{"header": true, "time_fetched": "2022-11-21T18:18:20.565361"}
{"kind": "youtube#commentThread", "etag": "6QOi-IdzO6lgniBKAzJwN3ovFrQ", "id": "UgzSnP5ZtxcO68kUeEJ4AaABAg", "snippet": {"videoId": "rm29EXtpsQs", "topLevelComment": {"kind": "youtube#comment", "etag": "mNpvfAsyg_vc4Ur9t_Ib0IwvSTA", "id": "UgzSnP5ZtxcO68kUeEJ4AaABAg", "snippet": {"videoId": "rm29EXtpsQs", "textDisplay": ".......Avalon Sutra Pregled Thom Jurek [-]\r
Nakon gotovo tri desetlje\u0107a snimanja, pijanist i skladatelj Harold Budd odustaje, obja\u0161njavaju\u0107i kako je rekao sve \u0161to \u017eeli i ne smeta mu nestajanje. Ako se ispostavi da je tako, Avalon Sutra dokazuje da je Budd najbolje sa\u010duvao za kraj. Budd je hodao ni\u010dijom zemljom izme\u0111u minimalizma i ambijentalne glazbe i krivotvorio vlastiti teritorij. I dok je prvi njegov pedigre, on zvu\u010di kao nitko od njegovih vr\u0161njaka. Njegova djela su sastavljena i otvorena; nikada se nisu temeljili na "sustavu", a obi\u010dno su osjetljivi, impresionisti\u010dki i, \u010de\u0161\u0107e nego ne, tajanstveni i melodi\u010dni. Njegov osje\u0107aj za dinamiku je suzdr\u017ean i njegovo ekonomi\u010dno kori\u0161tenje ti\u0161ine uvijek je bilo majstorski, bilo na ranim djelima kao \u0161to su Paviljon snova, njegovi albumi srednjeg razdoblja kao \u0161to su The Plateaux of Mirror i The Pearl s Brianom Enom, ili njegova strukturiranija djela poput Bijelih arkada s Robin Guthrie, By the Dawn's Early Light, i Soba. Uvijek, njegov elipti\u010dni klavir postavlja kurs, prate\u0107i razne muze kroz gauzy labirint i prenose\u0107i veliku poeziju, emocije i duhovnost - bez da ikada postane pretjeran ili pretjerano sentimentalan. 14 pjesama na Avalon Sutri su elegantne, kontemplativne (ne spekulativne) i dirljive; milost i nje\u017enost koje tako lako prenose ubla\u017eeni su emocionalnom dubinom i dimenzijom pojmovima sje\u0107anja, gubitka, pa \u010dak i tuge.\r
\r
Tri "arabeska" djela ovdje -- obrnutim numeri\u010dkim redoslijedom -- sadr\u017ee Buddovklavir, koji tiho i namjerno \u0161apu\u0107e nad delikatnim pranjem elektronike, u o\u0161trom kontrastu s gotovo upornim sopran saksofonskim linijama Jona Gibsona(sopranino na "Arabesque 3") kroz sredi\u0161te. Drugdje, Budd koristi \u017eice i elektroni\u010dke dronove na \u010detiri naslova, uklju\u010duju\u0107i uvijek tako kratak "It's Steeper Near the Roses", napisan za Davida Sylviana. Tu su i \u010detiri solo naslova koji su slojeviti na vrlo o\u0161tar slikarski na\u010din s drugim gaznim zvu\u010dnim elementima. "In Little Heart" wispy elektronski akordi pru\u017eaju pozadinu Buddovojskliskoj skeletnoj melodiji koja je nagla\u0161ena i podvu\u010dena malim zvonima koja kao da dolaze iz etera. U "\u0160etnji parkom s Nancy", Budd liberalno citira melodiju "O Come, O Come Emmanuel" na svom akusti\u010dnom klaviru dok Rhodes filtriran nenametljivim odjekom dodaje jednostavan ponavljaju\u0107i balast. Gibson svira skeletnu bas flautu u duetu na "How Vacantly You Stare at Me", a "Porculanski \u0111umbir", solo djelo, jedna je od Buddovihnajzanimljivijih i elipti\u010dnijih skladbi u godinama. "Sve dok mogu zadr\u017eati dah", zavr\u0161ni rez seta, dobiva 70 i vi\u0161e minuta remix tretmana elektronskog skladatelja Akire Rabelaisa na disku dva s dodatnom produkcijom iz Sylviana. Ovdje je tema iz originalne pjesme izrezana u uvjerljivu, vje\u0161to izvedenu cjelinu, s petljama \u017eica, vijugavim klavirom koji ulazi i izlazi iz mje\u0161avine - ali se ipak pojavljuje u svim pravim trenucima kako bi dodao poni\u017eenje i dimenziju - i nje\u017eno pranje buke. To je krajnje