35 Results for : atonal
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Desert Stars
DESERT STARS: Solo Works for Piano and Guitar Composed and Performed by RUSSELL STEINBERG About the music... This CD is a collection of my solo pieces for piano and classical guitar. . The music is often quiet and reflective, but sings in warm tonal colors surrounded by a kind of hazy harmonic resonance. As a kid, I liked to hold down the pedal on the piano and blur the harmonies-that may be the origin of this hazy resonance that threads through this music, which otherwise has no pretensions of being modern or innovative. Some brief notes follow: Joy in Sea is an exuberant and playful romp of a piano prelude. The title is a pun on it's tonal center (C) and inspirational origin: I had just moved near the ocean in Pacific Palisades, CA. The Five Preludes for Guitar are simple romantic pieces for classical guitar. The second prelude, 'Daffodils,' is dedicated to Karen Whalen, a next door neighbor who confided that one night my music had turned her from suicidal thoughts -rather the opposite of what I was hearing from other neighbors! All three Floating Preludes for Piano glow with an upper register resonance. The wispy phrases of 'Clouds' unfold and float along in the extremes of high and low registers. Within the miniature world of 'Clocks' is a kind of mad ticking that courses through an angry cosmos. 'Elysium' is a nod to the special sonic worlds of French composer Maurice Ravel, but with my personal quiet treble resonances. The arches and ornaments of Arabesque are inspired by two famous classical works of the same name, one by Robert Schumann and the other by Claude Debussy. Amazing Grace' Variations was actually a composition assignment to produce stylistic variations on this famous hymn tune. The first variation features the tune upside down in the style of Erik Satie's Gymnopedies, the second variation sets the tune in an impressionist blues style, the third uses tone clusters alla Bartok, the fourth is atonal and spacy, and the fifth turns the tune into an Americana style chorale. 5 Finger Pieces for Piano are dedicated to a dear group of adult composition students. I tried to compose the simplest music I could imagine for them. Each piece begins with both hands in a particular 'five finger' position from which they never leave! The last piece, 'Jim,' is my shortest composition. Jim Bishop helped me produce a recording of my first symphony and contributed creatively with his graphic talent to my AudioMaps of the Beethoven Symphonies. How horrible and ironic that just a year later Jim's life was cut tragically short in an automobile accident. This CD is dedicated in his memory. We all miss Jim exceedingly, the world is different without him. Desert Stars is a set of three improvisatory fantasies that I conceived during nights stargazing in Death Valley. In the first movement, harmonies pulse and bleed together through the held piano pedal. A quasi lullaby is ripped apart in the second movement, unable to hold together in the vastness of space. The last movement is a gentle and nostalgic reinterpretation of the pulsing chords from the first prelude. BIOGRAPHY Russell Steinberg is a composer, performer, and conductor with a Ph.D. in Music from Harvard University, an M.M. from the New England Conservatory, and a B.A. from UCLA. Recent commissions include the Daniel Pearl Foundation, the Jewish Center for Culture and Creativity, and the Westchester Conservatory Mentor Orchestra. Steinberg's music has been performed in the United States and abroad, including concerts in Los Angeles, Boston, New York, Baltimore, Aspen, Connecticut, San Francisco, New Jersey, Vermont, Mexico, Australia, New Zealand, and recently Israel. His first symphony, CityStrains, was commissioned jointly by the Westchester Symphony in New York and the Hopkins Symphony in Baltimore His awards include an ASCAP Young Composers Grant, Composers Inc. and NACUSA prizes, MacDowell and Aspen Fellowships, and First Prize in the New World String Quartet competition. He is the founder and current Director of Music at the Stephen Wise Music Academy of Los Angeles and Artistic Director of he the Los Angeles Youth Orchestra. He also regularly teaches courses at UCLA in music composition and music listening. His writings include a novel approach to orchestral listening titled AudioMaps to the Beethoven Symphonies and several award-winning CD-ROMs including the Voyager Company's Richard Strauss: Three Tone Poems. His early music teacher, Dorothy Compinsky, encouraged him to compose while introducing him to piano, classical guitar, and violin. He continued composition studies most notably with Leon Kirchner, Arthur Berger, Elaine Barkin, and Kenneth Klauss, piano with Earle C. Voorhies and Salome Arkatov, and guitar with Ronald Purcell.- Shop: odax
