Lentas Dreaming (take 2)
I’m driving through the south and west of Crete, up into the mountains and back down again, to deserted beaches and others where Greek pop music plays in the tavernas. But day after day, in my hire car, alongside the charm of Greek B-side songs, Brian and Peter’s *Drawn From Life* plays on a loop: ‘Crete Endless’.
Right now, I’m sitting in Lentas at Angela’s Café, reading the fascinating review by the musician and composer Markus Reuter, which he wrote for ‘flowworker’ (this short essay will also appear on his ‘Substack channel’ shortly).
With this text – and my own double interview with Brian and Peter, now 25 years old, at the back of my mind – what fresh words could I possibly add to an album that is a ‘dream’ for Markus and me, a ‘journey’, and inexhaustible… perhaps a collection of fragmented asides à la ‘50 Ways To Dance On DRAWN FROM LIFE’?!
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flowworker
I’m driving through the south and west of Crete, up into the mountains and back down again, to deserted beaches and others where Greek pop music plays in the tavernas. But day after day, in my hire car, alongside the charm of Greek B-side songs, Brian and Peter’s *Drawn From Life* plays on a loop: ‘Crete Endless’.
Right now, I’m sitting in Lentas at Angela’s Café, reading the fascinating review by the musician and composer Markus Reuter, which he wrote for ‘flowworker’ (this short essay will also appear on his ‘Substack channel’ shortly).
With this text – and my own double interview with Brian and Peter, now 25 years old, at the back of my mind – what fresh words could I possibly add to an album that is a ‘dream’ for Markus and me, a ‘journey’, and inexhaustible… perhaps a collection of fragmented asides à la ‘50 Ways To Dance On DRAWN FROM LIFE’?! (m.e.)