An Eastern Western Collected Works
Room 40 continues its series of David Shea editions with a reissue of this meditational anthology, originally released in 1999 on Sub Rosa.
Best known for his sample-based work, Shea was immersing himself in Mortan Feldman, Giacinto Scelsi and Luc Ferrari when he was working on the material collected on this project. Equally inspired by cinema (Nicholas Ray and Bava are directly referenced), Shea is quick to say that, while he makes a connection between his music and ancient traditions and meditational states, it's not an attempt to synthesize Eastern and Western mythologies. That's good to know, and we can hear what he means on 'Harmonies'; using indigenous instruments, it might be misinterpreted, but it's a tonal experiment in the tradition of Pauline Oliveros and Phil Niblock. The 17-minute 'Elegy for Mario Bava' is the album's peak, and might be the most unexpected giallo tribute we've heard. Shea ignores the usual aesthetic beats and zeroes in on the anxious, ruffled percussion, hypnotically splaying the rhythm and shifting the emphasis to create the feeling of a Bava movie without echoing it directly.
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Room 40 continues its series of David Shea editions with a reissue of this meditational anthology, originally released in 1999 on Sub Rosa.
Best known for his sample-based work, Shea was immersing himself in Mortan Feldman, Giacinto Scelsi and Luc Ferrari when he was working on the material collected on this project. Equally inspired by cinema (Nicholas Ray and Bava are directly referenced), Shea is quick to say that, while he makes a connection between his music and ancient traditions and meditational states, it's not an attempt to synthesize Eastern and Western mythologies. That's good to know, and we can hear what he means on 'Harmonies'; using indigenous instruments, it might be misinterpreted, but it's a tonal experiment in the tradition of Pauline Oliveros and Phil Niblock. The 17-minute 'Elegy for Mario Bava' is the album's peak, and might be the most unexpected giallo tribute we've heard. Shea ignores the usual aesthetic beats and zeroes in on the anxious, ruffled percussion, hypnotically splaying the rhythm and shifting the emphasis to create the feeling of a Bava movie without echoing it directly.
Room 40 continues its series of David Shea editions with a reissue of this meditational anthology, originally released in 1999 on Sub Rosa.
Best known for his sample-based work, Shea was immersing himself in Mortan Feldman, Giacinto Scelsi and Luc Ferrari when he was working on the material collected on this project. Equally inspired by cinema (Nicholas Ray and Bava are directly referenced), Shea is quick to say that, while he makes a connection between his music and ancient traditions and meditational states, it's not an attempt to synthesize Eastern and Western mythologies. That's good to know, and we can hear what he means on 'Harmonies'; using indigenous instruments, it might be misinterpreted, but it's a tonal experiment in the tradition of Pauline Oliveros and Phil Niblock. The 17-minute 'Elegy for Mario Bava' is the album's peak, and might be the most unexpected giallo tribute we've heard. Shea ignores the usual aesthetic beats and zeroes in on the anxious, ruffled percussion, hypnotically splaying the rhythm and shifting the emphasis to create the feeling of a Bava movie without echoing it directly.
Room 40 continues its series of David Shea editions with a reissue of this meditational anthology, originally released in 1999 on Sub Rosa.
Best known for his sample-based work, Shea was immersing himself in Mortan Feldman, Giacinto Scelsi and Luc Ferrari when he was working on the material collected on this project. Equally inspired by cinema (Nicholas Ray and Bava are directly referenced), Shea is quick to say that, while he makes a connection between his music and ancient traditions and meditational states, it's not an attempt to synthesize Eastern and Western mythologies. That's good to know, and we can hear what he means on 'Harmonies'; using indigenous instruments, it might be misinterpreted, but it's a tonal experiment in the tradition of Pauline Oliveros and Phil Niblock. The 17-minute 'Elegy for Mario Bava' is the album's peak, and might be the most unexpected giallo tribute we've heard. Shea ignores the usual aesthetic beats and zeroes in on the anxious, ruffled percussion, hypnotically splaying the rhythm and shifting the emphasis to create the feeling of a Bava movie without echoing it directly.