| 1. recording a tunnel: the horns play underneath the canal |
| 2. Les Lumieres pt. 1 |
| 3. Les Lumieres pt. 2 |
| 4. THROW IT ON A FIRE |
| 5. recording a tunnel: the horns play underneath the canal |
| 6. the upwards march |
| 7. the bells play the band |
| 8. recording a tape... (typewriter duet) |
| 9. neuvo |
| 10. Salvatore Amato |
| 11. recording a tunnel: the invisible bells |
Editorial Reviews
About the Artist
The band is: Richard Reed Parry (Arcade Fire) on upright bass/keyboard/percussion, Sarah Neufeld (Arcade Fire) on violin, Stefan Schneider (IKS) on drums/percussion, Pietro Amato (Torngat) on French horn/electronics, and Kaveh Nabatian on Trumpet/Melodica, with Mike Feurstack (Wooden Stars/Snailhouse) playing Lap Steel Guitar on happy occasions.
Product Description
The Bell Orchestre was born in an old dance studio in central Montreal. As dancers ran, froze and crashed into each other and footsteps echoed in our ears the music began to create itself, painting landscapes and underscoring bodies, communicating through powerful, wordless gestures… The band spent two years among the dancers, and when the time came to fly away, the music continued to evolve and exude intangible, physical qualities. Bell Orchestre impacts the body and the emotions, evoking images, vast open spaces, movement and conflict, while retaining in the music a delicate intimacy and a raw ferocity that is completely unique. It taps into the acoustic delicacy of chamber music, the urgency and volume of post punk and rock, and the intricacy of contemporary electronic music. Often drawing comparisons to film music, perhaps this band is not so much creating the soundtracks to movies, but rather inventing a musical meeting place for a century’s worth of city ghosts, weather patterns and shifting architecture. The Bell Orchestre is made of strings, bells, horns, drums, stethoscopes, samples and quiet noise. Their live performances soothe, excite and soar.
Like Clogs, whom they resemble (somewhat) this quintet of french horn, trumpet, violin, bass & drums is informed by both rock & classical, creating a melange which is impossible to pigeonhole. Perhaps the best description -- and the highest compliment -- is to suggest that this is what Penguin Cafe Orchestra might sound like if Simon Jeffes were still with us. Except Bell Orchestre is up-to-the-minute with modern electronic touches and treatments, so they're nobody's reincarnation. Truly pleasant, innovative and original, they prove that even in a moribund industry the present day composer refuses to die!
But while Arcade Fire boomed onto the indie scene, its artier sister band Bell Orchestre's debut has slipped quietly onto the scene. Don't compare the music. "Recording a Tape the Colour of the Light" is an enchanting sonic journey full of magical instrumentation and stately psychedelic orchestration.
It opens with "Recording A Tunnel (The Horns Play Underneath The Canal)," an eerie, trembling collection of horns and strings, which melt away into the sound of traffic, then fade out completely. Then it swells up again into a stately, ponderous tune that circles around itself, before exploding into a bizarre new style. I'm not sure what to call it -- classical punk or psychedelic gypsy, maybe.
That vibe continues into a foot-stomping fiddle song, laced through with sirens, and growing murkier and more epic by the minute. Then it's back into the world of fog-smothered ambient, effervescent violin psychedelica, sparkling music-box pop, and what sounds like an indie-rock Christmas epic.
It finishes up with a thirteen-minute epic that, unlike most songs of that length, is only a little too long. It begins soft and confused, before smoothing out into gentle string melodies, and ending on an ominous, almost ghostly note. Then it falls completely silent.
Yep, that's a musical journey. It runs the full gamut from A to Z, and through various letters that nobody knows about.
In truth, "Recording a Tape the Colour of the Light" does feel like an emotional journey: There are moments of joy and beauty, there are moments of sadness, fun, sneakiness, and discouragement. As a result, it's less like a collection of songs than it is one enormous song.
And it's to Bell Orchestre's credit that they can keep up a level of excellence throughout the entire album. At times it lapses into a sort of ambient sound, but keeps itself fresh with sparkling electronic notes, like little silver bells. Elsewhere, there are sharply plucked strings that bring mischief and sneakiness to mind, or robust string arrangements that make you think of gypsy camps. There aren't any vocals to draw your attention away. Just the shimmering instrumentals.
