Italian Interlude (Tony Avanti, Private Eye Book 6)


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Captain from Castile. Captain Kronos - Vampire Hunter. The Case of the Scorpion's Tail. The Castle of Cagliostro. The Cat o'Nine Tails. Cat on a Hot Tin Roof. Cemetery Without Crosses. Charlie's Angels: Full Throttle. Chicken and Duck Talk. Children of the Corn. D-Day the Sixth of June. Dangerous Love Affairs. The Darjeeling Limited. The Dark Knight Rises.

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The Importance of Being Earnest Incendies [15]. Inherit the Wind. Jerome Lawrence and Robert E. Inherit the Wind film. It's Only the End of the World. In ancient Greece it was a place of community assembly, a place where military, political and commercial activities would take place, alongside other events, whether recreational, religious, or otherwise.

Rather, it occupies an imaginary area that refuses any spatial constraints, while acknowledging and insisting upon an acknowledgment of our own relationship to variations of temporality. Furthermore then, the agora conjured by Fennesz in this context is by no means necessarily a communal space, and may indeed depict an entirely fractured and atomized social structure. In all of these respects, this work posits a reconsideration of what it means to interact with the world at this state of human history, far removed from ancient and established social and political structures, and yet at a time when we are all more deeply interconnected in many obvious and also insidious ways than we have ever been.

It is also, perhaps more importantly for the purposes of the task before us, a really good album. The track opens with a rough pulse which gives way to an extended mid-range drone, as if we are travelling down a pipeline beneath the market square, away from any society, toward an unknown but almost surely metaphysical destination. Other drones join the originating one, and then chords are very discreetly introduced as the song enacts very subtle changes at its own moderate pace.

Once the opening pulse drops out there is no percussive rhythm to speak of, so we find ourselves in a realm without a hard beat, but nevertheless constantly aware of time passing, regardless of what kind of physical space we might be occupying, or Fennesz might be asking us to imagine. All of this unfolds over 12 rather luxurious minutes, as if one were in a significantly more pleasant version of an MRI chamber, lulled by inorganic aural materials and other sensory prompts into a place that is decidedly neither inside nor outside, although it nevertheless seems to have a certain structure, albeit one that is open-ended and unfussy.

There is certainly no clutter here, so Fennesz appears, rather effortlessly, to have tidied his room according to the strictures of a state-of-the-art brand of personal feng shui. The connection between agora and feng shui may not be inappropriately deployed here, because the notion of a public space tied both to conceptions of how we orient and organize our public spaces spiritually, and more colloquially how we organize our personal and private spaces for our own contentment and to harness certain energies, seems in its totality to resonate with the way the Fennesz conjures the symbolic space of his own aural imagination here.

The balance of this album is immaculate, with each of the four songs lasting between ten and 12 minutes. We even get something the resembles a gently strummed acoustic guitar chord here and there, albeit that it tends toward distortion, inevitably, and any sense of the bucolic gives way to something more post-industrial. The title track, which is also the penultimate song on the album, compels us to consider what we might mean, at this point in the history of civilization, when we imagine a fully functioning and fully evolved public space, and what it might look and feel like, all while we feel as if we are simultaneously in retreat from it.

The track opens in a way that seems to combine the modes of the two tracks that have preceded it, both with a rough pulse and a series of developing and resolving chords, as if these sounds are themselves the aural representation of an organic human and political culture, with entities interacting, coming together, separating and then coming together again, acting jointly and separately, individually and collectively, to form a constantly oscillating and evolving body politic. It also feels, perhaps paradoxically, like the darkest of the four tracks on display here, all while it seems, on occasion, to be reaching toward the light, as morose chords open up into breezier ones, and we oscillate along with them, between poles of more and less hope, or more and less despair, depending on the fullness or emptiness of your particular spiritual glass.

This song offers perhaps the richest and most expansive sound palette of the four presented to us. There is even a gesture toward melody in these closing moments even while a meditational drone continues to be the backdrop. And those might even be some kind of strings in there somewhere. While the constitution of each album is entirely distinct, and distinctive, it is nevertheless difficult not to think of these two pieces, perhaps even instructively, as somehow analogous to each other, even if contrapuntally. Das neue Album ist quasi aus einer Verlegenheit heraus entstanden.

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Mit der Konzentration auf Weniges wird Zeit entschleunigt. Indeed, it spends its twelve and half minutes emerging from a rhythmic throb of bass sweeps that calls to mind background machinery before treated drones trail into the foreground, their waspy resonant edges buzzing and feeding back against what sounds like blurred out and pitched-down piano keys.

