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Aleister Crowley and the Hidden God to Assume
Introduction THIS BOOK contains a critical study of Aleister Crowley's system of sexual magick and its affmities with the ancient Tantric rites of Kali, the dark goddess of blood and dissolution represented in Crowley's Cult as the Scarlet Woman. It is an attempt to supply a key to the work of an Adept whose vast knowledge of occultism was unsurpassed by any previous Western authority. I have emphasized the similarity between Crowley's Cult of Thelema and Tantra because the present wave of interest in the Tantric System makes it probable that readers will be able to assess more fully the importance of Crowley's contribution to occultism in general and to the Magical Path in particular. As a result of many years' research into obscure phases of occultism I have evolved a method of dream control for contacting extra-terrestrial and non-human entities; this forms the substance of Chapters Six and Seven. This method is described in relation to the mysteries of Kundalini, the supreme magical power symbolized by the sleeping Fire Snake at the base of the spine which, after its awakening, activates the subtle power-zones in the human body. Aleister Crowley, Austin Spare, Dion Fortune and the German occultist Eugen Grosche were among the first Adepts in the West to teach the use of the psycho-sexual energies, the Ophidian Current that informed the most ancient arcana of Africa and the Far East. Although it was Crowley who first integrated this current with the Westem Esoteric Tradition, this was not achieved without some doubtful interpretations of oriental symbolism. -
Mogwai – As the Love Continues
Mogwai – As The Love Continues (1:01:24, Digital, CD, Vinyl, Rock Action Records/[PIAS]/Rough Trade, 2021) Neun vollwertige Studioalben und diverse Live-Aufnahmen, Soundtracks und EPs haben uns Mogwai bisher in ihren 26 Jahren Bandgeschichte beschert und dabei den Sound des Post Rock- Genres so sehr geprägt wie kaum eine andere Band. „As The Love Continues“ ist nun das zehnte reguläre Album der Schotten und erscheint exakt ein Vierteljahrhundert nach deren Debütsingle ‚Turner’/’Lower‘ und nur wenige Monate nach dem Soundtrack für die Serie „ZeroZeroZero“. Und schon nach wenigen Takten ist „As The Love Continues“ eindeutig als Mogwai-Album identifizierbar. Sprich, auf dem neuen Album der Formation aus Glasgow ist (fast) alles beim Alten geblieben. Langweilig wird es dadurch allerdings nicht, denn auf „As The Love Continues“ spielen Stuart Braithwaite (Gitarre), Dominic Aitchison (E-Bass, Gitarre), Martin Bulloch (Schlagzeug) und Barry Burns (Keyboard, Flöte, Gitarre, Bass) noch immer Post Rock auf aller höchstem Niveau. „As The Love Continues“ beginnt in Form von ‚To The Bin My Friend, Tonight We Vacate Earth‘ mit sehr dezenten Tönen, sanftem Schlagzeugspiel und sparsamen Melodien. Ganz in Bandtradition legen die Schotten im Laufe dieses Stücks Soundschicht um Soundschicht übereinander, bevor der Einsatz verzerrter Gitarren und die so Mogwai-typische Laut-Leise- Dynamik das Stück in einer voluminösen, aber dennoch organischen Wall of Sound zu Ende gehen lassen. Das anschließende ‚Here We, Here We, Here We Go Forever‘ wird durch piepende Synthesizer-Sounds eingeleitet, welche stilistisch an die schottischen Landsleute vonBoards of Canada denken lassen. Die Melodieführung des Stückes ist so eingängig wie zuletzt vielleicht auf dem 2001er Album „Rock Action“, klingt jedoch so, als würden die Instrumente von einem Roboter gespielt werden. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
Mogwai Every Country's Sun Mp3, Flac, Wma
Mogwai Every Country's Sun mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Every Country's Sun Country: US Released: 2017 Style: Post Rock MP3 version RAR size: 1791 mb FLAC version RAR size: 1234 mb WMA version RAR size: 1949 mb Rating: 4.3 Votes: 185 Other Formats: MP1 MOD APE VOX XM AC3 AUD Tracklist A1 Coolverine A2 Party In The Dark A3 Brain Sweeties B1 Crossing The Road Material B2 Aka 47 B3 20 Size C1 1000 Foot Face C2 Don't Believe The Fife D1 Battered At A Scramble D2 Old Poisons D3 Every Country's Sun Companies, etc. Produced At – Tarbox Road Studios Mixed At – Tarbox Road Studios Mastered At – Abbey Road Studios Published By – Tomorrow Hits Publishing Published By – Kobalt Music Publishing Recorded At – Castle Of Doom Studios Credits Design, Illustration – DLT Mastered By – Frank Arkwright Producer [Assistant], Mixed By [Assistant] – Matt Estep Producer, Mixed By – Dave Fridmann Written-By, Performer – Mogwai Notes Gatefold sleeve. Includes MP3 download. Barcode and Other Identifiers Barcode (Scanned (Stickered)): 656605329116 Barcode (Printed (Stickered)): 6-5660532911-6 Other versions Category Artist Title (Format) Label Category Country Year Every Country's Sun Rock Action UK & ROCKACT108CD Mogwai ROCKACT108CD 2017 (CD, Album) Records Europe Every Country's Sun (2xLP, Album, Whi Rock Action ROCKACT108 Mogwai ROCKACT108 UK 2017 + 12" + CD, Album Records + Box, Album, D) Temporary Every Country's Sun TRR291CD Mogwai Residence TRR291CD US 2017 (CD, Album) Limited Every Country's Sun Rock Action UK & ROCKACT108LP -
