DINGGGDONGGGDINGGGZZZZZZZ FERRRR SSSOFTTT DIVINI TIESSSSS!!!!!!!!!
The legendary Charlemagne Palestine uses the unmistakable carillon on this latest recording, playing secular Belgian bells with gusto on the opening side, while the flip is a 2018-recorded eulogy for Tony Conrad, played at the St. Thomas Episcopal Church in New York City.
In the lowlands, the flimsy sound of the carillon is unavoidable. Walk around the streets of Belgium or the Netherlands and you're almost guaranteed to hear the chintzy, keyboard-controlled bells that have ping-ponged around its landscape since the 1500s. Palestine uses the instrument to spiritually guide this latest full-length, first on the 20-minute 'DINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!!', a dedication to the stuffed animals he scatters around the stage when he performs. This one's classic Palestine, and if you've heard his piano work, it takes roughly the same approach. The carillon isn't easy to play (its keys are particularly large and clumsy), but Palestine works with the limitations, hammering repeating back-and-forth patterns that avoid the usual prettiness the instrument provokes. Varying the tempo and rhythm, he lays out a new methodology for carillon, sometimes mimicking the change ringing style of British church bells, or the rhythmic, ornate sound of the Russian Orthodox church.
'STTT THOMASSS ‘’’’”‘”DINGG GDONGGGDINGGGzzz zzzz ferrrr TONYYY’’’’’’’’' is more meditative, a street recording that features Palestine singing over organ drones and the St. Thomas Episcopal Church's large carillon. Recorded at a distance, we can hear how the landscape and architecture changes the physicality of the sound, and how the bells' resonance creates additional, phantom tones. Gripping stuff, as per.
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The legendary Charlemagne Palestine uses the unmistakable carillon on this latest recording, playing secular Belgian bells with gusto on the opening side, while the flip is a 2018-recorded eulogy for Tony Conrad, played at the St. Thomas Episcopal Church in New York City.
In the lowlands, the flimsy sound of the carillon is unavoidable. Walk around the streets of Belgium or the Netherlands and you're almost guaranteed to hear the chintzy, keyboard-controlled bells that have ping-ponged around its landscape since the 1500s. Palestine uses the instrument to spiritually guide this latest full-length, first on the 20-minute 'DINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!!', a dedication to the stuffed animals he scatters around the stage when he performs. This one's classic Palestine, and if you've heard his piano work, it takes roughly the same approach. The carillon isn't easy to play (its keys are particularly large and clumsy), but Palestine works with the limitations, hammering repeating back-and-forth patterns that avoid the usual prettiness the instrument provokes. Varying the tempo and rhythm, he lays out a new methodology for carillon, sometimes mimicking the change ringing style of British church bells, or the rhythmic, ornate sound of the Russian Orthodox church.
'STTT THOMASSS ‘’’’”‘”DINGG GDONGGGDINGGGzzz zzzz ferrrr TONYYY’’’’’’’’' is more meditative, a street recording that features Palestine singing over organ drones and the St. Thomas Episcopal Church's large carillon. Recorded at a distance, we can hear how the landscape and architecture changes the physicality of the sound, and how the bells' resonance creates additional, phantom tones. Gripping stuff, as per.
The legendary Charlemagne Palestine uses the unmistakable carillon on this latest recording, playing secular Belgian bells with gusto on the opening side, while the flip is a 2018-recorded eulogy for Tony Conrad, played at the St. Thomas Episcopal Church in New York City.
In the lowlands, the flimsy sound of the carillon is unavoidable. Walk around the streets of Belgium or the Netherlands and you're almost guaranteed to hear the chintzy, keyboard-controlled bells that have ping-ponged around its landscape since the 1500s. Palestine uses the instrument to spiritually guide this latest full-length, first on the 20-minute 'DINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!!', a dedication to the stuffed animals he scatters around the stage when he performs. This one's classic Palestine, and if you've heard his piano work, it takes roughly the same approach. The carillon isn't easy to play (its keys are particularly large and clumsy), but Palestine works with the limitations, hammering repeating back-and-forth patterns that avoid the usual prettiness the instrument provokes. Varying the tempo and rhythm, he lays out a new methodology for carillon, sometimes mimicking the change ringing style of British church bells, or the rhythmic, ornate sound of the Russian Orthodox church.