And in the tradition of similar bands like Olivia Tremor Control, Bell Orchestre shares two members with Arcade Fire. Richard Reed Perry dominates on bass, some subtle, muffled percussion, and keyboard, while Sarah Neufeld plays the violin, both as a fun dance instrument and with aching sweetness. Others like Kaveh Nabatian and Pietro Amato add their talents, in everything from trumpet to melodica to the rare guitar.
With its stately classical arrangements tinged with indiepop, Bell Orchestre created one of the most unique and magical albums of 2005. Almost guaranteed to give you strange dreams.
But while Arcade Fire boomed onto the indie scene, its artier sister band Bell Orchestre's debut has slipped quietly onto the scene. Don't compare the music. "Recording a Tape the Colour of the Light" is an enchanting sonic journey full of magical instrumentation and stately psychedelic orchestration.
It opens with "Recording A Tunnel (The Horns Play Underneath The Canal)," an eerie, trembling collection of horns and strings, which melt away into the sound of traffic, then fade out completely. Then it swells up again into a stately, ponderous tune that circles around itself, before exploding into a bizarre new style. I'm not sure what to call it -- classical punk or psychedelic gypsy, maybe.
That vibe continues into a foot-stomping fiddle song, laced through with sirens, and growing murkier and more epic by the minute. Then it's back into the world of fog-smothered ambient, effervescent violin psychedelica, sparkling music-box pop, and what sounds like an indie-rock Christmas epic.
It finishes up with a thirteen-minute epic that, unlike most songs of that length, is only a little too long. It begins soft and confused, before smoothing out into gentle string melodies, and ending on an ominous, almost ghostly note. Then it falls completely silent.
Yep, that's a musical journey. It runs the full gamut from A to Z, and through various letters that nobody knows about.
In truth, "Recording a Tape the Colour of the Light" does feel like an emotional journey: There are moments of joy and beauty, there are moments of sadness, fun, sneakiness, and discouragement. As a result, it's less like a collection of songs than it is one enormous song.
And it's to Bell Orchestre's credit that they can keep up a level of excellence throughout the entire album. At times it lapses into a sort of ambient sound, but keeps itself fresh with sparkling electronic notes, like little silver bells. Elsewhere, there are sharply plucked strings that bring mischief and sneakiness to mind, or robust string arrangements that make you think of gypsy camps. There aren't any vocals to draw your attention away. Just the shimmering instrumentals.
And in the tradition of similar bands like Olivia Tremor Control, Bell Orchestre shares two members with Arcade Fire. Richard Reed Perry dominates on bass, some subtle, muffled percussion, and keyboard, while Sarah Neufeld plays the violin, both as a fun dance instrument and with aching sweetness. Others like Kaveh Nabatian and Pietro Amato add their talents, in everything from trumpet to melodica to the rare guitar.
With its stately classical arrangements tinged with indiepop, Bell Orchestre created one of the most unique and magical albums of 2005. Almost guaranteed to give you strange dreams.
The band is: Richard Reed Parry (Arcade Fire) on upright bass/keyboard/percussion, Sarah Neufeld (Arcade Fire) on violin, Stefan Schneider (IKS) on drums/percussion, Pietro Amato (Torngat) on French horn/electronics, and Kaveh Nabatian on Trumpet/Melodica, with Mike Feurstack (Wooden Stars/Snailhouse) playing Lap Steel Guitar on happy occasions.
Product Description
The Bell Orchestre was born in an old dance studio in central Montreal. As dancers ran, froze and crashed into each other and footsteps echoed in our ears the music began to create itself, painting landscapes and underscoring bodies, communicating through powerful, wordless gestures… The band spent two years among the dancers, and when the time came to fly away, the music continued to evolve and exude intangible, physical qualities. Bell Orchestre impacts the body and the emotions, evoking images, vast open spaces, movement and conflict, while retaining in the music a delicate intimacy and a raw ferocity that is completely unique. It taps into the acoustic delicacy of chamber music, the urgency and volume of post punk and rock, and the intricacy of contemporary electronic music. Often drawing comparisons to film music, perhaps this band is not so much creating the soundtracks to movies, but rather inventing a musical meeting place for a century’s worth of city ghosts, weather patterns and shifting architecture. The Bell Orchestre is made of strings, bells, horns, drums, stethoscopes, samples and quiet noise. Their live performances soothe, excite and soar.
