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Killing Machine / Metalmorphosis
Killing Machine
Pop/Rock - Released July 17, 2020 | The Store For Music Ltd
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Metalmorphosis
Tayzon RC
Hip-Hop/Rap - Released February 21, 2024 | The New Versa Music
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MetalMorphosis
Mapache
Hip-Hop/Rap - Released October 22, 2023 | Mapache
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Metalmorphosis
Morbid Mechanics
Metal - Released November 14, 2022 | 2155170 Records DK
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Metalmorphosis - Music for Tamtams
Dominic Donato
Alternative & Indie - Released May 6, 2008 | Capstone Records
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Metalmorphosis
The Musician Physician
Jazz - Released August 22, 2022 | The Musician Physician
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Philip Glass Solo
Philip Glass
Classical - Released January 23, 2024 | Orange Mountain Music
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Pundits say tonality was stretched to its limits around 1900, and that atonal music—music without a key center—was the way of the future. Arnold Schoenberg led the way with his system of 12-tone composition, and that complex method found favor with many composers, most notably Alban Berg, whose music, along with Schoenberg's, is performed to this day, especially Berg's operas Wozzeck and Lulu. Of course, plenty of composers ignored that structured keyless future, the impressionists especially, but also those who rejected any key structure at all, typified by Karlheinz Stockhausen and John Cage. Whatever technique was used, the consensus was that tonal music, outside of popular music and jazz, was considered dead.Beginning with La Monte Young in 1958 however, tonality returned, but in an entirely new manner, with minimal application of the traditional techniques of harmony and counterpoint. Other composers like Steve Reich, Moondog, and Terry Riley, to name a few, arrived on the scene, and their minimal compositional techniques began to find larger audiences. Inevitably their music was dubbed Minimalism. No composer has had as much influence on Minimalist as Philip Glass, and masterpieces like Music in Twelve Parts and Einstein on the Beach firmly placed him at the moment's forefront. Now Glass, hard to believe, is 86 years old, and without deigning to call this latest release the composer's "greatest hits," it should not offend anyone to call it a retrospective. This time, we have the privilege of hearing Glass playing the works himself. Some were originally composed for piano, while others are transcribed from larger works. With the composer at the keyboard, though, the performances here may be deemed definitive and provide us with a wonderful musical portrait of the composer. © Anthony Fountain/Qobuz
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Signature Philip Glass
Angèle Dubeau
Classical - Released November 3, 2023 | Les Productions Analekta Inc.
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With the continuing popularity of Philip Glass' music, various performers have arranged it for new combinations. He hasn't been notably dismayed by this, and indeed, one might draw a comparison with Arvo Pärt, whose works, to some extent, come into their own as they are performed in different versions. This release by veteran violinist Angèle Dubeau and her ensemble La Pietà is unique thus far. Dubeau reduces some larger items, like an excerpt from the Koyaanisqatsi film score, to chamber ensemble dimensions while performing some of Glass' relatively sparse output of chamber music unaltered. This results in some interesting insights, for example, that the chamber music, although for the most part relatively recent, mostly sticks closer to the minimalist core of Glass' style than the larger pieces, which open that style up to harmonic motion on a bigger scale. Dubeau thus shines a novel lens on Glass' music as a whole. The performances are arresting, with the edge of tension that makes a strong Glass performance, and the Analekta label wisely departs from its frequent choice of Montreal churches for the Multimedia Room at McGill University, an ideal space. Even those with large Glass collections will want to add this unusual release.© James Manheim /TiVo
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Pulse
Shani Diluka
Classical - Released April 21, 2023 | Warner Classics
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Here, Shani Diluka pays homage to the great American minimalist masters of the second half of the 20th century: Moondog, John Adams, Philipp Glass, Julias Eastman. Behind the Pulse title, we have identified a discreet nod to the eponymous work of Steve Reich, leader of the genre and yet curiously absent from the selection. But Pulse is also this notion of an uninterrupted beat, that of the heart, the heart of a country, grappling with its contradictory rhythms: from the frenzy of megacities to time suspended in wide-open spaces. Pianist Shani Diluka takes a tender and fascinating look at these soundscapes which showcase the splendours of a continent-nation (Danny Boy, Shenandoah) and the glaring traumas of its History (The Holy Presence of Joan d'Arc) © Pierre Lamy/Qobuz
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Metamorphosis
The Dark Side of the Moon
Metal - Released May 12, 2023 | Napalm Records
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Metamorphosis Ligeti
Quatuor Diotima
Classical - Released March 3, 2023 | PentaTone
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Distinctions
4F de Télérama
The Metamorphosis Ligeti referred to in the title of this PentaTone Classics release could refer to the subtitle of Ligeti's String Quartet No. 1 ("Métamorphoses nocturnes"). It could also suggest how much Ligeti's style changed in the 15 years between the String Quartet No. 1 and String Quartet No. 2; the first quartet was begun in 1953 and still, with its Hungarian folk influences, still fit barely within the dictates of Hungarian socialist realism, while the second is an extreme modernist work. However, the two works are not so far apart as a casual listen might indicate, and the edgy performances of the Quatuor Diotima emphasize the continuity. The String Quartet No. 1 consists of a dozen short movements, as brief as 55 seconds, that, in their economy, suggest that something other than semi-traditional melodic material is happening here, and the Quatuor Diotima gives sharp, clipped performances that bring out the modernity of the work. The quartet is sometimes called "Bartók's seventh quartet," but the Quatuor Diotima stresses the departures from Bartók. The same is true even in the Andante and Allegretto for string quartet of 1950, a more folk-oriented work. The String Quartet No. 1 has its quota of technical challenges, but it is simple compared with the Second Quartet, a work that requires hair-trigger concentration from the players and the ability to make extremely quiet sounds at the top of the instruments' registers. The Quatuor Diotima's performance in the various insectlike sounds in the work is nonpareil. A truly excellent Ligeti recording that penetrates deeply into the composer's essence.© James Manheim /TiVo
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