One of the most interesting and difficult-to-categorize singers in '60s pop, Gene Pitney had a long run of hits distinguished by his pained, one-of-a-kind melodramatic wail. Pitney is sometimes characterized (or dismissed) as a shallow teen idol-type prone to operatic ballads. It's true that some of his biggest hits – "Town Without Pity," "Only Love Can Break a Heart," "I'm Gonna Be Strong," "It Hurts to Be in Love," and "Twenty Four Hours From Tulsa" – are archetypes of adolescent or just-post-adolescent agony, characterized by longing and not a little self-pity.
Stunning solo album from Paul Elam of Declining Winter. Glitchy electronica, tape hiss and gaseous ambient are combined with organic instrumentation within a set of short tracks which condense avant garde styles into near pop formats. Each melody and timbre takes a careful and considered approach; every sound appears at exactly the right time to have the maximum affect, showcasing Elam's compositional craft. Whether it is through found sounds, processed loops, or instrumentation, the creation of rich melodies is what drives the album, an approach that recalls the likes of Boards of Canada and Fennesz.
You can see what Philip Glass liked about the harp in his music. On one hand, it’s a close substitute for a piano, which is involved in the originals of all three of these transcriptions. The excerpts from The Hours (tracks 7-12) were transcribed from a piano version of the original Nicole Kidman film soundtrack score, and unsurprisingly Meijer said that of the three works, that one gave her the most trouble.