Beat Circus Dreamland Rar
Nevada Biernat
The band's songs are characterized by lush arrangements, eclectic instrumentation, and Carpenter's lyrical themes of love, death, religion, and American mythologies. The music draws heavily from disparate genres including experimental music, modern classical, cabaret, circus music, Appalachian string music, bluegrass music, old-time music, Southern Gospel and funereal music.[1] Since 2005, Carpenter has been developing a "Weird American Gothic" trilogy of concept albums, starting with Dreamland.[2]
In 2001, Carpenter moved to Cambridge, Massachusetts, and formed a collaboration with the tenor banjo player Brandon Seabrook, which led to the first incarnation of Beat Circus, originally named Beat Science. Aided by Jim Hobbs (saxophone), Jerome Deupree (drums), Alec K. Redfearn (accordion), Ron Caswell (tuba) and Leigh Calabrese (musical saw), the group was a contemporary free improvisation instrumental ensemble which used circus music as a jumping off point. After a summer-long residency in Cambridge in 2003, Carpenter recorded the band's first album, Ringleaders Revolt, which was released by Innova Records in 2004.[3]
''The February Train'' is an absolutely gorgeous opener, featuring Carpenter's unique and spine-tingling voice singing a lovelymelody, accompanied by an incredibly string section. Altogether, it makes for a wonderful way to begin the album.''The Life You Save May be Your Own'' is the first Country song on the record, full of traditional melodies and harmonica. Not abad track, but it's sounds half-finished, and almost serves as a precursor to a much stronger song, ''Petrified Man'', that will comelater on.''Boy From Black Mountain''. The title track is also the longest one, and it is a very good ballad, full of soaring strings and choirvocals. It's one of the many high points on the record, and certainly cannot be missed. It almost sounds like it was composed for afilm.''Clouds Moving In'' is one of the weakest tracks, is too short to really go anywhere. It basically consists of jumping, bubbly violins,and could serve as a decent intro to something bigger, but just when you think it's going to move into a new direction, it ends. Inmy opinion, a song that doesn't even need to be there, and it drags the complete album experience down a little.''Petrified Man'' is the first song from this album that I heard, and it is still one of my favorite Beat Circus tunes. It sounds verysimilar to track number two, but is clearly a development of the theme, and a very enjoyable listen, if you ask me. Again, a verysouthern-y song, but much better than your typical country fare. ''As I Lay Dying''. Probably the funniest track, full of goofy, over-the-top vocal styles and musical patters. At the same time, veryexciting and just a lot of fun. Make particular note of the high-pitched hooting and hollering in the style of a traditional hoedownflanking the tubas and trombones of a big band. ''Saturn Song'' is among the more unconventional tracks, and this tradition will continue for most of the remainder of the album. Itopens up with some funky banjo and ends with classical violins.''The Course of the River'' continues that classical vibe, with cellos and violins starting things off on a very stylish note. Soonenough, though, harmonica and electric guitar join in as well as upright bass for a very nice meeting of the styles. This track isn'tvery long and is instrumental. Unlike the''CLouds Moving In'' track, however, it isn't filler. I really enjoy it.''The Quick and the Dead''. The deep, gravelly vocal stylings of Carpenter mirroring the wailing, frantic strings is the brightest spotin this track for me. Of course the other instruments serve their purposes as well. In fact, ANY moment on the record in whichCarpenter brings his voice down to a britone low, it makes my day. The man is a masterful singer, and seems to have an indefinitemonopoly on the amount of range or theatrical flourishes he can hold. Around the 2:30 mark is enough reason alone to hear thissong.''The Sound and the Fury''. When I said things were going to continue in the unconventional direction, I wasn't kidding. This is asong that starts off with string-accompanied female vocals. No lyrics, just wordless melody. I'm assuming the voice belongs toEllen Santaniello. Not long after this has begun, things switch into a very different mode, and it sounds like a Henry Cow song.After a little more craziness, the best part of the song happens. An off-beat bass line serves as the star instrument for awhile, aswe hear distant chanting of children in the background. It's unnerving, and possibly a little disturbing. I absolutely adore it. Somemore strings and wordless singing come in one final time before the reprise of the distant, monotone chanting. The song ends ona very dark, unsettling note. Get ready, because more darker edged music is just around the corner. ''Nantahala'' is by far my favorite song on the entire album. It's astoundingly brilliant. It begins with what sounds like pre-recordedviolin , which then builds into many violins, and they are all playing the same, relentless string