Piggybacking on 1992’s Invisible Storm, ECM maverick Edward Vesala returned with his organic collective, Sound & Fury, as our guide for Nordic Gallery. Vesala draws a thinner circle around his ensemble this time around, weaving inside it a dreamcatcher for communal freedom, as exemplified in the 11-minute “Bird In The High Room,” a menagerie of cymbals, muted horns, drums, and birdsong. The latter signals a luxuriant indulgence in the Vesala soundscape as winds and wings fall in line like a panel out of Where the Wild Things Are. Even the electric guitar whistles in its sibilant cage, avian heart unfolded. Field recordings continue to leave breadcrumb trail of “Fulflandia” on its way toward “The Quay of Meditative Future.” Harpist Iro Haarla’s veiled and omnipresent insistence turns arrival into departure as the music’s long-shadowed caravan cuts a line in the sand.
Excellent addition to any Prog-Rock music collection
This one is the jewel of Symphonic and Psychedelic-Rock from Latin America in the early seventies.
The name of the band was “Frutos Del País”, and I could compare their music with Procol Harum, which is clearly their main influence.
Two stars together: Jonh Wetton (King Crimson, UK, Asia, etc.) and Phil Manzanera (Roxy Music), in this interesting work!
Along time ago, I bought this LP from “The Moody Blues”, because it appears the original single “Nights In White Satin”.
D'Eschyle à Kissinger, de Marx à Barrès, l'Occident a tenu un discours sur l'Orient. Mais, puisque "l'Orient" n'existe pas, d'où vient ce discours et comment expliquer son étonnante stabilité à travers les âges et les idéologies? "L'Orient" est une création de l'Occident, son double, son contraire, l'incarnation de ses craintes et de son sentiment de supériorité tout à la fois, la chair d'un corps dont il ne voudrait être que l'esprit. …