This might be as close as some music listeners ever get to Brian Eno , who both produces and gets involved in the actual music-making. Max Eastley and David Toop have both been immersed in creative music on the London scene for decades, expressing and furthermore acting out on their fascination with strange musical instruments from the past and future. This is the theme of this album, which although a bit gimmicky in places does provide a superbly recorded document of weird musical activities, in itself a good thing. Eastley is some kind of genius when it comes to designing and building instruments. In his presentation of the hydrophone, the centriphone, and other delights, there is a sense if wonder, similar to the way a person might feel gazing upon the Parthenon for the very first time. The album's title refers to just this reality, that the musical instruments of tomorrow, no matter how strange, will undoubtedly have some engineering link to the instruments of a very distant yesterday. It is more than just thought-provoking, as musical traditions have a way of actually materializing right in front of a performer's nose, like an unwanted poltergeist.
I don't think anyone here intended a dismissal of the girl as a human being by stating such. He actually wanted them to be active in a religion and thought this was a good idea. Ragonk If you don't get it, never mind.
If you were the one who did the asking, it is simply chivalrous and gentlemanly for you to pay for dinner, the movie, or whatever else you do. There have been times in the last three years that we have had to live paycheck to paycheck so the idea of a rich doctor is antiquated in most cases. Some days there is so much pain that I can barely type.