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25082016235210179-Live at Berlin Atonal (2LP)
No description.- Shop: odax
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B Side Logic
During the course of musical exploration, William has absorbed musical variety in his repertoire. With this album he has branched out into multiple avenues of music that not only challenged his skill as a guitarist but also as a composer. B Side Logic serves those whom have a love for music overall. Furthermore, B Side Logic runs under a mixed bag of treats that is sure to have any listener expand their genre class. In one minute, the listener is hearing enticing latin rhythms, then within the next track the listener is brought to an fully orchestrated tour de force. This is one CD that will keep even someone with A.D.D. of music entertained due to the variety it offers. B Side Logic includes: Jazz fusion, Hip-Hop, Techno( mocking mainstream music), atonal, classical, and other trippy things that fall into the 'other' category.- Shop: odax
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Midsummer
Recorded in 2010 at Townend Studios (Berlin), Klangwolke (Berlin), OrBeat-Studios (Berlin), Eastgate-Studios (Vienna) Track 1 and 5 produced by Quaeschning/Heidemann Track 2 by Beator Track 3 by Quaeschning/Djirre Track 4, 6 and 8 by Beator/Quaeschning Track 7 by Quaeschning Thorsten Quaeschning - Synthesizer, Piano, Memotron, Guitar, Vocoder, Vocals, Boomwhakers, Percussion, Stones Sascha Beator - Synthesizer Kai Hanuschka - Drums, Vocals, Percussion Djirre - Guitar, Vocals, Vocoder Juergen Heidemann - Singing Stones, Stones, Vocals, Boomwhakers David See - Stones Nadine Gomez - Violin, Vocals Picture Palace Music is an electronic music band from Berlin, Germany, the city where serious electronic music was born. Thorsten 'Q' Quaeschning, keyboardplayer in Tangerine Dream, is head of the project. The main idea of the group that was founded in 2003 is to reproduce the musical dynamic and experiments of old live accompaniment for silent movies and to give them a modern soundtrack with nowadays-technical options. This shows that the old silent movies are not mouldy: they are timeless and fascinating! The music is inspired by more than eighty years old silent movies. Take a deep trip into a mystical world of sounds! Picture Palace Music already has quite a number of releases out, some only available as download but also some on the Manikin electronic music label from Berlin. 'Midsummer' is the first one that was released on Groove Unlimited. The theme behind the album is 'music for sound divers and baptism-ceremonies'. The band is celebrating a wonderful summer sun-worshipping the solstice and the associated famous white nights and blue hours. Vuvuzelas (remember those from the Word Championship soccer?) as an essential part of this particular summer will be heard as well as the beautiful noise of sound-stones. So join the band having a trip through the whole gamut of emotions regarding/reflecting this eventful year - 2010. And a band it is. Apart from Thorsten 'Q' the band consists of Sacha Beator (keyboards, who also does a lot of composing), Djirre and Stephen Mortimer on guitars, Vincent Novak on drums and Juergen Heidemann on various instruments and sounds. Of course, with a man like 'Q' in the band, a comparison can be made with the music of Tangerine Dream. But Picture Palace Music is more than that: melodically, lively, rocky and even at some cases progressive ('Q' is a fan of progrock and alternative rockmusic which can be heard throughout the album). With 'Chill Crystal Zone' the album already starts in a progressive way with fierce guitars and drums. But on many occasions the band takes a rest, like in the atmospheric 'Midsummer's Morning' in which we hear 'Q''s Memotronflutes and 'Drowning Someone's Sorrow Into The Ocean, part I' (a great title!). He also plays a fine steelguitar: that can be heard in 'Seduction Crossing' and even sings, like in 