Amoeba Music

Favorite Track: Satellite of Love

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Favorite Track: Downer Surrounded by Uppers

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It's Iggy Pop!

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It's Lou Reed! This sly guy mailed himself these recorded versions of these songs to "poor man's" copyright them. Wow!

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Escapist Route?? I never want to leave! Songs so tender you'll be looking for a way back!

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PURE, HIGH ENERGY ROCK AND ROLL!

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Deluxe Edition of the watershed album for this critical band! B-sides, bonus tracks and more, Oh My! Also check out their latest Apocalypse Love!

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In celebration of the American composer Frederic Rzewski, who passed away back in 2021, the Australian/American pianist Lisa Moore has elected to reveal a delicate yet sensitive side of the composer's work. Rzewski, who championed progressive leftist politics and incorporated a wealth of creative spirit within the core of his compositions, is no slouch in regards to creating a lively and busy sound. But what Lisa Moore chooses to open this commemoration with is what one would not expect to hear, especially in celebration of a composer whose minimalist style is spiked with aggressively free improvisational attributes. Miss Moore begins with (and sings!) Andrew Marvell's 17th-century poem ''To His Coy Mistress," word for word as Rzewski's music provides the setting to this centuries old poem. Miss Moore's intonation is recitative but her brisk intuitive delivery of piano notes revises emotional meaning in well-placed isolated spots. "To His Coy Mistress" is pleasing to listen to with magniloquent sung lyrics. But knowing that this poem is nearly 400 years old, one can't help but to marvel at its stark meaning which is nothing but a young man trying to persuade his resistant lover to engage in sexual intercourse. The piece is overwhelmingly full of bewitching charm thanks to Lisa Moore's prudent delivery alongside simple but charming piano scales which adapt beautifully with the meaning of the lyrics. Repetitive listening becomes addictive. In the 3rd track, "Coming Together"; it helps for the listener to know the source of Rzewski's lyrics. Back in 1971, an inmate of the Attica state prison, Sam Melville, wrote a letter, while in prison, concerning the current state of what he and the other inmates were experiencing; namely physical and mental abuse from the guards. Although Mr. Melville died from his wounds after this historically successful brief revolt, his letter survived and was eventually published in certain magazines. Rzewski read this published letter of Melville's and was struck by its poetic quality, so much so that Rzewski read it over and over again. He was so obsessed with Mr. Melville's letter that Rzewski turned the letter into a nearly 20 minute piece entitled, "Coming Together" which Miss Moore handles with amazing aplomb, balance and composure. In such a piece, exuding a beautiful singing voice is not necessary for Miss Moore's deadpan delivery demands the listeners attention. Both the intensity of the struck piano keys as well as the raising and lowering of her imposing voice are in sync with the mood of what was actually written,. or in this case; said. It's simply a captivating piece of music which will grow on you the more you choose to listen. Although the repetitive bass line of the piano sounds never ending, it still becomes maddeningly familiar and resembles the locked up surroundings which the writer happens to find himself in while jotting down his thoughts. A very unusual and honorable tribute to both the writer of the text and Rzewski who chose to put Melville's words into music. The other 3 pieces are without lyrics yet not without extreme focus on Lisa Moore's scrupulous playing which are, at times, dotted with accented forcefulness. In the 22 minute "no place to go but around" the wide range of emotions, periodically throughout this piece, cascades along melodic turbulence. There is plenty of room, within this massive piece, to take deep breaths but even those are accented with rigorous tones and pronunciations. Miss Moore is quite conscientious of accentuating certain keys that are in-sync with Rzewski's dialogue. It's a journey/conversation that must see it's way through. Not surprising that both Rzewski and her became close friends. Another solo piece, "Amoramaro" was written specifically for Lisa Moore, just a few months before Rzewsli died. Phrasing in "Amoramaro" is more abbreviated but equally as anxious and acute as "no place to go but around". An expressive variety of inconstant struck notes are what seems to be the name of the game here. Miss Moore is quite effective at articulating accentuated notes even if the nature of the phrasing seems unstable or too capricious. The point is that each struck note she executes is finished with unwavering conviction. At times awkward and unrefined is the phrasing but seldom in doubt is the players delivery. It's like listening to a passionate speaker trying to convince you otherwise; hence the possible uneasy feeling from the listener. The final piece; "Piano Piece No.4" focuses on resonance and vibrancy as a result of how the cluster of notes are struck as well as repeated. Lisa Moore attacks this composition with controlled enthusiasm which varies greatly in structure as the piece develops. There is something about this piece that recalls an electric energy due to the resonance and reverberation of the struck piano notes. This is not without melodies which morph and fluctuate with, at times, a certain level of revolutionary frenzy, which is right up Rzewski's alley. This is Rzewski at his dramatic best. This latest CD was easily my most played release of 2022. Highly recommended music from an American composer who should not be overlooked. Especially if you're a music enthusiast who appreciates innovation. Lisa Moore's grandeur playing and vocal presence is full of lavish and articulate attributes that will charm and satiate you throughout this CD. Please buy this release and more importantly of all; LISTEN! Read more

