Bizarre modern compositions for player piano by the notorious cult musician Nondor Nevai! An overload of notes cascading and careening in and out of fields of total madness! An archival release of works for player piano by longtime musical saboteur Nondor Nevai. Best known for his work with To Live and Shave in L.A. (1 and 2), the insane Restaurants' "The A Capella Cantata" CD and his deranged strings-and-drums trio _ (that's pronouced "underscore", of course) Nevai reveals shrewd compositional logic on these speedy, galvanized tracks of player piano inhumanity! Fans of Conlon Nancarrow might find this to be a missing link . . . a truly strange and complex transmission from this seminal rock 'n' roll nutcase. Bruce Lee Gallanter of Downtown Music Gallery said: "When I read Weasel Walter's description of Nondor Nevai's music for player piano, I was definitely intrigued. "Like Conlon Nancarrow on crack" or so the description goes. Hmmm. Turns out that Mr. Nevai is a member of To Live and Shave in LA, the Restaurants, and his own trio _ (pronounced "underscore"). The music itself is quite wonderful and not as difficult as Nancarrow's. It has a sort of breathtaking mechanical beauty. The notes cascade, shimmer and spin in focused waves. Even when things speed up to faster than humans can play levels, there is always a solid clarity of ideas. I like the way Nondor balances different fragments or sections, sometimes one rhythmic phrase will be repeated and slowly altered, sped up, slowed down and turned inside out as another section collides with it. Why a player piano? Most likely, since certain sections would be impossible for any human to play. Also, it gives the composer free reign to explore any different of difficult change of genre or structure. Track 4 is different in that it is slower and more contemplative with moments of haunting solemnity. The final piece is longer and more classical sounding with some stark and somber sections. There is still a mechanical quality to this, since the player piano doesn't change the way it strikes the keys of the piano. This makes the music itself more important to hear than the way it is performed. It does sound as if there is no improvisation involved, yet the music remains both fascinating and somewhat detached from human nature's physical ability." - BLG