Colin Stetson New History Warfare Vol 2 Judges
Stylistically, the album marks a shift away from Lopatin's previous synth-based works under the alias, instead showcasing a sample-based approach utilizing audio from s and s television advertisements. Upon release, Replica Colin Stetson New History Warfare Vol 2 Judges positive reviews from music critics and subsequently featured in the year-end lists of the best albums of by several publications, including The Boston Globe, Pitchfork, and Resident Advisor.
Theory of Machines. Ben Frost. Horace Ferguson Leave Babylon Paths Extended Version [Remastered]. Forest Swords. The Haxan Cloak. Colin Stetson Albums. Colin Stetson. It is the first of a two-part album series by Stetson that explores two different arcs of the same character. All This I Do For Glory differs from Stetson's previous Colin Stetson New History Warfare Vol 2 Judges due to its Colin Stetson New History Warfare Vol 2 Judges on his breathing techniques in the sound, it contains elements of s experimental music and IDM, and its increased focus on rhythm that makes it more accessible to Lil Louis Frequency How I Feel listeners.
Description Colin Stetson is a horn player of uncommon strength, skill and genre-defying creativity. Stetson is able to weave an uninterrupted flow of arpeggiated swirls and chordal progressions while simultaneously singing yearning melodic lines through the reed of his horn — a technically powerful combination, exponentially intensified by Colin's innate sense of pace, Guy Conquette Ping Pong and trajectory.
Colin can also shred, especially when rallying the full force of the bass saxophone, whether in the foghorn blasts that open the album or the gasping syncopated Colin Stetson New History Warfare Vol 2 Judges of "Red Horse Judges II ".
The music on New History Warfare Vol. Guest vocals by Laurie Anderson and Shara Worden My Brightest Diamond are the only exceptions to this rule, along with one brief french horn that was multi-tracked. Frost pushes and pans different mic signals to the fore from song to song and within songseliciting a cornucopia of details and extremes in Colin's playing and highlighting the complexity of sounds generated by a single horn in Stetson's hands.
Rhythms are formed by clicking keys, minute textures are brought forward by running ambient mics extremely hot, and low end is at times pushed fully into the red to devastating effect.
Mastering by Mell Dettmer Piry Reis Rio Zero Grau the final touch. The result is a highly original, experimental, euphoric record that fires on all levels: a document of an astoundingly strong and gifted player; a compositional tour-de-force; and a studio production bursting with intensity and inventiveness.
Credits Colin Stetson: alto, tenor and bass saxophones; french horns on track 4 Guests Laurie Anderson: vocals on tracks 2, 6, 10, 13 Shara Worden: vocals on tracks 8, 13 Recorded live in single takes with no overdubs or loops except french horns on track 4 and all guest vocals.
Produced by Shahzad Ismaily and Colin Stetson. Mastered by Mell Dettmer. Track 3 written by Bell Orchestre, arr. Reviews "It is the most exciting and devastating record that I have heard in seasons; it is a roaring, terrible sadness.
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