A Return
GLASS has returned. The man and the music, into my psyche and out of my fingers and mouth. I can’t say any more at present, but I’ll try to get you all up to speed as soon as I can get my head round the past 11 years.
GLASS has returned. The man and the music, into my psyche and out of my fingers and mouth. I can’t say any more at present, but I’ll try to get you all up to speed as soon as I can get my head round the past 11 years.
“There is a fine line between artistic merit and pretension, and on paper a debut concept album, inspired by the life of a 19th Century inventor most listeners will never have heard of, slides firmly over to the latter side of the scale. This is one of many reasons why music can never be judged on paper. ‘The Sound of
“This album was inspired by the inventor from the 19th Century, Anthony Philip Glass. He apparently invented a machine that could transmit sound through time. This is quite an apt title for an album that actually sounds like it has fallen through time from an unspecified decade. ‘Driftwood’s Daughter’ kicks the album off in a crisp indie style, not particularly
Martyn Rudd of Screaming Tarts magazine has kindly published an interview with me discussing my research into Anthony Glass, and the music that has been created as a result.
Yesterday a cassette tape was pushed through my door – I don’t know exactly when, it was lying on my doormat when I arrived home from work. The cassette was unmarked, Â and the envelope was blank. Although the sound quality is very poor, you can just about make out what appears to be music. I’m not sure if this is