Rock/Pop
CDアルバム

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フォーマット CDアルバム
発売日 2009年03月31日
国内/輸入 輸入
レーベルAtavistic Records
構成数 1
パッケージ仕様 -
規格品番 127
SKU 735286112726

構成数 : 1枚
合計収録時間 : 00:41:59
録音 : ステレオ (Studio)

  1. 1.[CDアルバム]
    1. 1.
      Sound of Music, Today, The

      アーティスト: Roger Miller's Binary System

    2. 2.
      Rogue Wave

      アーティスト: Roger Miller's Binary System

    3. 3.
      Initial Orbit, The

      アーティスト: Roger Miller's Binary System

    4. 4.
      Spiral

      アーティスト: Roger Miller's Binary System

    5. 5.
      Third Door on the Left (for S. Barrett)

      アーティスト: Roger Miller's Binary System

    6. 6.
      Trumorphic Hybrid

      アーティスト: Roger Miller's Binary System

    7. 7.
      Metamorphocles

      アーティスト: Roger Miller's Binary System

    8. 8.
      Two Blue Torpedoes

      アーティスト: Roger Miller's Binary System

    9. 9.
      Texas

      アーティスト: Roger Miller's Binary System

作品の情報

メイン
アーティスト: Roger Miller's Binary System

その他
プロデューサー: Jeff Whitehead; Binary System
エンジニア: Jeff Whitehead

商品の紹介

Binary System is the duo of former Mission of Burma and Birdsongs of the Mesozoic member Roger Miller (piano, various other instruments) and Larry Dersch (drums, percussion), who are joined here by assorted guests on about half of the tracks. As on their previous albums, this music is a heavily rhythmic blend of rock and 20th century classical sensibilities. Miller's ambiguous, often dense piano harmonies call to mind Bela Bartok and even Cecil Taylor, and in combination with Dersch's rock-based drumming, the overall results can bring to mind Burnt Weenie Sandwich-era Frank Zappa (probably unintentionally, and minus the prominent sense of humor). The opener, a questionable reworking of Rodgers & Hammerstein's "The Sound of Music" and the only track with vocals, is kind of a red herring in this context, as the next seven tracks seem to function as a suite, building tension and momentum as they go and climaxing with the almost orchestral chamber rock of "Trimorphic Hybrid" (which adds distorted guitar, cornet, and upright bass to the piano/drum foundation). In a few other spots, Miller contributes some percussive prepared piano work that adds a sort of urban-tribal feel. The closing track, a quiet melange of wind sounds and soft percussion clatter entitled "Texas," is a curious way to end the album -- it would not have hurt to leave this one and the opener off, since the real meat is in the middle, with the piano-based pieces. The drumming may be a little stiff from a real rock standpoint, but overall this is an interesting effort. ~ William York
Rovi

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