A welcome solo return from Fennesz that as ever sees him anchoring his vast soundscapes with a sense of emotional immediacy. Hodos 2. Sakura 3. Santori 4. Mae 5. Grace 6. Nigh 7. Baaval 8. The recordings were edited and composed in hotels rooms across the world as Scott was constantly on tour as the drummer for Slowdive, who successfully reformed in Hodos, the album opener, begins with 85 mph Storm Barney recordings, ending with the fading sounds of bellbirds and cicadas recorded in Brisbane A prolific composer and consistently incredible sound-smith, Simon Scott has been putting out experimental music for a decade now.

Yes, it is that Simon Scott, the rhythmic god who pounds the skins in the glittering progressive band Slowdive. Soundings is his newest album with 52 minutes of music combining field recordings, live strings, synthesizers, and soft synths created as he traveled across the globe touring with Slowdive. Recordings stretching over the course of four years, Scott records and produces a soundtrack to his meandering years on tour and all that means.

Sting voices peer here and there among the shadowy and fuzzy tumult while more effulgent strings begin to hum, giving a floor to the piece. There is a patience to the opener, allowing the listener to soak in the subtleness of the moment. What sounds like birds punctuates, ever so slightly, the sonic landscape, giving this piece a living population. The dance of the synths becomes more intricate and then water flows as the centerpiece of that moment.

As the water fades, the synths once again dance alone, sparkling in the foreground. A slight crackle fills the mix, giving a hint of aural texture. Vibrating electronic tones move and slide between speakers as they ungulate. There is an almost deep, beautiful mournfulness to this composition which moves the listener into a melancholic state.

Birds re-appear here, grounding the track as strings take over and great a sonic river of aural light. Almost like the metallic rubbing of a vibrating guitar string, the tone is vibratory. It is accompanied by beautiful synth tones that feel like deep pools of refreshing water and the strings slide about, creating ease and contemplative moments. Dreamy synths and strings populate the piece as panning gives the sounds a glacial movement while deepening the textural choices. It begins a grouping of longer pieces at the end of the album.

This piece is simple on the surface but increases in depth with every listen. Again, birds chirp, tying the track with former pieces. The synth work here is subtle but engaging. Textural accents flow in and out of the mix and incredibly subtle strings ebb and flow.

This long form piece, clocking in at over 15 minutes, is a slow and radiant build, like high tide slowly moving in to meet the shore. The strings become fuller as the track progresses and the different variations move in and out of focus. The stings eventually fade or perhaps become a part of a larger, vibrating synth drone. The piece is expertly executed and fits well with the tonality of the rest of the album. In fact, It is the perfect finale to the album, graceful and profoundly moving. The field recordings on Soundings light up the music and the world.

Taken from cities around the globe, and using modular synths, strings, and laptop electronics, the recordings aid in creating music of transition and transience, shifting into many different time zones throughout its trek. Two sides of the world and two different continents are united in one recording, despite travelling a huge distance.

As such, Soundings is a travel document and a sonic passport. I wanted this to be the starting point of the process of musically documenting how much travelling I was doing. From the USA to Asia, South America to Europe, the Arctic Circle to the UK and with a stop in California on the way back , Soundings travels vast distances, picking up the flavors and the vibes of each place while infusing the entire album with a delicate understanding of many differing cultures and scents.

Early-to-rise tones and sleepy, dusk-hidden melodies pepper the tracks, but they have an airy feel to them, high in their altitudes. The long drones never really touch down, but only vaguely circle and skirt the outlines of a city. Jet-lagged drones and darker tones gaze upon a midnight city, its glowing lights replacing the sun, its downtown twinkling like a cluster of fallen stars. Scott is able to bottle the journey within his tired ambient tones and electronic oscillations — which thrum against the drone and shudder like the dropping of a landing gear. The exhaustion and euphoria of touring is here, but, as always, the journey is more important than the final destination.

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The first field recording is the best, and most obvious: 85mph winds from Hurricane Barney, whipping up a storm expressed here in a morass of strings. The bellbirds and cicadas that close the piece are not from the storm, but from the safety of Brisbane, many moons later and half a world away, offering evidence that we carry our memories with us and they blur in collision with other experiences. Scott would get as far as the Arctic Circle, an ironic mention given the fact that a famous explorer who shares his surname would perish while returning from Antarctica.

