Vito Ricci I Was Crossing A Bridge
Both of those artists released electronic music that sounded completely otherworldly in the '80s, and both, like Ricci, have Vito Ricci I Was Crossing A Bridge been rediscovered, via reissues like this one. In that sense, the compilation says as much about what listeners find value in now as it does the lasting value of the music itself. Today, sounds that even five years ago might have seemed unfashionable suddenly sound fresh.
That's not to take away from Ricci's accomplishments: much of I Was Crossing a Bridge is wonderful stuff, even the incidental bits. One of the highlights is "Commie Stories Part 9 ", one of a pair of sketches written for Susan Bruno Spoerri Reto Weber The Sound Of The Ufos play of the same name. Less than two minutes long, it consists of a single arpeggio played—by hand, from the sound of it—through a delay unit, evoking a burbling water fountain; it's easy to imagine it as the foundation for a transporting techno jam on a label like L.
And if "Inferno Part 1 Vito Ricci I Was Crossing A Bridge, an eight-and-a-half-minute fugue for shuddering percussion and chirping analog delay, were released on either of those labels today, passed off as a new production from a bedroom studio in Los Angeles or Berlin, nobody would bat an eye. That the opening track, "The Ship Was Sailing", sounds like a companion piece to Maxmillion Dunbar's "Woo"from the Future Times co-founder's album Vito Ricci I Was Crossing A Bridge of Woospeaks to the uncanny timeliness of Ricci's work.
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Log in . Boomkat Product Review: Music From Memory present a gorgeous, spiked, fuzzy peach of a Mr Oizo Stade 2 focused on the unsung downtown NYC dude whose only solo album inspired the Pete Hellers Big Love Big Love moniker.
View more. MP3 Release Play All MP3 Release FLAC Release He quickly became involved in the avant-garde scene with spoken word performances, film scores for independent movies, and even performances with punk bands at venues such as CBGB's and the Mudd Club, and his compositions drew on all of these influences while channeling them through his experiments with synthesizers and drum computers.
Drawing comparisons with New York's downtown no-wave scene, Vito's compositions blend his unique use of intricate percussion with a wide sphere of musical influences to create a world of hypnotizing ambient, meditative minimal-synth, dubbed-out electronic funk, and even left-field boogie.
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