The Arditti String Quartet has been championing contemporary classical music for almost 50 years now and still counting! In their latest release on the KAIROS label, this seasoned group of four features very unusual string quartets from Stefano Scodanibbio, an Italian composer & musician who passed away in 2012 at the young age of 55. Usually when listening to string quartets or just the typical instrumental classical composition from any era, one hears what the composer has thought out, analyzed and finally written down for a final snapshot so as to be observed and dissected by us, the listener/audience. But with the music on this release, we are faced with something a bit different as the music critic Mario Gamba states in the provided booklet:"The contemporaneity of Scodanibbio's music lies here. You listen to it as something that is happening, not as something that has been thought out and then made to happen." Simply put, the way the members of the Arditti String Quartet carry out unique isolated string phrases throughout these pieces are a marvel to pay attention to in regards to how they morph together while developing into unpredictable and surprising forms. Once the listener understands Scadanibbio's design one will be able to make way for a more focused listen. Each of the four musicians from this highly skilled quartet stand out individually but blend together unusually. Hearing how each plucked or bowed note commingle with the others is realized while we are in the act of listening but not necessarily as an afterthought. These pieces are in no way considered memorable or noteable but merely focuses on harmonics, overtones and resonances that deal with both high & low frequencies. In the 2nd piece entitled, "Lugares que pasan", low frequencies are mostly prevalent where each musician cautiously glides the bow across each steely string but in various ways. How it all makes sense is where the amazing part becomes an absorbing experience. Just before 12 minutes into this almost 17 minute piece, the action suddenly slows down to a meditative pace as each plucked isolated dotted note is so beautifully strung together. Unexpectedly, yet not necessarily intentionally written, I honestly caught influences, just within this tiny segment, of the Japanese koto as well as strong hints of gamelan music. That is to say, those sort of moments magically happened then quickly vanished. High frequencies are more of a theme in the opening 3 movement piece entitled, "Visas" where varied pitches of reverberations are heard from the violins, viola and cello which seem to snake around each other in mystifying ways. Personally, it's hard to imagine musicians maintaining focus while each musician plays such abstruse notes. Yet there does seem to be a uniform pattern which can only be realized if closely listened to. And I believe this is what the music critic Mario Gamba was referring to in the booklet when describing Scodanibbio's music as something that is happening, not as something that has been thought out and then made to happen. One simply must experience these pieces while they are happening. There are additional dramatic and striking phrases with the piece entitled, "Altri Visas" due to the drawn out locutions which soon become angular as well as agitated. The listener's perspective is greatly enhanced when Scodanibbio's music changes speeds for resonances and reverberations of the stringed instruments make for quite an entertaining listen. The steeliness of each stringed instrument, especially in the second movement, can slow to a snail's pace (similar to a creaky door). The 3rd movement exhibits reverberations of sound from each stringed instrument which display a fascinating depth of vibrations. In our act of listening how each member regulates and controls these odd phrases in relation to the rest of the quartet is really the main scope of these pieces. I found myself absorbed in how this whole process would become resolved. The final piece, "Mas Lugares", is a sort of adaptation of a Monteverdi madrigal piece from the early 17th century. Interesting that Scodanibbio chose to focus on an unaccompanied vocal piece of Monteverdi's since his madrigals dealt essentially with complex polyphonic structures. But this choice all adds up since Monteverdi's madrigals focus on producing many sounds simultaneously, which is analogous to what Scodanibbio has addressed throughout this CD. In the opening movement (Allegro), there are multiple melodic lines happening simultaneously but now with a rigid order in mind. In his previous compositions, Scodanibbio's framework was indefinite and imprecise making for an unpredictable yet interesting resolution. I found it fascinating that Scodanibbio's liberating use of harmonics in the first 3 pieces on this disc has adapted beautifully by syncing with and focusing on a Monteverdi madrigal from over 300 years ago. Amazing how seamless this transition was despite the supposedly wide difference of style. This is most likely, the most alluring group of compositions I have recently experienced listening to and I am still mulling over how the effects alter and modify whenever I listen to it with fresh ears. If you, dear reader, are venturing to try something different to listen to, you might want to give this disc a try. A bit of courage and a breadth of vision might help with understanding this distinct musical perspective. Your efforts will be rewarded. Read more

