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The series consists of recordings of natural sounds such as a seashore with crashing waves or a thunderstorm with falling rain, without musical accompaniment. The series helped ignite a worldwide interest in field recordings which resulted in many imitations being released throughout the s, s and s both with, and without, music i.

The original series, distributed by Atlantic Recordscomprised 11 long-playing records with a different environment on each side, for 22 total Environments. The initial recording in the series goes back to Teibel immediately sensed the marketability of this material, noting its effect on improving concentration, enhancing sleep and sex, and imparting a sense of calm to the listener.

Conrad, who wished to credit Walter De Maria for his prior usage of ocean recordings, was not willing to become a partner in the Syntonic Research enterprise as envisioned by Teibel, so Teibel parted ways with the "Coming Attractions" project.

Subsequently, Teibel himself felt unsatisfied with his results — though his Uher stereo reel-to-reel tape recorder had faithfully captured the sounds of the surf, he felt that they were less convincing on playback.

A friend of Teibel's, Louis Gerstman, had access to an IBM computer, and he and Teibel played around with processing the recordings until eventually the two of them hit upon a series of manipulations basically some rolling filtering and overdubbing which sounded 'more real than real.

Field recording with owls, crows, doves, insects, dogs and geese recorded early one morning in June The sounds of a spontaneous gathering in Central ParkApril 6,with strolling musicians, dancers, anti-war protestersand fragments of conversations. A warm summer night recorded August deep in the backwoods of Eastern Pennsylvania, surrounded by insects and the occasional distant hound. A stethoscope heartbeat recording which can be used to calm infants, aid meditation or enhance lovemaking.

Accessible only by airboat, Georgia's verdant wetlands are home to thousands of species both large and small, including growling alligators. The bulk of recording had taken place by Summerwith additional recording, mixing and mastering carried out towards the end of The Indelicates reported at the time that they were seeking financing to turn the album into a feature film, [56] [64] and later self-published David Koresh Superstar: An Unfilmable Screenplay.

At PopMattersMaria Schurr called David Koresh Superstar the Indelicates' "most ambitious undertaking to date" and that they had "done a stunning job at making history intriguing".

In particular Schurr praised Julia and Simon's "strong, dramatic singing voices [as] suited to the material" while noting that Simon's American accent as Koresh was "convincing enough" but overindulgent during the album's second song, "The Road From Houston to Waco". Schurr said that the album's high point was "Something's Goin' Down in Waco", which "gives a vivid illustration of the rapidly escalating events" and concluded that while Koresh "peaks and dives" and may "drag a bit", it was worth persevering with for the closing track, a "blistering rendition" of the folk song " John the Revelator ".

In Christian news magazine WorldArsenio Orteza wrote that the album "[gets] to the core of cult and conspiracy-theory mentality" and that the songs "A Single Thrown Grenade" and "I Don't Care If It's True" "articulate megalomania and its discontents at their most sadly poignant.

David Koresh Superstar was written before Songs for Swinging Loversas the band had initially wanted to release a concept album to avoid difficult second album syndrome. Diseases of Englandthe Indelicates' fourth album, was initially released in three parts, each consisting of four songs.

The band recorded and released Part II first, in October God Is in the TV praised the first two tracks "Bitterness is the Appropriate Response" and "Pubes" as having "more muscle" and as a departure from the band's usual style, but lamented that the rest of the album did not follow suit. The reviewer concluded that it remained "a fine album, with some great instrumentation and clever lyrics".

She also noted the different tone of the first two tracks, from which the album moves to a more deliberate pace replacing their "youthful defiance" with "potent revulsion". She concluded that the album was "a grimily beautiful release worthy of the heart that was put in to it".

Bythe Indelicates remained somewhat popular and acclaimed in Germany, but had still found success in the UK elusive. In LP, the Indelicates worked on creating a musical, [nb 8] but found the logistical challenges at odds with the band's availability, especially after Julia became pregnant with the couple's first child. Instead, they decided to work on recording and releasing a new album, Elevator Music. Julia said that recoding of some of her vocals had to be delayed until after she gave birth "as you lose a lot of lung capacity when pregnant".

Once conscious, the internet starts reading Twitter and becomes so annoyed that it just fucks off into outer space, plunging humanity back into the Dark Ages. Simon described the intention of intentional listening environments was to "[recapture] some of the magic of the HMV listening booth or the bedroom record player and bringing music back out from the background — while adding emotional weight with short narrative experiences that mesh with and enhance the songs.

