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In the spring of 1999, Charles Curtis, Alan Licht, and Dean Roberts brought an unconventional mix of drone, improvisation, and experimental rock on an eleven-stop tour of Europe. The concept was straight forward, yet novel: each night, they would improvise a single piece while sustained sine waves played for the duration of the concert. May99, culled from three shorter pieces recorded for a radio program at Amsterdamís VPRO near the end of the tour, represents a nearly high watermark in the collision of minimal and rock sensibilities that started to become prevalent in the late 90s and is an ear-opening listen even for those familiar with the musiciansí other projects.
In the spring of 1999, Charles Curtis, Alan Licht, and Dean Roberts brought an unconventional mix of drone, improvisation, and experimental rock on an eleven-stop tour of Europe. The concept was straight forward, yet novel: each night, they would improvise a single piece while sustained sine waves played for the duration of the concert. May99, culled from three shorter pieces recorded for a radio program at Amsterdamís VPRO near the end of the tour, represents a nearly high watermark in the collision of minimal and rock sensibilities that started to become prevalent in the late 90s and is an ear-opening listen even for those familiar with the musiciansí other projects.
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In the spring of 1999, Charles Curtis, Alan Licht, and Dean Roberts brought an unconventional mix of drone, improvisation, and experimental rock on an eleven-stop tour of Europe. The concept was straight forward, yet novel: each night, they would improvise a single piece while sustained sine waves played for the duration of the concert. May99, culled from three shorter pieces recorded for a radio program at Amsterdamís VPRO near the end of the tour, represents a nearly high watermark in the collision of minimal and rock sensibilities that started to become prevalent in the late 90s and is an ear-opening listen even for those familiar with the musiciansí other projects.
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