CMJ - p.30
"While remaining gentle and peculiar throughout, CO ORDINATES' drones, pulses, ragas, microtones and modes are diverse and unpredictable, making a maximalist record with minimalist techniques."
Personnel includes: Eyvind Kang (violin); Mike Patton (vocals, electronics); The Playground Ensemble.
Recorded live at the Angelica Festival, Bologna, Italy in 2000.
Personnel: Eyvind Kang (violin); Eyvind Kang; Walter Zanetti (acoustic guitar, electric guitar); Tim Young (electric guitar); Alessandro Bonetti, Dimitri Sillato (violin); Stefano Zorzanello, Stefan Zorzanello (flute, soprano saxophone); Marco Dalpane (accordion, keyboards); Luigi Zardi, Maria Gigliotti, Mario Gigliotti (trumpet); Boukouya,Marc Stutz (trombone); Pierangelo Galantino (double bass); Pierpaolo DeGregorio (drums, percussion); Stefano Bussoli (percussion); Mike Patton (electronics); Evan Schiller (sound effects); Michael White (violin); Johannes Platz (viola); Sebastiano Severi (cello); Ulrich Krieger (clarinet, alto saxophone); Maurizio Costanzo (oboe); Andrea Racheli (bassoon).
Audio Mixer: Evan Schiller.
Recording information: Cinema Teatro Manzoni, Bologna, Italy (05/09/2000-05/12/2000).
Editor: Evan Schiller.
Commissioned by the Angelica, Festival Internazionale di Musica in Bologna, Virginal Co-ordinates ranks paradoxically among Eyvind Kang's most ambitious and accessible works. The piece is scored for a large ensemble (the 16-piece ensemble Playground) and six extra musicians: singer Mike Patton, guitarist Tim Young, once Sun Ra violinist Michael White, Kang himself, and engineers Tucker Martine and Evan Schiller, who are responsible for the sound diffusion and live processing. Fans of Kang will recognize the spiritual yearning found in some of his NADE pieces. The 73-minute work takes the form of a suite of themes that draw from Indian classical music and American minimalism, with flourishes of impressionistic and big-band arrangements. Often a marimba will lead the group into a repetitive motif reminiscent of Steve Reich's percussion works, or of simplified gamelan music. The longer movements are built over trance-like repetition and melodic development akin to a raga, especially in "Doorway to the Sun." "Innocent Eye, Crystal See," with its luminously elevating chant (can that really be Patton? He's the only credited singer), brings to mind Nana Vasconcelos' musical illuminations. Two shorter tracks take the form of songs: "I Am the Dead" and the closing "Marriage of Days," both interpreted with grace by an unrecognizable Patton -- as close to a choir boy as he'll ever sound. In fact, the latter is led by a flute melody and builds to an angelic finale your mother (or grandmother) would love! Once more Kang has managed to deceive expectations and come up with a brilliant album. But this one is so virginal white that some listeners might find it a bit too clean. ~ Fran‡ois Couture