- George Grella
“Everything Must Go is an overture in disguise. It began with fractured gestures of the Classical and Baroque varieties that build to a mass before gradually dissipating, ablating into whistles, chirps and quiet little squeaks. The sound was familiar from the late 1950-early 1960 avant-garde, and the expressive feeling was of powerful anxieties being squeezed through a too-small tube.
But it delivered. To Tao’s credit, Everything Must Go transparently reflected his stated idea about ‘the image of a cathedral gaining sentience as it melts.’ With the segue to the opening wisps of Bruckner’s Eighth, two eras were connected.”More