent, ella tiene in- distinto de álbum a álbum en King Crimson, y el otro bía sacado el libro para el aniversario núme- fluencias de KC y de Robert Fripp. La influencia punto es —obviamente— que tienen todos en común a 05 Yo tengo un Google Alert cada vez que King Crimson se menciona, eso me llega al email, y no exagero si te digo que cada día hay una noticia hablando de una banda, usualmente una banda joven nueva, y esa nota de prensa dice Biógrafo 50 años que están “influenciados por King Crimson” 1981 - Discipline formación sin Ian McDonald, Michael Giles y a una versión que no es la otra. No muchos, muchos cambios. En el caso de King en orden, porque el debut no lo escuché hasta Greg Lake. No era la banda de Fripp en un co- hay muchos grupos donde pueda pasar Crimson, ellos evolucionan y se desarrollan 1970”, explica. “Cuando los vi por primera vez mienzo. Cuando todos se fueron, la banda po- eso. Hay algunas, pero la variedad, el sen - en distintas direcciones según dicta la músi- en vivo, en 1972, era la formación con Jamie Biblia negra dría haber muerto en 1969. No hay nada que timiento, la intención y estilo es muy distinto ca. La transición de Red a Discipline es la más Muir. Fui al concierto e inocentemente pensé hubiera anticipado que la banda iba a conti - de álbum a álbum en King Crimson, y el otro notoria. Yo era fan en 1974 y cuando escuché que iban a tocar una o dos cosas del ultimo dis- Cuando se publicó la biografía In the court nuar existiendo, si no fuera por la tenacidad punto es —obviamente— que tienen todos en que volvían en 1981 estaba muy emocionado. co (risas), que era el en vivo Earthbound. Pero of King Crimson por primera vez, en 2001, tenía y la visión de Robert Fripp y Peter Sinfield. común a Fripp. Yo no creo que pudieras tenerlo Después escuché Discipline y me dije “éste no no hicieron eso y la única que tocaron ese dia aproximadamente 300 páginas.
Recommended publications
  • Miller High Life Theatre Event Advisory
    ADDRESS PHONE NUMBER WEBSITE 500 W. Kilbourn Avenue, Milwaukee, WI 53203 414.908.6000 MillerHighLifeTheatre.com FOR IMMEDIATE RELEASE Sarah Maio [email protected] 414-908-6056 King Crimson Announce “Music Is Our Friend” North American Tour Dates 2021 King Crimson comes to the Miller High Life Theatre on August 31, 2021 MILWAUKEE – (June 7, 2021) – The Miller High Life Theatre and Alternative Concert Group are proud to welcome King Crimson with special guest The Zappa Band to the Miller High Life Theatre, August 31, 2021. Artist VIP presale is June 9 at 11 a.m., and venue presale is June 10th at 10 a.m. Tickets go on sale to the public Friday, June 11 at noon at the Miller High Life Theatre box office or Ticketmaster. When King Crimson returns to action this July, it will be the seventh year that the band has toured since returning to performing live in 2014, a run only interrupted by the lockdown in 2020. In that time, the audience has been reinvented, as much as the band itself, something Robert Fripp noted after the band’s performance in Pompeii, Italy’s famous amphitheater: “In Pompeii, a large percentage of the audience was young couples; KC moved into the mainstream in Italy. I walked onstage knowing that this band's position in the world has changed level.” - Robert Fripp The band’s shows regularly include material from twelve of their thirteen studio albums, including many songs from their seminal 1969 album In the Court of the Crimson King, described by Pete Townshend as an “uncanny masterpiece.” The 7-piece line-up play many historic pieces, which Crimson has never previously played live, as well as new arrangements of Crimson classics – “the music is new whenever it was written.” There are also new instrumentals and songs, as well as compositions by the three drummers, Pat Mastelotto, Gavin Harrison and Jeremy Stacey, which are a regular highlight.
