Alon | Alon

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Rock: Acoustic Folk: Angry Moods: Mood: Angry
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by Alon

Alon orchestrates commanding vocal rants with counter-pointing acoustic riffs, interspersed and soothed with electronic music from an array of effects fueled by his six-string acoustic guitar.
Genre: Rock: Acoustic
Release Date: 

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  Song Share Time Download
1. Burn
4:51 album only
2. Ode to Marianne B. Gallo Live
2:34 album only
3. That Boy
6:26 album only


Album Notes
Currently in his live performances, Alon orchestrates commanding vocal rants with counter-pointing acoustic riffs, interspersed and soothed with electronic music from an array of effects fueled by his six-string acoustic guitar. "They're actually two different musical styles interlaced together", he notes. "This makes for a nice balance and creates a dynamic, quite dramatic presentation".

On "Burn" from his upcoming CD/DVD release "The Artist Manifesto", Alon frantically exclaims, "I'm the one who can't let go, who can't see clear, who can't break free, who's gripped by fear" while his guitar crescendos rhythmically. Then he recites in a stoic, detached voice, "Burn the picture she says, Burn, Burn, Burn the picture she says". The guitar creeps up and he thunderously exhorts "In the deepest valley of her darkest painting, she burns our picture, she burns our picture!" Not the music but the drama sets the tempo. This is theater in motion.

"Persian Butterfly", Alon's first CD, serves as instrumental interludes between the lyrically powerful songs. While the PB music is organic and atmospheric, its live execution is implemented technologically via MIDI automation and a customized pedal system designed by Chris Gately. The effects that create the shimmering, orchestral sound consist of a six-string acoustic guitar with two outputs that feed an array of processors. The one output is a microphone inside the body of the guitar that is sent to various reverbs ranging from plates to chambers. The second output is a pickup that fuels harmonizers and delays, resulting in a sound that's reminiscent of a "quartet" of acoustic guitars. This is controlled from Alon's pedal board. This proprietary board also allows him to trigger CD playback, utilize a volume pedal to send signals to different effects and record his live performances.

"Persian Butterfly" was released May 4, 2002 on the label Great Egg Music ( It's an ornately textured production of six and twelve string acoustic guitar compositions immersed in swirling and starkly inventive effects. It's available at under the artist name Alon or

Alon's impending CD/DVD release "The Artist Manifesto" is eclectic. The songs, just voice and acoustic guitar, are sparsely produced as opposed to the elaborate production style on "Persian Butterfly", yet pristinely embellished with musical interludes. It's also a literary doctrine. Actually, it's a proclamation, challenging the sacred, romantic ideal of the struggling artist. Plus, it features the compelling, avant-garde music video "Walking Contradiction" in DVD format. "In some ways the result arisen from what you might call a multi-disciplinarian approach. Kind of written by three castaways who met by chance on the same island", Alon muses. It was produced and recorded at Great Egg Studio, Drexel Hill, PA-featured recently on HGTV (Home and Garden Television)-by Marc A. Gallo (owner), Alon and audio engineer Chris Gately. Some of the material such as Walking Contradiction and Burn were produced in one take without the use of digital editing or post-production, typically employed to "fix mistakes". Others are akin to the orchestrated Persian Butterfly production.

"The Artist Manifesto" has arisen from Alon's re-definition of himself as an artist. Discontent, creatively and philosophically, with the constraints of the music industry and the perpetual helplessness in being a "struggling artist", he has radically changed his view on art. This doctrine defines his ethic. Specifically, "The Artist Manifesto", declares art not as a career but rather a way of life. According to Alon, "The focus should not be on "making it" (in the music or any other creative industry). It should be on "doing it"." Hence, the task becomes one of sustainability. This can only be maintained through financial self-sufficiency. This self-sufficiency should not be sought in the art world. It should be achieved through practical means. Alon continues, "Within the confines of the art world, this type of thinking (financial self-sufficiency) is considered incongruous and in some circles repugnant in the pursuit of art. But ironically an artist who wishes to assure the integrity of his/her work, for good reason, should not quit their day job." He smirks after this comment knowing it typically gets a rise from the die-hard, romantic artistic types. Nevertheless, he persists "Art empirically must be created from the vantage point of self-expression, not from market demand. The reward of money from one's art should be an indication of gratitude for the artist's sacrifice made on behalf of the consumer, not as a way of making a living." In other words, the artist must divorce their intent of making money from their desire to create art. "There is nothing wrong with making money from your art. It's just when it serves as the creative pretext that your work ultimately falls victim to the demands of the marketplace. From a purist perspective, this is the antithesis of art. It's satiating your customer's expectations. In essence, like a box of Wheaties, you're commoditizing your art". He concludes, "The conflict between art and commerce is eternal and irreconcilable, which begs the question "Why fight it?".

The "Walking Contradiction" music video is featured on "The Artist Manifesto" in wide screen DVD. Photographer Jerry Bennett and videographer Roadease handled the lighting and cinematography respectively for the production, which was done in a warehouse on Percy Street in downtown Philadelphia on October 20, 2001. It opens where Alon enters the elevator and as the doors close, the drama begins. "I'm a walking contradiction, a man of humanity and selfishness! Can't you see, I'm all wrapped up in one"? Alon confronts the imposing contradiction, exemplified by the strong film noir and aggressive editing techniques. This stark and riveting, black and white video drives at the empirical, bipolar impulses of nihilistic and altruistic behavior. All within two compelling minutes, the exaggerated movements of the cinema verite style camera and the mobile, hand-held spot light shove us up and down, side by side and in and out. Yet in the end, Alon exits the elevator as if nothing occurred at all. "The elevator is the key motif", Alon stresses. The result is sparse, yet pensive and engaging.



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