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▒ . .. C F D . a k a . C R O S S F A D E R . p r e s e n t s .. .
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Zefiro_Torna-O_Monde_Aveugle_(Songs_For_The_Apocalypse)-2010-CFD
ARtiSt...... : Zefiro Torna
AlbUM....... : O, Monde Aveugle! (Songs For The Apocalypse)
GENRE....... : Classical
lAbEl....... : Home Records
CAtNR....... : /
SoURcE...... : CDDA
RiP.dAtE.... : 24-05-2011
StREEt.dAtE. : 11-11-2010
QUAlitY..... : VBR/44.1kHz/Joint Stereo
URl......... : http://www.amazon.fr/O-Monde-Aveugle/dp/B004A8AX14/
SiZE........ : 97.96MB
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01. O Cieco Mondo 5:10
02. Di Morte Certo 5:08
03. La Gola 3:38
04. Blason Du Laid Tetin 2:16
05. Jade 4:41
06. Huc Huc 5:11
07. Da's Sport 5:17
08. Officium Defunctorum 4:39
09. Calami Sono Ferentes 4:41
10. Con Lagreme Bagnandome El Viso 5:40
11. De Bekendste Vreemde (Perte Totale) 5:04
12. Digging Evenings 4:02
13. Le Blason 7:13
Runtime..: 62:40 min
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▄▓▄ █ █▓ ▀ .. R E L E A S E .. ▀ ▓▓ █ ▄▓▄
▀ █ █▓ ▄ .. i N F O .. ▄ █▓ █ ▀
█ █▓ █▓ █
█ █▓ █▓ █
█ █▓ █▓ █
█ █▓ Of course with some renewed fantasy █▓ █
█ █▓ after we survived the millennium █▓ █
█ █▓ bug, 2012 is the new idea for an █▓ █
█ █▓ apocalyptic ending. Some sort of █▓ █
█ █▓ total change should not be such a █▓ █
█ █▓ problem because some things need to █▓ █
█ █▓ end and renew themselves sooner or █▓ █
█ █▓ later. We in Belgium are so much █▓ █
█ █▓ overpopulated in our tiny space and █▓ █
█ █▓ still thousands of foreigners a █▓ █
█ █▓ week try to get in as well, so that █▓ █
█ █▓ houses that used to be for one █▓ █
█ █▓ family are now lived in by many, we █▓ █
█ █▓ consume the last bits of forest for █▓ █
█ █▓ a few left over new building █▓ █
█ █▓ projects. In such a pressure of █▓ █
█ █▓ space we can no longer hide our █▓ █
█ █▓ inner natures with certain immature █▓ █
█ █▓ parts. As soon as we live closer to █▓ █
█ █▓ eachother certain aspects need to █▓ █
█ █▓ grow up. That's how with █▓ █
█ █▓ multiplying people in the world all █▓ █
█ █▓ sorts of confrontations becomes █▓ █
█ █▓ more instinctive. Sooner or later █▓ █
█ █▓ some of these immature conditions █▓ █
█ █▓ need to end. As a war of morals any █▓ █
█ █▓ sort of fantasy of the apocalypse █▓ █
█ █▓ comes automatically with it, █▓ █
█ █▓ whether it is projected towards █▓ █
█ █▓ 1984, 2000 or 2012 or later, █▓ █
█ █▓ somehow we all feel we need change, █▓ █
█ █▓ but instead we prefer a dramatic █▓ █
█ █▓ ending because change needs █▓ █
█ █▓ efforts. And those who do not █▓ █
█ █▓ commit themselves to the needed █▓ █
█ █▓ renewal, feel doomed. Instead of █▓ █
█ █▓ making premature solutions with a █▓ █
█ █▓ new story and moral, as if an idea █▓ █
█ █▓ like a saviour could solve the █▓ █
█ █▓ world instead (-an idea of people █▓ █
█ █▓ with stubborn patterns, because █▓ █
█ █▓ with a saviour nobody needs to █▓ █
█ █▓ change anything because then it █▓ █
█ █▓ will be made for you just by █▓ █
█ █▓ faith-). Better than doom with no █▓ █
█ █▓ new ideas yet at hand is to make █▓ █
█ █▓ already a near-carnevallesque █▓ █
█ █▓ expression of the situation, into a █▓ █
█ █▓ sort of Carmina Burana concept of █▓ █
█ █▓ ômedieval timesö. We have █▓ █
█ █▓ experienced conquistadors before █▓ █
█ █▓ and change forced by nations or █▓ █
█ █▓ religious viewpoints. But we also █▓ █
█ █▓ have known Breughel who celebrated █▓ █
█ █▓ life and who laughed with common █▓ █
█ █▓ foolishness. In reality most people █▓ █
█ █▓ left behind were those overwhelmed █▓ █
█ █▓ by dominating irresponsibilities or █▓ █
█ █▓ new forms of fears brought by the █▓ █
█ █▓ new outsider rulers. And when █▓ █
█ █▓ conditions with lack of natural █▓ █
█ █▓ changes repeat itself, politicians █▓ █
█ █▓ will benefit from confusions while █▓ █
█ █▓ direct-at-the-facts decisions are █▓ █
█ █▓ no longer made. Education prepares █▓ █
█ █▓ for a vague answer to life. █▓ █
