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01. Curtis Godino - Intro
02. Curtis Godino - Theme 1
03. Curtis Godino - Vibraphone Theme
04. Curtis Godino - Interlude
05. Curtis Godino - Theme 2 Cue
06. Curtis Godino - Harpsichord
07. Curtis Godino - Theme 3
08. Curtis Godino - Ez Melody
09. Curtis Godino - Theme 1 Cue
10. Curtis Godino - Reprise
11. Curtis Godino - Theme 2
12. Curtis Godino - Ez Listening
13. Curtis Godino - Interlude 2
14. Curtis Godino - Nothing
15. Curtis Godino - Bubbling
16. Curtis Godino - Theme 1 Cont.
17. Curtis Godino - Vibes Cue
18. Curtis Godino - Roll Credits
ARTIST
TITLE
Discorporation
FORMAT
LP

LABEL
CATALOG #
FTR 757LP FTR 757LP
GENRE
RELEASE DATE
5/10/2024

Edition of 300. "For his fourth Feeding Tube release, Curtis Godino (now a resident of the greater Nashville area) has created a soundtrack album for a destroyed film that exists only in his mind. Playing with a raft of fine musicians, unencumbered by having to match his music up with actual extant images, Curtis has created a suite of tunes that are stylistically connected to his earlier works, yet expand themselves into hitherto unexplored realms. A well-regarded maestro of the organ and Mellotron, Curtis's music has long reminded certain listeners of Frank Zappa's best mid '60s instrumental work -- music tied to the friendlier edge of 20th Century avant garde traditions, infused with a sort of rockist approach. And this is still true on Discorporation (a term perhaps most famously used on the Mothers' Absolutely Free LP), although the music here also references Ennio Morricone, Wendy Carlos, and even Angelo Baldalamenti, with results that are as cinematic as all get out. There are ten players besides Curtis on Discorporation, and the only ones whose names I recognize are the D'Addaroio brothers from the Lemon Twigs. But they all sound great. Huge reeking waves of sound spill out of the speakers just about begging you to close your eyes, rub them hard and start creating a personal movie inside your skull. Something with a huge Technicolor expanse filled with rubbery little cactus plants and guys who walk their horses into phone booths and then disappear. The imaginational possibilities suggested by Godino's fat orchestral sound can haul your brain in almost any direction you're capable of visualizing. And frankly, it transports me back to my first immersive experiences with music, sprawled on the carpet of my parents' living room, listening to the Frank Chackfield Orchestra's recording of Ernest Gold's theme for Stanley Kramer's 1959 movie, On the Beach, on their Motorola console stereo. Never having seen the film, I was freed to imagine its story unfolding in any way I wanted, and doing just that was one of my favorite ways to spend a rainy afternoon in 1960. Sixty-four years later, Godino is offering us all the same chance once again. And anyone who doesn't take him up on the offer is a goddamn duffer. Brilliant stuff, man." --Byron Coley, 2024