    [Show full text]
  • King Crimson Improvattakc Volume # 1 Mp3, Flac, Wma
    King Crimson iMPRoVaTTaKc Volume # 1 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: iMPRoVaTTaKc Volume # 1 Country: Russia Released: 2001 Style: Prog Rock MP3 version RAR size: 1990 mb FLAC version RAR size: 1806 mb WMA version RAR size: 1448 mb Rating: 4.9 Votes: 153 Other Formats: MPC MMF FLAC AIFF AC3 TTA WMA Tracklist iMPRoVaTTaKc #1 (including: Daniel Dust / Clueless And Spightly Slack Parts 1&2 / The 1 20:06 Golden Walnut) iMPRoVaTTaKc #2 (including: Some Pussyfooting / Is There Life Out There? / The Law Of 2 26:20 Maximum Distress Parts 1&2 / Wilton Carpet) iMPRoVaTTaKc #3 (including: A Voyage To The Center Of The Cosmos / Providence / Some 3 30:27 More Pussyfooting / Coda) Credits Bass – John Wetton Drums – Bill Bruford Guitar, Mellotron – Robert Fripp Music By – King Crimson Percussion, Other [Allsort] – Jamie Muir Violin, Viola, Mellotron – David Cross Notes © 2001 Discipline Global Mobile. The phonographic copyright in these performances is operated by Discipline Global Mobile on behalf of the artists, wich whom it resides. Discipline Global Mobile accepts no reason for artists to give away such copyright interests in their work by virtue of a "common practice" which is out of tune with the time, was always questionable and is now indefensible. Music by King Crimson. All themes and variations recorded during the European tour 1973-1974 and based on the original concept. Mixed & mastered for DGM at November, 2001. Cover and sleeve design by Collage Gallery. Engineer & editor coordinator Andrew Lipatoff. Issued in a jewel case with clear tray and 4-page booklet. Barcode and Other Identifiers Matrix / Runout: KCIM-39309 Related Music albums to iMPRoVaTTaKc Volume # 1 by King Crimson Robert Fripp - Radiophonics (1995 Soundscapes Volume 1 - Live In Argentina) King Crimson - The ConstruKction Of Light King Crimson - Epitaph King Crimson - THRAK King Crimson - The Deception Of The Thrush (A Beginner's Guide To ProjeKcts) King Crimson - Larks' Tongues In Aspic King Crimson - Absent Lovers (Live In Montreal 1984) King Crimson - USA.
    [Show full text]
  • Estonian Surf Team.Pdf
    Toss-Ups for the 1st annual PBA-OCB1vtI \ 1'13 written by the Estonian Surf Team [Erdahl-Karels on-Nelson] 1. Its main ingredient is actually oatmeal, but most people only remember that part about including a sheep's internal organs boiled in the animal's stomach. FTP name this traditional delicacy of Scotland? ANSWER: Haggis 2. Jeremy Irons, Miranda Richardson and Juliette Binoche starred in the film version, but FTP who wrote the best-selling novel Damage? ANSWER: Josephine Hart 3. Guatemalan soldiers killed this Quiche Indian's mother and burned her brother alive. She learned Spanish to speak out on human rights. FTP name this Guatemalan woman who won the 1992 Nobel Peace Prize? ANSWER: Rigoberta Menchu 4. Let Us Now Praise Famous Men is a showcase for this photographer's craft. His photographs brilliantly illustrate the life of Southern sharecroppers. FTP name this American photographer whose works are part of a new display at New York's Metropolitan Museum of Art? ANSWER: Walker Evans 5. Cebu, Bohol, Samar, Panay, Palawan, Masbate, Mindoro, Negros, Leyte, Mindanao and Luzon are some of the over 7,000 islands of, FTP, what country? ANSWER: the Philippines 6. This two-word Latin legal phrase means that the prosecution does not wish to pursue matters further. FTP name this writ that ends court proceedings? ANSWER: Nolle Prosequi 7. Zero is dead calm, four a moderate breeze, nine a strong gale, and twelve is hurricane force winds with 30 foot plus waves. FTP name this naval weather scale? ANS WER: the Beaufort Scale 8.