David Lang has a prominent presence within the music world yet is generally not known to most of us. He co-founded the group, Bang on a Can, won a Pulitzer prize in music as well as a Grammy and was even nominated for an Academy Award for a song he wrote on behalf of the film "Youth"; yet if you mentioned his name to most anyone, you would most likely receive a blank stare. Add to the list the dozens of CDs he's released of his own compositions and you will understand the bulk of his contribution. But contemporary Classical music is not a popular genre and when one adds religion to the mix (David Lang is Jewish and his music can sometimes lean toward the spiritual), well that is when a great deal of us look away. Be that as it may, this has never been an issue with me personally; despite being a nonconformist, I simply love music that moves me regardless of its convictions. And since this post (MWL) is concerned with music we actually like, this release became an easy pick for me. The lyrics on this CD are beautifully candid, direct and unambiguous with an impressive starkness to its presentation. More important of all, the singing from the choral group, Cappella Amsterdam, is transcendental and angelic which happens to be the most beautiful feature of this recording and the main reason why one would want to listen to this CD repeatedly. And so with this latest release; "The Writings" which is simply based on The Writings, the third major division of the Hebrew Bible after The Law and the Prophets. Mr. Lang has chosen to zero in on the five books associated with The Writings: Ecclesistes, Esther, the Song of Songs, Ruth and Lamentations. And as Mr. Lang mentions in the provided booklet; "Much of religion is mysterious and unknowable, but these books are all about people and their emotional lives..." More importantly, passages from these books, which are highlighted in this CD "...don't mention God or religion or spirituality at all; rather, they underline what is human in us..." He then writes, " One way to think of these five writings together is as a catalog of human emotions, repeating endlessly, year after year." And the way these songs are sung are a bit similar to the ebb and flow of the tide which comes and goes but is constantly repeating a slight shift of movement. The words sung in these songs are not necessarily repeating itself although some words are; but rather, it's the delivery of the chorus' singing which almost suggests chanting, for the initial line tends to reflect how the following line will be sung. A sort of reverberation and again, a beautiful ebb and flow throughout all of these songs. In the initial song "again" which is part of the written words from Ecclesiastes, the choice of the words are akin to the repetitive delivery from the chorus. For example, "again" begins with the words, "people come and people go", then the following line reads, "the earth goes on and on" as the chorus sings in unison each line as if it were echoing how the previous line was sung; and in some cases, mirroring what exactly was said. There are slight variations as the song develops but "develops" is a poor word choice for the structure of the song is more of a reverie or trance. By reading the suggested hints of what the chorus is singing (lyrics are included; btw) the listener can simply sense that the music is expressing how small & temporary all our earthly needs and wants actually are. But it does this in such a wonderful way. The message is subtle but somehow feels eternal and final. Because these songs taken from "The Writings" are a reflection of what it means to be human, the song "if I am silent" (taken after the book of Esther) denotes an innate need to look beyond our physical wants and needs. Like in the lines: "If I am silent help will come from somewhere else but not for me if I am silent" Again, these words are beautifully sung with the sopranos and altos leading the way for the tenors and basses, yet after each simple line is sung, the entire singing completely stops; but just long enough for the listener to notice that nothing yet has happened. These empty segments continue for a few more times until a motley of chorus lines help to color and enhance the song's structure before the initial pattern of starting and stopping continues yet again. David Lang's choral writing is interesting in the sense that the song does not necessarily evolve towards different choral formations but instead it just happens to change course, almost out of thin air and similar to how the singing suddenly stops and seconds later, begins again. The Cappella Amsterdam lead by Daniel Reuss arouses a captivating and mesmerizing performance throughout these songs. Their understanding of David Lang's compositions is masterfully executed with an array of subtle shifts, adding unique colors to each of the six pieces on this disc. The choir's delivery is full of compassion with a unique sense of symmetry. But how Mr. Lang arranges ordinary and modest lines of words into music through this amazing choir should be heard by most of us. David Lang is a talent that is alive and well today and should not go unnoticed. Read more

