Brilliant? Special? How?
Really, if this is innovative, what's the innovation? Taking out most of the tune was done hundreds of years ago in Appalachia, and the pointless bass clarinet and the popcorn/line-noise percussion have been cliches for at least a decade... so what's new here?
Is it the little meander at 1:30? Is that the innovation? Or is it that Caoimhín invented ponticello bowing, which of course nobody has ever done before?
I'm sure these guys are having fun, but isn't this just applying a bunch of shopworn cliches from jazz and "new music" to a Swedish tune?
I found it boring to listen to. Maybe the musicians were enjoying themselves but the tune and perfromance didn't grab my attention. Otherwise I'm a big fan of Caoimhín's musical meanderings. This time though I'd rather listen to the Rainey Brothers or Keith Jarrett's "Wind up" http://www.youtube.com/watch?v=IxqVA8cO7ZY
I've just downloaded Caoimhin's second album with Mick O'Brien. If an off-the-wall project like 'This is How We Fly' helps him produce great traditional music like 'Deadly Buzz', then I'm all for it. Doesn't mean I want to listen to it, though.
yeah, i saw this clip some time ago......this stuff passes for "innovative" only in quarters where it is Big News that artsy-fartsy excursions into jazz-meets-trad-meets-classical-meets-whatever-else have been going like mad in continental europe for fifteen years and counting.....and it does seem to come as something new to irish-centered or american oldtime-centered recipients, largely because for whatever reason, ireland has (with exceptions here and there) been late to this party, not that i find that to be any great oversight on ireland's part given that thus far irish traditional harmonic framework does not seem a great jumping-off point for anything terribly memorable in this line. of course, i feel this way about a lot of the continental experiments as well.
i read one interview where Caoimhín seemed to be blaming it on something hidebound in higher-level musical institutions or education in ireland, but i see that as a case of nailing a contributing factor that is not the proximate factor, that being, nothing electrifying or unforgettable has been generated to get anybody interested in doing it on a more wide scale, and there is a reason for that. i don't have the music-theory knowledge to explain it well, but there is nonetheless. blues chordal harmonies, and those of tin pan alley songwriting, proved extremely fertile ground for the improvisational genius of pre-bebop "classic jazz," and with classical post-Impressionist chromatic harmonic structure added to the mix, began a basis for the genius of bebop and beyond. and traditional tango chordal structure proved an extremely strong basis for so-called "nuevo tango," the art music pioneered by piazzola.
but when it comes to other climes, a lot of this stuff, not just the irish excursions, has proven harmless but unmemorable in the extreme. vasen of sweden and maria kalaniemi of finland would be great examples. both compose and play artsy-fartsy jazz-meets-classical-meets-traditional-scandinavian-dance-music, with ok, but forgettable results. kind of, muzak for literates, which is how i hear this clip. both also sometimes play traditional innstrumental dance music....guess which proves more electrifying and hard to get out of your head?
i see a year or so back that C O'R and Martin Hayes co-hosted some kind of retreat for, "composing." i'm thinking, who knows, maybe they will end up co-chairing a specialty in this stuff at UL or UGalway, and why not? fair play to them. everybody wants to be an Artiste, i guess. there is a hilarious passage in roddy doyle's "the commitments" which would be right on point here, but i don't have it to hand
I don't think it's the case that trad music is especially unsuited to interesting innovation. It's just that aimless noodling with someone barking into a bass clarinet isn't the way to get there - it's not a good way to get anywhere, really.
Kitty Lie Over is fine, and I don't doubt Deadly Buzz is mighty too (I haven't heard it yet).
I simply don't care for the samey-samey droney sh*te that seems to be the only recent work of his that gets posted to pootube.
I can understand why a musician might want to self-indulgently noodle with basic tonal sounds. What I don't understand is why anyone else would want to listen to it, let alone spotlight it as special.
That link is hilarious, coming in the context of the We Fly Like This cut. I heard Brian Eno on The Museum of Curiosity recently, he said ever since he invented the term "ambient music" people have been applying it to all sorts of music he doesn't like. I can't say I'm very fond of much of what he did under that label, either, so I'm glad to see at least he's getting his comeuppance.
[Kitty Lie Over is fine, and I don't doubt Deadly Buzz is mighty too (I haven't heard it yet).]
....there's also those little trifles known as "Come Your Hair and Curl It," "A Moment of Madness," not to mention, "Triúr sa Draighean." Fact is, parallel to the festival of avant-schmavant, this character has been a co-conspirator in one stone-gorgeous classic traditional release after another recently, including plural releases in the same year....
