This small, 2D indie asks the player to take on the role of a cosmonaut who must perform a series of missions in the zero gravity of space. ![]() Great examples would be Octodad: Dadliest Catch (2014) and Struggling (2020) but there have been others, and the most recent to catch my eye is Heavenly Bodies, coming from 2pt. With this in mind, something I wouldn’t have expected is that I’ve fallen in with physics-based games where the entire object of play is to do something awkward and difficult. Sitting down with a console is something I do as a pastime, for relaxation, or to get away from the real world for a bit - and hey, there’s a lot to get away from these days. Read even more about him here.In general, I’d say that I have a low tolerance for frustration in videogames. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, is available now from HoZac Books. His first book, Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon was published by Rowman & Littlefield in 2018, and in paperback in 2019. He also researches and authors liner notes for album reissues - more than 30 to date - and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. He regularly hosts lecture/discussions on artists and albums of historical importance, and is a frequent guest on music-focused radio programs and podcasts. Bill's work also appears in many other outlets both online and in print. His work features a special emphasis on reissues and vinyl. The 4000-plus interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day since 2018). With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. For listeners with more modest goals (or thinner wallets), this 23-track set on a pair of CDs can serve as an effective overview of the jazz band’s (or bands’) work. But he most certainly didn’t give up on music: soon after retirement, he embarked upon a course of study at the University of Surrey, earning his PhD in Music in 2016.įor those prepared to take a deep dive into Earthworks, there’s the boxed set Earthworks Complete. Two years after the second version of Earthworks ended, Bruford announced his retirement from performance. The ambitious yet tuneful jazz approaches big band intensity. Most of the recordings on the second disc of the Heavenly Bodies compilation feature a quartet, but two tracks – recorded live in New York City as the Earthworks Underground Orchestra in 2005 – feature an expanded lineup that includes nine musicians. Away went the electronic drums, and while the size of the group – four players – initially remained the same, there would be no synthesizers at all. This time the group would be acoustic-based. That lasted less than four years, and in 1997 he made the decision to reactivate Earthworks, with a completely (save for Bruford himself) different lineup and a very different approach. That first edition of Earthworks released three studio albums and a live set the first disc of Heavenly Bodies: The Expanded Collection is a tidy survey of those, and also features a pair of previously-unreleased live tracks.īy 1993 the group had folded, and Bruford went on to rejoin the latest permutation of King Crimson, known as the double trio. The group featured keyboardist Django Bates, saxophonist Iain Bellamy and – at various times – bassists Tim Harries and Mick Hutton. Bruford himself often played an electronic drum kit, and made use of then-cutting-edge technologies that split the difference between tuned percussion and synthesizers. ![]() Two bands, really: the first Earthworks operated in the period 1987-1993 though some acoustic textures found their way into the band’s arrangements, it was primarily electronics-based. So, too, does the body of work he created with a band he led called Earthworks. His solo work and collaborations with Patrick Moraz bear that out. Either way, before and after he made that move, Bruford would be responsible for some of the most inventive and memorable drumming in the prog idiom.īut as those who followed his work would eventually discover, Bruford’s first love wasn’t the proggy stuff at his core he’s a jazz drummer. Though it’s something of an oversimplification, the short story on him is that he found drumming for Yes not challenging enough, so at the peak of that group’s popularity, he left to join King Crimson. Bill Bruford is a hero in the world of progressive rock.
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