She Is a Phantom

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Album Name Length Format Sample Rate Price
She Is a Phantom 48:52 $11.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 Breathless Pt.1 01:43 $1.49 Buy
2 Pantomime 03:01 $1.49 Buy
3 False Attribution 01:40 $1.49 Buy
4 Nearly Awakened 04:27 $1.49 Buy
5 Tiny Hands/Big Ideas 02:23 $1.49 Buy
6 Emboldened/My Dreams Perish 02:26 $1.49 Buy
7 Lazy Smile 02:06 $1.49 Buy
8 I Blink and She's Gone 02:16 $1.49 Buy
9 We Step Across 00:49 $1.49 Buy
10 Like Perfume 03:32 $1.49 Buy
11 Handsome/Spineless 02:48 $1.49 Buy
12 Laurel 02:20 $1.49 Buy
13 She's By the Window 02:27 $1.49 Buy
14 Angels Alight 02:42 $1.49 Buy
15 She Has the Glassy 03:05 $1.49 Buy
16 Breathless Pt.2 01:27 $1.49 Buy
17 Then I Alone Am Alone 04:54 $1.49 Buy
18 In Delius' Sleep 04:46 $1.49 Buy

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With this work, composed for Zeitgeist, plus the release of "By the Dawn's Early Light" in 1991, I returned to composing music for ensembles. For a decade I made mostly solo albums, sometimes collaborating with other artists, but I found that I was too often not interested in making a statement as much as I was interested in just making an album. This seemed pointless to me; I changed.

I became very attracted to the "suite structure" of Sandro Chia and others (and earlier in Mantegna and Barnett Newman, for example) and saw it as a way of making composition a process of literary discovery as opposed to searching for titles after the fact. (I first used this in 1988 with "The White Arcades".) Thus, for this work, I invented--conjured--at least two dozen "titles", more accurately called fantasies, observations, remembrances, whatever. I selected seventeen and placed them in a sequence that seemed absolutely right to me, that is, charged with arcane connections. The process of composing the music was in fact a process of discovery as I wound my way through maze of cross-references which only made themselves apparent in the process of confronting the hidden agenda in each work, in its placement. A Briefly Glanced Smile seems a recurring motive; number 13 is numbers 6 and 7 played simultaneously, a fact I didn't realize until well after the fact.

--Harold Budd

Reviews
"In many respects this is typical Budd--the usual languid, translucent melodic fragments, suspended in time and space...but the use of the Zeitgeist ensemble on this CD...creates an almost super-real clarity..." - Option