hipnotiziraju\u0107e i privla\u010dno tijekom svog dugog trajanja. Budd mo\u017eda nije bio najplodniji skladatelj ili snimatelj, ali njegova dosljednost bila je izvanredna i njegova ekonomija glazbenog jezika uvijek je ukazivala na ne\u0161to vi\u0161e izvan vela zvuka. Nedostajat \u0107e nam.ladislav&zivanovic\u2026\u2026\u2026\u2026.", "textOriginal": ".......Avalon Sutra Pregled Thom Jurek [-]\r\nNakon gotovo tri desetlje\u0107a snimanja, pijanist i skladatelj Harold Budd odustaje, obja\u0161njavaju\u0107i kako je rekao sve \u0161to \u017eeli i ne smeta mu nestajanje. Ako se ispostavi da je tako, Avalon Sutra dokazuje da je Budd najbolje sa\u010duvao za kraj. Budd je hodao ni\u010dijom zemljom izme\u0111u minimalizma i ambijentalne glazbe i krivotvorio vlastiti teritorij. I dok je prvi njegov pedigre, on zvu\u010di kao nitko od njegovih vr\u0161njaka. Njegova djela su sastavljena i otvorena; nikada se nisu temeljili na \"sustavu\", a obi\u010dno su osjetljivi, impresionisti\u010dki i, \u010de\u0161\u0107e nego ne, tajanstveni i melodi\u010dni. Njegov osje\u0107aj za dinamiku je suzdr\u017ean i njegovo ekonomi\u010dno kori\u0161tenje ti\u0161ine uvijek je bilo majstorski, bilo na ranim djelima kao \u0161to su Paviljon snova, njegovi albumi srednjeg razdoblja kao \u0161to su The Plateaux of Mirror i The Pearl s Brianom Enom, ili njegova strukturiranija djela poput Bijelih arkada s Robin Guthrie, By the Dawn's Early Light, i Soba. Uvijek, njegov elipti\u010dni klavir postavlja kurs, prate\u0107i razne muze kroz gauzy labirint i prenose\u0107i veliku poeziju, emocije i duhovnost - bez da ikada postane pretjeran ili pretjerano sentimentalan. 14 pjesama na Avalon Sutri su elegantne, kontemplativne (ne spekulativne) i dirljive; milost i nje\u017enost koje tako lako prenose ubla\u017eeni su emocionalnom dubinom i dimenzijom pojmovima sje\u0107anja, gubitka, pa \u010dak i tuge.\r\n\r\nTri \"arabeska\" djela ovdje -- obrnutim numeri\u010dkim redoslijedom -- sadr\u017ee Buddovklavir, koji tiho i namjerno \u0161apu\u0107e nad delikatnim pranjem elektronike, u o\u0161trom kontrastu s gotovo upornim sopran saksofonskim linijama Jona Gibsona(sopranino na \"Arabesque 3\") kroz sredi\u0161te. Drugdje, Budd koristi \u017eice i elektroni\u010dke dronove na \u010detiri naslova, uklju\u010duju\u0107i uvijek tako kratak \"It's Steeper Near the Roses\", napisan za Davida Sylviana. Tu su i \u010detiri solo naslova koji su slojeviti na vrlo o\u0161tar slikarski na\u010din s drugim gaznim zvu\u010dnim elementima. \"In Little Heart\" wispy elektronski akordi pru\u017eaju pozadinu Buddovojskliskoj skeletnoj melodiji koja je nagla\u0161ena i podvu\u010dena malim zvonima koja kao da dolaze iz etera. U \"\u0160etnji parkom s Nancy\", Budd liberalno citira melodiju \"O Come, O Come Emmanuel\" na svom akusti\u010dnom klaviru dok Rhodes filtriran nenametljivim odjekom dodaje jednostavan ponavljaju\u0107i balast. Gibson svira skeletnu bas flautu u duetu na \"How Vacantly You Stare at Me\", a \"Porculanski \u0111umbir\", solo djelo, jedna je od Buddovihnajzanimljivijih i elipti\u010dnijih skladbi u godinama. \"Sve dok mogu zadr\u017eati dah\", zavr\u0161ni rez seta, dobiva 70 i vi\u0161e minuta remix tretmana elektronskog skladatelja Akire Rabelaisa na disku dva s dodatnom produkcijom iz Sylviana. Ovdje je tema iz originalne pjesme izrezana u uvjerljivu, vje\u0161to izvedenu cjelinu, s petljama \u017eica, vijugavim klavirom koji ulazi i izlazi iz mje\u0161avine - ali se ipak pojavljuje u svim pravim trenucima kako bi dodao poni\u017eenje i dimenziju - i nje\u017eno pranje buke. To je krajnje hipnotiziraju\u0107e