Powell
Piano Music 1-7
Boomkat Product Review:
Powell flicks his coattails and takes to the synthetic piano stool for a suite of ribboning rhythmelodic and tonal scapes inspired by Conlon Nancarrow, David Behrman, Xenakis.
Precisely not what one might have been lead to expect from previous exploits, but also not beyond the realm of possibilities explored in his private label a ƒolder, ‘Piano Music 1-7’ takes a marked step further into non-dancefloor directions; it’s all melody and space, as opposed to driving drums and samples, unexpectedly unleashing a more “musical” side in seven works that craftily play with perceptions of consonance/dissonance and clearly relish the semi-real tone of the basic Grand Steinway sampler at its core.
The seven parts range from expansive to succinct, and progressively diverge from relatively untreated to highly processed abstractions where his meticulous detailing comes into its own. They conceptually lead on from his four albums inspired by a formalisation of music proposed by Xenakis and issued on a ƒolder, applying research into stochastic (random) functions to generate an oddly contemplative music that encourages minds to wander his, and his computer’s, lines of thoughts from the curdled optimism of the opener to the strange interplay of glassy/gloopy textures and helical elision of plangent notes and their surreal reflections in the last.
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Boomkat Product Review:
Powell flicks his coattails and takes to the synthetic piano stool for a suite of ribboning rhythmelodic and tonal scapes inspired by Conlon Nancarrow, David Behrman, Xenakis.
Precisely not what one might have been lead to expect from previous exploits, but also not beyond the realm of possibilities explored in his private label a ƒolder, ‘Piano Music 1-7’ takes a marked step further into non-dancefloor directions; it’s all melody and space, as opposed to driving drums and samples, unexpectedly unleashing a more “musical” side in seven works that craftily play with perceptions of consonance/dissonance and clearly relish the semi-real tone of the basic Grand Steinway sampler at its core.
The seven parts range from expansive to succinct, and progressively diverge from relatively untreated to highly processed abstractions where his meticulous detailing comes into its own. They conceptually lead on from his four albums inspired by a formalisation of music proposed by Xenakis and issued on a ƒolder, applying research into stochastic (random) functions to generate an oddly contemplative music that encourages minds to wander his, and his computer’s, lines of thoughts from the curdled optimism of the opener to the strange interplay of glassy/gloopy textures and helical elision of plangent notes and their surreal reflections in the last.
Boomkat Product Review:
Powell flicks his coattails and takes to the synthetic piano stool for a suite of ribboning rhythmelodic and tonal scapes inspired by Conlon Nancarrow, David Behrman, Xenakis.
Precisely not what one might have been lead to expect from previous exploits, but also not beyond the realm of possibilities explored in his private label a ƒolder, ‘Piano Music 1-7’ takes a marked step further into non-dancefloor directions; it’s all melody and space, as opposed to driving drums and samples, unexpectedly unleashing a more “musical” side in seven works that craftily play with perceptions of consonance/dissonance and clearly relish the semi-real tone of the basic Grand Steinway sampler at its core.
The seven parts range from expansive to succinct, and progressively diverge from relatively untreated to highly processed abstractions where his meticulous detailing comes into its own. They conceptually lead on from his four albums inspired by a formalisation of music proposed by Xenakis and issued on a ƒolder, applying research into stochastic (random) functions to generate an oddly contemplative music that encourages minds to wander his, and his computer’s, lines of thoughts from the curdled optimism of the opener to the strange interplay of glassy/gloopy textures and helical elision of plangent notes and their surreal reflections in the last.
Boomkat Product Review:
Powell flicks his coattails and takes to the synthetic piano stool for a suite of ribboning rhythmelodic and tonal scapes inspired by Conlon Nancarrow, David Behrman, Xenakis.
Precisely not what one might have been lead to expect from previous exploits, but also not beyond the realm of possibilities explored in his private label a ƒolder, ‘Piano Music 1-7’ takes a marked step further into non-dancefloor directions; it’s all melody and space, as opposed to driving drums and samples, unexpectedly unleashing a more “musical” side in seven works that craftily play with perceptions of consonance/dissonance and clearly relish the semi-real tone of the basic Grand Steinway sampler at its core.
The seven parts range from expansive to succinct, and progressively diverge from relatively untreated to highly processed abstractions where his meticulous detailing comes into its own. They conceptually lead on from his four albums inspired by a formalisation of music proposed by Xenakis and issued on a ƒolder, applying research into stochastic (random) functions to generate an oddly contemplative music that encourages minds to wander his, and his computer’s, lines of thoughts from the curdled optimism of the opener to the strange interplay of glassy/gloopy textures and helical elision of plangent notes and their surreal reflections in the last.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Powell flicks his coattails and takes to the synthetic piano stool for a suite of ribboning rhythmelodic and tonal scapes inspired by Conlon Nancarrow, David Behrman, Xenakis.
Precisely not what one might have been lead to expect from previous exploits, but also not beyond the realm of possibilities explored in his private label a ƒolder, ‘Piano Music 1-7’ takes a marked step further into non-dancefloor directions; it’s all melody and space, as opposed to driving drums and samples, unexpectedly unleashing a more “musical” side in seven works that craftily play with perceptions of consonance/dissonance and clearly relish the semi-real tone of the basic Grand Steinway sampler at its core.
The seven parts range from expansive to succinct, and progressively diverge from relatively untreated to highly processed abstractions where his meticulous detailing comes into its own. They conceptually lead on from his four albums inspired by a formalisation of music proposed by Xenakis and issued on a ƒolder, applying research into stochastic (random) functions to generate an oddly contemplative music that encourages minds to wander his, and his computer’s, lines of thoughts from the curdled optimism of the opener to the strange interplay of glassy/gloopy textures and helical elision of plangent notes and their surreal reflections in the last.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Powell flicks his coattails and takes to the synthetic piano stool for a suite of ribboning rhythmelodic and tonal scapes inspired by Conlon Nancarrow, David Behrman, Xenakis.
Precisely not what one might have been lead to expect from previous exploits, but also not beyond the realm of possibilities explored in his private label a ƒolder, ‘Piano Music 1-7’ takes a marked step further into non-dancefloor directions; it’s all melody and space, as opposed to driving drums and samples, unexpectedly unleashing a more “musical” side in seven works that craftily play with perceptions of consonance/dissonance and clearly relish the semi-real tone of the basic Grand Steinway sampler at its core.
The seven parts range from expansive to succinct, and progressively diverge from relatively untreated to highly processed abstractions where his meticulous detailing comes into its own. They conceptually lead on from his four albums inspired by a formalisation of music proposed by Xenakis and issued on a ƒolder, applying research into stochastic (random) functions to generate an oddly contemplative music that encourages minds to wander his, and his computer’s, lines of thoughts from the curdled optimism of the opener to the strange interplay of glassy/gloopy textures and helical elision of plangent notes and their surreal reflections in the last.
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