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Cathedral City


Price: $12.53 & FREE Shipping on orders over $35. Details
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Audio CD, September 28, 2010
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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. A Door in the Dark 5:21$0.89  Buy MP3 
listen  2. I Am Coming for My Things 4:57$0.89  Buy MP3 
listen  3. Cathedral City 4:56$0.89  Buy MP3 
listen  4. Like a Miracle 5:47$0.89  Buy MP3 
listen  5. The Diver 7:10$0.89  Buy MP3 
listen  6. A Song for Mick Kelly 5:15$0.89  Buy MP3 
listen  7. A Song for Arthur Russell 5:36$0.89  Buy MP3 
listen  8. India Whiskey 6:23$0.89  Buy MP3 

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Cathedral City + Song from the Uproar: Lives and Deaths of Isabelle Eberhardt + Awake
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Product Details

  • Performer: Missy Mazzoli, Olivia De Prato, Lorna Krier, Eileen Mack, Eleonore Oppenheim
  • Conductor: Missy Mazzoli
  • Composer: Missy Mazzoli
  • Audio CD (September 28, 2010)
  • Number of Discs: 1
  • Label: New Amsterdam Records
  • ASIN: B003X859MU
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #149,585 in Music (See Top 100 in Music)

Editorial Reviews

Review

These days, chamber-music groups often move far beyond the traditional classical repertoire. From the Ebene Quartet's appropriation of jazz tunes to the Turtle Island Quartet's recent tribute to Jimi Hendrix, small ensembles are deftly side-stepping genre classification.

Brooklyn-based Missy Mazzoli and her ensemble Victoire fall solidly into this hard-to-define category with their debut album, Cathedral City. Though all of the members are classically trained, Mazzoli's music has been labeled chamber rock, indie classical, mimimalist, post-rock and even 'pseudo-classical'

Cathedral City is complex and imaginative, hooking the listener right at the beginning with the slow, meditative keyboard introduction to 'A Door Into the Dark' Mazzoli commands attention through every piece, tying the works together with close relationships in structure and sound. The eight tracks stand alone, but they flow organically into one another.

Mazzoli's music might come across as simplistic, and on one level it is: She uses manageable meters and sticks with basic harmonic building blocks. And if some of her techniques -- such as the use of spoken numbers in 'India Whiskey' -- are reminiscent of Philip Glass, it's because she borrowed the instrumentation of his ensemble as a starting point for herself. It might be tempting to cast Cathedral City into the minimalist camp, but the album is too subtle to pigeonhole.

Just when Mazzoli's sound begins to seem predictable, she tosses in something that snares the imagination. The title track, for example, is based on an uncomplicated melody, with musicians playing in unison. But the listener is drawn in by airy vocal samples and a gentle electro-beat. As the music pulses on, the voices become more prominent, almost masking the fact that the musicians have begun playing a fugue.

Is Victoire's music post-rock, post-mimimalist or pseudo-post-pre-modernist indie-chamber-electronica? It doesn't particularly matter. It's just good music. --NPR First Listen, Ashalen Sims, September 19, 2010

...Victoire, a quintet from Brooklyn, puts a progressive spin on the clarinet-violin-piano trio by adding keyboards, double bass, light IDM-inspired electronics, and the striking compositional voice of pianist Missy Mazzoli. In one fell swoop, the ensemble bypasses the low-end dilemma and breaks with the existing repertoire, in search of music that gives voice to a thoroughly post-classical age... Victoire worry at their motifs like difficult knots but ground them in relentless cadences. Within these strict parameters, they pack in an admirable variety of technique and emotional shading, from dawning unease to distressed inspiration. 'A Song for Mick Kelly' feels at once fretful and poised, with a violin sawing desperately against immovable electric guitar chords courtesy of the National's Bryce Dessner. 'A Door Into the Dark' is furtive but forceful, its layered motifs pausing, lunging boldly forward, scattering. On 'I Am Coming for My Things', violin tremolos dart around deep, even figures in the clarinet and crackling radio transmissions. The music settles down when the voices subside, implying a direct link between freedom from encroaching signals and serenity of mind. That's a timely preoccupation if ever one was-- privacy, after all, is also a relatively modern invention; one that is currently under duress. Decisively erratic and turbulently lyrical, Victoire condense moments of focused beauty and quiet conviction from the pandemic distractions of modern life. --Pitchfork.com, Brian Howe, December 1, 2010