█ █▓ Creativity becomes enslaved in its █▓ █
█ █▓ stiff patterns reorganised by new █▓ █
█ █▓ rulers. Then we experience so █▓ █
█ █▓ easily new patterns of doom, decay █▓ █
█ █▓ or find only some easy moral. Some █▓ █
█ █▓ only pray for better solutions █▓ █
█ █▓ without a vision of themselves. █▓ █
█ █▓ Zefiro Torna takes all these █▓ █
█ █▓ conditions of our new focus of █▓ █
█ █▓ apocalyptic times into a musical █▓ █
█ █▓ concept and expresses its several █▓ █
█ █▓ stadiums of doom of hope and in the █▓ █
█ █▓ end concludes with the appreciation █▓ █
█ █▓ of just some small change. █▓ █
█ █▓ █▓ █
█ █▓ █▓ █
█ █▓ █▓ █
█ █▓ Mixed are the songs of rightful █▓ █
█ █▓ interpretations of medieval songs █▓ █
█ █▓ (at least for the song parts and at █▓ █
█ █▓ least for one of its instruments) █▓ █
█ █▓ mixed with songs of our new █▓ █
█ █▓ middle-point times of doom. The █▓ █
█ █▓ language is Latin, both as a █▓ █
█ █▓ secular mystic language, like a █▓ █
█ █▓ prayer to God in a way we don't █▓ █
█ █▓ understand fully but still try to █▓ █
█ █▓ express or imagine simultaneously █▓ █
█ █▓ as the language of a faraway █▓ █
█ █▓ distance from things beyond our own █▓ █
█ █▓ reach. The new tracks are of a more █▓ █
█ █▓ recent date, with even a George █▓ █
█ █▓ Brassens 'chanson' song to end the █▓ █
█ █▓ concept with. The arrangements of █▓ █
█ █▓ the songs can be an alternative way █▓ █
█ █▓ to express the returning late █▓ █
█ █▓ medieval times, with a few old █▓ █
█ █▓ instruments like crumhorns, most █▓ █
█ █▓ often they are arranged with █▓ █
█ █▓ instruments like double bass and █▓ █
█ █▓ accordion besides flute, acoustic █▓ █
█ █▓ guitar,.. transferring the full █▓ █
█ █▓ concept to our times more directly. █▓ █
█ █▓ Also the Spanish-Moorish elements █▓ █
█ █▓ are returned by the use of oud and █▓ █
█ █▓ some of the percussion. The songs █▓ █
█ █▓ can be distant-celebrative, in a █▓ █
█ █▓ secular way or otherwise in a █▓ █
█ █▓ slightly grotesque medieval way, a █▓ █
█ █▓ surreal setting of reality of █▓ █
█ █▓ something a bit more sad in █▓ █
█ █▓ essence. The concept is not █▓ █
█ █▓ changing this whole context's █▓ █
█ █▓ reality through its musical █▓ █
█ █▓ visions. It remains descriptive and █▓ █
█ █▓ visionary. It takes a distance █▓ █
█ █▓ through its Latin texts and in █▓ █
█ █▓ several composers's contexts. I am █▓ █
█ █▓ not sure of how it is set in scene █▓ █
█ █▓ on stage but this might look like a █▓ █
█ █▓ combination of a Bosch and a █▓ █
█ █▓ Breughel painting in a more █▓ █
█ █▓ modernised current setting as a █▓ █
█ █▓ starting point. The few █▓ █
█ █▓ disharmonies in the themes can be a █▓ █
█ █▓ bit anecdotal without coming to a █▓ █
█ █▓ carnevale because there is still no █▓ █
█ █▓ real distance from it, the full █▓ █
█ █▓ reality of that aspect is most █▓ █
█ █▓ convincing through the small parts █▓ █
█ █▓ of new music instrumentation. Odd █▓ █
█ █▓ are the few folk themes of █▓ █
█ █▓ different origins (klezmer, █▓ █
█ █▓ Irish,..) participating in the █▓ █
█ █▓ instrumental dance beyond times. █▓ █
█ █▓ The beauty of medieval singing █▓ █
█ █▓ always shines through. The band █▓ █
█ █▓ proves with convincing effect that █▓ █
█ █▓ with different instruments like the █▓ █
█ █▓ accordion (tango parts as well) █▓ █
█ █▓ such old songs are still respected █▓ █
█ █▓ and come over equally strong. With █▓ █
█ █▓ the last arranged track before the █▓ █
█ █▓ chanson they return to our times █▓ █
█ █▓ swinging. █▓ █
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▀▀██▄▄▀ ▀▀█▄▄ F A D E R ▄▄▓▀▀ ▀▄▄██▀▀
▀ ▄ ▀▀██▄ ▀█▓▄ --------- ▄█▓▀ ▄██▀▀ ▄ ▀
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▒███▓ ▀ ▒ ████▓ . ████▓▀▀▀████▓ ████▓
████▓ ▓▄▄ ████▓ : ███▓ ████▓ ████▓
████▓ ▀▀██████▓ : ███▓ ████▓ ████▓
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▒ ▒ ░░▓ aSc ██▓ ▓ ▀▀▀▀ ▄ ▀▓▓▀
░ ▄▄█▓▄▄ ▒▒▓ fUM ██▓ ▄▄█▓▄▄ ░
████████▓▓▓ cRo ██▓███████▓
░ ███▓▀▀████▓▓ : ██████▀▀███▓
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