Pure Comedy, Father John Misty’s third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. Tillman has released two widely acclaimed albums – Fear Fun (2012) and I Love You, Honeybear (2015) – and the recent “Real Love Baby” single as Father John Misty, and recently contributed to songs by Beyoncé, Lady Gaga, and Kid Cudi.
This is the very first project of an ex-member ONE SHOT. The band is led by drummer Daniel Jeand'Heur. The music itself, while firmly connected to the classic One Shot sound (a heavy bass, explosive drums, Fender Rhodes, long tracks), also features a horn section.
The result, as you may expect from such a band, is a bridge between the most electric jazz-rock bands and prog. But the real sensation here is the inclusion of occasional vocals that add a modern urban vibe to the whole thing - and that fits perfectly. That guy (whose stage name is "Onan") reminds quite a bit some of George Duke's vocals while with FZ's Mothers of Inventions.
Rysanov’s ONYX debut is of two extraordinarily beautiful and haunting works for viola and chorus/orchestra: both written for Bashmet, and the Tavener is a world-première recording! Giya Kancheli’s Styx is already renowned as a choral masterpiece for the 21st century, The River Styx in Greek mythology separates the living from the dead and the solo viola mediates between the two. John Tavener’s The Myrrh-Bearer is another epic, this time based on the Troparion of Cassiane, a Byzantine poet and composer. Here the viola represents the sin of Mary Magdalen. Both works were recorded in the amazing Dome Cathedral in Riga, Latvia, the largest medieval church in the Baltics, has just the right expansive acoustic for this music.
This first volume of John Cage’s complete works for flute spans a fifty year period, from the Three Pieces for Flute Duet of 1935—deft studies in chromatic writing—to the 1984 Ryoanji, which involves the use of pre-recorded flutes and percussion with resultant diverse and intricate textures. Two is the first of Cage’s important ‘number’ series and is edgily ruminative, while Music for Two, written for any combination of the 17 different instrumental ‘parts without scores’ provided by the composer, is heard in an arrangement described by Katrin Zenz as a ‘new piece for flute and piano’.