for the ghosts within defies the norm an album so powerful in its sublime beauty, so perfectly constructed in its choice of material and instrumentation, and so paradoxically spare yet deep, that it stands amongst the best recordings of Wyatt's long careerand that's saying something. for the ghosts within was even greater than usual, and why not? This time, Wyatt was sharing the leader's bill with multi-instrumentalist Gilad Atzmon, the UK-based Israeli expat who played on Comicopera, and violinist/violist Ros Stephen, a member of the Sigamos String Quartet.Īdvance hype can often lead to impossible-to-meet expectations, but. Wyatt releases albums relatively infrequently, but when he doesas with the remarkable Comicopera (Domino, 2007)they always create a surprisingly large wave of interest, across a broad swath of fans with diverse musical interests. Since emerging in the mid-1960sfirst as part of the nascent Canterbury scene with the psychedelic Wild Flowers and post-Dadaist-turned-free jazz-rockers Soft Machine but then, after a tragic accident that left him paralyzed from the waist down, an increasingly astute and distinctive singer/songwriter Robert Wyatt has managed a truly rare thing: to build a career that has reached near-legendary status, despite still feeling somehow underground and cult.
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