Beauty Is In The DistanceBeauty Is In The Distance

Beauty Is In The Distance - Beauty Is In The Distance album cover
Label:Alma De Nieto – DNN 006 C
CD, Album
Style:Experimental, Avantgarde


1Beauty Is In The Distance39:48

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Barcode and Other Identifiers

  • Matrix / Runout: DNN 006 C
  • Mastering SID Code: none
  • Mould SID Code: none
  • Other (In mould): OOO “Маркон” Лиценция МПТР России ВАФ No 77-103



  • maximalist's avatar
    Guitarist Luciano Margorani has been active in the Italian experimental music scene
    since the mid-80s, as a solo artist, as a member of LA 1919, Ferdinando Faraò’s
    Artchipel Orchestra, and Fracture, as well as collaborations with the likes of Chris
    Cutler, Derek Bailey, Elliott Sharp, Henry Kaiser, Ferdinand Richard, Bruno
    Meillier, Charles Hayward, Giovanni Venosta, Roberto Musci, Gregg Bendian, and
    many others. For this 40-minute improvisation he has teamed up with his drummer
    from LA 1919, Federico Zenoni, laying down the basic track, and invited The
    Muffins’ Dave Newhouse to lay down additional tracks of clarinet, bass clarinet, and
    keyboards to complete the piece. Launching somewhere on the rock side of fusion,
    the initial burst of energy is a powerful trio of guitar, electric piano, and drums,
    winding down into some interesting percussive play with strange noise
    accompaniment. While the piece is indeed 40 minutes non-stop, there are a number of
    index points breaking it down into nine distinct sections, the second of which is
    slower paced, introducing the bass clarinet to the overall mix over bursts of sparkling
    electric piano, leading directly into a playful conversation between guitars and bass
    clarinet, with Zenoni’s drums erupting into splendid chaotic brilliance midway
    through. By the beginning of the fourth section we are again in a more laid-back
    mode with a conversation between drums and piano, with guitar adding the highlights
    as the piece builds. These alternating and contrasting dynamics that follow through
    the piece with different instrumentation taking lead roles at different times as it goes
    is the glue that holds it all together and keeps the piece interesting from beginning to
    end. While there are many highly energized full-throttle sections to grab the listener
    by the jugular, with repeated listens the beauty of the slower parts where there is a
    more spacious approach come to light and reveal themselves (all of section six, and a
    good chunk of section eight, for example) for their subtle and magical intensity. All
    taken, as far as improvisation goes, Beauty Is in the Distance is firing
    • Rnpele's avatar
      I am just checking on the status of the order. thanks.


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