i privla\u010dno tijekom svog dugog trajanja. Budd mo\u017eda nije bio najplodniji skladatelj ili snimatelj, ali njegova dosljednost bila je izvanredna i njegova ekonomija glazbenog jezika uvijek je ukazivala na ne\u0161to vi\u0161e izvan vela zvuka. Nedostajat \u0107e nam.ladislav&zivanovic\u2026\u2026\u2026\u2026.", "authorDisplayName": "ladislav zivanovic", "authorProfileImageUrl": "https://yt3.ggpht.com/WjFIxGZTrtHSpXknO9UDIXfY59EnD6uzqMcLBWviNY1wa6Cx4Og47vukQuHz6sTwmTmgEWDVxQ=s48-c-k-c0x00ffffff-no-rj", "authorChannelUrl": "http://www.youtube.com/channel/UC45IlCLYzJj6j6HoJ1F39SQ", "authorChannelId": {"value": "UC45IlCLYzJj6j6HoJ1F39SQ"}, "canRate": true, "viewerRating": "none", "likeCount": 0, "publishedAt": "2022-01-01T14:45:43Z", "updatedAt": "2022-01-01T14:45:43Z"}}, "canReply": true, "totalReplyCount": 0, "isPublic": true}}
{"kind": "youtube#commentThread", "etag": "6RpGpYRtySbjURsU1bQOyukSDw4", "id": "Ugx8tyxH6mN_Z_hZ7pB4AaABAg", "snippet": {"videoId": "rm29EXtpsQs", "topLevelComment": {"kind": "youtube#comment", "etag": "IArXUUpjQ2vm4FqQpHH7c3h9Xr8", "id": "Ugx8tyxH6mN_Z_hZ7pB4AaABAg", "snippet": {"videoId": "rm29EXtpsQs", "textDisplay": ".......Avalon Tomorrow Review by Thom Jurek [-]\r
After nearly three decades of filming, pianist and composer Harold Budd quits, explaining that he has said everything he wants and does not mind disappearing. If that turns out to be the case, Avalon Sutra proves buddha saved the best for last. Budd walked no man's land between minimalism and ambient music and forged his own territory. And while the first is his pedigree, he sounds like none of his peers. His works are composed and open; they have never been based on the "system", and are usually sensitive, impressionistic and, more often than not, mysterious and melodic. His sense of dynamism is restrained and his economical use of silence has always been masterful, either on early works such as The Pavilion of Dreams, his mid-period albums such as The Plateaux of Mirror and The Pearl with Brian Eno, or his more structured works such as White Arcades with Robin Guthrie, By the Dawn's Early Light, and The Room. Always, his elliptical piano sets the course, accompanying various muses through the gauzy maze and conveying great poetry, emotions and spirituality - without ever becoming exaggerated or overly sentimental. The 14 songs on Avalon Sutra are elegant, contemplative (not speculative) and moving; the grace and tenderness they so easily convey are tempered by emotional depth and dimension by notions of memory, loss and even sadness.\r
\r
The three "arabesque" works here -- in reverse numerical order -- feature Buddovklavir, which whispers silently and deliberately over delicate washing of electronics, in sharp contrast to Jon Gibson's almost persistent soprano saxophone lines (sopranino on "Arabesque 3") through the center. Elsewhere, Budd uses wires and electronic drones on four titles, including the ever-so-brief "It's Steeper Near the Roses," written for David Sylvian. There are also four solo titles that are layered in a very sharp painterly way with other tready sound elements. "In Little Heart" wispy electronic chords provide a backdrop to a Buddoskli skeletal melody that is accentuated and underlined by small bells that seem to come from the airwaves. In "Walk in the Park with Nancy," Budd liberally quotes the tune "O Come, O Come Emmanuel" on his acoustic piano while Rhodes filtered with unobtrusive resonance adds a simple repetitive ballast. Gibson plays a skeletal bass flute duet on "How Vacantly You Stare at Me," and "Porcelain Ginger," a solo work, is one