Jazz. Eno. Magma. 2009:The Year In Review. After a long hiatus of quite a few weeks, finally back for a retrospective for the year. This has been a great year for music for me, with key Noise acts issuing hefty box sets charting their evolving aesthetics throughout their history, of which many, have spanned decades. Hygnagogic Pop is still in the stage of critical review, of its status as a valid generic name for a wide spectrum of acts which do not seem to have much in common except for some semblance to a retro-reinvention of past sounds from the 1960s/1970s/1980s. Japanese psychedelic rock has been great still but the fact that we are seeing more retro-issues is beginning to get a bit worrying.
Many good to great books on music and its attendant culture were published this year as well. In terms of visuals, two amazing DVD box sets entered my life this year which sad to say I have not been able to fully digest yet. . - Hijokaidan: The box set is a gem... - Incapacitants: This is another box set gem... Warp. Hypnogogic Pop Versus Hauntological Pop. The "H" words are in vogue in recent years. First, music writers and theorists (particularly in the UK and Europe) deposit Derrida's idea of Hauntology in some of the more other-worldly and retro-futurist sounds coming out of Britain on labels like Ghost Box, Mordant Music and Trunk Records, as well as acts like Broadcast and Boards Of Canada, which use similar studio and musical raison d'être and wizardry/techniques to create music which goes back to the recent past without one being involved in the actual time era in question and thus it is basically a re-creation and re-imagining of the more esoteric and underground culture of the late 1960s and 1970s.
So materials ranging from obscure psychedelic and folk records, library sound bites, proto-muzak/New Agey sounding tunes, pastoral musing of all sorts on vinyl and of course BBC soundtracks and background sonic-artefacts are all for the tapping and re-appropriating. So what is the big deal? TRUNK RECORDS ONLINE. A very odd, slightly strange, idiosyncratic mutant. Hot on the heels of last week’s interview with Bigna from The Drawbridge is this from The Wire’s Tony Herrington. We spoke on Friday and he filled me in on how he got started at the magazine, how he became publisher and editor in chief, and how The Wire is managing to swim against the tide and increase its sales.
I think I’m right in saying The Wire has been published since 1982 hasn’t it? That’s right. And how long have you been involved with the magazine? Since 1992. How did you get involved? I originally started out as a freelance contributor around ’86 or ’87, just filing reviews and interviews and stuff like that. So how did you end up as the publisher? And that’s it really – the magazine has sort of developed according to the idiosyncratic tastes and interests of the various people who came and went through the office. So it’s basically been a very organic process.
So we’re small and mobile, not trapped by demographics, not trapped by generic restrictions. Illegal Downloads 150x More Profitable Than Legal Sales. Unlike most people might think, piracy is not necessarily a bad thing for copyright holders. In fact, German pirate-tracking outfit DigiRights Solutions shows that copyright holders can earn 150 times more money from illicit downloads than from iTunes and other legal stores.
TorrentFreak has reported before how pirates have been turned into cash cows by the copyright mafia. However, reliable statistics on how much money the entertainment industry and anti-piracy outfits make from illicit downloads have not yet been disclosed, until now. The German-based anti-piracy outfit DigiRights Solutions (DRS) recently published an interesting PowerPoint presentation (in German) which shows how copyright holders can make millions from pirates. The document reveals some rather shocking statistics that show how illicit downloads are more profitable than legal downloads. DRS says it generally sends out emails to alleged file-sharers requesting them to pay €450 (650$) per offense.
Ca-ching! Thanks Gulli. When Music Evokes Unpleasant Memories: And What You Can Do About. A weblog. Twelve-tone technique. Schoenberg, inventor of twelve-tone technique Josef Matthias Hauer's "athematic" dodecaphony in Nomos Op. 19[1]( Play ) Schoenberg himself described the system as a "Method of composing with twelve tones which are related only with one another".[4] It is commonly considered a form of serialism. History of use[edit] Play . The principal forms, P1 and I6, of Schoenberg's Piano Piece, op. 33a, tone row Play feature hexachordal combinatoriality and contains three perfect fifths each, which is the relation between P1 and I6 and a source of contrast between, "accumulations of 5ths," and, "generally more complex simultaneity".[7] For example group A consists of B♭-C-F-B♮ while the, "more blended," group B consists of A-C♯-D♯-F♯.
