Fire of Unknown Origin

Raffaella Berry's progressive music journey

Feeds:
Posts
Comments
« Ephemeral Sun – Harvest Aorta (2010)
Janel & Anthony – Where Is Home (2012) »

John Orsi – A Room for the Night (2012)

October 13, 2012 by progmistress

TRACKLISTING:
1. Crescent Park (2:36)
2. Hodges’ Lodge (4:17)
3. Jaldi (2:26)
4. Togetherness (2:30)
5. Companion Wheel (1:39)
6. Two Trains Passing in the Night (not that many trains pass in my night anymore) (9:39)

LINEUP:
John Orsi – all instruments

Although he would amply deserve to be a household name to devotees of progressive rock in all its forms, John Orsi is quite content to occupy a niche – as he has been doing for the past 30 years or so. The talented multi-instrumentalist and composer, hailing from the historic New England city of Providence, has been active since the early 1980s with a number of projects, which – even though they might have flown under the radar of most “mainstream” prog fans – have been characterized by a constant flow of creative ideas, as well as intensive research into the possibilities offered by percussion instruments, both canonical and unorthodox.

Since 1994, Orsi has been channeling most of his creative efforts in musical collective Knitting By Twilight, as well as a few other projects (such as Incandescent Sky and Herd of Mers), and A Room for the Night is his first solo release in quite a long time. The 23-minute EP –  released in August 2012 , while Orsi and his “guitar mates” were waiting for their respective schedules to be sorted out before taking their music to the stage –has been conceived on a much smaller scale than Knitting By Twilight’s Weathering or Incandescent Sky’s Four Faradays in a Cage. On the other hand, it allows Orsi to indulge in a less formal style of composition, as well as handle all the instruments (both the “proper” and the “improper” ones, as the artist points out in the liner notes with his customary sense of humour).

Those who witnessed Dame Evelyn Glennie’s amazing performance during the opening ceremony of the London Olympics earlier this summer might be intrigued to learn that the Scottish percussionist is one of Orsi’s major influences, together with a host of other artists, some of them quite obscure, others instead familiar to a wider public. Indeed, those who are always looking for terms of comparison will recognize some echoes of Kate Bush’s most experimental work (such as showcased in her 1982 album The Dreaming) while listening to the EP.

While unlikely to attract fans of the more elaborate forms of prog, A Room for the Night is an utterly charming slice of instrumental music that is hard to label, though the ambient component of Orsi’s inspiration is very much in evidence. The six tracks – most of them rather short, with the sole exception of closer “Two Trains Passing in the Night”, which, at over 9 minutes, expands on the themes introduced by the previous compositions, reproducing the motion of a train through the alternation of different rhythm patterns – are like sonic sketches that listeners are almost encouraged to flesh out in their mind. Bound together by discreet keyboards, the music showcases Orsi’s lifelong love of percussion, bringing very unusual implements into the musical arena – such as tin pie plates and metal tubs – as well as more conventional gear, albeit belonging to different ethnic traditions than the Western one. The addition of  recordings of diverse sounds and human voices (taken from real-life situations) produces the sonic equivalent of an artistic collage based on found objects  – riveting to the eye (or, in this case, the ear) even in its somewhat fluid, unplanned quality. The result is 23 minutes of music that shifts from whimsical to meditative, with some occasional forays into vaguely ominous, cinematic moods created by sustained keyboard washes and subtle layers of percussion patterns.

As the previous paragraphs make it clear, a track-by-track analysis of A Room for the Night would be counterproductive, as the EP should be enjoyed as a whole – possibly, as Orsi himself suggests, with the help of headphones, and in the right situation. This is not sonic wallpaper meant to unobtrusively fade in the background, but rather the kind of ambient-tinged music that will stimulate the mind as much as the ear. With Orsi’s usual attention to the visual aspect of his productions, the lovingly-packaged CD comes accompanied by the delightful artwork of early 20th-century illustrator Kayren Draper. A delicate, almost brittle, hauntingly fascinating collection of musical pieces with no other purpose than creative expression, A Room for the Night may not be the kind of release that appeals to everyone across the progressive rock spectrum. However, just like all of Orsi’s back catalogue, it is definitely an effort highly deserving of attention on the part of adventurous listeners.

Links:
www.overflower.com

Share this:

  • Facebook

Like this:

Like Loading...

Related

Posted in Ambient, Instrumental, Progressive Rock, Review | Tagged Evelyn Glennie, Herd of Mers, Incandescent Sky, John Orsi, Kayren Draper, Knitting By Twilight, percussion, Providence | 2 Comments

2 Responses

  1. on October 15, 2012 at 7:16 pm John Orsi

    I am honored to have such high and plentiful salutations and rewards as espoused within your superb writing. A room full of appreciation Rafaella!