of Budd's most interesting and elliptical compositions in years. "As Long as I Can Hold My Breath," the final cut of the set, gets 70-plus minutes of remix treatment by electronic composer Akira Rabelais on discus two with additional production from Sylvian. Here, the theme from the original song is cut into a compelling, artfully executed whole, with loops of strings, a meandering piano that goes in and out of the mix - but still appears at all the right moments to add humiliation and dimension - and gentle noise washing. This is extremely hypnotic and attractive for its long duration. Budd may not have been the most prolific composer or cinematographer, but his consistency was remarkable and his economy of musical language always pointed to something more outside the veil of sound. We will miss.ladislav&zivanovic.............", "textOriginal": ".......Avalon Tomorrow Review by Thom Jurek [-]\r\nAfter nearly three decades of filming, pianist and composer Harold Budd quits, explaining that he has said everything he wants and does not mind disappearing. If that turns out to be the case, Avalon Sutra proves buddha saved the best for last. Budd walked no man's land between minimalism and ambient music and forged his own territory. And while the first is his pedigree, he sounds like none of his peers. His works are composed and open; they have never been based on the \"system\", and are usually sensitive, impressionistic and, more often than not, mysterious and melodic. His sense of dynamism is restrained and his economical use of silence has always been masterful, either on early works such as The Pavilion of Dreams, his mid-period albums such as The Plateaux of Mirror and The Pearl with Brian Eno, or his more structured works such as White Arcades with Robin Guthrie, By the Dawn's Early Light, and The Room. Always, his elliptical piano sets the course, accompanying various muses through the gauzy maze and conveying great poetry, emotions and spirituality - without ever becoming exaggerated or overly sentimental. The 14 songs on Avalon Sutra are elegant, contemplative (not speculative) and moving; the grace and tenderness they so easily convey are tempered by emotional depth and dimension by notions of memory, loss and even sadness.\r\n\r\nThe three \"arabesque\" works here -- in reverse numerical order -- feature Buddovklavir, which whispers silently and deliberately over delicate washing of electronics, in sharp contrast to Jon Gibson's almost persistent soprano saxophone lines (sopranino on \"Arabesque 3\") through the center. Elsewhere, Budd uses wires and electronic drones on four titles, including the ever-so-brief \"It's Steeper Near the Roses,\" written for David Sylvian. There are also four solo titles that are layered in a very sharp painterly way with other tready sound elements. \"In Little Heart\" wispy electronic chords provide a backdrop to a Buddoskli skeletal melody that is accentuated and underlined by small bells that seem to come from the airwaves. In \"Walk in the Park with Nancy,\" Budd liberally quotes the tune \"O Come, O Come Emmanuel\" on his acoustic piano while Rhodes filtered with unobtrusive resonance adds a simple repetitive ballast. Gibson plays a skeletal bass flute duet on \"How Vacantly You Stare at Me,\" and \"Porcelain Ginger,\" a solo work, is one of Budd's most interesting and elliptical compositions in years. \"As Long as I Can Hold My Breath,\" the final cut of the set, gets 70-plus minutes of remix treatment by electronic composer Akira Rabelais on discus two with additional production from Sylvian. Here, the theme from the original