Album: Voodoo Baby Rattle by Geoff Arsenault © Copyright - Geoff Arsenault / Geoff Arsenault (884502928730) Rooted soulfull grooves under a deep resonant voice from this original songwriter . Genre: Blues: Electric Blues Release Date: 2010 Recorded at the Echo Chamber. Produced by Geoff Arsenault with help from everyone involved. Engineered by Charles Austin, mixed by Charles Austin and Geoff Arsenault and mastered at Archive Mastering Studios by J. Lapointe. Read more on Last.fm
Album: Voodoo Baby Rattle by Geoff Arsenault © Copyright - Geoff Arsenault / Geoff Arsenault (884502928730) Rooted soulfull grooves under a deep resonant voice from this original songwriter . Genre: Blues: Electric Blues Release Date: 2010 Recorded at the Echo Chamber. Produced by Geoff Arsenault with help from everyone involved. Engineered by Charles Austin, mixed by Charles Austin and Geoff Arsenault and mastered at Archive Mastering Studios by J. Lapointe. Geoff Arsenault - vocal, guitar, drums, percussion Brian Bourne - bass, baritone guitar, b. vocal, cockadoodledoo Chris Corrigan - electric guitars, b.
(born March 17, 1936) is a Slovak composer and conductor. Kupkovič was born in Bratislava, and studied violin and conducting there, first at the conservatory, then at the Academy of Performing Arts. He played violin in the Slovak Philharmonic Orchestra from 1960 to 1965, and then began to write music for television and film to make a living. At the same time, he was writing more experimental music for concerts. In 1969 he won a music scholarship to West Berlin, and emigrated there the following year. Read more on Last.fm
(born March 17, 1936) is a Slovak composer and conductor. Kupkovič was born in Bratislava, and studied violin and conducting there, first at the conservatory, then at the Academy of Performing Arts. He played violin in the Slovak Philharmonic Orchestra from 1960 to 1965, and then began to write music for television and film to make a living. At the same time, he was writing more experimental music for concerts. In 1969 he won a music scholarship to West Berlin, and emigrated there the following year.
In 1971 he conducted the premiere of Karlheinz Stockhausen's Mixtur in Cologne, a piece dedicated to Kupkovič himself. Although not a very well-known composer, Kupkovič has probably become best known for his experiments with the concert form in the 1970s. In Musik für das Ruhrfestspielhaus (1970), he arranged forty performers to play a number of pieces in a concert hall in Recklingshausen over the course of three hours. The pieces were played in various parts of the building, some of them at the same time. Kupkovič called this kind of concert a Wandelkonzert, and Wandelkonzerte have often invited comparisons to John Cage's Musicircus events.
The idea was expanded for Klanginvasion auf Bonn (1971), for which 150 musicians played at various venues in Bonn over the course of twelve hours. There is some similarity here to Trevor Wishart's community pieces like Forest Singularity. Some of the music played in the Wandelkonzerte was written by Kupkovič himself, some of it by other people. Much of it, however, was music by older classical composers which had been altered and adapted by Kupkovič. This process is typical of Kupkovič's instrumental works, and can be seen in such pieces as the series of four Präparierter Texte from 1968.
These pieces take quite insignificant parts from well-known pieces of the past, such as the viola or bass drum parts, and isolate them, thus making central music which in its original context was incidental and often barely audible. Präparierter Text 1 is adapted from the second movement of Brahms' Symphony No. 1, and is for violin and magnetic tape; Präparierter Text 2 is adapted from the first movement of Mozart's Jupiter Symphony (No. 41), and is for flute, trumpet, timpani, violin, cello and double bass; Präparierter Text 3 is adapted from the fourth movement of Beethoven's Symphony No.
9, and is for cymbal, bass drum and magnetic tape; and Präparierter Text 4 is adapted from the Ricercar a 6 from Johann Sebastian Bach's Musical Offering and is for chamber orchestra (a version for full orchestra followed in 1970). Kupkovič also adapted old pieces by taking small elements from them and repeating them with only slight variation. This technique was used in Morceau de Genre based on a small piece for violin and piano by Edward Elgar. It exists in versions for violin, trumpet, timpani and strings; solo piano; violin and piano; solo accordion; and violin and accordion. The constant repetition of two-bar figures from the original piece with very little variation is either extremely witty or extremely irritating, depending on your point of view. Kupkovič is one of the few composers to have written a significant amount of music for the accordion.
