To be released March 1, 2012:
Fazio - Élégie
Mike Fazio steps out of his orchestramaxfieldparrish nom de plume and delivers a work of riveting guitarsonics for the ages. Expanding on the concept of abstract guitar improvisation started on the Actualities Tapes series from the 1980's New York underground DIY scene, and later on widespread cd form with 2008's The Silent Breath Of Emptiness, Élégie takes this concept one step further into three, long form, electric guitar compositions. Part of a planned series of abstract guitar recordings to be released in the future.
Strictly limited one time cd pressing in a matte finished digipak.
Recorded and mastered in 96K / 24 bit audiophile audio.
faith strange recordings |
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Released January 2009 is ct-generative. The 22 tracks of this project are not meant to be finished pieces, but rather sources for two generative music pieces. For the double CD version, Fabio Anile merged the source tracks into two generative mixes ("Under The Bridge" with 40 tracks, and "Dreaming of dust and water" with 34 tracks). The CDs can be played back in shuffle mode.
On his website, Fabio has provided a
that contains players for each source track. You can start and stop the different players, getting new pieces of music every time. The possible combinations are infinite.
Released August 2008 is ct-zodiac. a CD of pieces representing, in any way possible, the signs of the zodiac, plus a bonus track.
Included in this compilation are works by norelpref, David Cooper Orton, Des Slow And The Stop Pills, Anders Östberg, Jeff Lomas, Sebastian Jantz, Rinus Van Alebeek, Subscape Annex, Jeffrey Letterly, Nick Robinson, Dwoogie, M. Fazio & Ronny Waernes.
The entire album including artwork can be downloaded or streamed at:
Released through CT-Collective.com in 2007 is the dvd production Caligari: An Exquisite Corpse. Eleven composers collaborated in Exquisite Corpse fashion to produce two brand new soundtracks for the German Expressionist classic silent film The Cabinet Of Dr. Caligari.
Included in this compilation are works by Fastus, M. Fazio, John Auker, Mank, Heavyconfetti, Robert Switzer, David Cooper Orton, Roger Harmar, Tim Nelson, David Page Coffin and Steve Burnett.
The entire video including artwork can be downloaded or streamed at:
Painstakingly coordinated by Fabio Anile is CT - Great Speeches - released 2007. The aim of this project was to compose music to "furnish" a famous speech. A "great speech" is a speech that has a relevant historical, religious, political, or social content. The goal is to realize a music encyclopedia of some important events. Included is an exclusive M. Fazio guitar composition entitled November 18, 1978, in remembrance of the Jonestown cult suicides, incorporating the speech from Jim Jones to his disciples in the last minutes of their lives.
Included in this collection are works by Nick Robinson, Giuseppe Farinella, Michael Frank, Fabio Anile, Mike Fazio, Michael Peters, Milco Montagna, Anders Östberg and Norelpref.
The entire album including artwork can be downloaded or streamed at:
This is a concept album; a collection of different artists furnishing music to accompany famous orations. I liked it so much that it took me a long time to write a review, I've been listening to it all week.
Firstly, there's no question this is full of substance. Presidents, Prime Ministers, despots, visionaries, leaders of change and even cult figures all get their turn. The music varies from non-rhythmic soundscapes, to hip-hop, to pure sonic experimentation, definitely never overtaking the text but never sitting meekly in the background, either.
First is Nick Robinson, accompanying Winston Churchill. The repeating and the vocal treatments point out the musical value in speech, the rhythms and pitches suddenly making sense when presented in a context. Statements like "we shall go on to the end" take on an even more immense gravity when isolated and repeated. The discordant pitches that emerge towards the end belie the horror that awaited many of those who heard these words in their original time. A masterful start.
Next is Giuseppe Farinella, with Benito Mussolini (!). The cheers that follow the statements are pretty creepy, then nicely become part of the gentle tonal bed. When an overdriven, aching guitar solo emerges through the shouts, it sounds like a wordless voice of reason above the din. The baby cries at the end are an unexpected surprise and a great addition. It would be interesting to have heard even more of the rhythmic "Muss-o-lin-i" chants.
Then, a touch of humor from Michael Moore over a stark hip-hop background from Michael Frank, which fits perfectly with the melodramatic declarations. I love the guitar commenting in between his phrases, sometimes hinting at the dark reality behind the funny statements, sometimes chuckling along. (However, I'm pretty sure the powerful voice is Lewis Black reading Moore's text; if I'm correct, it should be noted as so).
Event organizer Fabio Anile is next, providing a beautiful background for Mahatma Gandhi. His accompaniment adds strength to Gandhi's voice which on its own is almost humorously thin, and sometimes a butt of jokes. The distant, minimal drums are wonderful. Really matches the title, "Mysterious Power".
Mike Fazio takes on the unenviable task of dueting with Reverend Jim Jones. The atmospheric, watery background is a great complement, and the well-timed chords, as well as the spacious use of the voice, are very effective. It's quietly terrifying, especially the cries. "If you'll be quiet... if you'll be quiet...". Whew. It's brave to tackle this one.
Back to another great figure, with JFK (and then NASA ground control and astronauts) backed up by Michael Peters. Some crazy vocal treatments here, probably the most unusual use of the voices as raw material. Hearing a spoken word seemingly turn into the sound of a liftoff is astonishing...! Having heard that, it may be that much of the music comes from the voice, I can't really say but it's a bold and otherworldly piece.
Milco Montagna provides a highly "composed" musical passage, with two accounts of the Challenger tragedy superimposed on each channel. Instead of necessarily supporting Reagan's attempt to inspire and encourage the nation with an uplifting soundtrack, the music itself mourns, gravitating more towards underscoring the dry radio commentary with a reading of the true drama. The radio voice covers the event from liftoff to explosion, beginning with the standard liftoff announcements. But then there's a musical pause and strange thump partway through, after which the voices begin to describe the problem - "Obviously a major malfunction. We have no downlink...", and finally, calmly, "The vehicle has exploded". Very moving.
Anders Östberg generates a screaming wash of what seems to be white noise, a real wake-up call, which soon reveals its tonal qualities before subsiding to allow Dr. Albert Hofmann to espouse. The music then returns, bookending the speech, its impossibly high, overtoned flood of sound like a chemical rushing through the cerebral cortex.
Norel Pref then gives us the only multi-voiced piece, a free-wheeling intermixing of presidential quotes, over a flowing, portentous rhythmic background with chordal stabs that sometimes seem to be triggered by the voices themselves, a great effect I'd have liked to hear even more of. It's a rich blend of hilarity and deep thoughts, rather broad in its focus but fascinating.
Anile then returns again, delicately ushering in possibly the most powerful text, taken from Martin Luther King Jr.'s "I Have a Dream" speech (interestingly avoiding the most commonly-heard phrases). It's a great touch to have a long introduction to establish the music and to insert long spaces between statements. The balance of voice to music is excellent, the speech becomes part of the music, as opposed to a film documentary soundtrack that would place the music clearly in second place. A gorgeous piece that works wonderfully with the vocal.
The only suggestions I'd make for improving this concept in the future is that on some tracks, the noise between words, combined with quick cut-offs after a phrase, can be distracting when listening closely. If there is tape hiss from an old recording, it would probably help consistency to find a way to include and integrate it over the whole piece. Also, the inclusion of applause sometimes works, becoming part of the music, and other times seems like an intrusion.
But these are minor quibbles. This is a fully-realized, ingenious project. Kudos to all. Best of all, it may be downloaded free in its entirely.
Daryl Shawn