of notes with fury and angst. Oncethe radio speaker effect leaves and you can hear the sound of the strings in all their clear, open brilliance, the best part of thealbum comes in. Around thirty seconds in to the track, a pumping, heavy, relentless electric guitar lead breaks in, and it continuesto build and built over the course of the song until every ounce of open air is swallowed up in its wake. The ever-going violinsunderneath the distorted star instrument makes for a very delicious dichotomy, and while this is undoubtedly my most prizedmoment of the album, it is also arguably the most 'prog' moment on the record. Everything about this track just shines, and whenthe song is over much too soon, I often find myself having to hit the 'back' button and listen to it again. 'Brilliant' is the only wordthat describes this.''Lullaby for Alexander''. After a long silence (most likely giving the listener a chance to process all the frantic weirdness that hasensued, and catch their breath), the final track comes in as softly and gently as it possibly can, easing the listener into the finalmusical movement that serves as a the bright light at the end of the dark (and incredibly eclectic) tunnel that is Boy From BlackMountain. I don't really know the last time I fell this instantly in love with an album without needing a lot of time for it to grow onme. This one just instantly clicked. I don't know if it was the quirky, heavily southern-tinged Avant-Garde approach, the beauty andunconventional composition or perhaps it's just meant to remain a mystery, but something about this album in particular spoke tome instantly, and I've been in love with it ever since. For me, this is hands-down one of the best surprises I've had in a long time. I think anybody who has even a little bit of an openmind will enjoy the hell out of Boy From Black Mountain, and so I am giving this a solid 4. One pointless track (in myopinion) keeps it as a whole from reaching the heights that other albums have for me, and the sudden steer into the darkness during the album's second half might make for a slightly unbalanced listen for some, but weak or uninspired this is certainly not.One of the coolest new bands I have discovered in recent years, Beat Circus has hit it out of the park with this release. Very happy listening. social review comments Review Permalink
Posted Wednesday, March 17, 2010 Review this album Report (Review #272634)
In 2001, Carpenter moved to Boston to direct a film documentary with a group of MIT and NYU film students on the life and legacy of Albert Ayler. From 2001-2005, he produced the free-form experimental radio show "Free Association" on WZBC-FM at Boston College. He also began collaborating with banjo player Brandon Seabrook, laying the foundation for the original Beat Circus line-up. Recruiting other players including Alec K. Redfearn (the Eyesores), Brian launched Beat Circus initially performing instrumental free-improvisations using traditional circus songs as a jumping-off point. After playing live in Cambridge throughout the summer of 2003, Beat Circus recorded its debut Ringleaders Revolt which was released the following year.
In 2005, Carpenter began composing music for Beat Circus, working out arrangements that now included vocal parts. The results would be Dreamland, produced by Martin Bisi. Dreamland, was a "fantastical, extravagant, largely instrumental circus/folk-song cycle about the infamous 1900s Coney Island theme park of the same name" (as the Boston Phoenix enthused). Dreamland marked the first installment in Brian's "Weird American Gothic" series and was released by Cuneiform Records in January 2008. Soon after the completion of Dreamland, Redfearn departed to focus on his own band The Eyesores, and Carpenter put together the current incarnation of Beat Circus who would then record Boy From Black Mountain. Taking over as lead vocalist, Brian brought in violinist Paran Amirinazari and violist Jordan Voelker (who also provide background vocals), trombonist Doug LaRosa, and the rockabilly-style rhythm section composed of upright bassist Paul Dilley (from Reverend Glasseye), guitarist/banjoist Andrew Stern, and drummer Gavin McCarthy (from Karate and Glorytellers).
Boy From Black Mountain is the third release from the determinedly eclectic Boston-based ensemble Beat Circus. Beat Circus is the brainchild of multi-instrumentalist / singer-songwriter Brian Carpenter. The music bridges a number of disparate genres including experimental music, Americana, cabaret, circus music, Appalachian string music, bluegrass music, old-time music, Southern Gospel, and funereal music. The current edition of the band features a unusual and versatile instrumentation. Brian brought in violinist Paran Amirinazari and violist Jordan Voelker (who also provide background vocals), trombonist Doug LaRosa, and the rockabilly-style rhythm section composed of upright bassist Paul Dilley, guitarist/banjoist Andrew Stern, and drummer Gavin McCarthy. The understatedly beautiful cover artwork and illustrations within the full color booklet are by Carson Ellis, known for her work on albums by The Decemberists