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Devil at the Gate

By BRETT MICHEL  |  September 5, 2008

In the wake of 40 rehearsals over a four-month period, Nylander describes the completed score as “percussion-based,” with “traditional Chinese sounds crossed with Devil Music tonality.” Rapino likens it to “a blend of Chinese folk music and ’70s-era kung fu funk.” He adds, “I’ve even learned how to play the erhu.”

This wouldn’t be anything like the homemade two-stringed violin that the Chinese gentleman sporting the magnificent combover can often be heard playing near the Harvard Coop, would it?

“Exactly. Although he’s probably better at it than I am.”

Nylander is having none of Rapino’s modesty, however. “Are you kidding?! Friends of mine who live in the Square have to shut their windows — tight — to block out that screeching sound. He uses a tin can as a resonator! Jonah sounds much better.

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