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al​-​Gharaniq II​:​}​{​:​Fracture IV

from Fracture: The Music of Pat Muchmore by Anti-Social Music

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about

This piece is actually two pieces at the same time. It is II الغرانيق, the second piece in the al-Gharaniq series, and Fracture IV, the fourth piece in the Fracture series. The former is written in Arabic, marking it's origin as a relatively hard to translate word from the supposed "Satanic" verses which may or may not have been in the Q'uran (see links below for more details on this). I like the symmetry of the title, as both the right-to-left Arabic name and the left-to-right English name progress away from the central divider.

More about this work, including score, and a blow by blow of the compositional elements are here
patmuchmore.com/Works/AlGharaniqIIFractureIV.html

More about the al-Gharaniq series
patmuchmore.com/Gharaniq.shtml

More about the Fracture series
patmuchmore.com/Fracture.shtml

"Muchmore doesn’t subscribe to time or key signatures, but he has a fine ear for detail and finds unique ways to transition between fragments, fusing acoustic instruments with samples and electronic tones. This disorienting melee may not be new territory (consider Mr. Bungle), and it offers a limited palate of emotion (mostly fury). But Anti-Social provokes more than it infuriates."

-Mia Clarke, Time Out Chicago

"... the performers ... turn out the most violent but dead on multiphonics, ultra-altissimo, overtones, measured feedback, violent but controlled bowings and – occasionally – beautiful jazz flavored melodies."

- Daniel Coombs, Audiophile Audition

Con brani dai titoli che sembrano essere la bella copia di quelli di Anthony Braxton, praticamente illeggibili, la musica, dissonante, urticante, suonata in maniera superba, ad un primo ascolto colpisce fisicamente l’ascoltatore buttandolo a terra svenuto. Dopo essersi ripreso e aver inavvertitamente premuto di nuovo play sul lettore, un altro colpo vibrato a tutto pentagramma dona la visione alle sue povere orecchie frastornate e deturpate. Una visione che incredibilmente piace, che non annoia, anzi! Sembra impossibile ma è chiaro che il collettivo sa suonare, sa osare e disturbare, ma senza eccedere e strafare al punto da invogliare chi ascolta a gettare il cd dalla finestra. Anzi dal magma cacofonico escono delle strutture composite e autosufficienti, che si esplicano in brani strumentali ascoltabili ripetutamente per la gioia e il turbamento uditivo di chi si cimenta nell’impresa. Gli strumenti dialogano, si accapigliano, creano movimenti che si ritorcono su se stessi, svincolano, ma come per magia alla fine fanno riportare regolarmente i conti, concludendo i brani con eleganza senza sbavature e vicoli ciechi. In conclusione l’album piace, intriga e si rende una piacevole scoperta nel panorama musicale contemporaneo.

- Marco Paolucci, Kathodik

"Herding ASM into "third-stream" is a little uncalled for. They more are outer-edge, modern classical. [on Fracture IV], the group is in a purely cinematic form, dipping in and out of sections featuring fluttering winds, clunky piano, and low, moaning brass sections."

- Luke Steere, WUML

"More than any school day field trip or Sunday matinee, it's through this adventurous type of orchestral instruments that classical music's hopes in staying alive and relevant rest."

- David Obenour, The Big Takeover

credits

from Fracture: The Music of Pat Muchmore, track released May 25, 2010
performed by Anti-Social Music

Hubert Chen and Jean Cook (violin), Leanne Darling (viola), Pat Muchmore (cello/voice), Peter Hess (bass clarinet/tenor sax), Andrea La Rose (flute), Danny Mulligan (elec. guitar), Franz Nicolay (accordion), Maria Sonevytsky (piano) and Ken Thomson (baritone sax)

Recorded at Godelstring Studios, December 2007, with elements recorded at the Sarah Lawrence College electronic music lab.

This recording is funded in part through a grand from the Aaron Copland Fund for Music.

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Anti-Social Music New York, New York

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