'Midsummer's Night'. The texts are by William Shakespeare and Ralph Waldo Emerson. Picture Palace Music creates music that is a perfect mix between electronic music, rock and prog and therefore may attract a diversity of music lovers. And also live, like on the 'E-Live festival' in 2010 they proved they are a rising force in EM. Press Information It's quite difficult to describe the music of Picture Palace Music so much that she's so disparate. Since the release of Somnambulistic Tunes in 2007, Thorsten Quaeschning's group doesn't stop amazing by an impressive variety of styles and tones. Midsummer, their 1st album on Groove Unlimited was revealed during the E-Live2010 festival during a hectic concert that totally amazed the audience. And with good cause! Beyond a hymn to summer, it's solstice, the sun and it's worshippers, Midsummer embraces big synth rock and keeps an attentive ear to rustles o bluish nights, there where festivities of a world of excitement cross the parallelism of dualistic universes of Picture Palace Music. Chill Crystal Zone reminds us above all that the leader of PPM is also behind the keyboards of Tangerine Dream. Midsummer's introductory track starts with a slightly fluty synth dandling on a fine sequential line which waves such a prismatic rivulet on a cozy bed of twinkling arpeggios and guitar notes scrolling in loops. The rhythm is nervous, crossing the wriggling guitar of The Edge (U2) as well as naive and tremulous sequences of Dream from the Rockoon years. A feverish guitar of which riffs are fading behind floating vocalizes shapes a strange melody gnawed by a latent madness. The pace is increasing with more sustained percussions and crystalline chords which waddle innocently before the guitar becomes more mordant and that an avalanche of percussions tumbles with crash, dividing Chill Crystal Zone between a soft melody and an astounding musical fury that PPM had already flooded us with Damsel Dive and Help Murder Help which we find on Fairy Marsh Districts. Moreover, Midsummer will constantly be torn between melodies and anguishes as well as between brightness and blackness. Midsummer's Eve follows with an introduction rather similar to Chill Crystal Zone weakened rhythm, except that the rhythm explodes heavily with furious percussions, a line of hemmed bass and nervous guitar riffs which plunges us into the somber universe of King Crimson (Red and Starless and Bible Black). An explosive track where the guitar drags it's solos on a hybrid structure with a rhythm broken by short aired interludes, leaning over heavy riffs and dark lines of synth which roar in a cacophony of sounds reminding us that Midsummer is also an album for sound divers as well as for baptism ceremonies, but surely baptisms of another religious order. Sounds, sounds and sounds. Midsummer's Morning is full of those and this up to the last hidden recesses of it's mystery. It's a wonderful ode to schizophrenia with a delicious piano which spreads a magnificent meditative melody where voices drag in a furrow disturbing of emotionalism and eclecticism. A soft piano which reminds me the Añoranza on Curicculum Vitae 1 whose atmosphere is similar to it with all this array of sounds as heterogeneous as troubling which crosses this delicate duel piano / flute. Midsummer's Day cross a little bit the light rhythmics of the Dream in the Miramar years with it's lively tempo where guitar riffs flow on nervous percussions and limpid sequences fidgeting beneath delicate strata of synth. A track which flirts a little more towards the big synth rock, quite as the powerful and colliding Right of Ascension Day, and which knows it's increases of creativity with a beautiful guitar and vocals of festivities which plunge Midsummer's Day in an unreal African rave-up, especially with vuvuzelas which buzz around vocoders. Seduction Crossing is also tinted of this Tangerine Dream universe, but a darker Dream brought out of Legend paths. A fine sequence swirls after an atonal intro with anguishing breezes. A sequence of which chords are trickling away under good striking of muffed percussions and others which are deeply colliding quite as on Legend. A line of bass fed this spiral sequence where keyboard keys water this strange melody of glass tones. A great track which depicts a nightmarish paranoia, especially when are adding superb spectral guitars strata which sway with stridence, tearing this suave to schizophrenic seduction which lives in Seduction Crossing, one excellent track within Midsummer. Our eardrums, still knocked out by strikes of the heavy and captivating Right of Ascension, are wrapped by the eclectic and hollow intro of Drowning Someone's Sorrow into the Ocean Part I. Drops stream in the echo of dark caves of which curves go on towards a heterogeneous sound universe where caustic reverberations cross an array of fluty breezes and metallic hoops. A sequence is emerging from it and discreetly astride this plain fossilized of metallic humming. The movement is delicate and is increasing with the appearance of the P- Shop: odax