    [Show full text]
  • King Crimson Collectors' Club (1969-1974)
    King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 King Crimson 1 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 Collectors' Club (1969-1974) di Gianluca Livi Articolo originariamente apparso in due puntate sui nn. 35 e 37 (rispettivamente Marzo/Aprile e Luglio/Agosto del 2008) di "Musikbox. Rivista di cultura musicale e guida ragionata al collezionismo", qui pubblicato, con alcune varianti, per gentile concessione dell'autore. Premessa (2008) Alla fine degli anni '90, stanco dei bootleg, Robert Fripp decise di commercializzare ufficialmente alcuni live dei King Crimson su cd, muovendo dal presupposto che, se fino a quel momento i fan avevano acquistato materiale del gruppo dal vivo di scarsa qualità, facendo guadagnare esclusivamente biechi 2 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 imprenditori pirata, poteva egli stesso vendere le medesime esibizioni, ufficializzandone l'uscita sul mercato discografico e, congiuntamente, perseguendo anche un (legittimo) fine di lucro. Poiché anche parte delle registrazioni in suo possesso erano qualitativamente scadenti, conscio dell'impossibilità di immetterle nel mercato senza suscitare polemiche, decise di distribuirle solo agli iscritti di un club, il cosiddetto “Collector's Club”. Coloro che vi avessero aderito, previo versamento di una cifra iniziale abbastanza consistente, avrebbero ricevuto i titoli pubblicati di volta in volta, vedendosi scalato il valore di ogni singolo disco dalla quota d'iscrizione. L'iniziativa andò avanti con ottimi risultati fino al 2002, quando - abbandonato definitivamente il metodo dell'iscrizione al Club - i cd furono inseriti nel catalogo della DGM, unitamente ad album ufficiali dei Crimson e di altri artisti della scuderia.
    [Show full text]
  • Steve Smith Steve Smith
    • SPEED • POWER • CONTROL • ENDURANCE • SPECIAL TECHNIQUE ISSUE STEVESTEVE SMITHSMITH VVITALITAL TTECHECH TTALKALK BBUILDUILD SSUPERUPER CCHOPSHOPS!! BBOZZIOOZZIO,, PPHILLIPSHILLIPS,, BBISSONETTEISSONETTE,, BBELLSONELLSON,, WWECKLECKL,, AANDND MMOREORE TTHEHE TTECHNICALECHNICAL EEDGEDGE HHUNDREDSUNDREDS OOFF GGREATREAT EEXERCISESXERCISES FFOROR YYOUROUR HHANDSANDS AANDND FFEETEET WIN JJOHNOHN DDOLMAYANOLMAYAN Exciting Sights OOFFFF TTHEHE RRECORDECORD And Sounds From Sabian & Hudson Music TTHEHE MMANYANY KKITSITS OOFF BBILLILL BBRUFORDRUFORD $4.99US $6.99CAN 05 WIN A Drum Lesson With Tico Torres 0 74808 01203 9 Contents ContentsVolume 27, Number 5 Cover photo by Alex Solca STEVE SMITH You can’t expect to be a future drum star if you haven’t studied the past. As a self-proclaimed “US ethnic drummer,” Steve Smith has made it his life’s work to explore the uniquely American drumset— and the way it has shaped our music. by Bill Milkowski 38 Alex Solca BUILDING SUPER CHOPS 54 UPDATE 24 There’s more than one way to look at technique. Just ask Terry Bozzio, Thomas Lang, Kenny Aronoff, Bill Bruford, Dave Weckl, Paul Doucette Gregg Bissonette, Tommy Aldridge, Mike Mangini, Louie Bellson, of Matchbox Twenty Horacio Hernandez, Simon Phillips, David Garibaldi, Virgil Donati, and Carl Palmer. Gavin Harrison by Mike Haid of Porcupine Tree George Rebelo of Hot Water Music THE TECHNICAL EDGE 73 Duduka Da Fonseca An unprecedented gathering of serious chops-increasing exercises, samba sensation MD’s exclusive Technical Edge feature aims to do no less than make you a significantly better drummer. Work out your hands, feet, and around-the-drums chops like you’ve never worked ’em before. A DIFFERENT VIEW 126 TOM SCOTT You’d need a strongman just to lift his com- plete résumé—that’s how invaluable top musicians have found saxophonist Tom Scott’s playing over the past three decades.
