[Home]History of Cubest021

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Revision 3 . . (edit) September 26, 2017 9:34 am by Marcus [Alfredo -> Alberto]
Revision 2 . . September 26, 2017 8:57 am by Keefchemistry
Revision 1 . . September 26, 2017 8:54 am by Keefchemistry [*created page for cubest 021]
  

Difference (from prior major revision) (minor diff, author diff)

Changed: 12c12
image: "http://keefchemistry.com/cubeorchestra/cubest021/cubest021_480x480.jpg", file: "http://keefchemistry.com/cubeorchestra/cubest021/Cube_Orchestra_Cubest_021_04_The_Best_Things_Come_To_Those_Too_Late.mp3", title: "04 Cube_Orchestra_Cubest_021_04_The Best Things Come To Those Too Late"
image: "http://keefchemistry.com/cubeorchestra/cubest021/cubest021_480x480.jpg", file: "http://keefchemistry.com/cubeorchestra/cubest021/Cube_Orchestra_Cubest_021_04_The_Best_Things_Come_To_Those_Too_Late.mp3", title: "04 The Best Things Come To Those Too Late"

Changed: 65c65
Rhodri gave birth to this track. He set his synth to play a continuous, modulating chord and left the stage, chatting to Marcus while we dealt with it. I'm very happy when we enter drifting mode as it leads to unexpected results, so I have tried very hard to include as much of the 24-minute original recording as I could. There's a lovely floating feel, with Alberto's acoustic guitar taking centre stage. Light vocals drift over the top of the meandering bass and picked guitar. Rhodri jumps back onstage and adds his own delightful vocal. Around 2:40 some drums suddenly appear. This is testament to David's ability to listen at all times and contribute in a mindful way. The gentle beat gives the track some structure. It's all very dreamy. The guitars work with each other developing the music. It's beautiful to hear. 4:30 in it picks up a bit, then drops out into floating space. Martin's bass is fab. Then there's little but the wash of synth and David now on Kalimba and someone sits down on djembe. There's now a new direction and Jean-Michel lets rip with some super, crazed guitar work and I scream as it growls and broods. Then in comes David with some great snare work, pushing the sound upwards, as Rhodri and Marcus join us on keyboards. It builds with a fabulous energy until it explodes just after ten minutes in, a moment that grabs me every time I hear it. Synths modulate and guitars scream, as David builds the excitement, dropping out, steadying. 12:00 minutes in Martin holds the bass line and we slip into a section that sounds rehearsed, but it's not. Jean-Michel knocks out a motif, David quietens down the drums, Marcus lessens his synth bass line, until all that's left is a wiggly synth from Rhodri. And that might have been that, in fact I'd have been very happy to end the track at that point, but this is the Cube Orchestra and any opportunity to revive a tune is seized upon and more often by Marcus, who doesn't disappoint. He launches into a Gospel-infused piano intro and we all know what to do. Orchestra regular, Alfredo, is even inspired to add some vocals, the only time I ever heard his voice over the PA! The final three minutes are taken up by us trying to find a place to stop, with increasingly comical results, until the beautiful ending, which continues to make me laugh out loud every time I hear it ...
Rhodri gave birth to this track. He set his synth to play a continuous, modulating chord and left the stage, chatting to Marcus while we dealt with it. I'm very happy when we enter drifting mode as it leads to unexpected results, so I have tried very hard to include as much of the 24-minute original recording as I could. There's a lovely floating feel, with Alberto's acoustic guitar taking centre stage. Light vocals drift over the top of the meandering bass and picked guitar. Rhodri jumps back onstage and adds his own delightful vocal. Around 2:40 some drums suddenly appear. This is testament to David's ability to listen at all times and contribute in a mindful way. The gentle beat gives the track some structure. It's all very dreamy. The guitars work with each other developing the music. It's beautiful to hear. 4:30 in it picks up a bit, then drops out into floating space. Martin's bass is fab. Then there's little but the wash of synth and David now on Kalimba and someone sits down on djembe. There's now a new direction and Jean-Michel lets rip with some super, crazed guitar work and I scream as it growls and broods. Then in comes David with some great snare work, pushing the sound upwards, as Rhodri and Marcus join us on keyboards. It builds with a fabulous energy until it explodes just after ten minutes in, a moment that grabs me every time I hear it. Synths modulate and guitars scream, as David builds the excitement, dropping out, steadying. 12:00 minutes in Martin holds the bass line and we slip into a section that sounds rehearsed, but it's not. Jean-Michel knocks out a motif, David quietens down the drums, Marcus lessens his synth bass line, until all that's left is a wiggly synth from Rhodri. And that might have been that, in fact I'd have been very happy to end the track at that point, but this is the Cube Orchestra and any opportunity to revive a tune is seized upon and more often by Marcus, who doesn't disappoint. He launches into a Gospel-infused piano intro and we all know what to do. Orchestra regular, Alberto, is even inspired to add some vocals, the only time I ever heard his voice over the PA! The final three minutes are taken up by us trying to find a place to stop, with increasingly comical results, until the beautiful ending, which continues to make me laugh out loud every time I hear it ...

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