song is cut into a compelling, artfully executed whole, with loops of strings, a meandering piano that goes in and out of the mix - but still appears at all the right moments to add humiliation and dimension - and gentle noise washing. This is extremely hypnotic and attractive for its long duration. Budd may not have been the most prolific composer or cinematographer, but his consistency was remarkable and his economy of musical language always pointed to something more outside the veil of sound. We will miss.ladislav&zivanovic.............", "authorDisplayName": "ladislav zivanovic", "authorProfileImageUrl": "https://yt3.ggpht.com/WjFIxGZTrtHSpXknO9UDIXfY59EnD6uzqMcLBWviNY1wa6Cx4Og47vukQuHz6sTwmTmgEWDVxQ=s48-c-k-c0x00ffffff-no-rj", "authorChannelUrl": "http://www.youtube.com/channel/UC45IlCLYzJj6j6HoJ1F39SQ", "authorChannelId": {"value": "UC45IlCLYzJj6j6HoJ1F39SQ"}, "canRate": true, "viewerRating": "none", "likeCount": 0, "publishedAt": "2022-01-01T14:46:49Z", "updatedAt": "2022-01-01T14:46:49Z"}}, "canReply": true, "totalReplyCount": 0, "isPublic": true}}
{"kind": "youtube#commentThread", "etag": "h_XsPO6lEGENv4ypgVb-ElK26xc", "id": "UgyZRgT9tLSS1I74Ond4AaABAg", "snippet": {"videoId": "rm29EXtpsQs", "topLevelComment": {"kind": "youtube#comment", "etag": "h5j_Kwvk4BdlsVdS-uy7KwZBVnU", "id": "UgyZRgT9tLSS1I74Ond4AaABAg", "snippet": {"videoId": "rm29EXtpsQs", "textDisplay": ".......Avalon Demain Examen par Thom Jurek [-]\r
Apr\u00e8s pr\u00e8s de trois d\u00e9cennies de tournage, le pianiste et compositeur Harold Budd quitte, expliquant qu\u2019il a dit tout ce qu\u2019il veut et ne me d\u00e9range pas de dispara\u00eetre. Si cela s\u2019av\u00e8re \u00eatre le cas, Avalon Sutra prouve que Bouddha a sauv\u00e9 le meilleur pour la fin. Budd a march\u00e9 no man\u2019s land entre le minimalisme et la musique ambiante et a forg\u00e9 son propre territoire. Et bien que le premier soit son pedigree, il ne ressemble \u00e0 aucun de ses pairs. Ses \u0153uvres sont compos\u00e9es et ouvertes; ils n\u2019ont jamais \u00e9t\u00e9 bas\u00e9s sur le \u00ab\u00a0syst\u00e8me\u00a0\u00bb, et sont g\u00e9n\u00e9ralement sensibles, impressionnistes et, le plus souvent, myst\u00e9rieux et m\u00e9lodiques. Son sens du dynamisme est limit\u00e9 et son utilisation \u00e9conomique du silence a toujours \u00e9t\u00e9 magistrale, que ce soit sur les premi\u00e8res \u0153uvres telles que The Pavilion of Dreams, ses albums de mi-p\u00e9riode tels que The Plateaux of Mirror et The Pearl avec Brian Eno, ou ses \u0153uvres plus structur\u00e9es telles que White Arcades avec Robin Guthrie, By the Dawn\u2019s Early Light, et La salle. Toujours, son piano elliptique donne le cap, accompagnant diverses muses \u00e0 travers le labyrinthe gauzy et transmettant une grande po\u00e9sie, \u00e9motions et spiritualit\u00e9 - sans jamais devenir exag\u00e9r\u00e9 ou trop sentimental. Les 14 chansons sur Avalon Sutra sont \u00e9l\u00e9gantes, contemplatives (non sp\u00e9culatives) et \u00e9mouvantes; la gr\u00e2ce et la tendresse qu\u2019ils transmettent si facilement sont temp\u00e9r\u00e9es par la profondeur \u00e9motionnelle et la dimension par les notions de m\u00e9moire, de perte et m\u00eame de tristesse.\r