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Cordatum
CORDATUM - JAVIER BRAVO (GUITAR) ARGENTINE MUSIC COLLECTION VOL. II THE CONTEMPORARY GUITAR  , , ,This disc is part of a research project about avant-garde guitar music in Argentina and it includes works composed between 1974 and 2011. Many of these guitar works are recorded for the first time on CD and some of them remain unpublished .They are pieces of great artistic value and despite the great the development of classical guitar world, are not yet known or broadcast. We hope that this album contribute to the diffusion and promotion of contemporary Argentine art, it's excellent works and creators. The twentieth century was the scene of great changes in all spheres, many new movements have arisen in politics, science and art. Notably, the second half of the century is a turning point in the emergence of new concepts in music: the appearance of indeterminacy in various musical parameters, the development of serialism and other highly refined organizational systems, the enrichment of timbre through new instrumental techniques and electronics and, finally the coexistence of the styles of all times and all countries.  , , ,In Argentina we can find a turning point in the creation of the Instituto Di Tella and it's Latin American Center for Advanced Musical Studies. Despite it's relatively brief period of activity (1962-1971) it exerted a decisive influence on Latin American music and other arts of the time, stimulating the creation, communication and exchange between composers of our continent and the rest of the world. ,  , ,The guitar, instrument of long tradition and popularity in Argentina in all musical genres, had it's repertoire enriched with many creations that incorporate new expressive possibilities through timbral innovation, an unprecedented evolution of musical notation, and experiments with new ways of structuring musical material.  , , ,This creative impulse remains over time and reaches the XXI century, where all these trends converge, develop and manifest according to the personality of each composer, resulting in a wide range of artistic expressions. JORGE TSILICAS (Buenos Aires 1930 - Buenos Aires 1995) Monologues (1974) Jorge Tsilicas studied composition with Jacobo Ficher, Francisco Kröpfl and Enrique Belloc in Argentina. Later he studied with Boris Porena and Franco Donatoni in Italy. He devoted much of their production to the guitar, including works for solo guitar, duets and quartets. His works are written in an atonal style, exploring the timbral possibilities of the guitar and experimenting with different degrees of formal indeterminacy (Spiral, Perikiklosis). Dedicated to argentine guitarist Irma Costanzo, Monologues is a piece organised in three movements: The first have a fragmentary and energetic character. This movement is structured in series of short gestures consisting of chords, note sets and percussive effects. A sense of agitation is achieved through continuous dynamic contrast and permutation of elements, evolving over a harmonic texture based mainly in minor second and augmented fourth intervals. The second movement, Moderato, based on the same harmonic elements, conveys a more contemplative, lyrical mood, with a greater sense of continuity of the elements. It's third movement, Presto, shares sound gestures with other movements but it is characterized by the use of fast passages in a toccata or cadenza style in most of the movement. JAVIER BRAVO (Buenos Aires * 1972) Distance (2006)-Toccata (2004) Javier Bravo studied composition with Rodolfo Daluisio and wrote works for various instrumental ensembles ranging from solo instruments to symphonic and electroacoustic music. His musical language is inspired by popular Argentine music