Copernicus does nothing in normal fashion, from music-making to philosophizing to interviewing to CD releasing. The guy IS a genius, make no mistake, so one does not expect the pedestrian from such individuals. Thus, this re-release of Immediate Eternity II, the second in his more pointed ruminations upon zen-like matters of reality and its illusions, is almost confusing within his own catalogue. Here's how it goes, though: Immediate Eternity was put out in 2001, and Immediate Eternity II saw release in 2005, not just in the English language version but several others, all issued simultaneously. The French edition, though, was an extremely limited affair, seeing a run of only 100, which sold out quickly. However, MoonJune label owner Leonardo Pavkovic, who is marketing the Nevermore, Inc. imprinted album, favors the French version above all the others, and Copernicus loves the French language, so the edition's seeing reprint.
In all the varied versions, the instrumental tracks are the same, featuring Los Nomadas from Guayaquil, Ecuador, among whom is numbered the mighty Cesar Aragundi on guitar, but Copernicus went in and recorded all the vocals newly, of course, in each separate dialect. What that produced is what connoisseurs dote on: variations on set melodics. Normally, this occurs in live albums. I can't even tell you how many Genesis, King Crimson, Gentle Giant, and other label and bootleg releases I have of the same songs, over and over, each one savored for its differentiations. And then there are the many many tribute releases. We're speaking True Collector, True Enthusiast, and True Hedonist here, nothing less.
This series of CDs, though, is a first as far as I know. To my knowledge, no other musician or group has ever done such a thing in so many languages. I have no favorite version, I like 'em all and view the non-English as more instrumental to my ears—after all, when you can't understand the words, the voice takes on its instrumental likenesses more pronouncedly, and you look to the emphatics, the nuances, the inflections, and all variations much more intently. They show the changing mentations of the singer as he tackles the limits and freedoms of the task as well as internal reconsiderations throughout the process. It goes without saying that Copernicus is not for everyone, and, in this release, not a word is in English, not even through the entirety of the liner booklet, may be even a bit delirious even to aficionados but…if delirium isn't the point, then why are you listening at all?
If you wish to know what his music is like, then refer to the Nothing Exists review (here) 'cause all I'm doing in this review is re-capping and newly informing for those already in the know about the guy.
Edited by: David N. Pyles
Copyright 2013, Peterborough Folk Music Society.
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