The "strict ordering" of the Second Viennese school, on the other hand, "was inevitably tempered by practical considerations: they worked on the basis of an interaction between ordered and unordered pitch collections Tone row[edit] Example[edit] Application in composition[edit] Documentation « (fluxus) The RS 500 Greatest Albums of All Time : Rolling Stone. Hardcore Show Flyers. Bôłt. Gargantuapantagruel. Download Every Single BBC Radio1 Essential Mix From 1993 To 2007. Smoke ’em, while you got ’em These downloads will not last… UPDATE: Thanks to our readers, we’ve been able to refresh the 1993 and 1994 sets…more to come.UPDATE 2: Here’s two new archives online: SoundCloud and MixesDB Good Luck! 1. 1993.10.30 – Pete Tong – Studio Session (First Ever Essential Mix) (112:49) 2. 1993.11.06 – Paul Oakenfold (113:19) 3. 1993.11.13 – Andrew Weatherall (114:50) 4. 1993.11.20 – Danny Rampling (113:27) 5. 1993-11-27 – Terry Farley & Pete Heller (119:17) 6. 1993.12.04 – Future Sound Of London (116:26) 7. 1993-12-18 – David Holmes (118:20) 8. 1993-12-26 – Dave Dorrell & Pete Tong EM (233:11) » Part One | Part Two 1.
Essential Mix – The Essential Mix Feat The Late Great Tony De Vit (119:27) 2. 1995.01.15 – DJ Ron (84:30) 3. Essential Mix – Essential Mix – 1995.01.22 – Essential Mix – Joe T Vanelli (121:27) 4. 1995.01.29 – Dave Clarke (121:44) 5. 1. 1. Cheers! One Album a Day. Making music with Apple IIgs technology. Over the weekend I found myself using floppy disks for the first time in I-don't-know-how-many Moore epochs. It was a brain-bending reminder of how much great technology was built atop operating systems that fit into a few K of memory and Mylar storage media. Back in the mid-1980s, Bob Yannes, the guy responsible for the MOS Technology SID (Sound Interface Device) chip in the Commodore 64 and the Ensoniq Digital Oscillator Chip (Ensoniq ES5503 DOC) that powered the Apple IIGS computer's audio system, introduced the first low-cost digital sound-sampling keyboard, the Ensoniq Mirage.
At $2000 (in 1985 dollars!) , it might not seem low-cost, but you have to realize that the Mirage's main competition at the time was the Fairlight CMI Series II, which, at ~£27,000, only very successful musicians could afford. The Mirage was an incredibly versatile (and for its day, quite impressive-sounding) MIDI keyboard, with a 333-note sequencer (big stuff back then!) Yes. Dropped A tuning. Drop A tuning. Dropped A tuning is an alternate tuning for a 7 string guitar where the lowest string is tuned down ("dropped") from the standard B by one whole step to A as follows A1-E2-A2-D3-G3-B3-E4. Also, for a 6 string guitar, dropped A tuning is achieved by tuning all strings down a 4th with the lowest string tuned 1 additional step down as follows A1-E2-A2-D3-F#3-B3. This is a "drop 1" tuning in the key of B (i.e. tune the whole guitar down a perfect fourth from standard tuning, then tune the 6th string a whole step down).
As a result, it uses the same fingering as drop D tuning and drop C tuning. An alternate dropped A tuning utilizes a guitar tuned to E Standard with the 6th string dropped to a low A, resulting in AADGBE with the 6th and 5th strings an octave apart. Another variation of this tuning is AEADGB, which imitates a 7 on a six-string, excluding the high E. AEADGBE / AEADF#B[edit] AADGBE[edit] AEADGB[edit] AGCFAD[edit] References[edit] New Wave music. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "arty" post-punk,[14] though it incorporates much of the original punk rock sound and ethos[6][15] while arguably exhibiting greater complexity in both music and lyrics.
Common characteristics of new wave music, aside from its punk influences, include the use of synthesizers and electronic productions, the importance of styling and the arts, as well as a great amount of diversity.[14] New wave is seen as one of the definitive genres of the 1980s;[16] the genre became a fixture on MTV,[14] and the popularity of several new wave artists has been partially attributed to the exposure that was given to them by the channel. In the mid-1980s, differences between new wave and other music genres began to blur.[17][14] New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists.
Duran Duran in 1981. Ambient music. Ambient music includes forms of music that put an emphasis on tone and atmosphere over traditional musical structure or rhythm. Ambient music is said to evoke an "atmospheric", "visual"[2] or "unobtrusive" quality.[3] To quote one pioneer, Brian Eno, "Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.
"[4] As a genre it originated in the United Kingdom at a time when new sound-making devices such as the synthesizer, were being introduced to a wider market. Ambient developed in the 1970s from the experimental and synthesizer-oriented styles of the period. Ambient had a revival towards the late 1980s with the prominence of house and techno music.
