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Twilight & Ghost Stories


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Audio CD, December 4, 2007
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$14.82
$6.23 $2.95

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. I 6:34$0.99  Buy MP3 
listen  2. II 2:33$0.99  Buy MP3 
listen  3. III 3:30$0.99  Buy MP3 
listen  4. IV 4:35$0.99  Buy MP3 
listen  5. V 2:17$0.99  Buy MP3 
listen  6. VI 3:38$0.99  Buy MP3 
listen  7. VII 3:45$0.99  Buy MP3 
listen  8. VIII 4:45$0.99  Buy MP3 
listen  9. IX 3:26$0.99  Buy MP3 
listen10. X 4:15$0.99  Buy MP3 

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Product Details

  • Audio CD (December 4, 2007)
  • Original Release Date: 2007
  • Number of Discs: 1
  • Label: Asthmatic Kitty
  • ASIN: B000X418XG
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #622,634 in Music (See Top 100 in Music)

Editorial Reviews

A dense, 40-minute modern composition featuring a disparate cross-section of musicians from the avant-garde, independent folk, jazz, and electronic communities (including Dirty Projectors, Sufjan Stevens, Walter Kitindu, Castanets, Parker Paul, Bhob Rainey, and Mick Rossi). A creative and accomplished jazz guitarist, Schlarb (also one-half of I Heart Lung), plays acoustic piano, organ, electric and acoustic guitar, as well as tapes and percussion on this release. RIYL: William Basinski, Pink Floyd, the "Apocalypse Now" soundtrack, John Fahey.

Customer Reviews

4.2 out of 5 stars
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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By N. Erber on January 11, 2008
Format: Audio CD
Seems easy, right? You take a bunch of tracks (Ie. field recordings, snippets of melodies, original instrumentation), combine them with a couple contributions from some of your high-profile indie rock friends, mash them up in Garageband. Make sure that certain sounds are dominant and to the untrained listener everything in the background just jumbles together. Don't worry about the chaos, because most people can't hear it.

For most other people, this stuff would be easy. But Chris Schlarb seems to worry about chaos. Every piece of this densely packed, beautiful album fits together just so. All the background noise, all the overheard conversations, all of the wet, wet rain hitting the pavement. It all works together in some unconveyable spiritual sense. Personally, I hear something new every time I drop it in the CD player. Examples: fat, slide guitar stopping and starting over what sounds like cars splashing onto sidewalks; Parker Paul's voice over droning guitars (see also: Create (!)-A Prospect of Freedom) over a deep and deeply moving sax in a grain silo; S. Steven's "elegiac" piano over cymbal swells and the patter of a Long Beach rain and what I can only describe as something that sounds like it's beating and blowing (Havalina's Orlando Greenhill?).

None of the ambient or experimental aspects of the music compromise the album's listenability. In fact, this might be the album that finally gets you, good listener, into more free-jazzy, deconstructionist music. Just wikipedia a couple of the contributors.

It's deeply personal, communal, innovative, and as far as this small voice is concerned, one of the best albums of 2007.
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3 of 4 people found the following review helpful By Todd Ebert on December 17, 2007
Format: MP3 Music
First off, if half-stars were possible, I would have given this recording 3.5 stars. I rounded up because this is Chris Schlarb's first release, and a very ambitious and creative one at that.

"Twighlight and Ghost Stories" by Chris Schlarb gives a partial answer to one question that I often contemplate: how would serious composers from decades and centuries ago compose their music given access to today's plethora of recording, synthesizer, and computer technology? Back then, for a piece of music to be heard, it would have to be played by a group of musicians playing together at the same place and time. Moreover, the set of sounds that were possible were limited by those that the acoustic instruments could generate. On the other hand, it appears that Schlarb individually recorded and played with many of the over 30 musicians who appear on this recording in non-chronological order (with respect to the order of when each note is heard). A less ambitious project would have found the composer staying home and generating the sounds adhoc with his own synthesizer and recording equipment, but not here. Like the traditions of the past, much of the sounds heard on this recording were played with acoustic instruments by professional musicians. Additional sampled electronic sounds and sampled environmental sounds (e.g. rain falling and waves crashing) permeate the listening space throughout.

The composition itself consists of 10 musical vignettes, but I would hesitate to say that each is meant to tell its own "Ghost Story", and if they were, I am not at all sure the stories tie together in any given way. But that is not necessary for enjoying the music.
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Format: Audio CD
First off, if half-stars were possible, I would have given this recording 3.5 stars. I rounded up because this is Chris Schlarb's first release, and a very ambitious and creative one at that.

"Twighlight and Ghost Stories" by Chris Schlarb gives a partial answer to one question that I often contemplate: how would serious composers from decades and centuries ago compose their music given access to today's plethora of recording, synthesizer, and computer technology? Back then, for a piece of music to be heard, it would have to be played by a group of musicians playing together at the same place and time. Moreover, the set of sounds that were possible were limited by those that the acoustic instruments could generate. On the other hand, it appears that Schlarb individually recorded and played with many of the over 30 musicians who appear on this recording in non-chronological order (with respect to the order of when each note is heard). A less ambitious project would have found the composer staying home and generating the sounds adhoc with his own synthesizer and recording equipment, but not here. Like the traditions of the past, much of the sounds heard on this recording were played with acoustic instruments by professional musicians. Additional sampled electronic sounds and sampled environmental sounds (e.g. rain falling and waves crashing) permeate the listening space throughout.

The composition itself consists of 10 musical vignettes, but I would hesitate to say that each is meant to tell its own "Ghost Story", and if they were, I am not at all sure the stories tie together in any given way. But that is not necessary for enjoying the music.
Read more ›
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