The tracks drift together like sheets of polar ice. Scott opted instead to offer a minute live track as a bonus cut, while extending the mix to 60 minutes for the cassette. The length of the piece allows one to surrender to the flow of time, an important nuance as the album references the challenge of traveling between different time zones. Somewhere in Cambridge, world tour complete, Scott is enjoying this reassurance.

The piece is laced together by a drift of strings from Charlie Campagna and Zachary Paul, who reappear throughout the album. For many an artist who creates layered ambient work, such is the problem of allowing work to wither away and far from memory. Soundings is deeply developed collection of nine shorter pieces that all folds into a nearly hour-long work of emotionally fatigued harmonies, the cassette version runs for nearly eight minutes longer for those with decks.

The work materializes into something moody and narrative with drones and strings, electronics and sounds from his surroundings as he traveled. While Hodos , Sakura and Santori all blended so aqueously together, Mae takes off in a slightly different path, one that has an unveiled industrial side. I wanted this to be the starting point of the process of musically documenting how much traveling I was doing.

There are purely harmonic moments of splendor throughout both Grace and Nigh , where Scott looks upwards toward the heavens, or perhaps recalls the act of dangling in the sky between destinations. On Baaval the paler shades begin to darken at the edges and start to run rings. A sense of apprehension is palpable in this watery mix of bass drone and minimal harmonic mutation. From this bloated vibration comes the vague chirping of exotic birds at more than twenty paces.

This was the perfect staging for the daunting outcomes via Apricity , the final track here. This fifteen-minute plus closer has ample time to indulge in the previously foreshadowed travelogue of foibles and faultlines, and does so in a way you might imagine to delivered by a full orchestra. There is a relentless spirit moving forward on this record, and though it uncovers some fairly expected sweet spots here and there, the man behind it manages to come from behind its many layers to demonstrate a realized vision.

Simon Scott ist weit mehr als der Schlagzeuger von Slowdive. Denn Scott nahm diese Platte gibt es auch auf Tape! Manchmal kommen sie sogar in einer Person oder einer Gruppe zusammen. Upon returning, he teamed up with cellist Charlie Campagna and violinist Zachary Paul to transform his impressionistic audio diaries into a lushly beautiful and bittersweet ambient travelogue of sorts. By the end, however, it warms into something approaching a sort of precarious radiance, like a faint sunrise chasing away some of the more menacing shadows.

I am admittedly a bit perplexed as to why Scott chose to dilute one of his strongest pieces in that fashion, as well as end the album on such a comparatively forgettable note. Artists sure can be inscrutable sometimes. Still, it is not nearly enough of a wobble to derail an otherwise excellent album. Soundings is a curious sort of excellent album, however, wonderfully exceeding my expectations some moments and leaving me scratching my head during others. For example, the very restrained and subtle use of field recordings for much of the album feels like an exasperating missed opportunity to me, as Scott could probably have gotten all of the same recognizable sounds without ever leaving southern California.

There is nothing among the bird and water recordings that distinctively call to mind Peru, Tokyo, or Moscow, even though Scott recorded in all those places. On another level, however, that decision is actually kind of cool, as Scott eschewed the easy and obvious path to make something considerably more elusive and abstract: a record of his own impressions during a sometimes beautiful, sometimes lonely, sometimes disorienting adventure through many of the great cities of the world.

As such, Soundings is a dreamlike procession of elusive individual moments brought to vivid life. Granted, it is easy to imagine a more evocative, richly textured, and immersive album that might have resulted if Scott had taken a more straightforward path, but that album does not exist. This album, however, does exist and it is often an achingly lovely and poignant one.

Scott realiza un disco de gran factura con cuidadosos arreglos que muestran su incuestionable sensibilidad. Es beginnt mit dem Meeresrauschen, so weit so klischeehaft. Mit viel Geduld, Konzentration und dem Fokus auf einzelne Details. Das Ziel ist erreicht. Naast drummer voor de in herrezen shoegaze cultband Slowdive eerder actief van tot is Simon Scott een multi-instrumentalist en geluidskunstenaar. Inspiratie en interesses haalt hij uit klankecologie, digitale media, compositie, geluidskunst en muziektechnologie.

Vanuit zijn woonplaats Cambridge vertrok hij dan op wereldreis. De componist in hem zorgde ervoor dat hij naast opnames van thuis, zijn reizen van continent naar continent wist te documenteren met allerlei veldopnames. In hotelkamers en in vliegtuigen nam hij de tijd om naar alles te luisteren en die registraties naderhand ook te bewerken.

