Lino and his percussions have been able to bridge the sidereal unprecedented creativity in different musical inspirations, put- ting rhythm, the primordial pulse, at antroposophics service of klang, the foné, with the humility of the greatest.
From La Monte Young himself to the great mystics Su musicians who enchanted minimalists, Pandit Pran Nath and then Terry Riley, the insights of Glen Sweeney and his Third’s Ear Band, to the syncretic inspirations with Juri Camisasca, Franco Battiato, Paolo Tofani, without forgetting the captive essences that, from Edgar Varése to György Ligeti through Aus Der Sieben Tagen by Stockhausen, had eternally “contaminated” semantics of music.
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