The primary effect of Minimalism in modern prose is to place the control of the work back onto the reader. That is to say, the reader is forced to play an active or participatory role in both the visual and emotional aesthetic of the story.
But this is a record that grabs attention right from the start, with its surfeit of invention, ideas and imagination. Glyn's music is difficult to get a handle on at first, with so many first-impressions forming a bewildering headlong rush through the ears.
The kinda spaghetti-western-smalltown image that might readily be conjured up by the album's title is one that translates into the slightly cheesy musical idiom Glyn adopts on Yahoo!
And, in keeping with those tales of the old West too I suppose, Glyn's writing displays a strong sense of narrative too, as proved by the eight-minute epic Ballad Of Deano. Basically, Glyn can't resist drawing attention to himself by means of undeniably impressive, powerfully crafted musical settings and lyrics that passionately and eloquently embrace entirely justified criticism of the unforgivingly corrupt corporate world in which we try to survive.
Also, you can't ignore Glyn's acute and well-developed feel for bright and bold instrumental colour and creative texturing: If you take things at sound-face value, there's quite a feelgood aura to the album generally, notably on the bouncy sunshine-pop of Down Amongst The Living and the iron-clad stompsome beat of School Reunion, and even on the more sinister numbers like The Doomed Ship Allegory and The Clown a very Bowie-esque portrait of a paedophile.
Payback-time comes quite literally on Groomed, an examination of coercion and abuse, which comes on like a breathless cross between The Cure's Love Cats and the Hustle theme tune. A first hearing of tracks like Kafkaesque World can be distinctly overwhelming, with its potent juxtapositions lavish musical setting with smooth crooning delivery to voice the thoughts and words of a torturer.
Elsewhere, perhaps, it can be all too easy to get the feeling that Glyn is deliberately setting out to make an Impact capital "I"!
Yet, just as with any situation where there's a definite brimming-over-surfeit of artistic creativity, this eventually involves an element of excess that needs trimming - or at least channelling: In addition, and in spite of the strong sense of integrity that permeates Glyn's lyrical and musical vision, I can't altogether escape a feeling that pastiche is lurking not too far away at times; and this can leave an often desperately unsettling taste.
But then again, as with much music that unsettles, to whatever degree, it's perversely compelling, and against initial expectations I've found myself both returning to a good deal of this disc and keen to explore Glyn's two previous albums.
Education should be fun, and a child's natural enjoyment of, and willing participation in music, can be both a vital element and a useful tool. And not just to prove the point, Roy has always included a short sequence of children's songs in his live sets, which have appealed every bit as much to the adults in his audience!
The first children's album Roy made was Oats And Beans And Kangaroos, back in the mids, and as recently as nine years ago, the birth of his eldest granddaughter Jessica provided the impetus for the lovely Up The Wooden Hill collection.
Now Roy has produced his final oh yes!! And of course it's a totally engaging disc, attractively packaged and entirely unpatronising for a children's record doesn't have to be full of obvious childlike songs! The key lies naturally in the CD's title - Tomorrow - which is shorthand for that all-important message for his own, and indeed all, grandchildren: The final two songs - Together Tomorrow and Tomorrow Lies In The Cradle the latter penned by Fred Hellerman of the Weavers group are not only practically unknown but turn out to be particularly moving, for they point this message into our consciousness ever so delightfully and leave us thinking.
Closer to home, Molly's Garden is a thoroughly charming ditty penned by Kit Roy's daughter and Molly's mumwhile The Collier Brig a favourite song of Molly's even gets an unexpected airing. And when the kids have been captivated and are almost ready for bed, Roy tucks them up with the poetic story of My Pet Dragon by John Maguirewhich is gently enhanced by atmospheric sea sounds created by that good Mr Kirkpatrick's accordion bellows!
In addition to the welcomely omnipresent JK, the album's signature musical backing is provided largely by Martin Simpson, Chris Coe and Andy Seward, with contributions from Andy Cutting and David Bailey and occasional chorus vocals from the assembled Bailey clan.
So I guess a further release was inevitable! And let me say at the outset that it finds Roy on finest possible form: Roy's renewed vigour is the stuff of legend, but I could say it's right there in the grooves of this record for you to reach out and touch Andy Seward has done a splendid job in capturing both the joy and strength of Roy's singing.
