Teamed with Rick Kemp, Prior turns in her best non-Steeleye Span folk-rock performance, with heavy amplification, crisp electric guitars, and accordion for support. Her airy vocals and the heavy electric sound make this a superb adjunct to the best rock sides by Steeleye (Commoner's Crown, etc.), although this stuff has more of a contemporary feel, relating to Prior's Steeleye Span work roughly the way Dylan's best '70s and '80s stuff relates to his '60s folk and folk-rock sides, with a definite rock beat and pop music feel. There's also a strong social consciousness at work, with topical songs dealing with unemployment and privation amid love songs and a very playful cover of "Who's Sorry Now". (Bruce Eder, AMG)
Atmo were actually a side-project of Edith's singer Mario Gulisano. He recorded the first self-titled album (with the help of keyboardist Salvo Condorelli) of the project in 1990 and released in cassette format for Edith Music. In early-90's, when Edith were discovered by Mellow Records, Mauro Moroni decided to produce and re-release in 1992 Atmo's debut in CD format with some additional material. Calm, atmospheric soundscapes with melancholic piano, light synths, plenty of acoustic guitars and percussions and sometimes Gulisano's relaxed vocals result a work, where New Age meets Ethnic Music. A few pieces only include some electric guitars, featuring smooth, spacey solos. Recommended to those in search for peaceful and relaxing atmosphere.
This disc is supposed to hurt. Just look at the program: it starts with Crumb's Black Angels for electric string quartet, a work that is the aural equivalent of Coppola's Apocalypse Now, and ends with Shostakovich's String Quartet No. 8, a work that is either the aural equivalent of a monument to the victims of war and fascism written in the ruins of Dresden or the musical equivalent of a suicide note written before the composer joined the Communist Party. With the spooky and evocative performances of Thomas Tallis Spem in Alium, Istvan Marta's Doom. A Sigh, and Charles Ives' There They Are!, this disc is so painful it could be the soundtrack for an unmade Kubrick movie. The question is, is this disc supposed to hurt so much? The Kronos Quartet is a harsh and aggressive ensemble with an angular approach to rhythm and structure and an overwhelming need to assert its individual and collective identity.