    [Show full text]
  • Label: Artwork Location: Title: Review Locati
    Bob Dylan Title: 04271992 Start Date: 04/27/1992 Location: Paramount Theater, Seattle, WA Label: Artwork Location: Review Location: Recording Source: Disc Number: 1 73:28 1 Rainy Day Women #12 & 35 01:24 2 I Don't Believe You 04:40 3 Union Sundown 04:23 4 Just Like A Woman 05:24 5 Tangled Up In Blue 08:23 6 She Belongs To Me 05:01 7 Everything's Broken 04:02 8 Love Minus Zero/No Limit 02:39 9 Little Moses 03:47 10 A Hard Rain's A-Gonna Fall 06:48 11 It;s All Over Now, Baby Blue 06:32 12 Cats In The Well 04:36 13 Idiot Wind 09:12 14 The Times They Are A-Changin' 06:37 Disc Number: 2 65:22 1 Highway 61 06:35 2 Absolutely Sweet Marie 05:38 3 All Along The Watchtower 04:20 cut 4 Blowin' In The Wind 03:25 start of 4/28 filler 5 Sally Sue Brown 02:56 6 Stuck Inside Of Mobile 06:35 7 Simple Twist Of Fate 07:40 8 Watching The River Flow 03:45 9 Female Rambling Sailor 03:04 10 Gates Of Eden 04:51 11 Shooting Star 05:24 12 Like A Rolling Stone 05:33 13 Ballad Of A Thin Man 05:36 Bob Dylan Title: 07011978 Start Date: 07/01/1978 Location: Zeppelindfeld, Nurnberg, West Germany Label: Artwork Location: http://www.angelfire.com/yt/tyamabe/nurnberg/ Review Location: Recording Source: Disc Number: 1 70:28 1 She's Love Crazy 02:30 2 Baby Stop Crying 05:39 3 Mr, Tambourine Man 04:28 4 Shelter From The Storm 04:51 5 It's All Over Now, Baby Blue 04:24 6 Tangled Up In Blue 07:07 7 Ballad Of A Thin Man 04:35 8 Maggie's Farm 04:47 9 I Don't Belive You 04:26 10 Like A Rolling Stone 06:39 11 I Shall Be Released 04:13 12 Going, Going, Gone 04:23 13 A Change Is
    [Show full text]
  • Complete Recordings, Starless, Road to Red, on [And Off) the Road and Thrak Box: Live and Studio Recordings 1994–1997
    The making of virtual space in the King Crimson Box sets Larks tongues in as- pic: Complete recordings, Starless, Road to Red, On [and off) the Road and Thrak Box: Live and Studio Recordings 1994–1997 Toivo Burlin, Stockholm University When the founding fathers of progressive rock, British (-American) group King Crimson, pro- duced their groundbreaking LP In the Court of the Crimson king in 1969, they established an ec- lectic yet recognizable style, with a strong musical and production virtuosity. Continuing for four decades, they became the only band of its generation to continually developing and ex- panding it’s style and techniques. Their music is not easily categorized: from the advanced rock music inspired by modern jazz and art music on the first four LP albums – and a lot of changes in the band personnel and set up of instruments – the music developed in the mid 1970’s to a dynamic, experimental hard rock with an art music attitude, containing sound worlds of percussion, violins and softer melodic elements blended with heavy, rhythmically complex, asymmetrical guitar riffs: The albums Larks tongues in aspic (1973), Starless and bible black (1974) and Red (1974) was highly influential. When the band was reformed with partly new musicians in 1981, they arrived with a different, of New wave and minimalism, influenced style. In a short span of three years, 1981–1984, they released albums Discipline, Beat and Three of a perfect pair, and reformed once more in 1994 to release the CD Thrak. Importantly, in the same period they managed to take total creative and commercial control of all their recorded output, and it put them in a uniquely strong independent artistic position, connected to their loyal followers.
