Birdsongs of the Mesozoic The Iridium Controversy
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- Released: November 3, 2003
- Originally Released: 2003
- Label: Cuneiform
Song previews provided courtesy of iTunes
Birdsongs Of The Mesozoic: Michael Bierylo (guitar, drums, programming);
Ken Field (flute, saxophone, percussion); Erik Lindgren (piano, organ, washboard); Rick Scott (piano, synthesizer, percussion).
Recorded at Sounds Interesting, Middleborough, Massachusetts; Visual Planet, Brookline, Massachusetts and Atlantic Center For The Arts, New Smyrna Beach, Florida between August 2002 and April 2003.
Digitally remastered using HDCD technology.
Personnel: Michael Bierylo (guitar, programming); Ken Field (flute, saxophone, percussion); Erik Linsfren (piano, organ, washboard); Rick Scott (piano, synthesizer, percussion); Roger Miller (piano); Erik Lindgren (grand piano, organ, washboard); Larry Dersch (drums, percussion); Eric Paull (drums); Terry Donahue (djembe, percussion); Ken Winokur (percussion).
Audio Mixer: Rich Durkee.
Recording information: Sounds Interesting, Middleborough, MA (08/2002-04/2003); Virtual Planet, Brookline, MA (08/2002-04/2003).
Author: Roger Miller .
Photographer: Claire Folger.
THE IRIDIUM CONTROVERSY marks Birdsongs of the Mesozoic's 20th anniversary as a recording unit, and stands to show how far they've come. The group began in the early '80s as an outlet for the less rock-oriented interests of Mission of Burma leader Roger Miller, but by the end of the decade he was gone, leaving the band to progress without him. A couple of decades down the road, Birdsongs have indeed refined their all-instrumental fusion of rock, jazz, and neo-classical composition.
Though most tracks are no more than five or six minutes long, each one is so full of subtly integrated textures and mood shifts that it feels like a kind of mini-symphony. THE IRIDIUM CONTROVERSY, while a very modern-sounding affair, bears a timeless tone that probably comes from the interaction of acoustic instruments (piano, saxophone) with electronic ones (synthesizer, programming). The resultant tonal character lends the album a feel that will surely sound contemporary another 20 years down the line.
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