'STTT THOMASSS ‘’’’”‘”DINGG GDONGGGDINGGGzzz zzzz ferrrr TONYYY’’’’’’’’' is more meditative, a street recording that features Palestine singing over organ drones and the St. Thomas Episcopal Church's large carillon. Recorded at a distance, we can hear how the landscape and architecture changes the physicality of the sound, and how the bells' resonance creates additional, phantom tones. Gripping stuff, as per.
The legendary Charlemagne Palestine uses the unmistakable carillon on this latest recording, playing secular Belgian bells with gusto on the opening side, while the flip is a 2018-recorded eulogy for Tony Conrad, played at the St. Thomas Episcopal Church in New York City.
In the lowlands, the flimsy sound of the carillon is unavoidable. Walk around the streets of Belgium or the Netherlands and you're almost guaranteed to hear the chintzy, keyboard-controlled bells that have ping-ponged around its landscape since the 1500s. Palestine uses the instrument to spiritually guide this latest full-length, first on the 20-minute 'DINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!!', a dedication to the stuffed animals he scatters around the stage when he performs. This one's classic Palestine, and if you've heard his piano work, it takes roughly the same approach. The carillon isn't easy to play (its keys are particularly large and clumsy), but Palestine works with the limitations, hammering repeating back-and-forth patterns that avoid the usual prettiness the instrument provokes. Varying the tempo and rhythm, he lays out a new methodology for carillon, sometimes mimicking the change ringing style of British church bells, or the rhythmic, ornate sound of the Russian Orthodox church.
'STTT THOMASSS ‘’’’”‘”DINGG GDONGGGDINGGGzzz zzzz ferrrr TONYYY’’’’’’’’' is more meditative, a street recording that features Palestine singing over organ drones and the St. Thomas Episcopal Church's large carillon. Recorded at a distance, we can hear how the landscape and architecture changes the physicality of the sound, and how the bells' resonance creates additional, phantom tones. Gripping stuff, as per.
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The legendary Charlemagne Palestine uses the unmistakable carillon on this latest recording, playing secular Belgian bells with gusto on the opening side, while the flip is a 2018-recorded eulogy for Tony Conrad, played at the St. Thomas Episcopal Church in New York City.
In the lowlands, the flimsy sound of the carillon is unavoidable. Walk around the streets of Belgium or the Netherlands and you're almost guaranteed to hear the chintzy, keyboard-controlled bells that have ping-ponged around its landscape since the 1500s. Palestine uses the instrument to spiritually guide this latest full-length, first on the 20-minute 'DINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!!', a dedication to the stuffed animals he scatters around the stage when he performs. This one's classic Palestine, and if you've heard his piano work, it takes roughly the same approach. The carillon isn't easy to play (its keys are particularly large and clumsy), but Palestine works with the limitations, hammering repeating back-and-forth patterns that avoid the usual prettiness the instrument provokes. Varying the tempo and rhythm, he lays out a new methodology for carillon, sometimes mimicking the change ringing style of British church bells, or the rhythmic, ornate sound of the Russian Orthodox church.
'STTT THOMASSS ‘’’’”‘”DINGG GDONGGGDINGGGzzz zzzz ferrrr TONYYY’’’’’’’’' is more meditative, a street recording that features Palestine singing over organ drones and the St. Thomas Episcopal Church's large carillon. Recorded at a distance, we can hear how the landscape and architecture changes the physicality of the sound, and how the bells' resonance creates additional, phantom tones. Gripping stuff, as per.