The text of the poems on the scroll reproduced here is by Liu Shang; the paintings are by an unknown artist. …
Excellent addition to any prog rock music collection
I didn’t know that Alan Stivell was on PA as I always thought he was just Folk, not properly prog. However this album has some prog moments, in particular “Delivrance” that’s my favourite track here.
It’s has been my first Stivell’s vinyl and it’s still the one that I prefer. I was lucky in chosing this one because my second (and last) purchase was Tremain In’Is that’s only harp and voice. Too much also for me.
It comes as no surprise that, a year after Rampal's death, James Galway should dedicate a disc to him. After all, Galway has always cited the Frenchman as his true mentor - and it was with Rampal that Galway first spied a golden flute. The recording actually happened over a year before Rampal died but appropriately enough contains concertos by the French Classical composer François Devienne, of whose music Rampal was a noted interpreter.
All of humanity feels anger, sorrow, awe. It’s a wonder that we ever feel completely alien to anyone else, no matter how distant their culture may seem. That may seem like some Hallmark bullshit, but the music world bears it out. The big, raw, visceral emotions break the language barrier. A kid carrying around a pitch black electric guitar on one end of the world and another sitting with a geomungo at the other may look very different (seriously, look up the geomungo), but they can be used to produced the same sort of magic. And in the case of South Korean outfit Jambinai, they’ve got both. Jambinai can easily be sold on novelty; in addition to bass, guitar, and drums, the quintet employ the aforementioned geomungo (a massive, bassy zither), a reed flute called a piri, and the bowed, almost nasally-pitched haegum. Founding members Ilwoo Lee, Eunyong Sim, and Bomi Kim studied Korean folk and classical music in college, but they fuse the dramatic emotionalism of those styles with those of various rock traditions. At their lightest, the massive songs approach gray cloud post-rock and jazz ambience, and reach into the droning noise of sludgy metal at their darkest.