A University of Sussex Phd Thesis Available Online Via
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 You Sound Like A Broken Record: A practice led interrogation of the ontological resonances of vinyl record culture. Paul G Nataraj PhD – Creative and Critical Practice University of Sussex December 2016 2 I hereby declare that this thesis has not been and will not be submitted in whole or in part to another University for the award of any other degree. Signature………………………………………………………………………………… 3 ACKNOWLEDGEMENTS This work is dedicated to my Dad, Dr. V. Nataraj. Thank you to my family Mum, Peter, Sophie and Claire. But especially my wonderful wife Sarah, without you I could never have finished this. Your kindness and patience are a constant inspiration. I’d also like to shout out my Longanese brother David Boon, for his constant belief in the music. Thanks also to my supervisors, Dr. Martin Spinelli and Professor Michael Bull. You have been impeccable in your support and advice, and your skill as teachers and mentors is second to none. -
Introduced Weed Species
coastline Garden Plants that are Known to Become Serious Coastal Weeds SOUTH AUSTRALIAN COAST PROTECTION BOARD No 34 September 2003 GARDEN PLANTS THAT HAVE BECOME Vegetation communities that originally had a diverse SERIOUS COASTAL WEEDS structure are transformed to a simplified state where Sadly, our beautiful coastal environment is under threat one or several weeds dominate. Weeds aggressively from plants that are escaping from gardens and compete with native species for resources such as becoming serious coastal weeds. Garden escapees sunlight, nutrients, space, water, and pollinators. The account for some of the most damaging environmental regeneration of native plants is inhibited once weeds are weeds in Australia. Weeds are a major environmental established, causing biodiversity to be reduced. problem facing our coastline, threatening biodiversity and the preservation of native flora and fauna. This Furthermore, native animals and insects are significantly edition of Coastline addresses a selection of common affected by the loss of indigenous plants which they rely garden plants that are having significant impacts on our on for food, breeding and shelter. They are also affected coastal bushland. by exotic animals that prosper in response to altered conditions. WHAT ARE WEEDS? Weeds are plants that grow where they are not wanted. Weeds require costly management programs and divert In bushland they out compete native plants that are then resources from other coastal issues. They can modify excluded from their habitat. Weeds are not always from the soil and significantly alter dune landscapes. overseas but also include native plants from other regions in Australia. HOW ARE WEEDS INTRODUCED AND SPREAD? WEEDS INVADE OUR COASTLINE… Weeds are introduced into the natural environment in a Unfortunately, introduced species form a significant variety of ways. -
Development of Musical Ideas in Compositions by Tortoise
DEVELOPMENT OF MUSICAL IDEAS IN COMPOSITIONS BY TORTOISE Reiner Krämer Prologue For more than 25 years, the Chicago-based experimental rock band Tortoise has crossed over multiple popular music genres (ambient music, krautrock, dub, electronica, drums and bass, reggae, etc.) as well as different types of jazz music, and has made use of minimalist Western art music.1 The group is often labeled a pioneer of the »post-rock« genre. Allegedly, Simon Reynolds first used the term in his review of the album Hex by the English east Lon- don band Bark Psychosis (Reynolds 1994a) and shortly afterwards in his arti- cle »Shaking the Rock Narcotic« (Reynolds 1994b: 28-32). In connection to Tortoise he used »post-rock« in his review article of their 1996 album Mil- lions Now Living Will Never Die (Reynolds 1996). Reynolds describes music he labels as ›post-rock‹ where bands use guitars »in [non-rock] ways« to manipulate »timbre and texture rather than riff[s]« and »augment rock's basic guitar-bass-drums lineup with digital technology such as samplers and sequencers« (Reynolds 2017: 509). Most members of Tortoise act as multi- instrumentalists that play different combinations of instruments at different times. As Jeanette Leech (2017: 16) has stated, a typical Tortoise stage set- up can feature vibraphones, marimbas, two drum sets, and a multitude of synthesizers. With regards to the instrumental setup Leech draws up paral- lels with progressive rock of the 1970s but points to one decisive difference within the genres: »for Tortoise, the range of instrumentation [is] about creating mood, not showboating« (ibid.). -
Zine Lq.0F316068.Pdf