I just listened to some tracks from Deadly Buzz and Comb Your Hair and Curl It.
Very pretty, but too scripted, a little too polished and domesticated for my tastes. But that's just me...I prefer more spark and spontaneity and a touch of wildness.
And that big round tone is a lot easier to get when you tune a fiddle down a step or so....
Really, Will? Wow. Deadly Buzz is about the only thing (other than my fiddle-playing boyfriend, bless him) I have right now that can inspire me to pick up the pipes in my current crabbit and disillusioned state. The "wild" playing of Paddy Keenan, Willie Clancy, Jarlath Henderson, among others, I like listening to, but probably feel even more despairing and less inclined to play.
I don't hear either of those albums as "domesticated" at all. When I listen to them, I can hear playfulness and spontaneity as they mess about with the tune, but in a more understated way. But Mick's an understated piper. That's how he is. I've had a few lessons and workshops with him (name-dropping alert!) over the years and he chats a lot about his philosophy towards the music. He finds the beauty of the tunes in understated variations and articulations but mainly in their inherent melodies, which he says he tries to bring out when he plays. He also has a view on the way a lot of people attempt "wildness."
I forgot to mention "A Moment of Madness." Another fantastic album.
TSS, Bobby Casey was playful and inventive and wild and understated all at once. I don't hear that very often in Caoimhins playing so much.
Mick's piping is fine. It's the fiddling that leaves me unmoved on too many tracks.
Honestly, I think this is in large part the trouble with recording. The concern over playing cleanly for posterity overrides playfulness and spontaneity. My hunch is that Caoimhin, like most anyone, is much more lively and unrestrained (even if in an understated way) when the red eye isn't on.
P.S. I'm also not a big fan of the "flawless" carefully wrought studio sound, which the above recordings have in spades. I'll take the quick and dirty sound of Music in Matt Molloy's, the pub tracks on Pathway to the Well, and Shores of Lough Graney any day, thanks.
I take things and people as they are. I don't expect Caoimhin to sound like Bobby Casey -- I expect him to sound like himself. You're right -- with a few exceptions (like Pathway to the Well) recordings now are not like some of the old recordings but it's still good music, just going for a different sound. I'm not going to impose a "the old stuff is better" value judgment on it.
Remind me, if I am ever in a session with you, to not touch an instrument as I won't be anywhere near spontaneous and inventive enough for you.
I don't expect or want Caoimhin to sound like Bobby Casey either. I just don't much care for his recordings.
As for sessioning, it's true: I'm not inspired by people playing the same tunes the same way week after week. Or when they're unable to toss musical ideas back and forth on the fly. It's much more interesting and fun to play with people who have a musical conversation, rather than speaking from a well-rehearsed script. At it's best, that's how this music is played.
Tonya, There was a server glitch, and the 7th of December lasted for three days as far as this website is concerned. Normal dates on postings restarted as of 11 December.
It's good to see the otherwise ubiquitous www. is catching up with the 60s, & other lost time periods. ~ If you can remember it you weren't there.
Welcome back to normalcy!
I agree with the silver spear that both recordings have plenty of spark and spontaneity. Listen again carefully, Will Harmon, and I'm sure you'll hear it. The way Micheal O'Rachallaigh, Catherine McEvoy, and Caoimhin play around each other - never sounding like a super tight unison. Certainly not polished and scripted to my ears. And Caoimhin doesn't always tune down, there are several exmples of standard tuning on those recordings, unlike Kitty Lie Over.
No thanks. I've listened to Deadly, Comb, and Moment, closely. Caoimhin's a talented musician and adept fiddler. It's not poor playing or "bad" music. Just doesn't float my boat.
I am allowed to prefer other approaches to the music, yes?
Whatever floats your boat and I normally don't care what people's opinions are of the music I like, but to say that those particular recordings are too clean and too polished just seems bizarre to me. I'm glad prestonian agrees -- I was beginning to think perhaps I'd gone mad.
I am allowed to prefer other approaches to the music, yes?
Of course you are. It's just that I (and others) are saying that we think your description of the recordings is inaccurate. Glad to hear you agree that Caomhin O'Raghallaigh is talented. I really enjoy his take on music.
"And I meant to say that he sounds great in standard tuning also. "
And on the clip he's playing a "5+5" - a 5 string version of a "Setesdalsfele" with 5 sympathetic strings - I think his tuning here is AAEAE - a low A with the next two strings tuned up from a standard fiddle tuning. The big round tone will be assisted by the concordant open strings and the sympathetic "understrenger" ringing out.
