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▓█▓▓█ Artist.....[ Eyvind Kang ▀████▄█▓
██▓▀ Album......[ Athlantis ▀▓██
▄ █▓█ █ Label......[ Ipecac Recordings █ █▓█ ▄
█▒█▓█▄▀ Catalog #..[ IPC87 ▀▄█▓█▒█
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▓█▀ ▀▀█▓█▒ Source.....[ CD ▒█▓█▀▀ ▀█▓
▓█▄ ▀▄ ██▓ Genre......[ Avantgarde ▓██ ▄▀ ▄█▓
▓▓█▓▀ ██ Language...[ English ██ ▀▓█▓▓
▀ ▄████ Rip Date...[ 2007-07-20 ████▄ ▀
▄ ▀ ▓█▓ Store Date.[ 2007-07-10 ▓█▓ ▀ ▄
█▀▀ ▄▓█▀ Rip Tool...[ EAC ▀█▓▄ ▀▀█
▓█▄████▀ Encoder....[ LAME 3.97 -V2 --vbr-new ▀████▄█▓
▀█▓▀ Quality....[ 172 kbps AVG VBR 44.1/Joint Stereo ▀▓█▀
▄ █▓█▄▓█▓ Url........[ http://www.ipecac.com ▓█▓▄█▓█ ▄
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█▓ 01 Ministers Of Friday 1:04 ▓█
█▓ 02 Vespertiliones 1:07 ▓█
█▓ 03 Andegavenses 5:09 ▓█
█▓ 04 Rabianara 5:35 ▓█
█▓ 05 Inquisitio 3:41 ▓█
█▓ 06 Ros Vespertinus 5:02 ▓█
█▓ 07 Conciliator 2:36 ▓█
█▓ 08 Lupiter 1:28 ▓█
█▓ 09 Repetitio 3:17 ▓█
█▓ 10 Lamentatio 3:26 ▓█
█▓ 11 Athlantis 4:49 ▓█
█▓ 12 Aquilas 4:33 ▓█
█▓ ----- ▓█
█▓ 41:47 ▓█
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▓█▓█ ▀ ▓█▄▀ ▓█▀ ▓█ ▓█▀█ ▓█ █ ▓█ ▓█▀ -▀▀▀█ ▀ █▓█▓
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█░█ ôIn Regina, Saskatchewan, our elementary school █░█
█░█ teacher used to play classical records, and make █░█
█░█ large diagrams which followed the form of the █░█
█░█ music- while listening she would point to the █░█
█░█ place in the diagram, and introduce a lot of us █░█
█░█ kids to the repertoire that way. I got interested █░█
█░█ in music, started learning the violin. █░█
█░█ █░█
█░█ As a teenager, I played in the youth orchestra, █░█
█░█ as well as played bass in some top 40 bands. I █░█
█░█ listened to a lot of classical music, as well as █░█
█░█ stuff like Prince, Bad Brains, etc. I moved over █░█
█░█ to Seattle in the early 90s, where I met the jazz █░█
█░█ violinist Michael White, who was an enormous █░█
█░█ influence on me. At Cornish college I went to █░█
█░█ talks by John Cage, Lou Harrison, Toru Takemitsu, █░█
█░█ which made a strong impression. In '98 I studied █░█
█░█ with the great violinist Dr. N. Rajam in Mumbai, █░█
█░█ which really changed the way I heard music. I'm █░█
█░█ interested in "sound", and in all the musical █░█
█░█ traditions that treat of it. I've met a lot of █░█
█░█ great musicians and learned from them. █░█
█░█ █░█
█░█ I played viola with different bands, like Bill █░█
█░█ Frisell and Secret Chiefs, and created string █░█
█░█ arrangements for a lot of other artists, Laurie █░█
█░█ Anderson, Blonde Redhead, Laura Veirs, the █░█
█░█ Stares, and many more. It's great to collaborate █░█
█░█ with musicians, to see how it works, from █░█
█░█ different points of view, how it sounds, how they █░█
█░█ do it, what one listens to in sound. I don't █░█
█░█ believe you can know an objective music with █░█
█░█ notes, tempos, etc; rather, itÆs mostly about the █░█
█░█ process which is intersubjective. At the same █░█
█░█ time, when the thought of music appears, I bring █░█
█░█ it out. The CDs that I've recorded, 7 NADEs and █░█
█░█ Theater of Mineral NADEs, the Story of Iceland, █░█
█░█ Live Low to the Earth in the Iron Age, Virginal █░█
█░█ Co-ordinates, are mostly about the thought of █░█
█░█ music, the idea that you get, when you think of a █░█
█░█ sound, which triggers a memory, for example, █░█
█░█ which makes you feel a certain way. █░█
█░█ █░█
█░█ I always love to read Renaissance era literature █░█
█░█ and philosophy, so writing the choral piece █░█
█░█ Athlantis was a great chance to interact with one █░█
█░█ of my favorites, Giordano Bruno. The book that I █░█
█░█ worked with is called Cantus Circaeus. I went to █░█
█░█ the Ritman library in Amsterdam and held the █░█
█░█ original edition in my hands; I went through it █░█
█░█ page by page. Surprisingly, it was a very small █░█
█░█ book, sort of like those moleskin notebooks that █░█
█░█ people carry around these days. While composing, █░█
█░█ I sometimes felt that I was sharing a kind of █░█
█░█ joke, or riddle, with Bruno, that we were almost █░█
█░█ laughing together. I don't know why, but I was █░█
█░█ compelled to combine his text with some obscure █░█
█░█ poems from Bishop Marbode of Rennes, and some █░█
█░█ lines from the Hungarian epic Planctus █░█
█░█ Destructionis. █░█
█░█ █░█
█░█ The piece is something like an oratorio, with the █░█
█░█ incredible singers Mike Patton and Jessika Kenney █░█
█░█ on the main parts. I studied and set the text; I █░█
█░█ did the ground work and created the musical █░█
█░█ space. All of the singers, choir and soloists, █░█
█░█ came in and inhabited it and made it their own.ö █░█
█░█ █░█
█░█ - Eyvind Kang, 2007 █░█
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▄▀▀██ 1way AMOK BCC BUTT CMS EGO ██▀▀▄
▀▓█ ESC FNT FTD gF HiT2000 iTS █▓▀
▄▄ ▀▓█ JUST MTD NuHS pyt rH RNS SDR █▓▀ ▄▄
▓▓█████▓▄ SER soup SSR twee UKi WUS ▄▓█████▓▓
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▄ ░▒▓█████████▓▒░ ASCii By AyL!cRO 2oo5 ░▒▓█████████▓▒░ ▄
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