Product Description

Victoire is a new chamber-rock ensemble founded by composer/pianist Missy Mazzoli. The group,
recently dubbed 'an all-star, all-female quintet' by Time Out New York, is part chamber group and part DIY indie band, including everything in its sonic arsenal from winds and strings to keyboards and lo-fi electronics. Victoire performs Mazzoli's distinct blend of dreamy post rock, quirky minimalism and rich romanticism. Since forming in 2008 they have shared the stage with Tortoise, Twi the Humble Feather, Redhooker and many others, performing at top venues including New York's Le Poisson Rouge, Galapagos Art Space, Roulette, The Stone and the Whitney Museum, Chicago's Millennium Park, and the Bang on a Can Marathon. In spring of 2009 they became the first classical artist to be featured on 'eMusic.com Selects'. Cathedral City, Victoire's first full-length album, follows on the heels of the group s debut EP, A Door into the Dark, which was released in March 2009. Sonically, Cathedral City continues in the direction of its predecessor, with rich, dark textures, solipsistic harmonies, and sampling and electronics used to eerie effect. Cathedral City showcases a group that is mastering its sound, revealing the full extent of Mazzoli's sweeping artistic vision.

Customer Reviews

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Most Helpful Customer Reviews

7 of 7 people found the following review helpful By RyanManchester on October 1, 2010
Format: Audio CD
Victoire's music (composed by Missy Mazzoli) is hard to label. Most would label it as "classical" music because of the core instrumentation, but Cathedral City goes beyond classical music. This is a music that shares the mass appeal with indie music, but is masterfully composed, using classical techniques, yet is subtle in delivery. When music is as subtle and as deep as the music on this album, that is where artistic mastery shines. Mazzoli blends these two approaches seamlessly creating a work that is as hard hitting as the best indie release and as nuanced and intelligent as any art music. Combined with guest appearances from label-mates William Britelle and Melissa Hughes with an appearance by Bryce Dessner of The National, Cathedral City will indulge and stimulate even the most finicky listener.
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3 of 3 people found the following review helpful By John Neumann on October 20, 2010
Format: Audio CD
I saw the group "Victoire" back in August here in Pittsburgh. At the show, I passed on picking up the new CD "Cathedral City" because I was in money-saving mode, but I did put the release date on my calendar, and ordered it the day it came out. Well, I got it in the mail, and must say I'm really taken with it. It's been on my iPod for the last couple weeks, and I haven't gotten sick of it yet. Unlike a lot of music, it really holds up to repeated listenings. I'm not sure why I like it so much. It does touch on a few things I like- "organic" sounding composition (by which I mean sounds kind of improvised, even though it isn't), a nice combination of real chamber instruments with well-chosen electronic sounds (not unlike my own music, if I may be immodest for a moment), and a moderately strong Philip Glass influence (I think the bassist is a member of the P.G. Ensemble as well). Actually, listing those things makes me see, duh, of course I like it, since I like all those things.

Victoire and composer/leader Missy Mazzoli have been getting a lot of good press, and it's not just hype. You should check them out.
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2 of 2 people found the following review helpful By Ryan Flanders on April 15, 2011
Format: Audio CD
I saw a live performance by this group at the Walker Art Center, and it blew me away. At first, I didn't realize it was a live concert.

Around the corner I was standing, completely mesmerized, in front of Guenther Uecker's "White Field" (1964), which is an abstract work consisting of painted white nails hammered onto a square grid at one-inch intervals. The nails are bent in different directions, like a top-down view of the wind bending blades of grass across an open field, wave after wave.

That's what this music is like. And what a surprise when I walked around the corner, and there were the musicians playing live!

It was like a blast of summer wind rushing through my hair, windows down cruisin' on a sunny country road (in slow motion).

Put this album on your mp3 player, bring your best pair of headphones to the art museum (or go for a nature walk), and enjoy!
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2 of 2 people found the following review helpful By Kelly Dowhower on February 18, 2011
Format: Audio CD Verified Purchase
Although a bit too minimalistic for my taste, I'm glad I bought this CD. It has some very stunning moments and it never bores. Encore! More!
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Format: Audio CD Verified Purchase
As a previous reviewer noted, it's difficult to label the music of Victoire. If pressed, I'd opt for contemporary minimalist chamber music -- but that wouldn't begin to encompass their full range.

What strikes me is a recurring touch of childhood wonder & mystery, tempered with a somewhat more anxious or uncertain undercurrent. I'm reminded in certain ways of the French artist Colleen, in that the gentle & melodic never become overly twee. There's a lot of sinew & shadow just beneath the surface, giving the music a real strength. It stirs emotions & memories -- not so much directly as in subtle, even subconscious ways, so that the effect lingers after the last note has faded.

Whatever you choose to call it, this is exceptional music that speaks to both the longings & fears of contemporary life -- certainly beautiful, but never superficial or glossy -- highly recommended!
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