If you are into hardingfele music, this stuff isn't so strange. Dancing is a little tame compared to a halling though!
I was going to point out the same thing--Caoimhin's frequent use of the sympathetic string Norwegian fiddle. So thanks for mentioning it, Weejie.
People who like that droney, ringing wall of sound will probably like his recordings. Personally, I prefer just a plain, honest fiddle, at least for Irish music.
As far as whether my descriptions are accurate or not, I'll trust my own ears. They've gotten me this far.
"I am allowed to prefer other approaches to the music, yes?"
It depends Will, what are your views on Liz Carroll? ;)
I like Caoimhin in small doses, but I like Deadly Buzz mainly for the pipes playing and Comb Your Hair and Curl It for the concertina. That said, the final track on Deadly Buzz is, IMO, a great version of Farewell to Ireland.
I like it. I like the subtle bits where you hear a sound and you have to go looking for the source. I probably wouldn't pay for a whole evening of it, I'd need to be in a particular mood. I still like it though.
I saw them last week in Dublin. I enjoyed it but it became very samey, dancing great, Caoimhín didn't play the real fiddle once, the scrapping got very annoying. Bass sax why?? The Scandy percussionist was good gas. Artschool audience in awe of this experimental approach which is leaning way too much towards the pretentous. I thought to myself it would suit RTÉs The View. When I got home....it was on The View. I didn't throw my shoe at the telly this time!!!
This is How We Fly
This is How We Fly
Here's for all you innovation lovers out there. This is so quality, well done lads! This is something really special.
http://www.youtube.com/watch?v=ioKsMK5nVH8
# Posted on December 7th 2011 by jcawley
Re: This is How We Fly
Brilliant.
# Posted on December 7th 2011 by matt
Re: This is How We Fly
Brilliant? Special? How?
Really, if this is innovative, what's the innovation? Taking out most of the tune was done hundreds of years ago in Appalachia, and the pointless bass clarinet and the popcorn/line-noise percussion have been cliches for at least a decade... so what's new here?
Is it the little meander at 1:30? Is that the innovation? Or is it that Caoimhín invented ponticello bowing, which of course nobody has ever done before?
I'm sure these guys are having fun, but isn't this just applying a bunch of shopworn cliches from jazz and "new music" to a Swedish tune?
# Posted on December 7th 2011 by Jon Kiparsky
Re: This is How We Fly
I found it boring to listen to. Maybe the musicians were enjoying themselves but the tune and perfromance didn't grab my attention. Otherwise I'm a big fan of Caoimhín's musical meanderings. This time though I'd rather listen to the Rainey Brothers or Keith Jarrett's "Wind up" http://www.youtube.com/watch?v=IxqVA8cO7ZY
# Posted on December 7th 2011 by Steamwilkes
Re: This is How We Fly
Hehe, and you guys probably haven't seen him with The Gloaming yet have you?
# Posted on December 7th 2011 by Prof. Prlwytzkofski
Re: This is How We Fly
Pretty nice, but I feel like this is the kind of stuff people compose when they can't come up with a good catchy melody.
# Posted on December 7th 2011 by Whiddler
Re: This is How We Fly
I heard the broadcast....Sort of Kevin O'Reilly plays Tracey Emin. Still, everyone to his own!
# Posted on December 7th 2011 by Free Reed
Re: This is How We Fly
bollards.
# Posted on December 7th 2011 by mcknowall
Re: This is How We Fly
The dancing was good. I liked the dancing.
So this is the only "tune" (I'm being generous here) Caoimhin plays these days? Meh.
# Posted on December 7th 2011 by Will Harmon
Re: This is How We Fly
I've just downloaded Caoimhin's second album with Mick O'Brien. If an off-the-wall project like 'This is How We Fly' helps him produce great traditional music like 'Deadly Buzz', then I'm all for it. Doesn't mean I want to listen to it, though.
# Posted on December 7th 2011 by CreadurMawnOrganig
Re: This is How We Fly
Hear hear, Deadly Buzz is great stuff. And Kittie Lie Over continues to be a favorite.
# Posted on December 7th 2011 by timmy!
Re: This is How We Fly
I guess Will has yet to hear "Deadly Buzz" and "Comb Your Hair and Curl It."
Seconding what Creadur said.
