“it’s not about being whacky or wild, it’s just more wild.”

CHATEAUNEUF

macfearghuis

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eclectic vintage progressive lockdown phone showdown
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  1. 1
    Cov-Sars-Vals 0:58
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  2. 2
    Brave New Les 2:24
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  3. 3
    The Neasden Effect 2:28
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  4. 4
    January 3:16
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  5. 5
    Interlude: New Strain 1 1:38
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  6. 6
    Theme from 'Lacey's Luck' 1:20
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  7. 7
    World Without Shops 4:40
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  8. 8
    Phlegm in Albion 2:52
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  9. 9
    Refractions 2:32
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  10. 10
    Chateauneuf 4:02
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  11. 11
    Interlude: New Strain 2 1:38
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  12. 12
    Devon Knows 2:46
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  13. 13
    The Rain 2:32
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  14. 14
    Can't stop me Dreaming 3:14
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  15. 15
    The Nothingness 4:16
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  16. 16
    Sarabande 5:30
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Womb for Improvement

MacFearghuis aka Bent Førk (pianist/composer/singer/scribe)

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written in the month of August 2020, a response to certain events, angsts, atmospheres...
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  1. 1
    Overture 2:38
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  2. 2
    Petered Green: Tears of Boredom 5:53
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  3. 3
    Bach2Bach 3:25
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  4. 4
    Not Sam Smith 2:52
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  5. 5
    The Extreme Heat 3:08
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  6. 6
    Dunn's River 3:31
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  7. 7
    Skyway Theme 2:30
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  8. 8
    Gall 3:14
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  9. 9
    ET Stay Home 2:54
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  10. 10
    Ode 2 2:40
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  11. 11
    What Can We Do? 1:01
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  12. 12
    Doppelganger Effect 3:38
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  13. 13
    Coast 1:29
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  14. 14
    The Door 2:45
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  15. 15
    End Well 1:11
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TENTH - Live debut performance

Macfearghuis

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A reworked bootleg recording of the debut performance of TENTH

Studio recording - coming soon...!

The brief: tantalising.
The challenge: ultimate.
To express the enigma of the ultimate statement of the ultimate composer. If Beethoven’s Ninth is majestic in its eclectic, physical universality, the unfinished Tenth remains awesome in its mythical
A reworked bootleg recording of the debut performance of TENTH

Studio recording - coming soon...!

The brief: tantalising.
The challenge: ultimate.
To express the enigma of the ultimate statement of the ultimate composer. If Beethoven’s Ninth is majestic in its eclectic, physical universality, the unfinished Tenth remains awesome in its mythical grandeur, seductive in its impossibility: Gödel’s Theorem made flesh. Firstly I improvised on the idea itself. I then meditated on Beethoven’s sketches, noting the two contrasting themes: A 4/4 Andante in Eb. A 3/4 Allegro in Cm. Interpreting these as complimentary opposites, I sought to locate their points of friction, fusion and ignition. Could the square and circle be fertilised to form our perfect circle?

TENTH is no academic realisation, but a noble play on the idea of a great work that cannot exist. My hope is that it stands as worthy testament to a legacy whose celebration was drowned in the waves of pandemic.
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  1. 1
    Tenth - debut performance 43:26
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