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Les trois \u0153uvres \u00ab\u00a0arabesque\u00a0\u00bb ici -- dans l\u2019ordre num\u00e9rique inverse -- mettent en vedette Buddovklavir, qui murmure silencieusement et d\u00e9lib\u00e9r\u00e9ment sur le lavage d\u00e9licat de l\u2019\u00e9lectronique, en contraste frappant avec les lignes de saxophone soprano presque persistantes de Jon Gibson (sopranino sur \u00ab\u00a0Arabesque 3\u00a0\u00bb) \u00e0 travers le centre. Ailleurs, Budd utilise des fils et des drones \u00e9lectroniques sur quatre titres, y compris le tr\u00e8s bref \u00ab\u00a0It\u2019s Steeper Near the Roses\u00a0\u00bb, \u00e9crit pour David Sylvian. Il y a aussi quatre titres solo qui sont superpos\u00e9s d\u2019une mani\u00e8re pictural tr\u00e8s nette avec d\u2019autres \u00e9l\u00e9ments sonores tready. Les accords \u00e9lectroniques vaporeux \u00ab\u00a0In Little Heart\u00a0\u00bb fournissent une toile de fond \u00e0 une m\u00e9lodie squelettique Buddoskli qui est accentu\u00e9e et soulign\u00e9e par de petites cloches qui semblent provenir des ondes. Dans \u00ab\u00a0Walk in the Park with Nancy\u00a0\u00bb, Budd cite g\u00e9n\u00e9reusement la chanson \u00ab\u00a0O Come, O Come Emmanuel\u00a0\u00bb sur son piano acoustique tandis que Rhodes filtr\u00e9 avec une r\u00e9sonance discr\u00e8te ajoute un simple ballast r\u00e9p\u00e9titif. Gibson joue un duo de fl\u00fbte basse squelettique sur \u00ab\u00a0How Vacantly You Stare at Me\u00a0\u00bb, et \u00ab\u00a0Porcelain Ginger\u00a0\u00bb, une \u0153uvre solo, est l\u2019une des compositions les plus int\u00e9ressantes et elliptiques de Budd depuis des ann\u00e9es. \u00ab\u00a0As Long as I Can Hold My Breath\u00a0\u00bb, le montage final de l\u2019ensemble, re\u00e7oit plus de 70 minutes de traitement remix\u00e9 par le compositeur \u00e9lectronique Akira Rabelais sur le disque deux avec une production suppl\u00e9mentaire de Sylvian. Ici, le th\u00e8me de la chanson originale est coup\u00e9 en un ensemble convaincant, astucieusement ex\u00e9cut\u00e9, avec des boucles de cordes, un piano sinueux qui entre et sort du m\u00e9lange - mais appara\u00eet toujours \u00e0 tous les bons moments pour ajouter l\u2019humiliation et la dimension - et le lavage de bruit doux. C\u2019est extr\u00eamement hypnotique et attrayant pour sa longue dur\u00e9e. Budd n\u2019\u00e9tait peut-\u00eatre pas le compositeur ou le directeur de la photographie le plus prolifique, mais sa constance \u00e9tait remarquable et son \u00e9conomie du langage musical pointait toujours vers quelque chose de plus en dehors du voile du son. Nous allons manquer.ladislav&zivanovic.............", "textOriginal": ".......Avalon Demain Examen par Thom Jurek [-]\r\nApr\u00e8s pr\u00e8s de trois d\u00e9cennies de tournage, le pianiste et compositeur Harold Budd quitte, expliquant qu\u2019il a dit tout ce qu\u2019il veut et ne me d\u00e9range pas de dispara\u00eetre. Si cela s\u2019av\u00e8re \u00eatre le cas, Avalon Sutra prouve que Bouddha a sauv\u00e9 le meilleur pour la fin. Budd a march\u00e9 no man\u2019s land entre le minimalisme et la musique ambiante et a forg\u00e9 son propre territoire. Et bien que le premier soit son pedigree, il ne ressemble \u00e0 aucun de ses pairs. Ses \u0153uvres sont compos\u00e9es et ouvertes; ils n\u2019ont jamais \u00e9t\u00e9 bas\u00e9s sur le \u00ab\u00a0syst\u00e8me\u00a0\u00bb, et sont g\u00e9n\u00e9ralement sensibles, impressionnistes et, le plus souvent, myst\u00e9rieux et m\u00e9lodiques. Son sens du dynamisme est limit\u00e9 et son utilisation \u00e9conomique du silence a toujours \u00e9t\u00e9 magistrale, que ce soit sur les premi\u00e8res \u0153uvres telles que The Pavilion of Dreams, ses albums de mi-p\u00e9riode tels que The Plateaux of Mirror et The Pearl avec Brian Eno, ou ses \u0153uvres plus structur\u00e9es telles que White Arcades avec Robin Guthrie, By the Dawn\u2019s Early Light, et La salle. Toujours, son piano elliptique donne le cap, accompagnant diverses muses \u00e0 travers le labyrinthe gauzy et transmettant une grande po\u00e9sie, \u00e9motions et spiritualit\u00e9 - sans jamais devenir exag\u00e9r\u00e9 ou trop sentimental. Les 14 chansons sur Avalon Sutra sont \u00e9l\u00e9gantes, contemplatives (non sp\u00e9culatives) et \u00e9mouvantes; la gr\u00e2ce et la tendresse qu\u2019ils transmettent si facilement sont temp\u00e9r\u00e9es par la profondeur \u00e9motionnelle et la dimension par les notions de m\u00e9moire, de perte et m\u00eame de tristesse.