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Maxence Cyrin - Modern Rhapsodies album mp3


Tracklist

Behind The Wheel 2:41
Don't You Want Me 2:39
Disco's Revenge 2:22
Sueño Latino 3:05
Windowlicker 3:36
Acid Eiffel 2:48
Jaguar 2:52
Go 2:08
Unfinished Sympathy 2:13
The Meltdown 2:39
Anasthasia 2:26
Selected Ambient Works Volume II Untitled Track 8 2:10
LFO 2:13
Smokebelch II 3:06

Versions

Category Artist Title (Format) Label Category Country Year
F236CD, 137.0236.020 Maxence Cyrin Modern Rhapsodies ‎(CD, Album, Dig) F Communications, Play It Again Sam [PIAS] F236CD, 137.0236.020 France 2005
F 236 PROMOCD, 137.0236.220 Maxence Cyrin Modern Rhapsodies ‎(CD, Album, Promo, Car) F Communications, Play It Again Sam [PIAS] F 236 PROMOCD, 137.0236.220 France 2005
F 236 CD, 137.0236.277 Maxence Cyrin Modern Rhapsodies ‎(CD, Ltd, Promo + DVD, PAL) F Communications, Play It Again Sam [PIAS] F 236 CD, 137.0236.277 France 2005


Maxence Cyrin - Modern Rhapsodies album mp3
Performer: Maxence Cyrin
Genre: Electronic
Title: Modern Rhapsodies
Country: France
Released: 2005
Style: Modern Classical
MP3 version ZIP size: 1264 mb
FLAC version RAR size: 1675 mb
Rating: 4.7
Votes: 223
Other Formats: AIFF MP4 WMA AUD MIDI VOC DXD

Jothris
The work made on this album is quite nice. It made the link between two kinds of music which are often placed in opposition: a popular electronic music and an elitist classical one.I've never thought before this I could hear "The Meltdown" in a classical way.According to me the best track is "Unfinished Sympathy", it has something to do with Rachmaninov and Satie.However the weakness of this album could be a similar way of interpreting, which leads to somethingvery homogeneous.
Goktilar
Compared to Alarm Will Sound's interpretations of Aphex Twin tracks, Maxence Cyrin's piano solo's are somewhat simplistic. Upon listening to this CD I was reminded of how much I enjoyed the originals and how fresh they sound. This isn't a bad CD, but for me piano solo's defeat the object of electronic music. I also get the feeling that this is F Communication cashing in on this trend for acoustic versions of electronic music. I suppose there's a time and place for this type of thing; wine bars for toffs, a dinner party and Betty's tea shop...
Samowar
It's not a surprise to see this release coming out on F-Communications, as Laurent Garnier, head of the label, is one of the electronic artist who suffers of the most advanced inferiority complex regarding the "real musicians", i.e. musicians who can play "real" instruments. This is the result of a campaign lead by the politics as well as by the classical musicians who criminalized the electronic dance music from its origins, refusing to admit until recently that such a machine-made music could actually be an art form. As far as this release is concerned... It's actually so poor and uninteresting that I can't prevent myself from thinking that Mr Cyrin, who is not the only electronic musician to have a classical background, despises the electronic music in what makes it valid, artistically speaking. To say another evidence he doesn't seem to understand, a large part of the interest of the electronic music comes from the fact that it's electronic, and all the sound research is lost here, for two reasons. First, because the piano is not an electronic instrument, but that is in our case a presupposition so let's go beyond that. To say it short, there are two ways of playing the piano. One school sees in a piano only a piano and the result is that a Schönberg envisaged it as the most flat-sounding, colorless instrument. Another school doesn't just play the piano, but orchestrates with it, searching for different soundings and orchestral colours beyond a sound that in itself is actually limitated. I don't know where to put Mr Cyrin. If the tracks may be pleasant to hear, that's because they make your inner-ear remember great tracks, in a previously never heard version. But play it for somebody who never heard the originals, and you won't get a reaction in any way similar to the one people show at the first hearing of the originals. A music has to be played on the instrument it has been composed for. True for J.S. Bach played on a synthesizer, true for an electronic composition played on a piano. This is not conservatism, this is an evidence: if there is not a complete appropriateness between a music and the instruments it's made on/for, this is highly prejudicial to the musical relevance of the composition. Unfortunately this may have some success, but I do hope that it won't last long and that people will quickly go back to the original tracks.
melody of you
SoulDancerA music has to be played on the instrument it has been composed for. True for J.S. Bach played on a synthesizer, true for an electronic composition played on a piano. This is not conservatism, this is an evidence: if there is not a complete appropriateness between a music and the instruments it's made on/for, this is highly prejudicial to the musical relevance of the composition.If this really is how you think about music, I feel sorry for you. You seem to have a totally rational approach to it. Music is all about emotions, and those were brilliantly portrayed by Mr Cyrin. I think this album is a proof that electronic music isn't just "machine generated music by numbers" as many critics would like to think.
elektron
This work is, as far as I know, the first attempt to play and record piano covers of house and techno tracks. And what a success ! By listening to Maxence Cyrin's Modern Rhapsodies one can discover or rediscover the melodic power and emotional deepness of those alltime classics of electronic music. You know, the same emotion you felt running down your spine at 6 AM in a club or a warehouse party anywhere in the world. Techno is not a beat, techno is an emotion, techno is love.