# Posted on December 7th 2011 by DrSilverSpear
Re: This is How We Fly
yeah, i saw this clip some time ago......this stuff passes for "innovative" only in quarters where it is Big News that artsy-fartsy excursions into jazz-meets-trad-meets-classical-meets-whatever-else have been going like mad in continental europe for fifteen years and counting.....and it does seem to come as something new to irish-centered or american oldtime-centered recipients, largely because for whatever reason, ireland has (with exceptions here and there) been late to this party, not that i find that to be any great oversight on ireland's part given that thus far irish traditional harmonic framework does not seem a great jumping-off point for anything terribly memorable in this line. of course, i feel this way about a lot of the continental experiments as well.
i read one interview where Caoimhín seemed to be blaming it on something hidebound in higher-level musical institutions or education in ireland, but i see that as a case of nailing a contributing factor that is not the proximate factor, that being, nothing electrifying or unforgettable has been generated to get anybody interested in doing it on a more wide scale, and there is a reason for that. i don't have the music-theory knowledge to explain it well, but there is nonetheless. blues chordal harmonies, and those of tin pan alley songwriting, proved extremely fertile ground for the improvisational genius of pre-bebop "classic jazz," and with classical post-Impressionist chromatic harmonic structure added to the mix, began a basis for the genius of bebop and beyond. and traditional tango chordal structure proved an extremely strong basis for so-called "nuevo tango," the art music pioneered by piazzola.
but when it comes to other climes, a lot of this stuff, not just the irish excursions, has proven harmless but unmemorable in the extreme. vasen of sweden and maria kalaniemi of finland would be great examples. both compose and play artsy-fartsy jazz-meets-classical-meets-traditional-scandinavian-dance-music, with ok, but forgettable results. kind of, muzak for literates, which is how i hear this clip. both also sometimes play traditional innstrumental dance music....guess which proves more electrifying and hard to get out of your head?
i see a year or so back that C O'R and Martin Hayes co-hosted some kind of retreat for, "composing." i'm thinking, who knows, maybe they will end up co-chairing a specialty in this stuff at UL or UGalway, and why not? fair play to them. everybody wants to be an Artiste, i guess. there is a hilarious passage in roddy doyle's "the commitments" which would be right on point here, but i don't have it to hand
# Posted on December 7th 2011 by ceemonster
Re: This is How We Fly
I don't think it's the case that trad music is especially unsuited to interesting innovation. It's just that aimless noodling with someone barking into a bass clarinet isn't the way to get there - it's not a good way to get anywhere, really.
# Posted on December 10th 2011 by Jon Kiparsky
Re: This is How We Fly
Kitty Lie Over is fine, and I don't doubt Deadly Buzz is mighty too (I haven't heard it yet).
I simply don't care for the samey-samey droney sh*te that seems to be the only recent work of his that gets posted to pootube.
I can understand why a musician might want to self-indulgently noodle with basic tonal sounds. What I don't understand is why anyone else would want to listen to it, let alone spotlight it as special.
# Posted on December 10th 2011 by Will Harmon
Re: This is How We Fly
http://www.youtube.com/watch?v=LJyiTDAWzDA
# Posted on December 10th 2011 by Will Harmon
Re: This is How We Fly
That link is hilarious, coming in the context of the We Fly Like This cut. I heard Brian Eno on The Museum of Curiosity recently, he said ever since he invented the term "ambient music" people have been applying it to all sorts of music he doesn't like. I can't say I'm very fond of much of what he did under that label, either, so I'm glad to see at least he's getting his comeuppance.
# Posted on December 10th 2011 by Jon Kiparsky
Re: This is How We Fly
[Kitty Lie Over is fine, and I don't doubt Deadly Buzz is mighty too (I haven't heard it yet).]
....there's also those little trifles known as "Come Your Hair and Curl It," "A Moment of Madness," not to mention, "Triúr sa Draighean." Fact is, parallel to the festival of avant-schmavant, this character has been a co-conspirator in one stone-gorgeous classic traditional release after another recently, including plural releases in the same year....
# Posted on December 10th 2011 by ceemonster
Re: This is How We Fly
So.
I just listened to some tracks from Deadly Buzz and Comb Your Hair and Curl It.
Very pretty, but too scripted, a little too polished and domesticated for my tastes. But that's just me...I prefer more spark and spontaneity and a touch of wildness.
And that big round tone is a lot easier to get when you tune a fiddle down a step or so....
# Posted on December 10th 2011 by Will Harmon
Re: This is How We Fly
"...stone-gorgeous...."
Yes, that's precisely what rubs me the wrong way.
But I can certainly understand why other people would enjoy it. Highly pleasant to listen to.