Maria Schurr of PopMatterswhile praising the innovative marketing, said that the song "deserves repeat plays in its own right, with the sort of vital generational commentary that so many current bands fail to provide". Schurr also said that the song's "lush and orchestral" style represented a musical evolution for the band.

Elevator Music was officially released on 13 Octoberthough fans who pre-ordered the album could receive a digital copy early, and the download-only version could be bought from August To coincide with the album's release, the band made a video for "Beyond the Radio Horizon" as a degree or "spherical" video, which would allow users to look around as the video played.

The Indelicates released their sixth album, Juniverbrecherdigitally on 23 Julythe anniversary of the Brexit referendum. Described by Simon as "an Andrew Lloyd-Webber type Biblical musical done in a very threadbare way, with the narrator describing what would be happening if the show had a Lloyd-Webber style budget for sets, cast and effects" the musical is usually performed with a cast of six people and with one acoustic guitar.

The band revive the musical "every couple of years" and have performed it at venues around the UK, including Brighton, London, the Edinburgh FestivalCheltenham Literary Festival[2] and the Ledbury Poetry Festival. Gary Bills-Geddes, writing for the Worcester Newscalled the musical "one of the most memorable and enjoyable things" he had seen. The Indelicates released a two-part recording of the musical through the Corporate Records website—the first part on 28 February and the second on 7 March.

Paradise Rocks is a musical set in the s "in the style of an Elvis movie" and is based on the 17th century epic poem Paradise Lost by John Milton. Written by Simon inthe musical was not performed until owing to the logistical challenges involved. He also praised director Lex Lake and choreographer Roger Duncan for "the quality of the ensemble work". Manuell said that while the cast all had moments of excellence and the singing was of a high standard, during the performance he saw "not all the performers can keep this up all the time" and some were "patchy".

He nevertheless concluded that Paradise Rocks was "an outstanding play and an outstanding production". From Wikipedia, the free encyclopedia. Redirected from David Koresh Superstar. The Indelicates. With "The Scott Tenorman's Parents Memorial Edition", the Indelicates promised to "go up to any kid you nominate and tell him that he's the uncoolest kid we've ever seen".

God Is in the TV. Archived from the original on 14 October Retrieved 20 October Retrieved 23 October Plug-in Music. Archived from the original on 15 July Retrieved 21 October Sad Gnome Records.

Archived from the original on 24 July Weekender Records. Archived from the original on 20 October Rolling Stone. New Statesman : Retrieved 25 October NME Yearbook. Retrieved 27 October Archived from the original on 6 February To reinforce the Tull vibe is the use of flute to great effect. Equally important to their sound is the exciting violin playing, ranging from the sublime like on Sogno, Risveglio E A solid, though not complex rhythm section lays the foundations for this alongside some impressive keyboard work to please mellotron, moog and piano lovers.

Electric guitar, again has a Tull vibe at times as well as some tasteful acoustic playing and Giorgio Giorgi is a very good vocalist displaying a powerful and melodic voice capable of subtle restraint like on the folk inflected Realta. It's a fairly short album at only 34 minutes, the eight compositions all between the three to five minute mark, Album) surprisingly with such short pieces they still find the space for dynamic instrumental workouts which do tend to take precedence over the vocals.

The melodic nature of the material here makes it a very accessible album, an ideal early entry into discovering the vast world of Italian Progressive rock.

The bass work by Romualdo Coletta is brilliant, and maintains the band connected with reality while the rest of the instruments are allowed to wander through uncharted territory. Special mention to the breathtaking violin solo, is simply outstanding. The first notes of "Realta" announce that this is the first track in which they sound more as a classical Italian band, the sweet melody is impressive, but still the multi layered vocals indicate that the band wants to be unique.

Even when they never abandon the soft mellow sound, they manage to experiment with contradictory styles and complex arrangements. Now, if you want something really weird and experimental, pay special attention to "Immagini Sfuocate", an ultra elaborate track in which they allow themselves to do whatever they want, distorted guitar solos, rocking piano sections, weird sounds, they jam almost as if the Psyche years would had never left, "Il Cieco" begins with a drum and bass duet that leads to some sort of Italian Rock with touches of Prog, but it's not until when the instrumental breaks begin that they dare to explore most than almost any Italian band of the era, the JETHRO TULL aroma is there, but much more rough and aggressive.

To be honest there are many Italian Symphonic albums that have impressed me more, but this album deserves no less than 4 stars, despite my personal taste. One of the aspects of RPI that appeals to me most is that the classical influences are transparent. That is, while Genesis and ELP have some obvious roots in classical music, the Italians seem to have it written in their marrow.

