Flint Juventino Beppe has composed the music on Remote Galaxy. I've listened to it.

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There are huge individual differences  regarding how easy it is to write about records. Some are flown in after a few times listening,  while other records it is almost tempting to skip. Not because they are uninteresting - on the contrary - it is often because they are very difficult to write about.

This review has had a slow start. For several reasons. The review record came into my possession in the middle of the process of moving from Bergen periphery to Sydneshaugen in Bergen City, with related chaos in the physical environment. Next came a prolonged period of frequent playback in stereo, simply because it took a long time to get unpacked and rigged up the whole multi-channel setup. And the stereo is no way to play a 2L disc, and least Remote Galaxy.

But the most important reason why this takes time long past it's technically possible, is that Remote Galaxy with music composed by Flint Juventino Beppe - or Fred Jonny Berg as he was called when he was born in 1973 - is a very time consuming record to penetrate. And getting deep into the music is a prerequisite to be able to write about it.

But even here we got a little lopsided, for absorption of music has happened gradually. We start anyway with the title composition,

- Remote Galaxy. I had planned to hide it in the end, as an ultimate treat, but finds it appropriate to start with it. Precisely because this is the work it is far easier to relate to.

I have got used to an exercise when I listen to unknown classical  or contemporary music. And it is in the order of priority When? - Where? - Who? - What. Slightly inspired by our dear Kontrapunkt, which inexplicably has been away too long. Anyway, we try the exercise on Remote Galaxy, the pendulum swings like a yo-yo already on dating. It's easy to find weak link right back to Mahler here, as well as other sequences indicates a relatively recent dating. This applies to work Remote Galaxy - written in 2010, but also for several other works on the release.

Administration Remote Galaxy has an amazing dynamic. It opens a little cautious, yet with undertones that warns that something dramatatisk is in store. Viola da Gamba's an unusual instrument in modern compositions, but has a central position here. Stanzas in Pizzicato slows the speed temporarily, and attracts attention. Powerful drum sequences implementing the drama, and associations with war scenes. This is replaced temporarily by a tranquil scene midway with Viola da Gamba in focus. remote Galaxy appear clear programmatic, but without it being totally obvious exactly what will be illustrated.

That said, this is music that's hard to hang labels on, and that has obvious references to other composers. Somewhere midway do I link to the orchestration of Finnish Aulis Sallinen, but it is highly volatile.

The composition Remote Galaxy is the undisputed highlight of the disc, and justifies this release alone. But there is more, much more. Distant Typhon has a very different character than Remote Galaxy. The first part Typhon at Heart has an easy vibe led by a rollicking clarinet, and some phrasing reminiscent of Shostakovich when he was in the rather cheerful corner. Part two is called Healed by Red Wind , and has a heavier character, but here is the clarinet a cool and imaginative element.

Lost in September is the earliest composition, with its opus 17 Also here is a lush musical language that wants a lot and says a lot. The composition is based on the loss of a dog, Lady bessie.

Tightrope walking beneath heaven opus 32 is also one of the compositions with a twinkle in his eye. It forms the vanguard of what may be considered as the second major work on this release.

Flute Concerto No.2 smash brutally the notion we may have acquired that a flute concerto is something rather delicate and fragile. Flute concerto no.1 was released on his previous record - Flute Mystery, receiving a Grammy nomination four years ago in the class best surround sound album.

Flute Concerto no. 2 has four movements and all movements have plenty of drama. An organ tops this third rate, providing the ultimate dynamic and dramatic contrast to the whistle. Fourth rate has almost triumphant fanfare-like phrases in the opening, and at least as great reckless rounding. No doubt Flute Concerto no.2 is my favorite along with Remote Galaxy in this release.

The release Remote Galaxy is recorded in England, Watford Colosseum northwest of London. Vladimir Ashkenazy is conducting a stunning Philharmonia Orchestra, which manages to bring out the turbulent dynamics and occasional ferocity of these compositions in an outstanding manner.

The sound is in a top league, also in 2L-scale. It is tempting to already anticipate that the Remote Galaxy gets nominated for Grammy No. 57, and Morten Lindberg for the first time succeeded in winning the trophy, after 16 nominations. Surround Playback of Remote Galaxy is so captivating that one is almost paralyzed, and slightly annoyed that it is not yet possible to benefit from the four height channels placed in the 9.1-track with Auro-3D CODEK. Here we have to wait until proper decoders are available in Norway, but there are indications that flaggshipreceivers and processors may get this soon.

But the dynamics and perspective are all top notch here.

Finally I want to mention that 2L as of this release has changed the cover from the standard Blu-ray cover in soft plastic to cover Super Jewel-case in SACD-style. A very good choice!

Remote Galaxy is highly recommended to all who are open to hear music they have not heard before, and that they hardly have suspected that they might hear! And with a sound that means I'll bet you a pint that Grammy-nomination is in the bag!

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