\r\n\r\nLes trois \u0153uvres \u00ab\u00a0arabesque\u00a0\u00bb ici -- dans l\u2019ordre num\u00e9rique inverse -- mettent en vedette Buddovklavir, qui murmure silencieusement et d\u00e9lib\u00e9r\u00e9ment sur le lavage d\u00e9licat de l\u2019\u00e9lectronique, en contraste frappant avec les lignes de saxophone soprano presque persistantes de Jon Gibson (sopranino sur \u00ab\u00a0Arabesque 3\u00a0\u00bb) \u00e0 travers le centre. Ailleurs, Budd utilise des fils et des drones \u00e9lectroniques sur quatre titres, y compris le tr\u00e8s bref \u00ab\u00a0It\u2019s Steeper Near the Roses\u00a0\u00bb, \u00e9crit pour David Sylvian. Il y a aussi quatre titres solo qui sont superpos\u00e9s d\u2019une mani\u00e8re pictural tr\u00e8s nette avec d\u2019autres \u00e9l\u00e9ments sonores tready. Les accords \u00e9lectroniques vaporeux \u00ab\u00a0In Little Heart\u00a0\u00bb fournissent une toile de fond \u00e0 une m\u00e9lodie squelettique Buddoskli qui est accentu\u00e9e et soulign\u00e9e par de petites cloches qui semblent provenir des ondes. Dans \u00ab\u00a0Walk in the Park with Nancy\u00a0\u00bb, Budd cite g\u00e9n\u00e9reusement la chanson \u00ab\u00a0O Come, O Come Emmanuel\u00a0\u00bb sur son piano acoustique tandis que Rhodes filtr\u00e9 avec une r\u00e9sonance discr\u00e8te ajoute un simple ballast r\u00e9p\u00e9titif. Gibson joue un duo de fl\u00fbte basse squelettique sur \u00ab\u00a0How Vacantly You Stare at Me\u00a0\u00bb, et \u00ab\u00a0Porcelain Ginger\u00a0\u00bb, une \u0153uvre solo, est l\u2019une des compositions les plus int\u00e9ressantes et elliptiques de Budd depuis des ann\u00e9es. \u00ab\u00a0As Long as I Can Hold My Breath\u00a0\u00bb, le montage final de l\u2019ensemble, re\u00e7oit plus de 70 minutes de traitement remix\u00e9 par le compositeur \u00e9lectronique Akira Rabelais sur le disque deux avec une production suppl\u00e9mentaire de Sylvian. Ici, le th\u00e8me de la chanson originale est coup\u00e9 en un ensemble convaincant, astucieusement ex\u00e9cut\u00e9, avec des boucles de cordes, un piano sinueux qui entre et sort du m\u00e9lange - mais appara\u00eet toujours \u00e0 tous les bons moments pour ajouter l\u2019humiliation et la dimension - et le lavage de bruit doux. C\u2019est extr\u00eamement hypnotique et attrayant pour sa longue dur\u00e9e. Budd n\u2019\u00e9tait peut-\u00eatre pas le compositeur ou le directeur de la photographie le plus prolifique, mais sa constance \u00e9tait remarquable et son \u00e9conomie du langage musical pointait toujours vers quelque chose de plus en dehors du voile du son. Nous allons manquer.ladislav&zivanovic.............", "authorDisplayName": "ladislav zivanovic", "authorProfileImageUrl": "https://yt3.ggpht.com/WjFIxGZTrtHSpXknO9UDIXfY59EnD6uzqMcLBWviNY1wa6Cx4Og47vukQuHz6sTwmTmgEWDVxQ=s48-c-k-c0x00ffffff-no-rj", "authorChannelUrl": "http://www.youtube.com/channel/UC45IlCLYzJj6j6HoJ1F39SQ", "authorChannelId": {"value": "UC45IlCLYzJj6j6HoJ1F39SQ"}, "canRate": true, "viewerRating": "none", "likeCount": 0, "publishedAt": "2022-01-01T14:44:26Z", "updatedAt": "2022-01-01T14:44:26Z"}}, "canReply": true, "totalReplyCount": 0, "isPublic": true}}