Just didn't make me want to play along or dance.
# Posted on December 10th 2011 by Will Harmon
Re: This is How We Fly
I'm not sure "this is how we fly" is particularly appropriate seeing as, for me, it never really takes off.
When they stop noodling and take off, I will be really excited to see the result.
# Posted on December 10th 2011 by Tirno
Re: This is How We Fly
Really, Will? Wow. Deadly Buzz is about the only thing (other than my fiddle-playing boyfriend, bless him) I have right now that can inspire me to pick up the pipes in my current crabbit and disillusioned state. The "wild" playing of Paddy Keenan, Willie Clancy, Jarlath Henderson, among others, I like listening to, but probably feel even more despairing and less inclined to play.
I don't hear either of those albums as "domesticated" at all. When I listen to them, I can hear playfulness and spontaneity as they mess about with the tune, but in a more understated way. But Mick's an understated piper. That's how he is. I've had a few lessons and workshops with him (name-dropping alert!) over the years and he chats a lot about his philosophy towards the music. He finds the beauty of the tunes in understated variations and articulations but mainly in their inherent melodies, which he says he tries to bring out when he plays. He also has a view on the way a lot of people attempt "wildness."
I forgot to mention "A Moment of Madness." Another fantastic album.
# Posted on December 10th 2011 by DrSilverSpear
Re: This is How We Fry
Nicely danced Nic...
Some fun, a pleasant bit of belly button fluff...
# Posted on December 10th 2011 by ceolachan
Re: This is How We Fly
TSS, Bobby Casey was playful and inventive and wild and understated all at once. I don't hear that very often in Caoimhins playing so much.
Mick's piping is fine. It's the fiddling that leaves me unmoved on too many tracks.
Honestly, I think this is in large part the trouble with recording. The concern over playing cleanly for posterity overrides playfulness and spontaneity. My hunch is that Caoimhin, like most anyone, is much more lively and unrestrained (even if in an understated way) when the red eye isn't on.
# Posted on December 10th 2011 by Will Harmon
Re: This is How We Fly
P.S. I'm also not a big fan of the "flawless" carefully wrought studio sound, which the above recordings have in spades. I'll take the quick and dirty sound of Music in Matt Molloy's, the pub tracks on Pathway to the Well, and Shores of Lough Graney any day, thanks.
# Posted on December 10th 2011 by Will Harmon
Re: This is How We Fly
I take things and people as they are. I don't expect Caoimhin to sound like Bobby Casey -- I expect him to sound like himself. You're right -- with a few exceptions (like Pathway to the Well) recordings now are not like some of the old recordings but it's still good music, just going for a different sound. I'm not going to impose a "the old stuff is better" value judgment on it.
Remind me, if I am ever in a session with you, to not touch an instrument as I won't be anywhere near spontaneous and inventive enough for you.
# Posted on December 10th 2011 by DrSilverSpear
Re: This is How We Fly
I don't expect or want Caoimhin to sound like Bobby Casey either. I just don't much care for his recordings.
As for sessioning, it's true: I'm not inspired by people playing the same tunes the same way week after week. Or when they're unable to toss musical ideas back and forth on the fly. It's much more interesting and fun to play with people who have a musical conversation, rather than speaking from a well-rehearsed script. At it's best, that's how this music is played.
# Posted on December 11th 2011 by Will Harmon
Re: This is How We Fly
Will, why not converse with Emily?
# Posted on December 11th 2011 by ain't fluffed
& what came of the 8th & 9th of December 2011?
# Posted on December 11th 2011 by ain't fluffed
Re: This is How We Fly
Tonya, There was a server glitch, and the 7th of December lasted for three days as far as this website is concerned. Normal dates on postings restarted as of 11 December.
# Posted on December 11th 2011 by AlBrown
Re: This is How We Fly
It's good to see the otherwise ubiquitous www. is catching up with the 60s, & other lost time periods. ~ If you can remember it you weren't there.
Welcome back to normalcy!
# Posted on December 11th 2011 by ain't fluffed
Re: This is How We Fly
I might be one of those people who plays the same tunes the same way (nae variations) in the same sets or I might not be. It's a mystery.........
# Posted on December 11th 2011 by DrSilverSpear
Re: This is How We Fly
I agree with the silver spear that both recordings have plenty of spark and spontaneity. Listen again carefully, Will Harmon, and I'm sure you'll hear it. The way Micheal O'Rachallaigh, Catherine McEvoy, and Caoimhin play around each other - never sounding like a super tight unison. Certainly not polished and scripted to my ears. And Caoimhin doesn't always tune down, there are several exmples of standard tuning on those recordings, unlike Kitty Lie Over.
