•
Rating:
For any potentially and legitimately bored/lazy/uninterested passersby who perhaps (perhaps in search of the Really Pūrulent Ascells of Cetra Quartet) clicked on this wretched page by mistake and (rightly) don’t need nor intend to go beyond/beyond the first two/four lines: such (double) Orbital hybrid is at least very beautiful!
Amen! Go in peace (and, if you deem it appropriate, multiply yourselves).
"~=[^.^]=~" "~=[^.^]=~" "~=[^.^]=~" "~=[^.^]=~" "~=[^.^]=~"
A cordial de-welcome to all_ (two/three very patient/remaining).
Nothing new under the elliptical Solar Orbit(al): most will claim. Sometimes, and luckily, stellar and vital radiations can be, although not at the very first refraction, a source of reassuring joy and jovial ecstatic/shared ausculto-satisfactionem. From the techno-beginnings, I found in the two Hartnoll Brothers that incomparable additive-qualitative-nonplusultristic quid compared to contemporary figures (not just Hal+bionic) who ventured into the arduous art (forgive me for the improbable play of words) of the more or less (un)composed electrotechnical dance.
Despite this and in light of the current sortie of the triple artifact (Dos Cì Dì + attached DìVùDì) in questionem, indeed I have asked myself and I have asked, without receiving a comprehensive reply*, what complete sense (apart from that related to the monetariness of the operation put in place which does not pertain at all to the third-consumer sphere itself except from the point of view of "awkward" expenditure) does it make to produce purely electronic performances captured "live" [as it is well known today, contrary to the beginnings of this expressive typology, infinite tons of any patterns can be pre-recorded/stored/memorized on microscopic (home)computers reducing the supposed exhibitionem to a pure and simple operation of toponomastic play & stop]: if this could have had a certain measurable logic in the past century-seculorum (seventies & quatrevingt-anta), that is the attempt to more or less faithfully reproduce what was ingeniously and laboriously created through mammoth and not better classified musicalizing gadgets within the recording studios {the infamous, mythical, inaccessible, Kling Klang Studios of Düsseldorfian memory}, in two thousand seven and beyond, all this leaves me tendentially hesitant if not moderately and financially perplexed.
However: Dear & My (Pa)patients, when faced with the authentically misleading electro-bursts mixed with robust percussion pachydermy offered in the (to say the least) ghost-goric, robotically ultra-ecological "The Girl With The Sun In Her Head" (track dedicated to the Friend and Photographer Sally Harding), all these brainless onanisms without structure literally go to f. (riggere, of course) in less than no time. This engaging, exhausting, gripping, in commiserable-words, beautiful double/triple work, made and constructed as if it were a virtual and transgenerational unique concert, was shaped around the recordings that over the years have been captured during the many Orbital appearances during the Concerts of the well-known Festival (NO Sanremo relationscippes) which is held annually in Glastonbury (UK), within the broad musical-temporal arc that embraces the decade 1994-2004.
The two hours and more condensed in the two circular artifacts flow [especially for those who have appreciated à josa, for several consecutive years, the integerrime and studiological electro-musical Orbital] in the most total rhythmic-dynamic involvement: ranging from the repeated and anything but predictable techno-junglisms of "Are We Here?" (1994), to the lashing electro-dub-gibbosity of "Impact (The Earth Is Burning)" (1995) leading to the digital-harpsichord-pirate "The Box" (1999), which damnably drive the addictive but necessary pill-necessary drop (Valda of course: it is known that at the strike of the second hour of qualitative and unrestrained, sweaty dance the throat must be absolutely safeguarded). Not enough: My dear boys and girls, when at the mark of five-minutes-and-twenty-five-seconds of "Halcyon" (1999) an unusual sample/fragment (very recognizable) of the pop/rock "You Give Love A Bad Name" {Bon Jovi} mixed to perfectionem with "Heaven Is A Place On Heart" [Belinda Carlisle] leaves you first puzzled, then incredulous, subsequently disconcerted, then astonished but then definitively and pleasantly amazed by the sound-joint dexterity of the two siblings who persist as if nothing in the familiar and renowned techno-Halcyonistic musicality.
In short: memorable musiqo Twins Hartnoll, love yourselves well, make peace (do it for Us miserable half-dime chopper: already we belong to a socially scarcely recognized lineage and whose satisfaction are counted on the fingers of a -unfortunately for him- amputated hand), give them to each other for holy reason if absolutely necessary, but: reunite (and multiply, if you deem it appropriate, off course).
* it's not that I love talking to myself: it's just that often no one listens to me [gnè+gné]
Tracklist
Loading comments slowly
