Personnel: Eyvind Kang (vocals, guitar, mandolin, violin, recorder, tuba, keyboards, percussion); Courtney Agguire (vocals); Tim Young (guitar); Trey Spruance (12-string guitar); Alan Kestle, Terry Hsu (violin); Brent Arnold (cello); Susanna Knapp, Jessica Lurie (flute); Jamie Philip (bass flute, cornemuse, recorder, crumhorn); Emmanuelle Somer (oboe); Mike Anderson (trumpet); Steve Moore (trombone); Christian Asplund (harmonium); Mike Stone , Tucker Martine (drums); Mint (finger cymbals); Vishal Naga (tabla); Ed Pias (percussion).
Audio Mixers: Eyvind Kang; Trey Spruance; Tucker Martine.
Recording information: Flora Ave. Studio; Forking Paths Studio; Jack Straw Productions; Theater Of Mineral Nades.
Unknown Contributor Roles: Alan Kestle; Eyvind Kang; David Pascal; Ed Pias; Jessica Lurie; Mike Anderson; Steve Moore ; Trey Spruance; Tucker Martine; Tim Young ; Brent Arnold.
Arranger: Eyvind Kang.
The cohesive smoothness and, well, normality of this record is completely amazing when it is compared to Kang's other project in his NADES composition series, 7 NADEs. Here, his violin playing takes a much more central position, highlighting the strength of his tone and technique. More playful than theoretical, this album takes the NADE concept through many genres and around the world, including a medieval NADE, "Jewel of the NADE," a Rasta NADE, "Mystic NADE," and a Middle Eastern NADE, "Mary of Magdalen." Each sounds like a tribute to the tradition from which it was mined; random, discordant elements take a space much further in the background than in Kang's previous solo work. Theater of Mineral NADEs does not reach as far as some of Kang's previous work, but he also manages to succeed at nearly everything he tries on this album. It is a well executed, thoughtful piece. ~ Stacia Proefrock