If you have lyrics, you are preaching in a way. Somehow words are a block to communication. It's almost impossible for me to explain exactly how I feel about this, that's why I'm a musician. The only way to really understand what I mean, is to firstly listen to a pop group and then listen to us, and then I hope you will know what we're trying to say.
Glen Sweeney to Muz Murray, Their approach to music is different because there is no duality, no conflict between the natural element of chance and the human element of control, did the moon ask to be reflected in the water? This worked his mind to such a pitch, he lay distracted in a ditch considering how to run". Third Ear Band, We do ragas, that aren't really ragas at all, and unless we get a turned on promoter, we get into some weird scenes. At Norwich once, when the promoter saw the audience sitting down and closing their eyes to our music, he accused us of putting them to sleep!
Complete paranoia. We've stayed very much Underground - no photos - and I think this was necessary so people wouldn't put us in a bag. We'd rather the just came up and heard us without ANY preconceived ideas. It's not really Indian music, although we use a drone instead of the usual bass line riffs.
Klaus Schulze. Third Ear Band. Peter Green. Michael McGear. Van Der Graaf Generator. Lol Coxhill. Alchemy , their first release, is a wonderful record. With shorter tracks than found on later albums, Third Ear Band here makes excursions into improvised chamber music.
In the opener, "Mosaic," which is at seven minutes one of the longest cuts, guitar meets recorder and violin in a disharmonic free jazz summit that fades away before building into a trancy mini-crescendo.
On "Stone Circle," recorder lines interweave over an unadorned drum's repetitive rhythm. At times the recorder lines are so fluid and unnatural they sound like they're being played backwards -- which indeed they just might be. Generally the remainder of the tracks run the course between half-structured improv and droning chaos.
Comparisons could be drawn to Soft Machine or the Dream Syndicate , but neither quite has the sense of "collective first" nor the repetitive insistence of Third Ear Band. The songs, to quote Sweeney again, are "alike or unlike as trees. Stone Circle 5. Egyptian Book Of The Dead 6. Area III 7. Dragon Lines 8.
Lark Rise. Condition :. This item is in Excellent condition or better unless it says otherwise in the above description. The remastered version has original takes of the three aforementioned centerpieces, none of which are especially different, but they do reinforce the significance of this path rarely trod by THIRD EAR BAND, and given up before it could flourish. Review by jamesbaldwin Prog Reviewer. The album, dedicated to the 4 elements, opens with Air, an impromptu suite with many due to improvisations mainly of oboe Minns and viola Coff , while the tablas Sweeney produce a basic rhythm in Indian style very fast but that acts as a background carpet.
Wind noise opens this first movement that looks like a jazz improvisation but the sound is completely different because it is conducted by the viola and violin? It is a magnificent piece and unfortunately the other movements especially those on B- side of the disc will no longer reach these heights. The piece will fade and again with the noise of the wind. Rating 9. The second piece, Earth, is more synchronous between the rhythm of the tablas, which changes in speed, and the sound of the instruments.
There is an increasingly sustained progression, a pause and a return of fast pace. More narrative piece, less abstract. It's like a folk dance but you can't say what kind of folk: Irish? We don't know. Another great piece. Rating 8. The B-side opens with Fire, which produces an orgiastic sound where all the instruments are engaged in high volume dissonances, we are close to the cacophony, you can only identify the odd rhythm of the tablas.
The high notes of the strings and oboe are dubbed on both speakers producing extreme almost random dissonances that after a long time make it ardous to listen. Surely it is the most divisive piece, it seems a satanic ritual where you can just avoid paying attention to the ear the third and throw yourself into the dance by moving with your bowels.
The ears may be annoying, the sounds are unpleasant, this piece should be taken as a tribal dance without listening to the single instrument but only the overall result. Frankly I can not love it, the more time passes the more I hope in a variation that does not arrive and then the song begins to annoy me for the endless racket. I recognize, however, that again the band has found an unprecedented musical fusion. Rating 7,5.
Rain noise in the distance that bathes the fronds of the trees, soft sounds then come from the percussion of Sweeny, then it is the oboe Minns that leads the melody while the viola Coff occasionally doubles it and the cello Smith produces dissonances in the background.
Quiet movement, without particular peaks or falls, is more than anything a variation on a dominant melodic theme with percussion to beat a rhythm in three times. Over time it becomes less and less melodic.
This is an essentially folk-fusion album, completely original and without possible comparison. It has an exceptional first side for both arrangement and music, which could make this album an absolute masterpiece of folk-rock or chamber music? Five stars. Review by Matti Prog Reviewer. To demonstrate the uniqueness of TEB, it's good to begin with the unusual instrumentation: oboe and recorder Paul Minns , cello and bass Paul Buckmaster , plus guitars, drums, violin and VCS3 synth.
The two last mentioned are played by Simon House, formerly of High Tide and later of Hawkwind -- the only member who hasn't any composing credits here. The music is mostly acoustic, pretty much dominated by oboe, cello and violin. Also the simple percussion sounds like the band is after an old music flavour. But they were no Amazing Blondel; no harmonic troubadour stuff but slightly disjointed and gloomy soundscapes.Doppio cd contenente il primo album alchemy ed il secondo elements della notevole formazione inglese dei third ear band, usciti rispettivamente nel 60 e progressive come forma concettuale musica altamente free form dissonante improvvisazione atmosfere esotiche e soffuse melodie orientali/5(23).