History[edit] As a genre, ambient music usually focuses on creating a mood or atmosphere through synthesizers and timbral qualities. Eno has acknowledged the influence of Erik Satie and John Cage. 1990s developments[edit] Dark ambient[edit] Timeline of progressive rock and progressive metal - Wikipedia, This is a timeline of artists, albums, and events in progressive rock and its subgenres. The timeline is presented in separate articles for each decade. Timeline by decade[edit] See also[edit] Further reading[edit] Snider, Charles. Julian Cope - Odin. TuneTribe.com. BLEEP. Piccadilly records. /rs/ - Rapidshares. Expetc. Captain Beefheart wiki__________________________________________________________________________________•Captain Beefheart & His Magic Band - Strictly Personal (1968) U.S.A.
•Captain Beefheart & His Magic Band - Safe As Milk (1967) U.S.A. Part1 - Part2 •Captain Beefheart & His Magic Band - The Legendary A & M Sessions (1965) U.S.A. •Captain Beefheart & His Magic Band - The Mirror Man Sessions (1971) U.S.A. Part1 - Part2•Captain Beefheart & His Magic Band - Lick My Decals Off, Baby (1970) U.S.A. •Captain Beefheart & His Magic Band - Trout Mask Replica (1969) U.S.A. Email ThisBlogThis! : joao _ 8.9.08 Marcadores: Captain Beefheart 15 comments: Anonymous said... This is such a wealth of material!
I like ice cream....and crows...who bloody knew... oooh i like this... unfortunately all the massmirror links do not work... great blog... Thanks for sharing, just GREAT, such a pity that all the massmirror links don't work.Al Souseyo ian said... my new favorite blog! 阿偏 said... davis said... LOBESEY said... Best Music Albums Ever. 2008 music wrap-up. No Wave. No wave was an underground music, super 8 film, performance art, video art, and contemporary art scene that had its beginnings during the late 1970s through the mid-1980s in downtown New York City.[1][2] The term "no wave" is in part a punk subculture satirical wordplay rejecting commercial elements in general, that was based in the specific rejection of the then-popular new wave genre. No wave music was a reaction against new wave acts, like Talking Heads, signing with record labels, and the use of Chuck Berry guitar riffs commonly used by new wave music groups in the late 1970s.[3] The term became used in downtown New York City concurrent with the 1981 show, "New York/New Wave" that had been curated by the artist/curator Diego Cortez.[4] The movement would last a relatively short time but profoundly influence the development of independent film, fashion and visual art.[5] Musical styles and characteristics[edit] Music history[edit] According to Simon Reynolds, writing for Slate:
Virtuoso CD - Classical Music CDs. The Close Relationship Between Pop Music and Advertising. This summer, Kohl’s department stores launched a massive back-to-school advertising and clothing campaign, unveiling several brand-new apparel lines inspired — and pitched — by famous musicians, including Lenny Kravitz, Avril Lavigne and Vanessa Carlton. Grammy-winning superstar Kravitz, in particular, seemed inspired by his partnership with Levi’s to design a denim and T-shirt collection for Kohl’s; his new song “Love Revolution,” from his aptly titled recent album It Is Time for a Love Revolution, is a centerpiece of the ad campaign. Related: Watch the Top 10 Songs in Ads A decade or two ago, rock stars teaming up with a nationwide department store chain to hawk back-to-school clothing would have raised more than a few critical eyebrows and accusations of “selling out.” But in an era when artists release new singles to accompany iPod commercials and Klein: The issue of music being used in advertising had come up many times before.
Klein: Yeah, that’s true. Klein: Yeah, I think so. JS-909. Build-A-Tune: Programmable Thumb Piano. Here is another great creation from the talented Brad Litwin, maker of The Atom Smacker and other mechanical wonders. The piece is now on exhibit at the Dupage Children's Museum, in Naperville, IL. This machine uses a series of studded disks to pluck the tongues on an instrument resembling a thumb piano tilted on its side. As the notes to the video remark, by rearranging the disks, the Build-A-Tune offers a near-infinite combination of rhythmic sequences, many of which sound a bit like music out of Africa or a rudimentary electronic sequencer.
Learn more about Brad and his creations at www.bradlitwin.com. Labels: Brad Litwin, exhibits, hand-cranked, mechanical music, video. Bendable, Open DIY Sampler Brings 8-bit Back. SoundUnwound. Mixxx | Free Digital DJ Software.
Benjamin Zander on music and passion. Lyrics, song lyrics, music lyrics.