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RAPHAEL WEINROTH-BROWNE: Canadian Cellist/Composer (The Visit, Musk Ox, Leprous) Unveils “From Above” Live Performance Clip; Worlds Within Live Preorders Available

“‘From Above’ is about seeing one’s life from afar and understanding it at a distance as opposed to from within. I see this objectivity as a bird’s eye view; from this vantage point we see our lives with greater perspective and are equally reminded of how small we actually are and what our place is in the grand scheme of things.” — RAPHAEL WEINROTH-BROWNE


View / Share RAPHAEL WEINROTH-BROWNE’s “From Above” HERE. Canadian cellist and composer 

RAPHAEL WEINROTH-BROWNE is pleased to unveil the latest in his series of live performance videos leading up to the release of Worlds Within Live with “From Above.” Originally released independently in January 2020, Worlds Within is a single composition divided into ten stunning tracks which play out like movements in a classical variation set. The music itself ranges from ethereal and atmospheric to aggressive and intense, combining elements reminiscent of contemporary classical minimalism, metal, post-rock, and even electronic music while retaining its own distinct sonic language. The live version of the critically lauded offering will see release on July 2nd. Comments WEINROTH-BROWNE, “Conceptually, ‘From Above’ is about seeing one’s life from afar and understanding it at a distance as opposed to from within. I see this objectivity as a bird’s eye view; from this vantage point we see our lives with greater perspective and are equally reminded of how small we actually are and what our place is in the grand scheme of things. “Musically, the idea for the piece first emerged with the rhythmic pattern at the beginning. The technique I use here is called battuto and the groove is in 7/8 time. This loop forms the rhythmic and harmonic backbone of the rest of the piece. When I first came up with this idea, it reminded me of flying over endless forests. This image inspired the song’s title.  “A far cry from the somewhat folky feel of the intro, the climactic ending has an almost apocalyptic atmosphere as it rushes to its incendiary conclusion, signifying a shocking revelation or realization. The jagged polyrhythms here were directly influenced by metal, particularly Meshuggah’s Chaosphere album, while the inexorable thumping ‘kick drum’ hits reflect my efforts to imitate electronic dance music using an acoustic instrument.” 

View RAPHAEL WEINROTH-BROWNE’s“From Above” 

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