and jazz, together with sound resources and procedures of contemporary music. Distance explores the harmonic and resonance possibilities of guitar through a twelve-tone based structure. Written on a lyrical and contemplative style, this piece refers to rhythmic gestures of zamba, a very traditional Argentine folk dance. In contrast to Distance, Toccata expresses a climate of agitation: it begins with short chord sequences in fortissimo, which alternate with extensive passages based on the idea of continuous motion. The work, of great virtuosity, grows in tension through numerous meter changes, polymetric passages, multiple string tremolos and strumming chords. Based on a twelve-tone structure, this work is built over concepts of free atonality. FERNANDO ROVETTA (* 1968) 'Two Pieces for Guitar' (1994) Graduated from IUNA with a Musical Arts degree, Fernando Rovetta studied composition with Juan Carlos Figueras, Pablo Cetta and Fernando Maglia. Awarded as composer on several ocassions, he gives seminars on contemporary music and participates as jury of guitar competitions. On "Two pieces for guitar ' the author says: 'The 'Two Pieces for Guitar '(1994) are rooted on tango music, exploring it's gestures, procedures and sound within a musical language lying between extended tonality and free atonalism. The first one, 'Transition', is developed through the interaction of a harmonic component (with the chord as support) and another melodic (a chromatic gesture linked to bandoneonist Anibal Troilo style). In the second piece, 'Recycling', motivic elements contrast themselves and cohere in the rhythmic aspect (supported in various stylistic resources). This work includes the phrasing and dynamic fluctuations of the tempo, typical of the genre.J avier Bravo's performing deeply understood the implications that have these formal aspects, resulting in an intense version, very rich in detail. ' SALVADOR RANIERI (Arena, Italy 1930 - Buenos Aires 2012) Cordatum (2005) Salvador Ranieri, was a prolific composer, with a catalog of more than 180 works, including symphonic and chamber music . He studied composition with Juan Francisco Giacobbe in Argentina and later with Goffredo Petrassi in Italy. He studied electronic music at the Institute di Tella through a scholarship, and then he continued working in that field at the Academy of Santa Cecilia (Rome). His style was defined several times as deeply expressive, driven by an intense inner dramatism. Cordatum is written in the manner of a fantasy, in a style full of passion and metric vitality. Chromatism, rhythmic insistence and percussive effects are characteristic of the author's style. The work, composed in 2005, was premiered by Javier Bravo in 2011. CECILIA FIORENTINO (Buenos Aires * 1962) Petite Suite (2011). I. Prelude II. Dance III. Aria IV. Final Cecilia Fiorentino graduated as Profesora Superior de Piano (1982) and Composition (1986) at the National Music Conservatory 'Carlos López Buchardo'. Noteworthy among her teachers are Fermina Casanova, Virtu Maragno, Alicia Terzián, Delia Castro, Isabel von Basenheim, Amalia Cascarini and Perla Brúgola. She is the author of some fifty works, most of them for chamber ensambles. As a composer, she has been awarded several times and she actively participates in composers' associations from Argentina. She teaches counterpoint and composition at several Buenos Aires' Conservatoires and has participated as jury in various composition competitions . On Petite Suite, the author tells us: 'Written in a free tonal style, this work- as almost every movement- express on it's titles, formal models that inspired it's composition: the single motive based structure in the first movement -resembling the style of many Baroque preludes-, the rhythmic and formal symmetry in the second movement -Dance-, and the characteristic accompanied melody texture in third movement titled Aria. The final movement consists of two parts: a free introduction in a fantasia style, and a 'fugatto' section to conclude. While it is not the first time I have included the guitar in one of my works, it is certainly the first time that I write a solo guitar piece. This has been for me, a unique challenge, that I hope to have withstood thanks to the valuable contr- Shop: odax
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Felt Hammer Improvisations, Vol. 1