    • on October 16, 2012 at 6:14 am progmistress

      Thank you, John! You deserve it.



Comments are closed.

  • Archives

  • Most Recent Posts

    • Romantic Warriors IV – Krautrock part 2
    • Romantic Warriors IV – Krautrock part 1
    • Not Your Father’s Prog – 2016 in Review
    • Zhongyu – Zhongyu (2016)
    • Deus Ex Machina – Devoto (2016)
  • Calendar

    October 2012
    M T W T F S S
    1234567
    891011121314
    15161718192021
    22232425262728
    293031  
    « Sep   Nov »
  • Categories

    • Acoustic (5)
    • Alternative (5)
    • Ambient (16)
    • Announcement (15)
    • Art Rock (25)
    • Biography (11)
    • Blues (4)
    • Book (2)
    • Chamber Music (10)
    • Classic Rock (18)
    • Concert (21)
    • Contemporary Academic Music (4)
    • Crossover (14)
    • Essay (11)
    • Festival (29)
    • Film (5)
      • Documentary (5)
    • Folk (14)
    • Funk (1)
    • Hard Rock (11)
    • Heavy Metal (2)
    • Instrumental (58)
    • Interview (12)
    • Jazz (12)
    • Jazz-Rock (51)
      • Fusion (20)
    • Live Album (2)
    • Math Rock (4)
    • New Age (1)
    • New Wave (2)
    • Poetry (1)
    • Progressive (29)
      • Avant-garde (10)
      • Electronic (8)
    • Progressive Metal (15)
    • Progressive Rock (259)
      • Canterbury Scene (24)
      • Krautrock (2)
      • Neo-Progressive (5)
      • Post-Prog (4)
      • Post-Rock (5)
      • Psychedelic (15)
      • RIO/Avant (44)
      • Rock Progressivo Italiano (RPI) (28)
      • Symphonic (24)
      • Zeuhl (4)
    • Review (239)
    • Space Rock (5)
    • Statistics (4)
    • Uncategorized (3)
    • Website (1)
    • World Music (16)
  • Blogroll

    • Documentation
    • Plugins
    • ProgArchives
    • Suggest Ideas
    • Support Forum
    • Themes
    • WordPress Blog
    • WordPress Planet
  • Friends

    • Alison Says
    • Alison's Column
    • Astounded by Sound!
    • Athos
    • Autopoietican
    • Bill's Prog Blog
    • Brett W. McCoy
    • Chi Va con lo Zoppo… Ascolta Buona Musica!
    • Feeding the Silence
    • GFreedom's Spot
    • Gibraltar's Prog Blog
    • Hanging Sounds
    • Having My Bass and Eating It Too
    • Hunnibee Reviews
    • Italian Prog Map
    • JezSpace
    • La Luna di Alfonso
    • Lo Scrittore Progressivo
    • MB – Music Box
    • Mindofthemasses
    • Music From the Other Side of the Room
    • New Prog Releases
    • Notes from the Wilderness
    • Pen and Think
    • Prog Is Alive and Well in the 21st Century
    • Prog Lessons ovvero… Cosa si prova ad ascoltare il Progressive Rock
    • Progressive Rock Moments
    • Progshine
    • Rockateca
    • Romantic Warriors
    • Scott's Music Reviews
    • Something for the Weekend?
    • SONAR
    • Strongprogress
    • The Bearded Blog
    • The Bodhisattva Beat
    • The Echoes Blog
    • The Epileptic Gibbon Podcast Music Show
    • The Leviathan
    • the Prog Space
    • The Progressive Aspect
    • The Rickter Scale
    • The Semi-Constant Ravings of a Musical Madman
    • The Sound of Fighting Cats
    • The Totally Subjective Classical Music Blog
    • Tye-Dye Dad
    • Udi Koomran – Guidelines for the Recording Musician
    • Wand'ring Again
    • West Coast Metal
  • Music Websites

    • Arlequins
    • DPRP – Dutch Progressive Rock Pages
    • MovimentiPROG
    • ProgArchives
    • ProgMontreal
    • ProgressoR
    • ProgSphere
    • Rockprogressive.it
    • The Progressive Aspect
  • Enter your email address to follow this blog and receive notifications of new posts by email.

    Join 139 other subscribers

Create a free website or blog at WordPress.com.

WPThemes.


Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Follow Following
    • Fire of Unknown Origin
    • Join 139 other followers
    • Already have a WordPress.com account? Log in now.
    • Fire of Unknown Origin
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Copy shortlink
    • Report this content
    • View post in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...
 

    %d bloggers like this: