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Ritual music from Finland's deep primeval forests, according to ancient Gods long forgotten. "I", this one-man anti-band's debut release.


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Ko.yaa.nis.qatsi (from the Hopi language), n. 1. Crazy life. 2. Life in turmoil. 3. Life disintegrating. 4. Life out of balance. 5. A state of life that calls for another way of living.

I had happened upon Philip Glass, strolling along upper Broadway, and he invited me in to hear some new music. He dropped the cassette into his player and turned up the volume. A solemn passacaglia scored for the deepest registers of the organ began, gradually augmented by churchy arpeggios. Finally, an impossible dark, sepulchral voice began to sing/croak the Hopi word Koyaanisqatsi (Ko-YAWN-is-SCOTS-ee).
I was impressed; it was like nothing else I'd ever heard, not even from Glass. "This is music that might conceivably have been written at any period in history," Glass explained as the movement progressed. "I find this sort of 'ahistory' very interesting. The harmonies are spare and consonant, the arrangement is starkly simple. And yet it's new, don't you think?"

Tim Page

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2007

Yukimi Nagano's vocal chords are in some way meant to make you tremble while Little Dragon's triphopped beats provide the sensual arousal a sweden-japanese girl like her would surely invoke at your sight.

SoundsLike: TripHop, Downtempo, Sexy

DoWnLoaD

For The Hours, Glass assembles an orchestra with an emphasis on five central performers: a pianist and string quartet. Perhaps the most interesting aspect of Glass' approach to the timelessness of the story is his choice not use the musical styles of any of the three time periods actually depicted in the film for his score. One could very easily have expected a score in tune with Elmer Bernstein's Far From Heaven (another contender for music awards in 2002) for The Hours, and that kind of more melodic, but equally simple score might have served well. Glass, however, reaches even further back to his classical roots for the score, and it succeeds more because of its consistency in motifs and quality rather than style.

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Mr. Reich's 1988 piece, Different Trains, marked a new compositional method, rooted in It's Gonna Rain and Come Out, in which speech recordings generate the musical material for musical instruments. The New York Times hailed Different Trains as "a work of such astonishing originality that breakthrough seems the only possible description....possesses an absolutely harrowing emotional impact." In 1990, Mr. Reich received a Grammy Award for Best Contemporary Composition for Different Trains as recorded by the Kronos Quartet on the Nonesuch label.

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The Rascher Saxophone Quartet carries on a tradition established in the 1930's by the pioneer of the classical saxophone and founding member Sigurd Rascher who animated many composers to write music especially for him. In a similar fashion the quartet has inspired over 250 composers to dedicate music to them including Glass, Berio, Gudaidulina, Wuorinen, Xenakis and others. All these composers have shared an enthusiasm for the four musician's unique homogenous tone quality and virtuosity.

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Cage's minimalist leanings and eventual teachings served to teach the avant-classical world much about the value of this kind of music, the importance of space, restraint and choice and these themes are all starkly evident here. An incredible and hugely important selection of work from one of the true musical greats of the 20th Century.

Sound like: contemporary music, minimalist

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