The amount of "rock" in their prog is variable, but the classical influence is always crystal clear. Their second, classic album was the second RPI album I owned and I still hold it as one of the masterpieces in its genre even after acquiring a much bigger collection. I later acquired their self titled debut and found another great piece of work. Perhaps not as evocative as the sophomore, it is still a grand album well worth owning. Interestingly, one of the stars of this particular album is an American, classically trained violinist Donald Lax.

His violin opens the "Prologo" theme which is echoed by various other instruments, and then has a torrid solo which would have been a better example of the devil's champion that that offered by Charlie Daniels. Indeed, despite the minor keys and classical arrangements, his energy and tonality are almost fiddle-like, stretching an already diverse sound.

The most rocking part of this band is the rhythm section. Conventional trapset and electric bass form the backbone, and they can range from quiet accompaniment to nice bombast. Unlike the second album, guitar plays a slightly larger role, with the track "Immagini Sfucate" having both a distorted riff and rock leads.

Flute plays a large part in the mix, adding a significant 60's psychedelic flavor. The voices are pleasant and less operatic than some RPI, though they still fall within genre. Finally, keys range from clean piano to distorted organ and possibly mellotron.

Some of the highlights are the Genesis-like "El Cieco" which features frenetic rock interspersed with ethereal flute interludes, the aforementioned creepy "Immagini," and the Zeppelinish "Realta. The whole album is more rocking than the Nature - H_Foundation* - Environments (Vinyl, more intense, but also lacks a little of the intricacy and longer, more ambitious compositions.

Still, it is an excellent piece of work and among my favorite RPI albums. Backed by that same rhythm, the singing comes through loud and clear, with a floating monophonic synthesizer in the backdrop. It all falls away to bring in gentle acoustic guitar and more keyboards. The flute solo at the end is a non sequitur, but a welcome one. Soon it becomes a bit harder rocking than the previous track; the lighter flute passage is akin to early Jethro Tull, but that violin sets it apart.

The vocal harmonies are excellent, and this time the flute outshines the violin. From then on, it's all heavy progressive rock finished off by a quick drum solo. I really like this primal rhythm and the harmonic synthesizers that creep in.

After this, however, is one of the most breathtaking passages I've heard in the genre- violin and flute, like two graceful fairies of different worlds dancing over a lush bed of organ. The tribal business makes a brief return before gorgeous violin and piano finish it off. The vocals arrive over piano, and the late verse has a slight Supertramp feel. A refreshing violin and some rock music rescues the lad.

This is, however, the most disjointed of the material on this album, with several abrupt changes and an apparent lack of direction. The verse is one of the quietest points. The flute plays over a calm electric guitar, but everything settles into a nice groove with yet another interesting bass line, and as it picks up, a wild synthesizer solo concludes this difficult music. Vocals follow, with discordant fills on the piano. It is strange to me that the band would choose this sleepy work as the conclusion to such an otherwise dynamic and disorderly affair, but perhaps that is my American sensibilities peeking through!

The opener "Prologo" Prologue depicts in music and words a desperate and gloomy landscape of solitude and alienation, an old and decrepit house in a dark wood where even the worms refuse to live, where love for life gets hate in return.

The very first notes are picked up from Johannes Brahms' piano trio, Album). A sudden change of rhythm underline the fear of a refusal and the sensation that bullets shot from the village could penetrate into your body and turn the green grass to red like fire They do not notice the people who is suffering and envy their honey I'm dreaming of something that could give you a real peace Who can understand this reality?

The psychedelic dream fades on the next track, the complex "Il cieco" The blind man where the sounds of life bring back to reality and lyrics describe the meeting with a blind man who need someone beside him and asks for help New positive feelings come to life The final track "Sogno, risveglio e Here the melancholic and dreamy mood and a reprise of the initial theme could suggest that what is crumbling is the dreadful house of solitude in the dark wood A must for every Italiaprog lover Quella Vecchia Locanda is no exception.

Their debut is a prime example of the creative bliss that struck Italy in the early 70's, mixing clashing elements such as heavy prog, classical piano and violin, Jethro Tull folk flutes, Italian pop and much more into one heartfelt and passionate album. The vocals are outstanding, very emotive, both tender and full. This nation can sing! The music reminds me a bit of the Paese Dei Balocchi album, another example of that rare successful marriage between rock and classical orchestration.

With no dip anywhere in the entire album, this is yet another highly original and captivating RPI album. Looking forward to the next one! This album is distinguished from PFM's albums of by the fact that there's much less acoustic guitar involved - in fact, I think the star performer here is Massimo Roselli, the band's keyboardist, whose gentle piano outro to the final track brings a tear to my eye every time.

