Word: rhythmically
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...hard core of enthusiasts rapturously greets each new work. The Second Quartet treated each instrument as an individual; the Third paired them. In the Fourth Quartet, Carter finally has reunited two violins, viola and cello. In four movements that flow together seamlessly, the piece bristles with ferocious rhythmic difficulty: a five-note figure in the viola may be pitted against a nine-note phrase in the second violin. It takes nimble fingers to play this music and nimbler ears to follow...
...first of all, about feeling. Or so it is thought to be. But Simon's songs are also about thinking, about the half- rational process of measuring out passion in small portions, like time- release capsules, detonating long after consumption. They are stately, funny and absurd, with elusive rhythmic changes and melodic surprises that come up fast and take the tune off in a whole new direction...
Earle's tunes do not have the sentimentality of mainstream country. They have older echoes: the scarred spirit and lonesome heart of Hank Williams, the grittiness of Johnny Cash, the Bull Run rhythmic charge of another Texas boy, Buddy Holly, who came out of a tradition that was as much old country as new rock 'n' roll. Rockabilly was the name for it, but somehow the country strains of Holly always got slighted. Rock claimed him exclusively -- and unfairly. Playing in that same territory, Earle redresses some of the balance...
...Lords believe in rock not only as a means of rhythmic release but also as a vehicle of conscience. Their songs are fleet enough to get an audience moving and tough enough to make them stop and think once the beat lets go. Scott Kempner plays a hard guitar, writes most of the Del-Lords' material and takes his lead vocals on songs the way a pistolero goes for his gun. Listen to him talk, and it quickly becomes clear that he wants the audience to share the band's life-or-death dedication to the music. "We're doing...
...interesting to listen to, for Gould does some unusual things bringing out the pieces' many inner voices (in the famous B-flat minor, Op. 117, for example). He captures the autumnal quality of these short, profoundly simple pieces. Unfortunately, though, his overly ponderous tempos sometimes lack for dynamic and rhythmic drive. The filler on the disk, the tulmultuous Rhapsody (recorded in 1982), was surely the highlight of Gould's second and final Brahms album, and the same is true here...