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Treatise on the Steppenwolf
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Treatise on the Steppenwolf in Franklin, TN
Current price: $19.99
Barnes and Noble
Treatise on the Steppenwolf in Franklin, TN
Current price: $19.99
Loading Inventory...
Size: CD
This release is comprised of studio recordings of pieces performed as live accompaniment for Treatise on the Steppenwolf, a 2003 theatrical adaptation of
Hermann Hesse
's 1927 novel,
Steppenwolf
. The production was staged by
Twelve Stars
, a Glasgow-based company, whose work often explores the experimental intersections of music and theater.
' interest in the dramatic possibilities of music, like their connection with
Vini Reilly
, was not coincidental: the project's artistic directors,
Gerard McInulty
and
Carolyn Allen
, were members of
the Wake
, erstwhile
Factory
labelmates of
the Durutti Column
.
Reilly
's soundtrack displays his familiar eclecticism, as unaccompanied ethereal guitar kaleidoscopes (
"The Title on the Cover"
) sit comfortably alongside more percussion-driven material, occasionally infused with electronic dance beats (
"A Wolf of the Steppes"
). Although
sings on one track (something his late manager,
Tony Wilson
, always discouraged), the most compelling numbers integrate others' vocals sampled from pop and opera, sometimes blending the two within the same track:
"Interlude,"
"Magic Theatre,"
"Divided"
are sublime examples. Two live segments are also included. One of these (
"Lullaby"
) incorporates a monologue spoken by
, giving some insight into the way music and the dramatic text worked together in the original theatrical context.
Durutti Column
fans will recognize many of these tracks:
"Mello"
was first heard on 2001's
Rebellion
; versions of
"Stupid Steppenwolf"
"A Beautiful Thought"
feature on
Someone Else's Party
(2003) as
"Woman"
"Drinking Time,"
respectively (the latter also appearing on 1998's
Time Was Gigantic...When We Were Kids
as
"Drinking Song"
); and
"Harry Dreams the Dream"
was reincarnated as
"Lullaby 4 Nina"
on
Tempus Fugit
(2004). Given this crossover with
's other releases and given that this music was intended as one component of a broader artistic spectacle,
Treatise on the Steppenwolf
isn't a stand-alone
album. However, that's not to deny the quality of the material presented here. ~ Wilson Neate
Hermann Hesse
's 1927 novel,
Steppenwolf
. The production was staged by
Twelve Stars
, a Glasgow-based company, whose work often explores the experimental intersections of music and theater.
' interest in the dramatic possibilities of music, like their connection with
Vini Reilly
, was not coincidental: the project's artistic directors,
Gerard McInulty
and
Carolyn Allen
, were members of
the Wake
, erstwhile
Factory
labelmates of
the Durutti Column
.
Reilly
's soundtrack displays his familiar eclecticism, as unaccompanied ethereal guitar kaleidoscopes (
"The Title on the Cover"
) sit comfortably alongside more percussion-driven material, occasionally infused with electronic dance beats (
"A Wolf of the Steppes"
). Although
sings on one track (something his late manager,
Tony Wilson
, always discouraged), the most compelling numbers integrate others' vocals sampled from pop and opera, sometimes blending the two within the same track:
"Interlude,"
"Magic Theatre,"
"Divided"
are sublime examples. Two live segments are also included. One of these (
"Lullaby"
) incorporates a monologue spoken by
, giving some insight into the way music and the dramatic text worked together in the original theatrical context.
Durutti Column
fans will recognize many of these tracks:
"Mello"
was first heard on 2001's
Rebellion
; versions of
"Stupid Steppenwolf"
"A Beautiful Thought"
feature on
Someone Else's Party
(2003) as
"Woman"
"Drinking Time,"
respectively (the latter also appearing on 1998's
Time Was Gigantic...When We Were Kids
as
"Drinking Song"
); and
"Harry Dreams the Dream"
was reincarnated as
"Lullaby 4 Nina"
on
Tempus Fugit
(2004). Given this crossover with
's other releases and given that this music was intended as one component of a broader artistic spectacle,
Treatise on the Steppenwolf
isn't a stand-alone
album. However, that's not to deny the quality of the material presented here. ~ Wilson Neate
This release is comprised of studio recordings of pieces performed as live accompaniment for Treatise on the Steppenwolf, a 2003 theatrical adaptation of
Hermann Hesse
's 1927 novel,
Steppenwolf
. The production was staged by
Twelve Stars
, a Glasgow-based company, whose work often explores the experimental intersections of music and theater.