From the opening whip-crack of Ravel's piano concerto, through Messiaen's exotic piece dedicated to birds and all the way to the famous climatic ending of Schoenberg's piano concerto, this colorful and at times mind-bending CD is an optimistic reminder of how influential these three important composers were to modern music. The key link for all three of these unique but different pieces was that each composer had an interest in American music; especially with jazz. This CD showcases Francesco Piemontesi's piano virtuoso which fits beautifully with the vibrant playing from the Orchestre De La Suisse Romande under the baton of Jonathan Nott. An added bonus with this release from Pentatone is the 5.1 surround sound and Super Audio capability which allows this release to shine with colorful vibrancy. It's not necessarily the might and force of the surround sound that underscores this amazing recording but more importantly, the details and lively colors of the instrumentation. These are effects which truly allow the listener to become engaged and captivated. And right off the bat, we get an array of gorgeous colors at the start of Ravel's pno cto. There are a great deal of moving parts with each instrument during Mr. Piemontesi's robust playing which is right where the focus of the listener's attention should be. Once centered there, the listener will be on the ride of his/her life as an array of dissimilar instruments jockeying for position but all with great balance and harmony. The piccolo, flute, oboe, trombone, trumpet, bassoons, and clarinet all pop in across isolated moments but each with a unique personality of their own. Even the sudden entrance of the harp feels as though a desired breeze has cooled the air. Although the study of European classical music during Ravel's time was secluded from jazz and African American culture, I find it encouraging with much deserved credit going to Ravel that this piece still possessed shades of Duke Ellington, most specifically in the first and third movements. George Gershwin was very much on Ravel's mind as well. But it's the "Adagio assai" (second movement) which is yet another beautiful passage within the great colossal classical cannon. There are literally thousands of these moments throughout the hundreds of years attributed to classical music, which is why I elect to champion this genre of music. And Mr. Piemontesi doesn't disappoint. A gorgeous sound but played so finely that schmaltzy never crossed my mind. There is a delicacy to his playing that sounds as though each note contains a temperament that allows the other instruments to naturally flow along, almost as if the piano contained an actual soul to where any additional sound would naturally become sympathetic to. A great deal of liveliness and energy is in the final third movement and this is where the listener might finally realize how close Ravel was to the sound of American music. It is well known that Ravel accompanied Gershwin on a four month, 25 city tour across the U.S. so as to hear American jazz music. Although Gershwin wrote his piano concerto just a few years prior to Ravel's piece, I found that Gershwin's "Rhapsody in Blue" must have also had a greater impact on this piece by Ravel more than anyone else. In this final movement, each instrument's phrasing exudes attitude and posture, a familiar expression of Ellington's music. Without going into detail about what specific birds influenced the French composer Olivier Messiaen to write the following piece, this 15 minute composition entitled "Oiseaux exotiques" (exotic birds) seems to me to be the ideal definition of what auditory psychedelia should sound like. The 3 gongs used in addition to unconventional instruments like the glockenspiel, xylophone and tam-tam among-st more traditional instruments, are dispersed throughout this remarkable piece. But it's more than just quirky devices which makes this piece strange and fantastic for it's the unusual phrasing of each instrument which carry idiosyncratic attributes. Each unusual phrasing is the result of Messiaen emulating certain exotic birds from different parts of the world and the result is an array of fascinating colors which each instrument emanates as each is immersed within unusual rhythms. The final piece written in Los Angeles back in 1942 by the Austrian composer Arnold Schoenberg, is a peculiar yet extraordinary piece. What is so remarkable and exceptional about this piano concerto is that the standard format for a typical 3 or 4 movement piano concerto, although still intact, is brought about using Schoenberg's own version of the 12-tone technique which caused orchestral phrasing in this piece to gyrate into perplexing eccentricity. Odd expressions are heard throughout this 20+ minute piece simply due to the fact that Schoenberg uses every single note (or color) of the chromatic scale. Schoenberg urges that his eccentric format comply within the typical classical format of a piano concerto. The result is musical dissonance at its most powerful and places great demands on the pianist. Francesco Piemontesi attacks this challenging task with both elegance and enthusiasm which only greatness can achieve. Because I'm such a great admirer of music that has the capacity to exude a powerful array of colors, this CD fulfilled this affection of mine with tremendous success! Highly recommended, especially to those whose sound system has multi-channel as well as SACD capability. This release is simply a music box full of animation and vibrancy! Read more

