Copernico

Great mention, as for Morricone I remember only one compliment of his, related to the use of his music, which concerned John Zorn for "The Big Gundown."

It might be, but I really don't like this record very much. Appreciable review.

Beautiful "review," honestly I've never heard of Alva Noto and consequently the work you mentioned, as I've been following Sakamoto for quite some time in all his many forms. Don't judge us too harshly, not all the topics presented may interest everyone in the same way, but that doesn't detract from the fact that there are de-baseriani ready to welcome a quality review or a work that is presumed to be such, with constructive criticism and a constructive musical dialogue. Anyway, aside from everything, congratulations.

Regarding the music for Buster Keaton's films, I heard that Stefano Bollani, along with Roberto Gatto and someone else I can't remember right now, did a tour for Italian theaters featuring music for Buster Keaton's films, somewhat in line with Bill Frisell's project. Speaking of Frisell, I'd like to recommend two works that I personally consider a cut above the average of his amazing discography (provided you aren't already aware of them): "Where In The World?" from 1991 and "This Land" from 1994, both unmissable. Ciao Nob, see you soon.

Hi Nob. Back to us, no; unfortunately, I haven't seen Glass. I have the triptych on CD of ...qatsi, and the one I like the most by ear is "Powaqqatsi" (there's a lot to say about that too). I've seen the films on VHS and DVD, and I found them all very beautiful, even "Naqoyqatsi," which didn't inspire me when it first came out.

For me, it's a transitional album; listening to this work, one notices, as Zion rightly points out, a lack not so much of ideas—indeed, the tracks are quite enjoyable—but of clear exploration (which is essential for their music). This period, which includes albums like "Cyclone," is somewhat halfway; the light begins to be glimpsed with "Tangram" and "Exit," where the rhythmic score takes on a significant part in the work of the Tangerine, but still feels naive (considering what they will later accomplish). I will never tire of saying it: aside from the triptych <cosmique>, the only two works worth spending money on for Tangerine remain "Pergamon" and "Poland."

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I finally bought the CD and reread the review. Congratulations.

Aside from "Aqua" by Froese, I have "Beyond The Storm," which is a double album masquerading as a compilation, but I recommend it since two-thirds of the compositions are unreleased; the album was published in 1995. As for Schintzler, I’ve lost track of him too. Although I’m not a fanatic of such extreme electronics, the last work I picked up is "Computerakustische Klangsinfonie" by Hubert Bognermayr & Harald Zuschraser, published by Erdenklang. Well, even trying to be the super intellectual of music who acts all high and mighty, it's just not enjoyable to listen to.

I will probably be the only one still going to buy new material by Tangerine Dream. I have practically everything; between vinyl and CDs, I think I have over a hundred works, including soundtracks, live recordings, documentary music, etc. The group has now shrunk to father and son (Froese). The latest I own chronologically is a live album, released in 2004, "East," but recorded in 1990, when Paul Haslinger was still there, while they were touring with the album "Melrose." As for studio work, the last one I have is "Purgatorio," a very ambitious double album, which along with the upcoming release "Paradiso," should complete the trilogy on the Divine Comedy, together with the already released "Inferno." Noteworthy among the very recent works is "Mota Atma," released in Japan for a commemoration of something I’m not quite sure about. A little further back is "Mars Polars," which isn’t bad, but forgets the Tangerine Dream you know. Of course, I don’t want to mention the various "Poland" and "Pergamon," which for me remain sublime. As for "Ricochet," recorded live in Brussels in 1975, it’s extremely important for their career because it marks the end of the post-cosmic phase, namely "Desert Green," "Phaedra," and transitions the group (thanks especially to Baumann) to a more electrorock phase, as seen in one of their greatest works, "Stratosfear" from 1976.