Recording a Tape the Colour of the Light,Bell Orchestre,Rough Trade Us,Experimental,Experimental Rock,Indie Rock,Pop,Post-Rock/Experimental,Rock,Rock/Pop
Recording a Tape the Colour of the Light
Average customer rating: 
|
Recording a Tape the Colour of the Light
Bell Orchestre Manufacturer: Rough Trade Us ProductGroup: Music Binding: Audio CD  General
| Alternative Rock
| Styles
| Music
Indie Rock
| Indie & Lo-Fi
| Alternative Rock
| Styles
| Music
Experimental Rock
| Rock
| Alternative Styles
| Alternative Rock
| Styles
| Music
General
| Rock
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
Experimental Music
| Miscellaneous
| Styles
| Music
Similar Items:
ASIN: B000BLI38O Release Date: 2005-11-15 |
Tracks:
- recording a tunnel: the horns play underneath the canal
- Les Lumieres pt. 1
- Les Lumieres pt. 2
- THROW IT ON A FIRE
- recording a tunnel: the horns play underneath the canal
- the upwards march
- the bells play the band
- recording a tape... (typewriter duet)
- neuvo
- Salvatore Amato
- recording a tunnel: the invisible bells
Album Description
The Bell Orchestre was born in an old dance studio in central Montreal. As dancers ran, froze and crashed into each other and footsteps echoed in our ears the music began to create itself, painting landscapes and underscoring bodies, communicating through powerful, wordless gestures… The band spent two years among the dancers, and when the time came to fly away, the music continued to evolve and exude intangible, physical qualities. Bell Orchestre impacts the body and the emotions, evoking images, vast open spaces, movement and conflict, while retaining in the music a delicate intimacy and a raw ferocity that is completely unique. It taps into the acoustic delicacy of chamber music, the urgency and volume of post punk and rock, and the intricacy of contemporary electronic music. Often drawing comparisons to film music, perhaps this band is not so much creating the soundtracks to movies, but rather inventing a musical meeting place for a century's worth of city ghosts, weather patterns and shifting architecture. The Bell Orchestre is made of strings, bells, horns, drums, stethoscopes, samples and quiet noise. Their live performances soothe, excite and soar.Customer Reviews:
WOW.......2007-01-11
Bello Bello!.......2006-06-12
Like Clogs, whom they resemble (somewhat) this quintet of french horn, trumpet, violin, bass & drums is informed by both rock & classical, creating a melange which is impossible to pigeonhole. Perhaps the best description -- and the highest compliment -- is to suggest that this is what Penguin Cafe Orchestra might sound like if Simon Jeffes were still with us. Except Bell Orchestre is up-to-the-minute with modern electronic touches and treatments, so they're nobody's reincarnation. Truly pleasant, innovative and original, they prove that even in a moribund industry the present day composer refuses to die!
Clear as a Bell.......2005-12-13
But while Arcade Fire boomed onto the indie scene, its artier sister band Bell Orchestre's debut has slipped quietly onto the scene. Don't compare the music. "Recording a Tape the Colour of the Light" is an enchanting sonic journey full of magical instrumentation and stately psychedelic orchestration.
It opens with "Recording A Tunnel (The Horns Play Underneath The Canal)," an eerie, trembling collection of horns and strings, which melt away into the sound of traffic, then fade out completely. Then it swells up again into a stately, ponderous tune that circles around itself, before exploding into a bizarre new style. I'm not sure what to call it -- classical punk or psychedelic gypsy, maybe.
That vibe continues into a foot-stomping fiddle song, laced through with sirens, and growing murkier and more epic by the minute. Then it's back into the world of fog-smothered ambient, effervescent violin psychedelica, sparkling music-box pop, and what sounds like an indie-rock Christmas epic.
It finishes up with a thirteen-minute epic that, unlike most songs of that length, is only a little too long. It begins soft and confused, before smoothing out into gentle string melodies, and ending on an ominous, almost ghostly note. Then it falls completely silent.
Yep, that's a musical journey. It runs the full gamut from A to Z, and through various letters that nobody knows about.
In truth, "Recording a Tape the Colour of the Light" does feel like an emotional journey: There are moments of joy and beauty, there are moments of sadness, fun, sneakiness, and discouragement. As a result, it's less like a collection of songs than it is one enormous song.
