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The Remote Viewers 2011 Nerve Cure

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Added 9 years ago by wwino in Music  > Lossless

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The Remote Viewers 2011 Nerve Cure (Size: 224.61 MB)
  01 - Full Universe.flac 32.52 MB
  02 - Intricate With Spires.flac 19.5 MB
  03 - Hive Mind.flac 14.3 MB
  04 - Long Weekend.flac 30.11 MB
  05 - Forgotten Corners.flac 15.7 MB
  06 - War With The Outer Countries.flac 24.91 MB
  07 - Grids.flac 36.06 MB
  08 - Nerve Cure .flac 47.2 MB
  The Remote Viewers - Nerve Cure.accurip 651 B
  The Remote Viewers - Nerve Cure.cue 1.78 KB
  The Remote Viewers - Nerve Cure.log 3.6 KB
  The Remote Viewers - Nerve Cure.m3u 212 B
  art
  Scan.jpg?042148 597.53 KB
  Scan0001.jpg?042148 971.57 KB
  Scan0002.jpg?042148 889.88 KB
  Scan0003.jpg?042148 666.79 KB
  Scan0004.jpg?042148 618.47 KB
  Scan0005.jpg?042148 407.79 KB
  Scan0006.jpg?042148 121.23 KB
  Scan0007.jpg?042148 128.26 KB
  aucdtect.log 2.16 KB
  foo_dr.txt 1.22 KB
  i.txt 5.64 KB
  ▲ 23 total files

Description


The Remote Viewers ~ Nerve Cure ~ 2011
self-released. RV9.

http://i1.imageban.ru/out/2017/08/12/e545be7e4dd3b8753333deca3804c958.jpg?042148

1. Full Universe
2. Intricate With Spires
3. Hive Mind
4. Long Weekend
5. Forgotten Corners
6. War With The Outer Countries
7. Grids
8. Nerve Cure

John Edwards: double bass, harp
Sue Lynch: tenor sax, flute
Rosa Lynch-Northover: piano, percussion
Adrian Northover: soprano & alto sax
David Petts: tenor sax

Adam Bohman: bowed objects (on 4)
Caroline Kraabel: baritone sax (on 7)

Closely composed, calculatedly dissonant, quite minimal and brutally austere, this is not a record to roll the carpet back for. But it’s intriguing nonetheless; no one else I can think of organises their resources in quite this way, eschewing pulse and consonance, but still holding to clear parallel lines and calculated punctuations. This is a highly intended music. Its palette deliberately narrow: three saxophones, piano/percussion and contrabass/harp with guests Adam Bohman (bowed objects) and Caroline Kraabel Baritone sax) each on one track and the compositions are unyielding; but there is considerable variety nonetheless, and every sound is made to count (there are some echoes of Tim Hodgkinson’s Western Culture aesthetic on one or two tracks, but that’s as close to familiar as this record gets). In other words highly individual, generically indeterminate (though closest to contemporary composition) and engaged in some proper experimentation, undeviated by a wish to be loved. - Chris Cutler, ReR Megacorp

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