>Silvia Ocougne & Chico Mello - Musica Brasisleira De(s)composta
>Samba, Microtonal
This takes the elements you'd expect for Samba, and throws them onto a plate separately like retardedly fancy plating at a high-end restaurant.
Microtonal works very well on acoustic instrumentation, when it's especially difficult to perform. On a surface level it sounds simple, atonal strumming, but even in the melodic and slow portions of a song like Bebe, there are irregularities for a listener to pick out, like colored stones on a beach. 'Cept this beach seems to extend on forever, the sky is completely empty, and the waves of the sea come and go as they please.
It's this kind of music that is especially good at forming a surreal atmosphere, among the technical workings of the performers. Expect aspects of whispered and meek singing, instruments echoing within an empty concert hall, and silences that choke breaths.
6+/10
>Flux Quartet - Morton Feldman: String Quartet No. 2
>Modern Classical
I'm no historical musical buff, and much of my opinion comes from emotion, production, and context. When I compare the likes of Feldman with someone like Sachiko M., I am limited to comparing textures, what little structure is present, and the history behind each piece. While you could call both musicians adjoined to the Minimalism movement, there's a great pleasure in realizing just how divergent each one's ideas are from each other.
Feldman's approach is greater in scale and much more sublime. This piece was described to be based on the patterns of antique turkish rugs. They were symmetrical, but with minute differences on each side being that they were antique and imperfect.
The easiest way for me to imagine this is Feldman painstakingly traversingeach line, each design on the rug. He takes his time on each shape, which is why each string phrase repeats for a handful of measures before moving onto a new concept.
Way easier to listen to than Eintstein on The Beach, too.
7+/10
