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  Image: CD Cover: COPERNICUS: Victim of the Sky  
COPERNICUS NCD 2086
Victim Of The Sky  
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Nevermore, Inc., is proud to offer this reissue of the Copernicus classic, remastered and available for the first time in CD format.Victim Of The Sky offers a more introspective side of the artist who refuses to accept conformity on any level. New facets of the Copernicus persona are revealed, and a more soulful, organic side emerges -- unexpected, typically unpredictable, but always compelling.Pierce Turner and the band are found in exceptionally fine form, gracing the proceedings with superb feel, texture and dynamics. Often throughout the album they seem to communicate corporately on quasi-telepathic plains, gracefully emoting as one during moments of pure group improvisation.Representing more classic output from the infamous RCA Studios Manhattan sessions from the mid-80's , Victim Of The Sky showcases Copernicus and the band at the peak of their game. Potent and vital, this is a fine album -- and essential for all Copernicus and free jazz fans.
 
 
TRACKSClick on any highlighted track title to listen to individual audio samples, or listen to them all on the player to the right.
 
 
PERSONNEL
COPERNICUS: Vocals
PIERCE TURNER: Keyboards, Musical Director
LARRY KIRWAN: Guitar, Keyboards, Vocals
THOMAS HAMLIN: Drums
JEFFREY RICHARDS: Flute, Keyboards, Effects
CHRIS KATRIS: Guitar
STEVE MENASCHE: Marimba, Percussion
FRED PARCELLS: Affected Trombone
JIMMY ZHIVAGO: Guitar, Piano
FRED CHALENOR: Bass Guitar
PADDY HIGGINS: Bodhran, Floor Toms
MATTY FILLOU: Saxophone
MARVIN WRIGHT: Guitar, Piano, Drum Machine
ANDY HEERMANS: Bass
ROSEANN HORN: Vocals
FIONNGHUALA: Vocals
J.C. ROSE: Vocals
JIM O'LEARY: Vocals
PRODUCTION
Most of this album was recorded live on May 13, 1985 at Studio C, RCA Studios in New York City, with the full band, except “From Bacteria” which was recorded at the same studio in May of 1984. “Not Him Again!” and “Victim Of The Sky” were recorded live at the Daily Planet in New York City on July 28, 1985, with only Copernicus, Matty Fillou and Marvin Wright participating. These recordings were spontaneous and unrehearsed with only a few minor overdubs.
Recording by Ron Bacciocchi and Jim Crotty. Mixed by Michael Theodore, Andy Heermans and Copernicus.
Remastered by Scott Hull at Masterdisk, New York.
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ARTIST PROFILE

Perhaps the most fitting way to describe Copernicus is as a "performance poet." Even though the gentleman originally named Joseph Smalkowski plays keyboards, Copernicus refuses to be categorised as a musician. Despite often having inhabited the alternative New York rock'n'roll scene, his music also exudes strong elements of jazz, classical and the avant garde. Even though Copernicus' preferred recording strategy is that of improvisation, his epic pieces tend to revolve around themes, riffs and repeated clusters, moving along a clearly linear pathway.

The booming delivery and abstract texts evoke the spirit of classic beat generation poetry, but the Copernicus stance goes back even further to the theatrical confrontations of the Dada movement. He's always preferred the improvisatory approach, even though each poem's grist might be prepared in advance, their rhythms and content might be disassembled in the moment.

Copernicus has always been fiercely independent, since he first started recording in this manner, back at the dawn of the 1980s. He organises the recording sessions, sculpts the assembled band, oversees the album artwork and releases each disc on his own Nevermore, Inc. label. 1985 brought Nothing Exists, which emphatically laid out the themes of his subsequent work. A burst of creativity led to the swift succession of Victim Of The Sky (1987), Deeper (1989) and Null (1990). Often, Copernicus would perform with large-scale ensembles, but in 1991 he initiated the practice of giving completely solo performances, revealing his declamations in a stripped, confrontational space. He views himself as a conduit for abstract ideas and philosophical notions. Copernicus decided that his particular marriage of music and narrative was the best way to communicate his thoughts and concepts to a receptive audience.

He released "No Borderline" in 1993, but there was to be a longer gap before the eventual release of 2001's "Immediate Eternity" -- which moved in a completely different direction, as its creator was spending increasing amounts of time in Ecuador.

Copernicus was evolving after having spent three years penning his book, also called Immediate Eternity. He linked up with Los Nomadas from Guayaquil, the country's biggest city, and his music moved temporarily more towards the zone of jazz-rock fusion. With 2010's Disappearance, Copernicus made a return to the old established methods, refining them into a distillation of an ongoing obsession with the freedom and beauty of nothingness.

Image: Nevermore Records artist, Copernicus
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