End of An Ear - High-Quality Wireless Earbuds for Running, Workouts & Travel | Noise Cancelling Bluetooth Headphones

In my eyes, Robert Wyatt is awesome because he writes extremely compassionate and beautiful music. Normally his avant garde/experimental stuff is just too weird for me to ever put it in the same category as his more emotional and honest output, however this particular album is an exception. Luckily it's better than Matching Mole's first album- a LOT better in fact, because in this case, underneath all the weirdness lies actual interesting experimentations that feels like it actually *goes* somewhere.It's almost impossible for me to describe the 12-minute "Las Vegas Tango" suite for example. To put it another way, it's almost impossible for me to describe it without the readers out there turning their heads in disgust and believing it won't appeal to them because this is one of those examples where, no matter HOW I go about describing it, finding the right words either won't be convincing enough, or will give readers the wrong impression.So for example, if I were to say the reason "Las Vegas Tango" is good (and not bad) is because of the way there's moody piano lines playing quietly in the background and gradually picking up to a chaotic pace *only* to allow the eerieness of the Soft Machine-resembling bass work to continue in the repetitive groove that its been in since the song got underway, would you understand what I'm talking about? The same thing occurs with the saxophone in the beginning- it plays chaotically and sparsely but the bass work is never distracted by it and continues to move along.Now let's throw in more oddness for additional twisted pleasure. While all these sax, piano and bass tricks are taking place, there's no telling exactly WHAT Robert is doing with his voice. He's either singing in a high-pitched range, gargling, howling, screeching or humming in a hypnotic kind of way. It's highly unusual to say the least, and the more I listen to it, the more I believe the piano work resembles that of David Bowie's "Aladdin Sane" (song).And here's the most magical thing about the piece- despite all the nonstop craziness, it's actually *listenable!*Then you have a song like "To Nick Everyone", probably intended solely for fans of King Crimson improvisational jams (such as "Providence") with the sax and bass work standing out the most. You know what? Anyone who likes King Crimson's Thrakattak would LOVE this Robert Wyatt album. That's about the best comparison I can come up with. Much like Thrakattak, this stuff *does* create a mood. More like a dreary mood similar to a mid 70's jazzy Soft Machine album, but a mood is certainly present.It's just extremely difficult to describe music like this without picking each moment apart and describing them in precise detail. Doing so would probably suck the enjoyment out of the loose pieces of music anyway, so it's best to just listen to the entire album numerous times in a row (preferably with a good set of headphones) and be prepared to be completely blown away.