Is this microorganism going to meet Greggary Peccary some day?
author: Roland Kreuscher
There's enough written here. So, just this: If you like Zappa's Lumpy Gravy, Orchestral Favourites, 200 Motels (but less quirky), Greggary Peccary, Yellow Shark and Civilization Phase III as well as those special sounds and interplays from Mr. Bungle you really neeeeeed this one AND(!) the other two from Prime Time Sublime. All three of these fantastic accustic/musical adventures for just $15. Absolutely no reason and time to hesitate. Get 'em!
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author: Music professor
"(They sound) like someone crammed a blender full of rabid dogs, distempered cats, lab-tested rats and shrieking women climbing high on chairs to avoid the conflagration at their feet; pushed the button for "puree"; forgot to put the lid on; then sat down in front of the television, flipping through all the stations available from the best satellite dish as fast as their remote would allow with the volume turned up on their Dolby Surround Sound system while it all mixed together. And then recorded the entire fiasco and played it backwards, just for good measure."
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It's jubigraxequelzirkous
author: Max Tohline
"It's like a glitter bomb exploded in Pleasantville, strewing smiling bloody
body parts of the milkman for miles. It's like an orange duckbilled
platypus barfed up a cucumber birthday cake. It's like the finger paintings
of the illegitimate crack baby born to Rene Magritte and Dr. Seuss. Words
must be invented to illustrate how zany this music really is. It's
jubigraxequelzirkous. There. I invented one. I have no idea what it
means, but I love it. Much like your music."
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author: Jesse Jarnow
Signal to Noise------------------------------------------------------------
With A Life in A Day of A Microorganism, Paul Minotto's primeTime sublime Community Orchestra turns their second record of serious inspiration (or at least mad genius) in as many years. Like Van Dyke Parks with a sampler, a decent synthesizer and a studio orchestra so chopped up that, even if they're real, they're well in the company of an ever-shifting virtual ensemble, the primeTime sublime weaves thematic fragments into a richly hyperactive symphonic tapestry.
The mostly instrumental music of the disc's first half is scattered, rhythmically and melodically, and supremely playful. Like Japanese electronic wizard Cornelius, the pTsCO embraces the alluring kitsch of plucked strings and pastoral ambience, jumping from voice to voice while maintaining a common toanl texture. With only Minotto's imagination to chart the structure of the music, the pieces sail off into fantastic realms of exotica.
The disc's latter half, featuring the multi-part title track (and album centerpiece) is even more cinematic. Narrated, presumably by Minotto (though credited to Bob Schmucklehead - all the players on the disc have ridiculous pseudonyms), the nearly half-hour narrative suite hones Minotto's interests to a fine laser-like focus. Minotto occasionally lets his anti-authoritarian/ anti-corporate sense of humor get out of control, but he is mostly reigned in by his sense of comedic timing. Still, it's a bit tough to listen to repeatedly, unlike the disc's opening numbers. Either way, the primeTime sublime merit further investigation.
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