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Trrma' / Charlemagne Palestine

Sssseegmmeentss Frrooom Baaari [VINYL]

Trrma' / Charlemagne Palestine: Sssseegmmeentss Frrooom Baaari [VINYL] (BeCoq)

Stochastic music for percussion and synthesizers from New York avant conceptualist and keyboardist Charlemagne Palestine, here on piano & electronics, with the Italian duo Trrma' of Giovanni Todisco on percussion and Guiseppe Candiano on synth, in two side-long works of irregular rhythm, complexity and dissonance that build and recede in a suspenseful journey.
 

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product information:


Label: BeCoq
Catalog ID: 41
Squidco Product Code: 28068

Format: LP
Condition: New
Released: 2019
Country: France
Packaging: LP
Recorded at Crescendo Studio, in Bari, Italy. Mastered by Rashad Becker.


Personnel:

Charlemagne Palestine-piano, electronics

Giovanni Todisco-percussion

Guiseppe Candiano-synthesizers

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Artist Biographies:

"Charlemagne Palestine (born Chaim Moshe Tzadik Palestine) is a performance artist from New York.

Born in Brooklyn, New York in 1947, Palestine began by singing sacred Jewish music and studying accordion and piano. At the age of 12 he started playing backup conga and bongo drums for Allen Ginsberg, Gregory Corso, Kenneth Anger, and Tiny Tim. From 1962-69 Palestine was daily carillonneur for the Saint Thomas Episcopal Church in Manhattan, eventually creating a piece that consisted of 1,500 15 minute performances.

From 1968-72, Palestine studied vocal interpretation with Pandit Pran Nath, experimented on kinetic light sculptures with Len Lye, composed music for Tony and Beverly Conrad's film "Coming Attractions," taught at Cal Arts with Morton Subotnick, created the sound and movement piece Illuminations with Simone Forti, and developed his own alternative synthesizer, The Spectral Continuum Drone Machine. Throughout the seventies Palestine created records, videos, sculptural objects, abstract expressionist visual scores and performed regularly in the company of his stuffed animals. From 1980 to 1995 Palestine performed only rarely, exhibiting instead at Stedelijk Museum, Amsterdam, the Moderna Museet, Stockholm, and in documenta 8. During that time he also founded the Ethnology Cinema Project in New York, which is dedicated to preserving films that document disappearing traditional cultures.

After moving to Europe in 1995, in addition to creating exhibitions, Palestine performs regularly, re-releasing older material and developing new videos and sonic projects."

-Wikipedia (https://en.wikipedia.org/wiki/Charlemagne_Palestine)
11/6/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Giovanni Todisco: Graduated in "Classical Percussions" at the "Nino Rota" Conservatory of Monopoli, current drummer in "The Confraternity of Purgatory"; "Trrmà".

Predominantly immersed in experimentation and instrumental music, Giovanni finds the idea of ​​developing a musical idea able to merge technical / didactic elements with the non-undervaluable strength of music: imagination.

What is important is to balance the hours purely dedicated to the study of the instrument, with the hours that few dedicate to listening to the music that surrounds us."

-http://www.scuolaorchestra.it/docenti/giovanni-todisco/ (Orchestra Music Hub)
11/6/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Guiseppe Candiano is an Italian electronics and synthesizer player, known for the band Trrma' with percussionist Giovanni Todisco.

-Squidco 11/6/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


SIDE A



1. ssssssssseegggggggmmmmmeent 1 (21:25)

SIDE B



1. ssssssssseegggggggmmmmmeent 2
sample the album:






descriptions, reviews, &c.

"TRRMA' is a project of Giovanni Todisco (Percussion) and Giuseppe Candiano (Synth). Trrmà was born in July 2015. Started to experiment a new dimension, mixing "classic" afrikaans and symphonic percussion with modular synthesis. Tribal polyrithm's percussion reminds archaic and ancient primitive dance combined to scifi and distopic feelings coming out from synthetizers."-TRRMA'



"Pardon, did I stutter? Errr, well it would have been far simpler to simply write politely whence this CD came from and said thanks but no thanks it isn't really for us but then in doing so I would have no doubt had to explain why "stochastic music for percussion and synthesizers" is a bit wide of the mark even for those of us who are far from strictly a metal site and who like to push the boundaries. I may as well just sit down and witter on about it and get the job done. It as does occasionally happen fall to me as editor to unravel things of a more disingenuous nature and I certainly didn't expect other writers to grab this with open arms. Press wise this is presented rather pretentiously and musically it is too, we are warned that "Listeners couldn't find any failure into [the artists] music, or maybe, everything sounds like a failure" so it's not as though we were not forewarned.

What we have here from Italian musicians Giovanni Todisco (percussion) and Giuseppe Candiano (synthesizers) is what is essentially contemporary classical music. I am rather glad that the two tracks here are segments (let's forget the description on the album title) or they could sprawl for hours upon end over multi disc compositions. They probably do in some form or the other. Simply entitled Segment 1 And 2 and divided into 2 tracks just over the 20-minute mark one first waits for something to happen before realising it actually is via a faint hum and some tinkling xylophone motifs and turn the volume up. Minimalistic, drowsy and soporific a piano is eased in and finally a bit of drama via the slow pounding bombast of timpani drum. Other drums are utilised and the mood and atmosphere is certainly unsettling, slumber has either been forgotten or turned to the brink of nightmare. Strange sounds are made around the half-way mark of the 1st segment and curiosity peaks, at least more is happening via various sonic manipulations and gong like structures being hit and now a horror soundtrack is encroaching on the mood and a dissonance begins to attack the nerves. Now we are getting somewhere and as mood music this is certainly having an effect. The tempo and instrumentation is brought to a near jarring level as bass drum thuds and low feedback buzzes making me wonder if it is there by design or mistake; I suspect the former. Quaking and shaking it reaches its mass before quietly ebbing out leaving you without a huge clue of what it was all about in the first place other than a form of experimental musical artform.

The second segment is more of the same with xylophone again tinkling away but an extra element of faint feminine chanting is introduced, toning the scales like some sort of GSCE music project is taking place. After a few minutes I am definitely getting bored but thankfully a loud couple of timpani rolls give some hope that things will go somewhere even if they are taking their damn sweet time about it. Patience is being worn thin and even the thunder of the percussion brooding over things is now nagging at me. Are the composers of this making it up on the fly, is it carefully constructed, is it relevant to anything are questions going round in my head and to be honest I'm not even sure I care about any answers. One thing has been answered, is it pretentious, hell yes! Is it worth you spending 40 minutes of your time with, well I guess that depends on your tastes but this is definitely designed for the more abstract listener out there. All art is subjective I guess and the moments of drama in the close of each piece especially the earth-shattering one here are worth sticking around for but they just take so long to get to it's a bit of a painful endeavour. I wonder what Stockhausen would have thought?"-Pete Woods


Get additional information at Ave Noctum
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