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Cesar Merveille, Cesare Marchese , - Disorder vs. Disaster
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Cesar Merveille, Cesare Marchese , - Disorder vs. Disaster
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Cesar Merveille, Cesare Marchese , - Disorder vs. Disaster
It's time for class once again. Students, take out your notepads, er, laptops. Today's lesson is how to spin subtlety, emotion, and intelligence into slices of smooth groove. Our coursework consists of the original of DISORDER VS. DISASTER on PRIVATE GOLD. Some of you may have gathered through the syllabus that DISORDER VS. DISASTER is in fact written by intellectual strongmen CESARE MARCHESE (of recent published work on VAKANT and DUMB-UNIT) and his co-author CESAR MERVEILLE (of the CADENZA university). We will also focus on the peer reviews, in fact re-interpretations, by renowned sonic experimenter BRUNO PRONSATO (THESONGSAYS) and head of this very department JIN CHOI. The thesis presented herein posits that through teasing ones heartstrings while simultaneously stimulating various parts of the brain, one can be brought to locomotion: in the layman's terms - to dance. The original's insistent organ chords mix with scattershot brushed snare rolls and a bevy of various, seemingly random percussion… loose and almost falling apart before the below 100hz bass creeps in, finally bringing about the traditionalist kick and hi-hat combo at 2 minutes and turning it into an ephemeral train chugging along a winding track. While the PRONSATO version chooses to stick with the kick from square one, it is by no means a stodgy, traditional affair. Fluid body movement brought about by delayed bits of melody, strong and percussive bass and the interplay of smeared shakers and his oft-repeated wet claps. But it's the unintelligible vocals and moody sine wave that eventually prove the theory. Brain first, but with body together. Lastly, CHOI gives us the straight bull. Without resorting to tricks, he twists the words of the two CES' into his easily recognizable powerhouse style. Crushed rim shots mixed with a bevy of cymbal play and a plaintive wail sits on top of a pushing low end. The most body interpretation of the three, but never lacking in brains where it uses brawn. If these three examples haven't shown you, perhaps you should transfer out of my class.
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