Het is de soundtrack geworden van vier jaar uit het leven van Simon.


  • A Guide Book of United States Commemorative Coins (Official Red Book).
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De composities met als vertrekpunt omgevings- en natuurlijke geluiden zijn zowel blootgesteld aan modulair bewerkte synthesizer handelingen als digitaal gemanipuleerd. Scott maakte ook gebruik van organische, akoestische texturen en strijkinstrumenten. This new release from Simon Scott, already known as Slowdive drummer, is presented as a collection of tracks composed in a four years time span so the field recordings are not a sound make up to give a sense of reality to electronic music, but a temporal tag which link the track to the place, and time, where it was conceived.

An example or organic ambient music which could not have those elements of originality that could charm the listener at first sight but whose impressive craft for harmony and variety will give a lasting place below the laser lens of the player. A really nice release. Switched Particulates Synthi AKS waves Spinturn Entangled A chime of psalters Hoedown The psaltery sea A likely outcome Arithmetic in the dark.

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I like to imagine a time and place where arithmetic is done in a natural way by simply experiencing the unique possibility offered by sound, that of distinguishing simultaneous differences; the non-displacing waves of either AND both. An octave is a doubling of frequency — the higher octave has exactly twice the number of vibrations per second than the lower. The album consists of a set of 10 works which focus on repetition and change. The pieces evolve mostly through the active perception of the listener.

Saccades and oto-acoustic emissions are evidence that perception is far from passive reception. The transmitting ear determines much about what it takes in. Cloven Stone 6. Dungeon Ghyll 7. Aira Force 8. Carling Knott There are no edits, no overdubs and no additional effects. This marks a new, heavier direction for Howlround, a project better known for more ambient work.

On The Debatable Lands Howlround eschews the usual field recordings in favour of exploring the interior world of the machines themselves. You can read a feature here. The Debatable Lands were where Northernmost England meets Scotland but situated in neither while local clans resisted English and Scottish authorities for over years until their defeat around The results have thick streaks of analogue energies roaming the air, fluttering and pulsing, forming rhythms that palpitate and regurgitate before ultimately crumbling under an unstable tape delay.

Like the cairns — burial monuments — that thread through the region, The Debatable Lands feels like unearthly audio monoliths with hidden, ancient properties. Allowing the tape recorders as much agency as possible, Robin acts as an improvising conduit or medium in the mode of a gonzo Tony Conrad or Eliane Radigue, with a modicum of Yvette Fielding and The Hafler Trio.

Howlround has made tape-based noise experiments in one fashion or another for nearly a decade. The album itself is a montage of articulated noise movements, with veiled meanings. Howlround started out as the duo of Chris Weaver and Robin the Fog. Both members compiled field recordings and other sounds and moved them to reel-to-reel tapes which Robin would drape across and around various things and over long distances to increase the chance for inconsistent playback, and Chris, behind the controls of the output, tweaked levels and added drabs to the iridescent loops.

But since , when Weaver took on a residency in Dubai, Robin has taken the title on solo. Robin succeeds in plumbing depths of his closed-input system, its range and limitations feeling apparent and inhibiting, yet somehow a capable venue for creative variations. He leaves nothing to get lost in other than the contours he mines within the lone microphone and two tape machines. Interview with Carlos Duarte 2. You can listen an extract here. The marginal ice zone is the dynamic border between the open sea and the sea ice, which is ecologically extremely vulnerable.

The phytoplankton present in the sea produces half of the oxygen on the planet. During spring, this zone is the most important CO2 sink in our biosphere. In Spring Bloom in the Marginal Ice Zone the sounds of the living creatures become a voice in the current political debate concerning the official definition of the location of the ice edge. The listener experiences the bloom of plankton, the shifting and crackling sea ice in the Barents Sea around Spitsbergen, towards the North Pole, and the underwater sounds made by bearded seals, migrating species such as humpbacks and orcas, and the sound made by hunting saithe, crustaceans and spawning cod, all depending on the spring bloom.

Current activities include species-specific studies of planktonic and sympagic communities and primary productivity in the Arctic Ocean north of Svalbard. He is also studying the impact of changing sea ice conditions and associated effects e. Ancora un esempio di soundscaping, essenziale e importante opera divulgativa. Layering high-latitude field recordings of the border between sea ice and the open sea into one found sound composition, this is an elegant work with a lot of fascinating detail. With this record the acclaimed biologist Really?