As well as the versions of Morceau de Genre, he has written 312-SL / 723 (1978) for two accordions, and in 1980 wrote a concerto for the instrument. This concerto was in the later diatonic style which Kupkovič turned to. The harmonies in these later pieces are very simple, and the works have sometimes been compared to Wolfgang Amadeus Mozart. Kupkovič has been extremely prolific in this style. Although a return to a simpler form of harmony and to older musical forms may be seen as a kind of neo-classicism, it is a very different sort to that used by Igor Stravinsky.
Unlike his music, Kupkovič's has no sense of irony and in many cases could be confused for a piece from the classical music era. The composer Gavin Bryars has said of these works that "there is a sense of peering into the past through a distorting lens that manages to reveal a clear picture, but a picture that never existed until the lens was put in place". Very few of Kupkovič's pieces have ever been recorded, although a short piece for violin and piano from 1968, Souvenir, has been recorded several times, most recently by Gidon Kremer. Some recent works are published by Tre Media Musikverlage in Karlsruhe.In 1971 he began to teach music theory at the Hochschule für Musik und Theater Hannover, and lives in Hanover today. (Wikipedia) Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
"Winterville are in a league of their own. Brooding, soulful and downright menacing" - Rocksound July 2005 Since becoming the youngest performer ever to appear at the venerable Stanley Blues Festival in 2000 at the tender age of 15, Winterville frontman Peter Shoulder has acquired a formidable reputation as one of the countrys leading exponents of the electric blues guitar. Indeed one critic who saw that now legendary performance was moved to comment: - Read more on Last.fm
"Winterville are in a league of their own. Brooding, soulful and downright menacing" - Rocksound July 2005 Since becoming the youngest performer ever to appear at the venerable Stanley Blues Festival in 2000 at the tender age of 15, Winterville frontman Peter Shoulder has acquired a formidable reputation as one of the countrys leading exponents of the electric blues guitar. Indeed one critic who saw that now legendary performance was moved to comment: - "I saw Clapton at 17 and this guy is better". His precocious talent also led to recognition in the US where in 2003 young Peter was asked to write and perform on 3 songs for what tragically turned out to be the final record in the long career of Blues Hall of Famer Little Milton. The album "Think of Me" was released in May 2005.
Shoulders work on the album was subsequently recognised in late 2005 when along with his co-writers, he was nominated for a Blues Music Award for song of the year. Along with drummer Mario Goossens and bassist Joss Clapp, Shoulder formed Winterville in September 2003. The band have deliberately and studiously avoided jumping on any of the prevailing musical bandwagons, and instead have set out to remain true to their beliefs whilst exploring all of their musical influences whether it be the blues boom of 60s, the classic rock of the 70s, the Seattle sound of the early 90s or indeed contemporary alternative music from both sides of The Atlantic. As a consequence both their recordings and their live shows demonstrate an unusual and eclectic mix of styles, that is nonetheless rooted in Classic British Blues Rock. Right from the beginning, the band hit the road, and they have been rapidly building an army of devoted followers ever since. Their live shows too have garnered some serious plaudits, as the band have followed a policy of turning up anywhere, anytime and with anyone who will have them, playing with artists as diverse as Old School rockers "Thin Lizzy" through Indie darlings "The Future Kings of Spain" to punk rockers "The Dogs". "One of the best bands Ive ever seen? Yes. A band that gets better everytime you see them? Yes.
The next big thing? I certainly hope so". - Powerplay July 2005 Refreshingly, Wintervilles awesome live reputation is based not on their ability to wear the right clothes, nor do they follow the current vogue for shambolic musical incompetence at live shows, rather their incendiary musical performances hark back to the classic British bands of the 60s and 70s, with echoes of Black Sabbath, Cream, Led Zeppelin, Free and their contemporaries. These influences were noted by Metal Hammer in the bands first major magazine feature: "The legacies of such classic artists as Led Zeppelin, Deep Purple, Cream and Black Sabbath seem to have been all but forgotten by the very country that spawned them in the first place! Enter young Durham based trio Winterville, who are single-handedly making a bid to put the UK back on the heavy rock map" - Metal Hammer - June 2005 From the opening sledgehammer riff of "Breathe", through to the haunting and affecting Jeff Buckleyesque closer "Someday Soon", Everything In Moderation is that rarest of finds, an album made not to please a hungry marketing machine nor to fit neatly into current radio formats, but a record made by young people who thrill in the joy of challenging themselves musically, and who seek to delight and captivate the listener, neither patronising nor boring them. Out and out rockers like "Shotgun Smile" and "Nobody" sit easily alongside the percussively accoustic "Nothing", the bluesy sleaze of "Last Legs" and the rousingly catchy "My Angels". Winterville - The next Great British Rock 'n' Roll band. It's about time. Taken from www.myspace.com/winterville Read more on Last.fm.
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