Liner Notes: Felt Hammer Improvisations, Vol. 1 Music by Paul Astin (piano) and Peyman Hedarian (santur) Today I flew in from Greece to London. As we taxied to a standstill the musics on the inflight stereo were well-known songs by the famous Rebetiko composer Vassilis Tsitsanis. Delightfully attractive music, enough to lift the heart after a tiring journey. But problematic. It was played on a piano. The piano plays on tempered scales. On a piano you cannot play the microtonal intervals that originally sat at the heart of Tsitsanis' music. Myself, I play the diminutive Greek baglama, and my instrument (with tempered-scale frets) has exactly the same problem. This tension between the microtonal intervals of Anatolian music and the do-re-mi of the Western scales is the salt and pepper of Rebetiko. It happens that Peyman Heydarian and Paul Astin are good friends of mine. We share a fascination with modal music, and it is the research and practice of Greek Rebetiko that originally brought us together. So when I arrived home in the early hours with a head full of microtonal questions (I was reading al-Farabi and Safi al-Din al-Urmawi and their reworkings of the Pythagorean scale en route) it was a shock both delirious and delicious to find the 18 files of this improvisatory adventure sitting in my in-box. Not Rebetiko, not Anatolian, not Western, rather something new. Recorded in Los Angeles. Two musicians - an American and an Iranian. That in itself symbolic in our troubled times. But doubly symbolic in the meeting of their two musical cultures. Actually, no, it is more than that. The musical cultures of these two men extend through time and across spaces to a diversity of inspiration. My idea of heaven includes two special corners - Astin pumping out the angular rhythms of black bebop when he played Thelonious Monk tunes on a grand piano that I procured for him when we met in Greece... and Heydarian when we sit in a corner of a London venue on a dark November evening and rattle through the pulsing rhythms of Irish reels and jigs on both fiddle and santur. There is a sympathetic rapport between the musicians, both dynamically and rhythmically. Heydarian plays the 9-bridge (salari) and 11-bridge (baziar) santur, tuned closely to the Western keys of F and D respectively, while Astin plays a Yamaha C7 acoustic grand piano. Many of the tracks stay within the parameters of the santurs' tunings, though a few move beyond these confines, resulting in a mix of tonal and atonal improvisations. Astin, having a jazz background, uses bass tones such as the fa, creating a harmonic framework with a raised 11th (the Lydian scale). Heydarian is not generally put out by such explorations, which differ sharply from traditional Persian or maqam (modal) music. In addition to performing, Heydarian develops computer algorithms to identify musical modes in recorded music. Not surprisingly, many of his melodic ideas blend phrases from Persian, Kurdish, Greek, and Celtic songs. To preserve the integrity of this session, the pieces are presented in the order in which they were recorded. No tracks have been deleted and there were no second takes. This is the complete session. Towards the end of the recording, Astin reaches inside the piano, using his hands to strum, dampen, and strike the strings, while Heydarian uses the tail of his hammer and also plays sequences in the untuned fourth region of the Santur. In addition, Heydarian introduces novel tunings on his instrument. This collaboration is a daring step. The music made by our two musicians is not pre-notated. It is improvised. It is dangerous. It is a conversation between musical languages in which commonalities and differences are explored - sometimes tentatively, sometimes boldly - and a discourse is produced in which you and I can share. While the musicians possess a deep understanding of their unique genres, together they create something quite unlike what one usually hears from the santur or piano. Pythagoras and Euclid theorised their scales on the single string of a monochord. The ratios that they established were conceived as a harmony of the spheres, the elements, the humours and all things divine and mundane. The simple monochord then took a notion to elaborate itself. One string became two, and then four, and eventually multiplied to the point that gave us the santur in the East and the piano in the West. An astonishing world of art music was created through hitting these strings with small felt hammers. And that is the world that is explored in this collection of tunes. Ed Emery Institute of Rebetology London, England.- Shop: odax