Differently enough from her previous output, Spring Bloom in the Marginal Ice Zone engages with the political aspects of climate change in a much stronger and direct way. Part of her statement comes from the first document contained in the record: an interview with the professor Carlos Duarte that explains in great detail how marine spring bloom in the marginal ice zone happens and how it is fundamental for the life cycle, not only of the creatures inhabiting the polar sea, but for the entire world.

The Marginal Ice zone is that belt in which the transition between the ocean and the sea ice happens — and where the algae that in the months right after the polar night accomplish their life cycle, not only represent the main food resource for plankton and other small sea creatures, which become food for other species in their turn, but also act as the biggest sink for carbon dioxide in our biosphere.

From a visual perspective this photosynthetic blast appears like a green wave that moves between spring and summer from the lowest latitudes to the highest ones. The album contains then two different renders of the same track, a headphone mix and a speaker mix. This was for me a very nice surprise that I considered a natural aesthetic consequence for a sound specialist, aware of the fact that more and more people around the world listen to music mainly over headphones.

The sense of presence and immersiveness we gain from the binaural mix is a feature not to be overlooked. It contributes a lot to the experience of this ever-changing perfect orchestra that nature is. No digital granulation process could possibly ever match the beauty and the richness of the granular sounds happening in nature.

Jana Winderen belongs in my mnemonic list of trustworthy researchers. Spring Bloom In The Marginal Ice Zone confirms that the Norwegian is second to none as far as releasing materials of acoustic and learning relevance is concerned. That Winderen mostly focuses her investigations on the usually disguised characteristics of marine biology is a major plus for a person — yours truly — who considers the sea as his one and only teacher. All it takes is listening, leaving the narrative to the evolved segments of creation. The two versions of this piece, originally born as a 7-channel installation for the edition of the Sonic Arts festival in Amsterdam, indicate the voices of whales, seals, crustaceans, pollock and whatever is imaginable underwater as the closest thing to a technically advanced, and inevitably efficient human instrument.

The latter have to do with the inscrutable aspects of perception that, in the past, were brought out by the intuitions of genuine visionaries such as Tod Dockstader and Roland Kayn. The impact of this experience on the innermost self is often equivalent: just standing in quietness, surrounded by inexpressible beauty without dull-witted interrogatives about why, when, what comes after. Harmonic auroras speckled by a myriad of invisible lives, forever more consequential than the arid loquaciousness of many a deleterious nonsense huckster.

A brief explanatory interview with Professor Carlos Duarte, a renowned luminary of biological oceanography, represents a fitting preamble. We keep witnessing natural disasters on a daily basis, but the energy of those creatures remains. Mute choirs that still sound marvellous, thanks to a woman who keeps reminding us of their lessons. The real ones. Quando passano vicino ce ne accorgiamo, altrimenti restiamo soli fra le onde. An algal bloom or algae bloom is a rapid increase or accumulation in the population of algae in freshwater or marine water systems and is recognized by the discolouration in the water from their pigments.

The proliferation of algal blooms likely result from a combination of environmental factors and the rise of temperatures in spring is one of the driving force. She researches the hidden depths with the latest technology with her work revealing the complexity and strangeness of the unseen world beneath. The listener or viewer experiences the bloom of plankton, the shifting and crackling sea ice in the Barents Sea around Spitsbergen, towards the North Pole, and the underwater sounds made by bearded seals, migrating species such as humpbacks and orcas, and the sound made by hunting seithe and spawning cod, all depending on the spring bloom.

Duarte, a Professor of Marine Science, and a worldwide leader in multiple branches of biological oceanography and marine ecology. Currently studying the impact of changing sea ice conditions and associated effects on phytoplankton and ice algal communities. And in November , an edit of the recordings was released in Touch. The album starts with an introductory interview with Carlos Duarte, where he explains with some scientific details the occurrence of the algae blooms in the region. In this piece of work, a most timely release in view of the recent UN Climate Change report, Winderen is offering another compelling reflection on the fragility of these delicate marine ecosystems and somehow as well, the sounds of the living creatures become a voice in the current political debate concerning the official definition of the location of the ice edge.

They are an accurate sound reportage of plankton growth, of the waves refracting on the iced sea and its crackles. We are in Spitsbergen Norway , the largest island of the Svalbard archipelago on the way to the North Pole, between bearded seals and other weird migratory species like humpback whales and killer whales. Most of what happens in that delicate geographical area depends on the results of the Spring growth.