A true overlooked classic, any fan of classic albums from the RPI boom of should follow the example of this album's protagonist and seek out "That Old Inn" One can make comparisons to e. One of the highlights is the soft instrumental first half of the ending track title meaning "sleep, waking up and Then suddenly the sharp violin - soon Album) by vocals, guitars and drums - brings more edge to the track.

Acoustic guitar is not much heard even if there is some folk flavour here and there. The violin is often a bit too strong for my taste. Since I have several negative notions about this undisputed classic, I give it three stars only.

Probably not on my Top Ten of Rock Progressivo Italiano albums, but definitely worth recommending if you enjoy classical influences served with the rock power. Many people have noted stylistic similarities between the band and Genesis or Jethro Tull. While these comparisons are valid, they're a little bit contrived. Sure, there are lyrical, pastoral moods, charismatic vocals, classical interplay and heavy blues rocking throughout the album but those are just characteristic of the Italian sound.

No cloning to be heard here. It really all comes down to composition. This is one of the most wonderfully, thoughtfully, intelligently composed albums that I've heard. The amount of energy that the album conveys is incredible, and it's evident from the opening bars of "Prologo", yet it's not a hack-and-slash headbanging album at all.

There's such a great diversity of mood in this album, from soft, nocturnal pastoral sections to spirited classical melodies to hard rock riffing. And what makes it so powerful is that it's all delivered so succinctly. Though it's a shorter album, the length makes it easily digestible and always leaves me in awe, wondering how a band can take me on such a great journey in such a short time frame.

An absolute must-have for anyone looking for a quality album that's short and sweet. Fine musicianship and vocals, but just a little too busy and nonsensical to me. Repeat one more time and then the song shifts into a still gentle, almost folk-classical instrumental section. Return to A-B format for the final minute or so. Beautiful song. The final 30 seconds are spent in more plaintive classical mode.

Solo violin and flute take over the largo melody play in the third minute before the violin tracks fire it up a bit. At vocalist sings over his piano, alternating with strings' input. The song returns to the gorgeous spacious piano theme for the final 45 seconds.

It would have been better if the rock compositionship was a little beyond fairly simple, straightforward blues rock formats. A near-masterpiece of classically-infused blues "progressive" rock. This debut album lacks the production prowess of the second album but for my ears is the more interesting album of the two as it unleashes a powerful youthful exuberance and enthusiasm that 'Il Tempo Della Gioia' lacks as they began to slip into a comfort zone but a very beautiful one i must add.

The band's main leaders were lead singer and flautist Giorgio Giorgi, guitarist and clarinetist Raimondo Maria Cocco, keyboardist Massimo Roselli and percussionist Patrick Traina who all played together in the earlier pop rock phases Album) the band but for their more adventurous prog years added Donald Lax to dazzle with his violin skills that added a unique gypsy swing and Paganini element to the band's overall sound that set them apart from many of the purely symphonic rock contemporaries of the day.

Lax plays both acoustic and electric violins and sometimes delivers frenetic assaults reminiscent of the Mahavishnu Orchestra and at times reminding of the folkier side of the prog rock scene from such bands like Comus or Spirogyra.

Certain tracks like 'Un Villaggio,Un'illsione' display Lax's playing around with Bach, Brahms, Corelli and other classical masters and weave them into a more Paganini performance that would be reworked into the rock fusion compositions that start out with classical intros and slowly morph into the heavier guitar, bass and drum action accompanied by the passionate vocal style of Giorgi who had the perfect vocal style for this type of music magic.

These eight tracks are chock full of passionately strewn classically infused rock sophistication very much at a level of the other greats of PFM, Banco, Il Balleto di Bronzo, Le Orme and the rest. The music is as perfectly constructed as the stunningly beautiful album cover and covers so many grounds in such a small amount of time that i can easily put this one on rotation and listen to it repeatedly without getting bored for one second.

This band mastered the melodies, the Tull inspired folk feel, the ELP keyboard prowess, the medieval chamber aspects, the freak gypsy folk and the symphonic heavy rock. For my money this debut release is one of the absolute best examples of this era of Italian progressive rock that rightfully deserves all the high praise and positive criticism that it has received ever since.

Overall, this is another album that would make a decent introduction to Italian prog after one has sampled a few albums from the big trio of PFM, Banco and Le Orme. Not overly original, but its brilliance lies in their ability to synthesize disparate elements and make them sound like something completely new.

Would have love to have seen them live, as the full on rock of Imagini Sfocante shows they could draw on their past as rockers--unfortunately the song fades quickly and probably went on far longer in its master take.


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