    [Show full text]
  • Adrian Belew Power Trio
    This pdf was last updated: Dec/29/2010. Adrian Belew Power Trio King Crimson and Frank Zappa, David Bowie and Paul Simon, Talking Heads and Nine Inch Nails - Adrian Belew is well-known for his diverse travels around the musical map. Line-up Adrian Belew - guitar, vocals Julie Slick - bass Eric Slick - drums Andre Cholmondeley - tour manager/tech Plus one additional sound/tech manager On Stage: 3 Travel Party: 5 Website www.adrianbelew.net Biography Since 2006, Adrian Belew has led his favorite 'Power Trio' lineup, featuring Eric Slick on drums and Julie Slick on bass. They have been devastating audiences all around the USA and globally, from Italy to Canada to Germany to Japan. With the release of their brand- new CD 'Side Four - Live' they return to the road to stretch out the new material and introduce it to new audiences. The show will feature material from the new CD, classics from Adrian's many solo albums (including the recent 'Side One', 'SideTwo', and 'Side Three'), as well as solo moments, spirited improvisation and King Crimson compositions. 'Side One' features special guests Les Claypool of Primus and Danny Carey of Tool, and includes the Grammy-Nominated single - 'Beat Box Guitar'. The recently released 'Side Four (Live)' captures the current trio in a burning performance. Adrian is well-known for his diverse travels around the musical map - he first appeared on guitar-world radar when he joined Frank Zappa's band in 1977 for tours of the USA and Europe. When Frank Zappa hires you as his guitarist, people listen up.
    [Show full text]
  • Music 10378 Songs, 32.6 Days, 109.89 GB
    Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’…
    [Show full text]
  • King Crimson – Live in Chicago
    King Crimson – Live in Chicago (73:42 + 79:51, 2 CDs, Discipline Global Mobile, 2017) Über zu wenig Material von King Crimson braucht man sich in letzter Zeit nun wirklich zu beklagen. Gerade wurde u.a. die 21(!) CDs umfassende „Sailor’s Tale“ betitelte Rückschau der Jahre 1970-72 unters Volk gebracht, während die aktuelle Inkarnation der Band erneut auf Tour geht. „Live In Chicago“ stammt aus dem Sommer dieses Jahres und man fragt sich dennoch unweigerlich: ein weiteres Livealbum von King Crimson, ist das nun wirklich nötig? Einmal mehr lautet die klare Antwort ‚Ja‘, auch wenn sicherlich dieses Werk letztendlich vor allem die Die-Hard-Fans der Band begeistern wird. Seit 2015 erschienen bereits diverse Liveveröffentlichungen der Band um Robert Fripp (2015: „Live At The Orpheum“, 2016: „Live In Toronto“ und „Radical Action To Unseat The Hold Of The Monkey Mind“, 2017: „Heroes EP“ und der Japan Import „Live In Vienna“), so dass „Live In Chicago“ eine weitere Fortsetzung der aktuellen Reinkarnation mit drei(!) Schlagzeugern bedeutet. In der Besetzung Robert Fripp (Gitarre, Keyboards), Mel Collins (Saxophon, Flöte), Gavin Harrison (Schlagzeug), Jakko Jakszyk (Gitarre, Flöte, Gesang), Tony Levin (Bass, Stick, Gesang), Pat Mastelotto (Schlagzeug), Bill Rieflin (Keyboards), Jeremy Stacey (Schlagzeug, Keyboards) entstand dieser Mitschnitt auf letzten US Tour. Gerade im Vergleich mit den anderen Aufzeichnungen der letzten Jahre fällt auf, dass man sich zwar vermehrt mit den Klassikern der 70er Jahre auseinandersetzt, aber neben gewissen Songkonstanten in der Setlist wie z.B. ‚Starless‘, ’21st Century Schizoid Man‘, ‚Easy Money‘, ‚Lark’s Tongues In Aspic I‘ oder ‚Pictures Of A City‘ umspannt jeder Livemitschnitt eine anregende Variation der Setlist, mit einer Mischung aus frühen Songperlen, wie auch komplett neuem bzw.