The definition of marginal zone , where the dynamic boundary is limited within the open sea and the sea ice, clearly explains how this land is ecologically vulnerable. The specialists explain that the phytoplankton in the sea produces more or less half of the oxygen of the planet and, during the Spring, this zone is the most important source of CO2 in our biosphere. In Spring Bloom In The Marginal Ice Zone , these sounds, including the few ones the creatures who live there make, ideally become a warning for whoever focuses on these ecological themes. It is not the first time Jana Winderen has evoked the charm of underwater life.

This is just the latest release in a series of works focusing on sea environments and ecosystems, a broad range of far-flung locations from the Caribbean to Greenland, from Norway to Iceland. These are places and sound landscapes that are hard to access and mostly unknown, but they hide a great variety of audio inspirations the artist uses as source material for live ambient compositions and to create immersive installations.

The elegant, colourful artwork and the interesting photo booklet are made by Jon Wozencroft. Now available to pre-order on Bandcamp release date 10th August Grace begins with a 12 string acoustic guitar fed into a modular synthesiser that spits out beautiful grains of sound that rise and fall like the sun. Textures build up and then slip away leaving a pipe organ playing and the church room recordings sonically revealing passing cyclists, rainfall and Cambridge bus station.

It shimmers like an oscillating river until the strings fade and the final third section slips in and a deep organ tone leads the tapestry of sound into field recordings, strings and processed instruments. The contact mics on the organ pipes are heard, floorboards and unidentified human sounds appear and the alarm call of a blackbird seeps into the piece.

Simon Scott has released a single track EP. It also features the expertise of Charlie Campagna and Zachary Paul. The Cambridge sound ecologist and multi-instrumentalist has combined electronic ambience with more conventional instrumentation to create soundscapes truly unique, hence the necessity of reviewing this EP. Like an overhead fan big enough to cut you in two. Strings lend a certain graveness to proceedings. The ringing sensation is almost overpowering, a sonic assault that makes you sit up and take notice, inspiring deep thought and contemplation.

Pulsing, futuristic and maybe even dystopic. What seems chugging helicopter blades gives way to grumbles, earthy and organic. Ascending to the air, only to have your feet back in the dirt. A prolonged ringing with grave strings propping it makes itself known.

The latter build in majesty but are too proud to embellish their tearful strains. By this time, it honestly gets to the point where it feels like a spiritual experience, evocative of Eastern influences. Glass effects are imbued with the strength of cutting diamond, the shattering sounds strangely cathartic. A rousing change in proceedings, now more alert and grave than ever. A conflict, it seems, has come about and needs resolution. Not in a particularly benevolent way, neither.

The ringing pitch increases, the tension is building and you feel something of utmost importance is about to unfold. A carousel of sound spins, sometimes sounding far and distant and sometimes sounding too close to home. Is that massive, chugging fan closing in to cut?

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It seems like the drum of a washing machine has been launched into space, its churning of clothes high pitched as it propels into oblivion. It becomes distant as the song fades out. This was a very ambitious release. Some people genuinely try to get away with releasing single and double track length EPs, sometimes barely deviating from the approximate three minute structure.

This, however, is bold and could open Scott to far more criticism than, say, splitting this piece into three to six separate parts. It was definitely worthwhile not splitting the whole narrative into separate parts. Following his gut arguably saved the EP from sounding very disjointed if split in say the conventional way that, daresay, concept pieces are put together.

Italian Interlude (Tony Avanti, Private Eye Book 6) Italian Interlude (Tony Avanti, Private Eye Book 6)
Italian Interlude (Tony Avanti, Private Eye Book 6) Italian Interlude (Tony Avanti, Private Eye Book 6)
Italian Interlude (Tony Avanti, Private Eye Book 6) Italian Interlude (Tony Avanti, Private Eye Book 6)
Italian Interlude (Tony Avanti, Private Eye Book 6) Italian Interlude (Tony Avanti, Private Eye Book 6)
Italian Interlude (Tony Avanti, Private Eye Book 6) Italian Interlude (Tony Avanti, Private Eye Book 6)
Italian Interlude (Tony Avanti, Private Eye Book 6) Italian Interlude (Tony Avanti, Private Eye Book 6)
Italian Interlude (Tony Avanti, Private Eye Book 6) Italian Interlude (Tony Avanti, Private Eye Book 6)
Italian Interlude (Tony Avanti, Private Eye Book 6) Italian Interlude (Tony Avanti, Private Eye Book 6)

Related Italian Interlude (Tony Avanti, Private Eye Book 6)



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