{"id":5101,"date":"2012-06-27T17:16:33","date_gmt":"2012-06-27T21:16:33","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=5101"},"modified":"2012-06-27T17:16:33","modified_gmt":"2012-06-27T21:16:33","slug":"lp-private-sea-of-dreams-the-1967","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=5101","title":{"rendered":"LP: Private Sea of Dreams, The (1967)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>P to R<\/a><\/p>\n

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\"\"<\/a>Rating: Good<\/p>\n

Label: RCA Victor (Italy)\/ Released: 1967<\/p>\n

Tracks & Album Length: 16 tracks \/ (30:00)<\/p>\n

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Special Notes: n\/a.<\/p>\n

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Composer: Nuova Consonanza<\/p>\n

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Review:<\/p>\n

The second album by experimental group Nuova Consonanza (after their self-titled 1966 debut on RCA) features a typically weird sonic journey that\u2019s still pretty coherent in spite of the gnashing, shrill, grinding sounds typical of their late sixties work.<\/p>\n

The intro \u201cLip Service\u201d is a brief collage of mouth and cheek hits, groaning, and puckering effects, but things really get going in \u201cRKBA-1975, Take One,\u201d which is ostensibly a grungy, metallic crescendo of scraping piano wires. The group (of which Ennio Morricone was an important member) starts the cue with shrill sounds, and the addition of low tones create disturbing sonic textures quite similar to contemporary, digitally processed effects.<\/p>\n

\u201cPerfect Union (Trio Per)\u201d consist of pensive medium-range tones that are almost animalistic, assembling and conversing in a steady dialogue with muted trumpet grunts and whining string scrapes. The latter two eventually engage in their own dialogue, and the trumpet becomes more mocking, while some of the orbiting sounds resemble buzzing insects and low-level farts (yes, really).<\/p>\n

More dramatic material lies in \u201cSide One-Band Four (Quartetto),\u201d one of the album\u2019s longer cues, but the mood is rather subdued, given the cue consists of sparse tonal hits on piano, sax, trombone, and vibes. The lengthy \u201cStrings Quartet\u201d features initially sparse sounds, although the basic construction is a thickening call & answer session between grinding strings and squeals (effects Morricone later repeated in his giallo scores).<\/p>\n

Side 2 begins with \u201cSunrise (Improvvisazione per Otto)\u201d which seems to assemble all of the prior sonic elements into an extended conversation, with concrete metallic effects almost reaching a synthetic state prior to a sudden synth rumble at the end. The brief \u201cConversations (Trio di fiati)\u201d features another round of squeals and murmuring metal sounds, whereas the last cue, \u201cWaves (Improvvisationes per cinque)\u201d recaps the more sparse sounds heard throughout the album in a loosely structured piece that doesn\u2019t offer anything particularly intriguing.<\/p>\n

Only half of the tracks are unique, whereas the rest tend to repeat sounds in so-called improvised sessions that meander, making the LP a less intriguing work compared to recent CD collections. The original RCA LP still deserves a proper CD release, however, preferably with any unreleased cues to expand the LP\u2019s fairly brief length. Nuova Consonanza\u2019s other RCA recording is the much-lauded (and sought-after) The Feed-back <\/strong>(1970).<\/p>\n

Wholly unreleased material is also available in the 2006 3-disc set\u00a0Azioni<\/a><\/strong> [M<\/a>], and the 2011 mini-gem Eroina<\/a><\/strong> [M<\/a>].<\/p>\n

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\u00a9 2012 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

Google Search<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0P to R<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ P to R . Rating: Good Label: RCA Victor (Italy)\/ Released: 1967 Tracks & Album Length: 16 tracks \/ (30:00) . Special Notes: n\/a. . Composer: Nuova Consonanza . . Review: The second album by experimental group Nuova Consonanza (after their self-titled 1966 debut on RCA) features a typically weird […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[131,1378],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1kh","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5101"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5101"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5101\/revisions"}],"predecessor-version":[{"id":5154,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5101\/revisions\/5154"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5101"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5101"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5101"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}