' interest in the dramatic possibilities of music, like their connection with
Vini Reilly
, was not coincidental: the project's artistic directors,
Gerard McInulty
and
Carolyn Allen
, were members of
the Wake
, erstwhile
Factory
labelmates of
the Durutti Column
.
Reilly
's soundtrack displays his familiar eclecticism, as unaccompanied ethereal guitar kaleidoscopes (
"The Title on the Cover"
) sit comfortably alongside more percussion-driven material, occasionally infused with electronic dance beats (
"A Wolf of the Steppes"
). Although
sings on one track (something his late manager,
Tony Wilson
, always discouraged), the most compelling numbers integrate others' vocals sampled from pop and opera, sometimes blending the two within the same track:
"Interlude,"
"Magic Theatre,"
"Divided"
are sublime examples. Two live segments are also included. One of these (
"Lullaby"
) incorporates a monologue spoken by
, giving some insight into the way music and the dramatic text worked together in the original theatrical context.
Durutti Column
fans will recognize many of these tracks:
"Mello"
was first heard on 2001's
Rebellion
; versions of
"Stupid Steppenwolf"
"A Beautiful Thought"
feature on
Someone Else's Party
(2003) as
"Woman"
"Drinking Time,"
respectively (the latter also appearing on 1998's
Time Was Gigantic...When We Were Kids
as
"Drinking Song"
); and
"Harry Dreams the Dream"
was reincarnated as
"Lullaby 4 Nina"
on
Tempus Fugit
(2004). Given this crossover with
's other releases and given that this music was intended as one component of a broader artistic spectacle,
Treatise on the Steppenwolf
isn't a stand-alone
album. However, that's not to deny the quality of the material presented here. ~ Wilson Neate
Hermann Hesse
's 1927 novel,
Steppenwolf
. The production was staged by
Twelve Stars
, a Glasgow-based company, whose work often explores the experimental intersections of music and theater.
' interest in the dramatic possibilities of music, like their connection with
Vini Reilly
, was not coincidental: the project's artistic directors,
Gerard McInulty
and
Carolyn Allen
, were members of
the Wake
, erstwhile
Factory
labelmates of
the Durutti Column
.
Reilly
's soundtrack displays his familiar eclecticism, as unaccompanied ethereal guitar kaleidoscopes (
"The Title on the Cover"
) sit comfortably alongside more percussion-driven material, occasionally infused with electronic dance beats (
"A Wolf of the Steppes"
). Although
sings on one track (something his late manager,
Tony Wilson
, always discouraged), the most compelling numbers integrate others' vocals sampled from pop and opera, sometimes blending the two within the same track:
"Interlude,"
"Magic Theatre,"
"Divided"
are sublime examples. Two live segments are also included. One of these (
"Lullaby"
) incorporates a monologue spoken by
, giving some insight into the way music and the dramatic text worked together in the original theatrical context.
Durutti Column
fans will recognize many of these tracks:
"Mello"
was first heard on 2001's
Rebellion
; versions of
"Stupid Steppenwolf"
"A Beautiful Thought"
feature on
Someone Else's Party
(2003) as
"Woman"
"Drinking Time,"
respectively (the latter also appearing on 1998's
Time Was Gigantic...When We Were Kids
as
"Drinking Song"
); and
"Harry Dreams the Dream"
was reincarnated as
"Lullaby 4 Nina"
on
Tempus Fugit
(2004). Given this crossover with
's other releases and given that this music was intended as one component of a broader artistic spectacle,
Treatise on the Steppenwolf
isn't a stand-alone
album. However, that's not to deny the quality of the material presented here. ~ Wilson Neate
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