    [Show full text]
  • Davide P Artical
    Davide Piovesan Davide Piovesan is the man behind the drumkit for the first two Ephel Duath albums released on Earache Records: The Painters Palette (2003) and Pain Necessary to Know (2005). It is rare for a band to achieve an authentic marriage between jazz and metal. Jazz, in its elegance of tone and dynamics, can often clash with the harsh aesthetics and production of heavy metal. Ephel Duath, however, had indeed achieved such a blend of seemingly disparate musical styles. The importance of a drummer who can skillfully execute both cannot be overstated. What follows is a series of questions based on Davide Piovesan’s time in the band, the writing process and pushing the stylistic envelope. Q: Early Ephel Duath was quite different from the material that followed. What were your first impressions of the band? A: When I first met Davide Tiso, I didn't even know the band already existed. And I wasn't very interested in what they did before, to be honest. I listened to their older music only much later, after our first album was recorded. Tiso's style was clearly recognizable, but the abundance of "techno" stuff was not really exciting to me. Tiso was strongly demanding a totally different sound and instrumental intention. A complete 180, if you will. Q: What were your impressions of the music Davide Tiso was writing when you first joined? A: Davide got my phone number from a guitarist (maybe also his guitar tutor at the time) who had played in a jazz fusion band with me several years before.
    [Show full text]
  • XXVI Space Utopia in the 1970S of the Twentieth Century on the Basis Of
    XXVI Space Utopia in the 1970s of the Twentieth Century on the Basis of the Kobaïan World Łukasz Stec Introduction Utopia has been depicted in a plethora of works of culture. Thus, its omnipresence creates a considerable incentive to approach the subject from a completely different angle. Endeavouring to put the problem of utopia into wider perspective, this chap- ter focuses on music and its relation to utopian concepts and notions. Utopias tend to raise the problem of the world improvement. According to Lyman Tower Sargent “most utopias compare life in the present and life in the utopia and point out what is wrong with the way we now live, thus suggesting what needs to be done to improve things” (Sargent 2010: 5). When it comes to music, there have been plenty of bands approaching utopian- ism1; however, there is only one that stands out among the rest, i.e. Magma, a French group led by Christian Vander, a drummer, who along with other members of the 1 There is a long list of bands playing different kinds of music which referred to both utopia and dystopia. With regard to rock music, there are well-known albums such as Animals by Pink Floyd based on George Orwell’s Animal Farm and the opus magnum of Roger Waters The Wall, Brave New World by Iron Maiden based on Aldous Huxley, 666 by Aphrodite’s Child which is believed to have been staged in Barcelona and directed by Salvador Dalí. The topic of utopian discourse across media including music, computer games, films, visual arts is thoroughly discussed in the book (Im)perfection Sub- verted, reloaded and networked edited by Barbara Klonowska, Zofia Kolbuszewska and Grzegorz Maziarczyk (Klonowska, Kolbuszewska, Maziarczyk 2015).
    [Show full text]