Motion The Cinematic Orchestra Rar
Whether to categorize as a jazz or electronica album is an intriguing conundrum, because it truly turns out to be a combination of both musical forms, and it is an unequivocally brilliant combination, at that. British arranger/programmer - who virtually is - gathered samples of drum grooves, basslines, and melodies from various recordings and artists that have inspired and influenced him (spaghetti-western composer and 's spy film scores, '60s and '70s jazz and soundtrack scores from musicians such as, and John Morris). He then presented the samples that he had collected to a group of musicians, the core of which consisted of Tom Chant (soprano sax, electric and acoustic piano), Jamie Coleman (trumpet, flugelhorn), (bass), and T.
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The Cinematic Orchestra is a British jazz and electronic outfit, created in the late 1990s by Jason Swinscoe. Link removed MEDIAFIRE. 1999 – Motion null.
Daniel Howard (drums), to learn and then improvise. Those tracks, in turn, were sampled and rearranged by on computer to create the tracks that make up this first album. The album bears all of the atmospheric hallmarks of ambient electronica, as well as 's soundtrack inspirations and all the improvisational energy of jazz. Most of the songs are built with wave upon wave of repeated loops and instrumental phrases that work into a groove.
Yet it feels at any moment as if the music is about to explode, like a steam whistle boiling to its screaming point. On 'One to the Big Sea,' for example, the same four-note bassline plays over and over with the same ride cymbal rhythm, but instead of seeming rote or mechanical, the riff just seems to continually bubble up and throb, slowly building anticipation and pressure. When a looped piano riff and horn charts enter the music, the juxtaposition seems almost jarring; yet, as they continue to repeat, in turn, atop the bass and cymbals, you can't help but feel that you're waiting for another dramatic leap, which eventually comes by way of the song's cornerstone: a thrilling drum solo.
Each song is just as accomplished in its own way, so expertly arranged by that the impression of both structure and improvisation is created, while never sounding for a moment anything less than organic. The music is constructed piece by piece until it is a seamless whole that lives and breathes on its own merits, much like the soundscapes of. Regardless of how they were made, though, the songs on are by turns eerie, lush, edgy, expansive, gritty, intensely powerful, and gorgeous. Sometimes an album comes along that forces you to reconfigure and re-evaluate all of the assumptions you had previously made about music in order to realize how vast and endless the possibilities are; this is one of those albums.