# Posted on December 11th 2011 by prestonian
Re: This is How We Fly
And I meant to say that he sounds great in standard tuning also.
# Posted on December 11th 2011 by prestonian
Re: This is How We Fly
No thanks. I've listened to Deadly, Comb, and Moment, closely. Caoimhin's a talented musician and adept fiddler. It's not poor playing or "bad" music. Just doesn't float my boat.
I am allowed to prefer other approaches to the music, yes?
# Posted on December 11th 2011 by Will Harmon
Re: This is How We Fly
Whatever floats your boat and I normally don't care what people's opinions are of the music I like, but to say that those particular recordings are too clean and too polished just seems bizarre to me. I'm glad prestonian agrees -- I was beginning to think perhaps I'd gone mad.
# Posted on December 11th 2011 by DrSilverSpear
Re: This is How We Fly
I am allowed to prefer other approaches to the music, yes?
Of course you are. It's just that I (and others) are saying that we think your description of the recordings is inaccurate. Glad to hear you agree that Caomhin O'Raghallaigh is talented. I really enjoy his take on music.
# Posted on December 11th 2011 by prestonian
Re: This is How We Fly
"And I meant to say that he sounds great in standard tuning also. "
And on the clip he's playing a "5+5" - a 5 string version of a "Setesdalsfele" with 5 sympathetic strings - I think his tuning here is AAEAE - a low A with the next two strings tuned up from a standard fiddle tuning. The big round tone will be assisted by the concordant open strings and the sympathetic "understrenger" ringing out.
If you are into hardingfele music, this stuff isn't so strange. Dancing is a little tame compared to a halling though!
http://www.youtube.com/watch?v=-Wq6If8MsFQ&feature=related
BTW - Norwegian, not Swedish.
# Posted on December 11th 2011 by Weejie
Re: This is How We Fly
Incredible, Weegie. I have never seen that before. Thanks so much for posting that link. Whewwwww!
# Posted on December 11th 2011 by John Culhane
Re: This is How We Fly
I was going to point out the same thing--Caoimhin's frequent use of the sympathetic string Norwegian fiddle. So thanks for mentioning it, Weejie.
People who like that droney, ringing wall of sound will probably like his recordings. Personally, I prefer just a plain, honest fiddle, at least for Irish music.
As far as whether my descriptions are accurate or not, I'll trust my own ears. They've gotten me this far.
# Posted on December 11th 2011 by Will Harmon
Re: This is How We Fly
"I am allowed to prefer other approaches to the music, yes?"
It depends Will, what are your views on Liz Carroll? ;)
I like Caoimhin in small doses, but I like Deadly Buzz mainly for the pipes playing and Comb Your Hair and Curl It for the concertina. That said, the final track on Deadly Buzz is, IMO, a great version of Farewell to Ireland.
# Posted on December 11th 2011 by SmashTheWindows
Re: This is How We Fly
I like it. I like the subtle bits where you hear a sound and you have to go looking for the source. I probably wouldn't pay for a whole evening of it, I'd need to be in a particular mood. I still like it though.
# Posted on December 11th 2011 by Backer
Re: This is How We Fly
"I like the subtle bits where you hear a sound and you have to go looking for the source."
You mean it's like an auditory Where's Waldo for you?
# Posted on December 11th 2011 by Jon Kiparsky
Re: This is How We Fly
I'm falling around the place Jon! by the way it's "Where's Wally?"
# Posted on December 11th 2011 by Backer
Re: This is How We Fly
You're right, I see. Published here as "Where's Waldo". My bad.
# Posted on December 12th 2011 by Jon Kiparsky
Re: This is How We Fly
okay, okay, so he's not nell galvin or lucy farr. but then, who is?
# Posted on December 12th 2011 by ceemonster
Re: This is How We Fly
I saw them last week in Dublin. I enjoyed it but it became very samey, dancing great, Caoimhín didn't play the real fiddle once, the scrapping got very annoying. Bass sax why?? The Scandy percussionist was good gas. Artschool audience in awe of this experimental approach which is leaning way too much towards the pretentous. I thought to myself it would suit RTÉs The View. When I got home....it was on The View. I didn't throw my shoe at the telly this time!!!
# Posted on December 13th 2011 by iwerzon
Re: This is How We Fly
are you the person who's gonna throw it at the iranian president?
# Posted on December 14th 2011 by ceemonster