'Tomorrow Was the Golden Age' is an unmistakably gorgeous and refreshing suite of microtonal minimalist composition by New York-based ensemble, Bing & Ruth. Helmed by writer, conductor and lead pianist, David Moore, and supported by two upright bassists, two clarinetists, a cellist and a tape delay tech, Bing & Ruth genuinely sweep us off somewhere sublime without recourse to overblown conceit or cliche - something all too prevalent and cloying in today's neo-classical quarters. Their skill lies in the ability to drift, almost imperceptibly, between microtonal harmonies and silent/grand dynamics with patent subtlety, segueing gradient fields of colour with a grand, yet never imposing, effect. In that sense 'Tomorrow Was the Golden Age' surely recalls your Glass's and Reich's, but also the time-smudging transcendence of Morten Feldman, Brian Eno or Stars Of The Lid, and, in parts, a louder Jakob Ullmann for their keen attention to contemplative quietude and involving, delicate depth of field. The timing of release could hardly be any better, too, with a sound that beautifully mirrors the transition of the seasons, ripe for long headphone mooches and gazing out of the window alike. Warmest recommendations.
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'Tomorrow Was the Golden Age' is an unmistakably gorgeous and refreshing suite of microtonal minimalist composition by New York-based ensemble, Bing & Ruth. Helmed by writer, conductor and lead pianist, David Moore, and supported by two upright bassists, two clarinetists, a cellist and a tape delay tech, Bing & Ruth genuinely sweep us off somewhere sublime without recourse to overblown conceit or cliche - something all too prevalent and cloying in today's neo-classical quarters. Their skill lies in the ability to drift, almost imperceptibly, between microtonal harmonies and silent/grand dynamics with patent subtlety, segueing gradient fields of colour with a grand, yet never imposing, effect. In that sense 'Tomorrow Was the Golden Age' surely recalls your Glass's and Reich's, but also the time-smudging transcendence of Morten Feldman, Brian Eno or Stars Of The Lid, and, in parts, a louder Jakob Ullmann for their keen attention to contemplative quietude and involving, delicate depth of field. The timing of release could hardly be any better, too, with a sound that beautifully mirrors the transition of the seasons, ripe for long headphone mooches and gazing out of the window alike. Warmest recommendations.
'Tomorrow Was the Golden Age' is an unmistakably gorgeous and refreshing suite of microtonal minimalist composition by New York-based ensemble, Bing & Ruth. Helmed by writer, conductor and lead pianist, David Moore, and supported by two upright bassists, two clarinetists, a cellist and a tape delay tech, Bing & Ruth genuinely sweep us off somewhere sublime without recourse to overblown conceit or cliche - something all too prevalent and cloying in today's neo-classical quarters. Their skill lies in the ability to drift, almost imperceptibly, between microtonal harmonies and silent/grand dynamics with patent subtlety, segueing gradient fields of colour with a grand, yet never imposing, effect. In that sense 'Tomorrow Was the Golden Age' surely recalls your Glass's and Reich's, but also the time-smudging transcendence of Morten Feldman, Brian Eno or Stars Of The Lid, and, in parts, a louder Jakob Ullmann for their keen attention to contemplative quietude and involving, delicate depth of field. The timing of release could hardly be any better, too, with a sound that beautifully mirrors the transition of the seasons, ripe for long headphone mooches and gazing out of the window alike. Warmest recommendations.
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'Tomorrow Was the Golden Age' is an unmistakably gorgeous and refreshing suite of microtonal minimalist composition by New York-based ensemble, Bing & Ruth. Helmed by writer, conductor and lead pianist, David Moore, and supported by two upright bassists, two clarinetists, a cellist and a tape delay tech, Bing & Ruth genuinely sweep us off somewhere sublime without recourse to overblown conceit or cliche - something all too prevalent and cloying in today's neo-classical quarters. Their skill lies in the ability to drift, almost imperceptibly, between microtonal harmonies and silent/grand dynamics with patent subtlety, segueing gradient fields of colour with a grand, yet never imposing, effect. In that sense 'Tomorrow Was the Golden Age' surely recalls your Glass's and Reich's, but also the time-smudging transcendence of Morten Feldman, Brian Eno or Stars Of The Lid, and, in parts, a louder Jakob Ullmann for their keen attention to contemplative quietude and involving, delicate depth of field. The timing of release could hardly be any better, too, with a sound that beautifully mirrors the transition of the seasons, ripe for long headphone mooches and gazing out of the window alike. Warmest recommendations.