And of course in his choice of songs: Pride of place this time round goes to the four stunning songs from the pen of Seattle-based Jim Page, whose effective and resonant utilisation-cum-paraphrasing of borrowings from traditional and contemporary folk songs clearly strikes a chord in Roy while also recalling the comparable skill of our own Ray Hearne.
But Roy keenly embraces the sentiments of each and every song he sings, whether it's George Papavgeris's all-encompassing and life-affirming anthem Friends Like These or Ian Campbell's epic and darkly prophetic Old Man's Tale. Here Roy also brings us a contrasted pair of fine songs by David Ferrard: Continuing Roy's own personal tradition, there's a song apiece by Si Kahn and Leon Rosselson well, the latter's Leon's setting of Charles Causley's Timothy Winterswhile "actual" tradition is represented by a lovely version of The Road To Dundee and a fine rendition of Handsome Molly, on which one of Roy's backing musicians is Martin Simpson, whose own recording of the song is considered a benchmark.
Roy's other instrumental collaborators here - John Kirkpatrick, Andy Cutting, Donald Grant and Andy Seward - give of their very best, playing with spirit and commitment throughout in lovingly-contoured, full-toned yet light and sensitive arrangements. Every track is both memorable and relevant, a further demonstration of Roy's total integrity, and the whole set forms both a cause for celebration of half-a-century of bringing folk music to a wide audience and yet another high point in Roy's illustrious career.
These are affectionate, genial, commendably polished and admirably conservative though not especially sedate renditions which make a virtue out of their intrinsic Irish character and its lovable honesty. Apart, that is, from an empathic take on A Song For Ireland itself and a particularly thoughtfully-turned version of The Ould Triangle these, more than any other tracks, make it clear that this project is rather a labour of love for Michael and Anthony, who are companionably accompanied on their worthy mission by guest musicians Paul Gurney, Noel Carberry, Aoife Kelly and Johnny Duffy on piano, bass, accordion, fiddle, banjo, uilleann pipes and whistles in straightforward and unfussy arrangements.
Hereby refreshingly stripped of the customary layers of ages of grimy pub, club and showband sentimentality, these renditions of the songs that represent the Irish psyche together form a classy, and in the end likeable enough, tourist's-ear-view of popular Irish song, I'd say.
David Kidman July Aly Bain et al. This film was a natural follow-on from the Channel 4 series Down Home, and later paved the way for key collaborations in the Transatlantic Sessions series. This celebration of cajun music and culture includes plenty of footage of musicians in their home environment, often in the same room as groups of dancers, and a tremendous feel of intense enjoyment permeates every second.
Other, arguably lesser-known artists appearing include charismatic fiddler Harry LaFleur, vibrant singer D. Menard with his Louisiana Aces and champion of progressive cajun, Wayne Toups; and Aly can be seen adding his trois sous to the musical gumbo by joining in enthusiastically at every session opportunity!In this essay we will look at Earnest Hemingway’s “Hills Like White Elephants” as an example of his use of the minimalist technique, what that technique is, and what its overall effect has on the reader.
The Minimalist Technique of Hemingway in "Hills Like White Elephants" Essay by slema, College, Undergraduate, A+, April download word file, 5 pages download word file, /5(1). Hemingway’s Minimalism in “Hills Like White Elephants” In this essay we will look at Earnest Hemingway’s “Hills Like White Elephants” as an example of his use of the minimalist technique, what that technique is, and what its overall effect has on the reader.
Classic Hemingway: Sparse, Simple, Unadorned In "Hills Like White Elephants," everything is boiled down and condensed. Hemingway's writing is journalistic and no-nonsense; he reports dialogue cleanly and directly, without any fluffy adjectives or fancy descriptions.
The Bad Shepherds - By Hook Or By Crook (Monsoon) Transfiguring punk classics into folk songs, those who hadn't actually heard the debut album by Adrian Edmondson, Maartin Allcock, Andy Dinan, and Troy Donockley might have thought it was a bit of a gimmick.
At the beginning of story the girl looks at the line of hills and said: “They look like white elephants.” (Hemingway: 1). Hills symbolize the problem that the couple are involved in; the white color represents the innocence of unborn baby, elephant is a symbol of the belly of a pregnant woman.