Many of the basic tenants of The Music Tapes’ world are found on Purim’s Shadows, including the 7-Foot-Tall Metronome which provides the primary rhythm for “A Lightning’s Cheeks.” Also featured are the Orchestral Banjo and the Singing Saws. Julian says, "The Orchestral Banjo is played with a violin bow, producing a sound that I love very much; it’s like having at your command ghostly orchestras from crackly old records. And Saws, of course, sound to me like angels." This recording marks the first time a Singing Saw solo was encouraged (played) by someone other than Julian on a Music Tapes record: the solo at the end of “Night and Day” is the work of Ian Ludders, a great encourager of Saws. Robbie Cucchiaro, The Music Tapes’ co-founding member, supplied horns and his signature euphonium. And finally, the most important contributors to this recording, and central to The Music Tapes’ sound, are the Webster Chicago wire recorder, RCA DX44 ribbon mic, and The Music Tapes’ array of antique and modern recording machinery and field recorders.
Purim’s Shadows is a very small entrance into a vast landscape that is both auditory and imaginary and from which will come two full-length albums that The Music Tapes are very excited about. The first is Mary’s Voice, which will comprise the first half of Imaginary Symphony No. 3.
|Track/Song Title||Duration||Price||MP3 Track|
|Play||So the Day Long||03:04||$0.99||Buy|
|Play||A Lightning's Cheeks (Everything Gets Born Here)||02:46||$0.99||Buy|
|Play||4 (Jeff, Jill, and Julian Serenade Rudy on the Beach at Nantasket)||00:27||$0.99||Buy|
|Play||Night and Day||03:11||$0.99||Buy|
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