And it's to Bell Orchestre's credit that they can keep up a level of excellence throughout the entire album. At times it lapses into a sort of ambient sound, but keeps itself fresh with sparkling electronic notes, like little silver bells. Elsewhere, there are sharply plucked strings that bring mischief and sneakiness to mind, or robust string arrangements that make you think of gypsy camps. There aren't any vocals to draw your attention away. Just the shimmering instrumentals.
And in the tradition of similar bands like Olivia Tremor Control, Bell Orchestre shares two members with Arcade Fire. Richard Reed Perry dominates on bass, some subtle, muffled percussion, and keyboard, while Sarah Neufeld plays the violin, both as a fun dance instrument and with aching sweetness. Others like Kaveh Nabatian and Pietro Amato add their talents, in everything from trumpet to melodica to the rare guitar.
With its stately classical arrangements tinged with indiepop, Bell Orchestre created one of the most unique and magical albums of 2005. Almost guaranteed to give you strange dreams.
amazing use of musical talent.......2005-11-28
Average customer rating:
|
Recording a Tape the Colour of the Light
Bell Orchestre Manufacturer: Rough Trade ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
| Music
Indie Rock
| Indie & Lo-Fi
| Alternative Rock
| Styles
| Music
Experimental Rock
| Rock
| Alternative Styles
| Alternative Rock
| Styles
| Music
Experimental Music
| Miscellaneous
| Styles
| Music
ASIN: B000A87KF0 Release Date: 2005-08-29 |
Tracks:
- Recording A Tunnel (The Horns Play Underneath The Canal)
- Les Lumieres Pt.1
- Les Lumieres Pt.2
- Throw It On A fire
- Recording A Tunnel (The Horns Underneath The Canal)
- The Upwards March
- The Bells Play The Band
- Recording A Tape... (Typewriter Duet)
- Nuevo
- Salvatore Amato
- Recording A Tunnel (The Invisible Bells)
Album Details
The Debut Album from Richard Reed- Parry and Sarah Neufeld from Arcade Fire.Customer Reviews:
Belle "Orchestra".......2006-08-19
But while Arcade Fire boomed onto the indie scene, its artier sister band Bell Orchestre's debut has slipped quietly onto the scene. Don't compare the music. "Recording a Tape the Colour of the Light" is an enchanting sonic journey full of magical instrumentation and stately psychedelic orchestration.
It opens with "Recording A Tunnel (The Horns Play Underneath The Canal)," an eerie, trembling collection of horns and strings, which melt away into the sound of traffic, then fade out completely. Then it swells up again into a stately, ponderous tune that circles around itself, before exploding into a bizarre new style. I'm not sure what to call it -- classical punk or psychedelic gypsy, maybe.
That vibe continues into a foot-stomping fiddle song, laced through with sirens, and growing murkier and more epic by the minute. Then it's back into the world of fog-smothered ambient, effervescent violin psychedelica, sparkling music-box pop, and what sounds like an indie-rock Christmas epic.
It finishes up with a thirteen-minute epic that, unlike most songs of that length, is only a little too long. It begins soft and confused, before smoothing out into gentle string melodies, and ending on an ominous, almost ghostly note. Then it falls completely silent.
Yep, that's a musical journey. It runs the full gamut from A to Z, and through various letters that nobody knows about.
In truth, "Recording a Tape the Colour of the Light" does feel like an emotional journey: There are moments of joy and beauty, there are moments of sadness, fun, sneakiness, and discouragement. As a result, it's less like a collection of songs than it is one enormous song.
And it's to Bell Orchestre's credit that they can keep up a level of excellence throughout the entire album. At times it lapses into a sort of ambient sound, but keeps itself fresh with sparkling electronic notes, like little silver bells. Elsewhere, there are sharply plucked strings that bring mischief and sneakiness to mind, or robust string arrangements that make you think of gypsy camps. There aren't any vocals to draw your attention away. Just the shimmering instrumentals.
And in the tradition of similar bands like Olivia Tremor Control, Bell Orchestre shares two members with Arcade Fire. Richard Reed Perry dominates on bass, some subtle, muffled percussion, and keyboard, while Sarah Neufeld plays the violin, both as a fun dance instrument and with aching sweetness. Others like Kaveh Nabatian and Pietro Amato add their talents, in everything from trumpet to melodica to the rare guitar.
With its stately classical arrangements tinged with indiepop, Bell Orchestre created one of the most unique and magical albums of 2005. Almost guaranteed to give you strange dreams.
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