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With Latin Lovers
Dennise Neill is a native to southern California. She began her singing career in glee clubs and church choirs. As a youth she wrote and produced plays, recieving awards on a reginol level. A diverse and energetic individual, Dennise studied drama, music, writing and science. Dennise received a degree as a registered nurse, but continued her love of the arts as a music composition major, specializing in atonal orchestra music. As a passionate classical flute player, she enjoyed solos in college bands, and playing by ear with multiple local pop groups. Life changed for Dennise eighteen years ago, when she walked through the doors of the Dana Point Wine Cafe and discovered straight ahead jazz. After studying classical voice with Kathy Allen for two years, she continued her studies with jazz vocalist Bruce Brown for another three years. Her contagious energy and enthusiasm, drew her close to some of the best jazz performers around, including her collaborating friend, trumpeter Ron Stout and Saxophonist Jerry Pinter. Dennise has been performing as a vocalist for the past sixteen years. Her love of song stimulated the development of multilingual endeavors, which includes Portuguese, Spanish, French and Italian. 'Language is Music,' says Dennise, 'Each language has it's own special sounds. Studying these languages with native speakers, has brought me many new friends, and much cultural understanding. The one true world language is music, and I am Happy to have pursued this direction in life.'- Shop: odax
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Mark Side of the Dune
First full length release of originals from the 2007 Reader's Choice Tucson Area Music Awards winners. 'This local trio injects a glorious variety of punk styles into it's full-length debut album. Garage rock, proto-metal, psychedelic thrash, Batman-meets-spy movie rave-ups, surf punk, atonal experiments and herky-jerky art-squall are among the mad flavors that come at you like a rampaging jukebox on steroids. The Distortionists prove that ADHD can fuel creativity, romping through 23 tracks in less than 50 minutes. The band doesn't limit itself to it's power-trio instrumentation. Guitarist Mike Panico plays a little flute, drummer Taylor Hardy contributes theremin, and bassist John Hayes tosses in some banjo. All three members sing, and are surprisingly versatile, occasionally sounding like pioneering punk vocalists such as Jello Biafra, Johnny Rotten, Keith Morris, Pete Shelley and Dave Vanian. There are short-jab novelty numbers, such as 'Lunch Junkie' and 'Don't Eat Paint,' no-wave-influenced surf sounds in 'Sand Crab Dip' and 'Nonstrumental,' and artsy indulgences like the relatively epic-length (3 1/2 minutes) 'Kick You in the Face With My Size 10 Buster Browns,' which lurches and lunges like a combination of Black Flag and Big Black. The album begins and ends strong, with it's last two cuts as good as what came before. One of the best tunes is the penultimate 'In the Can,' on which Panico peels out on guitar, and that grinding closer, 'This Is Tucson, Not L.A.,' ought to be the Old Pueblo's new anthem.' Gene Armstrong, Tucson Weekly. Other reviews: 'If you love punk rock but don't take it too seriously, the Distortionists just may be your new favorite band.' Stephen Seigel, Tucson Weekly. The Distortionists is a garage punk band out of Tucson, AZ that was conceived in late 2006. Band members include former members of The Tribulators, Grimble Wedge, Scar Strangled Banger, Marshmallow Overcoat, and 80 cents a day. 'And lest you get the feeling that all Tucson's local music scene has to offer is funk and blues, along come the Distortionists to set you straight. The band includes local scene vets - Mike Panico (guitar, vocals), Taylor Hardy (drums, vocals) and John Hayes (bass, vocals) - and their experience shows. The Distortionists trade in straightforward punk tunes that are notable not only for their musicianship, but also, in some cases, for their humor. Tucson Weekly 'You guys are the best band there ever was, is and will be. Nuff said.' Hillbilly Herald 'Gimme Gimme shock treatment & The Distortionists!!!' The Ramonas.- Shop: odax
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