John Melcher & Lomluka Sinfonia | Drastic Measures

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Drastic Measures

by John Melcher & Lomluka Sinfonia

Psychedlic electronic music from the time of Minimalism, MIDI and microcomputers. A full-blown polyrhythmic symphony for synthesizers, plus a "full quarter hour" bonus track. Magic music!
Genre: Avant Garde: Electronic Avant-Garde
Release Date: 

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  Song Share Time Download
1. Drastic Measures I
John Melcher & Lomluka Sinfonia
11:11 $1.49
2. Drastic Measures II
John Melcher & Lomluka Sinfonia
12:02 $1.49
3. Drastic Measures III
John Melcher & Lomluka Sinfonia
5:20 $1.49
4. Drastic Measures IV
John Melcher & Lomluka Sinfonia
19:20 $1.49
5. A Full Quarter Hour
John Melcher & Lomluka Sinfonia
16:16 $1.49
6. Drastic Measures (1983 Excerpts)
John Melcher & Lomluka Sinfonia
6:38 album only
Downloads are available as MP3-320 files.


Album Notes
Buy the CD or Download, post a review here, and I wil send you a FREE CD!
(Let me know which one, including my next one, to be released July, 2013)

"I want to tell you that I LOVE your music. I always love harmonies and Baroque-ish meloies that have a lot of repetition but that progress and transform and grow. It reminds me of an organic, living thing. The music makes me feel good inside, right somehow. It's hypnotic. I especially like the second part that begins rather Church-like but is really more cosmic (for lack of any better word) than that. I could listen to it most of the time and not become weary. When Abbey Road came out I wanted to listen to it every single day, because it ironed out the day's fractures and kinks ... I really think you can do that too." (Virgina Hailey, Athens GA)

I began writing this music in the mid-1970’s, when music that eventually became known as "Minimalism" was a relatively popular musical style. At that time, I was searching for a new and more expressive musical vocabulary, and at the same growing frustrated at the difficulty of obtaining well-rehearsed performances.

In 1976, I began writing for a keyboard ensemble, including a couple of compositions that eventually coalesced into Drastic Measures and A full Quarter Hour. Then in 1982, an Apple II computer with special audio hardware became available to me, providing a means of producing note-accurate performances by working directly with the computer. At the same time, I learned to write software in order to develop the tools needed to make this way of working practical. I completed 5 more revisions over 23 years- 1982, 1987, 1991, 1994. 2003 - adding new ideas and taking advantage of new technology as it became available.



to write a review

Cyrille Clément

When Dreastic Measures are inspired ones
This release of the 5 multi-revised pieces of Drastic Measures, to which is added a track of excerpts from the 1983 version, is interesting for more than a point. As a first reason, I shall say that John Melcher’s intense motivic inventiveness is once again illustrated in a brilliant way. This continuous flow of related themes ongoing on long symphonic-like forms (after its use in the short forms for the songs of Play The Piano Drunk) is the mark of a conscious representative of the minimalist style, as John claims to be, long after the relative decline of this musical movement which met the climax of its influence during the 1970’s.
But, instead of being only a generator of formally close themes smartly chained in long talkative strings, John is a real composer. It means that we are fully legitimate to wait for, through his compositions, a certain organization of the couple “expectation-satisfaction” as well as all the other emotional inflections we are used with, when musical discourse is concerned. And there, we have none reason to be disappointed. The organic evolution of the themes, as mentioned, is served by an evolving instrumentation throughout the pieces which creates a progression of atmospheres. Many gestures are also a composer’s decision and not the result of an algorithmic computation.
For me, the most rewarding piece of this set, as a listener, and my personal favourite is the number II, with its mild orchestration which evolves heavenly.
It is also interesting to listen to a group of works which demonstrates what it owes to the style of the 1980’s when synthetic instruments and computer assisted composition started with limited means, to massively compete with more traditional musical resources in the production of musical performances. We can notice how John succeeded, through his successive revisions, in refreshing a sound which was originally dated by the arrangement and the kind of synthetic instrumentation used for this record.