AMALTEO

The music of René Aubry is energizing. It tells stories with refined and irresistible timbral harmonies. It’s a delight to listen to them for a boost of joy. In the listening notes I keep next to the album Invités Sur La Terre, I wrote: Splendid, sunny, light, like "Sorsate di birra." Referring to the book by Philippe Delerm, La prima sorsata di birra e altri piaceri della vita, which I highly recommend to anyone looking to gain optimism by observing the little things in everyday life. Thanks to Haira for bringing it to the attention of the debaseriani. Soon I’ll allow myself to share a taste.

I discovered this album these days while pursuing my search for possible sources of inspiration for the Australian jazz group The Necks. Specifically, I encountered Mike Oldfield through Piero Scaruffi's website and this entry of his:
Thus, Tubular Bells (Virgin, 1973) was born, an album that (in addition to selling over ten million copies) forever changed the history of instrumental rock. And from that moment on, Oldfield became a benchmark for anyone composing tonal, electronic poems or otherwise.
Easily digestible and also offered as a soundtrack, Tubular Bells blends a bit of everything (Mediterranean melodies, folk, rock and roll, psychedelia, classical music, minimalism) with commendable grace and symphonic length. Oldfield's skill lies first in orchestrating each fragment (and playing it himself) and then in gluing the various fragments together one after the other. The technique is typical of melodic fantasies in classical music, but the range of themes or styles Oldfield tackles is much broader. Compared to the progressive rock from which he came, Oldfield was also careful to avoid the more convoluted sounds.
The first part opens with an organ that repeats the main theme in a frenzied crescendo with a bright timbre. The counterpoint of piano and electronics becomes increasingly lively and complex until a flute motif intertwines with that of the organ. The electric guitar enters with a third variation of the theme, and at that point, the orchestra joins in with a sudden jolt. The organ fades into the background, yielding the scene to a mandolin, which intones a Mediterranean variation of the theme. The tinkling of accompanying instruments is swept away into a whirlpool of electronics, the bass rhythm grows stronger, and the guitar launches into a blazing solo. The electronics become menacing, the guitar hints at a theme suitable for a soundtrack, and then a pastoral variation of the main theme develops gradually into a bright solo. The guitar hands off to a mournful choir and a vintage organ before diving into a driving hard-rock riff. The first part closes with a pompous crescendo driven by the guitar, to which all the instruments gradually join until it culminates in a triumph of bells and female choir.
The second part is much more folk, pastoral, and relaxed. For about ten minutes, the scene is dominated by guitar melodies without a narrative. The music suddenly awakens with electronic boulders advancing in a martial rhythm. A hint of pow-wow and the piano intones a whimsical theme worthy of Todd Rundgren over which a werewolf’s growl lays the groundwork for a song. The guitar indulges in a couple of rural dances. Then, the main theme returns in the form of a requiem for organ and Indian guitar trills, and the suite goes out in glory with a jovial saltarello led by the guitar.
Oldfield didn’t know it, but he had just built a bridge between progressive rock and the future of new age music.
I thank the circumstances that brought me to encounter such musical grace and thanks to Lucio Mazzi who revived "Tubular Bells" for the Debaser audience.

I repeat the comment already made on the reviews by pibroch, floydman, dantecruciani. I have never tackled the Alan Parsons Project. Among the many musical offerings available in the music market, they seemed "difficult" to me. Now, with this careful and informed introduction, it might be the right time. Thanks to em and to debaser for hosting. The rating for the album will come after listening to the Amalteo albums.

I’ll repeat the comment I already made on a review of pibroch and floydman. I've never tackled the Alan Parsons Project. Among the many musical offerings in the music market, they seemed "difficult" to me. Now, with this accurate and informed introduction, the time might have come. Thanks to dantecruciani and to debaser for hosting. The rating for the album will come after listening to the Amalteo records.

I’ll repeat the comment I already made on a review of piborch. I’ve never tackled Alan Parsons Project. Among the many musical offerings in the market, they seemed “difficult.” Now, with this detailed and informed introduction, it might be time to give them a chance. Thanks to floydman and to debaser for hosting. The rating for the album will come after listening to the Amalteo albums.

I have never tackled the Alan Parsons Project. Among the many musical offerings on the market, they seemed "difficult" to me. Now, with this accurate and informed introduction, the moment may have arrived. Thanks to pibroch and to debaser for hosting. The vote on the album will come after the listening. Amalteo

I forgot the record!
of course among the greatest

the album was and remains beautiful and shows great intelligence in Ry Cooder’s work of "contamination." The review revisits a piece from 12 years ago (with the risk of being forgotten) and brings it back into circulation. In short: double excellent. hello odradek. Don’t forget to listen ... listen ... listen ... to the Necks.

It's true: "it's all a too beautiful album."
Beautiful review. Rightly a tribute to Craig Armstrong. It's music to be kept. Because it’s music aimed at the future.
Now I'm going to check out your other reviews.
Thank you.

Hello Hal,
such a presentation is a strong invitation to listen.
I found the record and I'm listening to it.
I find it very beautiful to hear music that others suggest. It's like adding meanings.
Thank you.
Talk to you soon.