The second & third albums by the original all-female rock band first signed by a major record label finally reissued on vinyl! A pair of terrific psychedelic-influenced blues-inspired hard rock albums! David Bowie was a big fan and admired these gals because they ROCKED! Read more

Following their appealing self-titled first album, this latest release from the Toronto-based band builds on their attractive dreamy indie pop. A strong influence of The Sundays, with hints of Cocteau Twins and The Smiths, make for a jangly & shimmery gem. Recommended, eh? You bet! [Available on CD/LP] Read more

New Acoustic Sounds Series issue of this classic album. Ella & Louis accompanied by the Oscar Peterson Trio & Herb Ellis. Simply fun jazz vocals presented in the best quality. Remastered at Sterling Sound from the original masters, pressed on 180g high quality vinyl at QRP, with gatefold cover produced by Stoughton Printing. Highest Recommendation!! [Available on LP] Read more

A wonderful new recording of one of Handel's early London operas. With an intriguing storyline, unusual casting/instrumentation, beautiful music and elegant performances by the entire cast, this fine production is absolutely recommended, especially for fans of Baroque music. Five Stars! [Available on hybrid CD/SACD] Read more

Eastern looking & spacious meditative music. Flute, chimes & a general Fourth World Music feel. It draws you in and allows you to stop whatever you were doing. Read more

A departure from the Spiritual Jazz & Electronic efforts prior. Very multi culti with pacing a bit like Sons of Kemet. There are some spoken intervals that might have been better included in the liner notes instead. Read more

A deep dive into 1972. With most music I have zero interest in live or alternative versions however with Zappa that’s out the window. The mostly instrumental & orchestrated pieces from this period have lots of room for interpretation and of course there’s Ruth and specific George Duke work that stands out. In general not for beginners. Read more

Dense & playful Sun Ra, Zappa, Free Jazz. Music that probably bugs most people. Not super new but with supply issues for me this was a late 22 go to. Read more

1976 This was rare to find in the wild and the well done reissue isn’t expensive. A mix of off the boat Yacht Rock, Exotica & library Music. Or Corvette Summer Jams as I call it. Read more