A reissue of the two-record set, featuring four pieces for computer electronics and voices that amplify to an extreme degree the components and expressive qualities of the voice. "Still," with a text from Samuel Coleridge's The Wanderings of Cain (1798), moves extremely slowly in a "vocal fry" across the aspirate clicks and wind of the performer; "A Merciful Coincidence," on a text from Samuel Beckett's Watt (1953), uses the aggressive-passive inflections of the frog performers croaking, which seems to have intent, if not syntactical "meaning".
After a two-month tour in 1999, Dave and Tim closed their acoustic run on the evening of March 13 at the Berkeley Community Theater in Berkeley, CA. The duo’s time on the road leading up to this night shows as the performance is exceptional. From the first note of the “Granny” opener, to the encore of "Digging A Ditch”, "Lover Lay Down", and "Ants Marching,” there is not an ill note throughout. And yet, it’s not only DMB favorites that shine; but also Tim’s skilled playing of his complex original compositions, as well as fantastic covers of Daniel Lanois’ "For The Beauty of Wynona" and Lyle Lovett’s "If I Had A Boat", make this show a true listening pleasure. This intimate performance has been mixed from the original multitrack tapes.
Tattoos are an ancient ritual practiced around the world. Each culture has its own reasons for the practice, and many have unique ways to administer them. In this feature-length special, host Craig Reynolds travels to places as diverse as New Zealand, Japan, Hawaii, New York, and Los Angeles to experience firsthand what it’s like to get tattooed by traditional methods.
London-born composer Tarik O'Regan was only 30 when the second CD devoted to his choral music, Threshold of Night: Music for Voices and Strings, was released. The works collected here show him to have an assured, individual voice; consummate technique as a choral composer; and an ability to create complex music that's not "difficult," that has an immediately sensual appeal. O'Regan's harmonic language is rooted in tonality, but it is richly saturated with chromaticism. He uses dissonance in the old-fashioned way, creating tension that finds satisfying, if unconventional, resolution.