Sponsored by Contact & Order 30 4-685-0516 w w w. madeleine maries.co m Visit us & Or d er-i n 260 Green St, Morganto wn W V 26501 @ madeleine mariescateringcarryout @ mad mariescatering info @ madeleine maries.co m Gl ute n free, vegetaria n a nd vega n optio ns by req uest EDITORIAL This e ditio n of Wireless co mes at a very dy na mic poi nt i n U92’s history. Face d wit h t he ever c ha n gi n g l a n ds c a p e of c oll e g e r a di o, o n e t hi n g h as r e m ai n e d str o n g; o ur l o v e f or art, s p e ci fi c all y m usi c. It is t h at a doratio n t hat has drive n us to s pe n d hours of hard work to bri n g you a dee per look at t he worl d of music we live in. Whether it be in the words you rea d here or the progra m ming you hear on the air waves, our goal is to put a s potlight on u p-an d-co ming artists, co m munity ne ws an d collegiate s p orts. I a m c o nti n u all y i m pr ess e d b y t h e l e v el of p assi o n t h at all of o ur st a ff h as f or t h es e t hi n gs, a n d it’s t h at s a m e p assi o n t h at bri n gs y o u t his e diti o n of Wir el ess. -
DISINTEGRATION Loop 1.1
SVILOVA | WILLIAM BASINSKI DISINTEGRATION LOOP 1.1 WILLIAM BASINSKI JUNE 18–JULY 31, 2014 www.svilova.org 1 SVILOVA | WILLIAM BASINSKI SCALE BE THY KING: THE BLACK Mirror OF William Basinski By David Keenan 1. Scalle Bee Thie Kynge. There is a magical idea, rarely articulated, that imagination is the world-creating matrix of desire, in other words that imagination is what translates a sensation into a thought. Disintegration Loops, still the central, emblematic work of the artist and composer William Basinski, conflates the biological with the constructed, the historical with the personal, by a creative act of imagination that would attempt to mimic the function of memory via accidental processes of auto-forgetting while connecting it with historical trauma –the 9/11 attacks on the Twin Towers as a head wound – and romantic portraiture, through the back cover recreation of Henry Wallis’s 1856 painting, The Death Of Chatterton, with Basinski posed as the dead 18th Century English poet, who poisoned himself in 1770, aged 17. Thomas Chatterton’s reputation as a forger of mystical poetry is of note here. From the age of 12 onwards he produced a run of strange, visionary verse that he claimed was the work of a 15th century monk of his own invention, Thomas Rowley. Indeed, a particular adjective, “Rowliean”, has been coined to describe the works of this historical figment, this shade birthed of an intoxicated imagination. Rowley’s verse is difficult, its language being largely derived from Chatterton’s study of the English philologist John Kersey’s Dictionarium Anglo-Britannicum, “comprehending a brief explication of all sorts of difficult words”. -
Hipster Black Metal?
Hipster Black Metal? Deafheaven’s Sunbather and the Evolution of an (Un) popular Genre Paola Ferrero A couple of months ago a guy walks into a bar in Brooklyn and strikes up a conversation with the bartenders about heavy metal. The guy happens to mention that Deafheaven, an up-and-coming American black metal (BM) band, is going to perform at Saint Vitus, the local metal concert venue, in a couple of weeks. The bartenders immediately become confrontational, denying Deafheaven the BM ‘label of authenticity’: the band, according to them, plays ‘hipster metal’ and their singer, George Clarke, clearly sports a hipster hairstyle. Good thing they probably did not know who they were talking to: the ‘guy’ in our story is, in fact, Jonah Bayer, a contributor to Noisey, the music magazine of Vice, considered to be one of the bastions of hipster online culture. The product of that conversation, a piece entitled ‘Why are black metal fans such elitist assholes?’ was almost certainly intended as a humorous nod to the ongoing debate, generated mainly by music webzines and their readers, over Deafheaven’s inclusion in the BM canon. The article features a promo picture of the band, two young, clean- shaven guys, wearing indistinct clothing, with short haircuts and mild, neutral facial expressions, their faces made to look like they were ironically wearing black and white make up, the typical ‘corpse-paint’ of traditional, early BM. It certainly did not help that Bayer also included a picture of Inquisition, a historical BM band from Colombia formed in the early 1990s, and ridiculed their corpse-paint and black cloaks attire with the following caption: ‘Here’s what you’re defending, black metal purists. -
Simon Finn Music 1969
Simon Finn Music 1969 - 2014 Excerpt from The Hour Un-Finn-ished business by Steve Guimon Simon Finn has been given another crack at the troubled profession of sing- er/songwriter, his story the stuff of legend: A lone wolf troubadour from the mid-’60s U.K. scene, he rubbed shoulders with the likes of Bert Jansch. The powerful Pass the Distance, released to critical acclaim, seemingly lost for- ever... Since, a new record has surfaced – capturing the past and the present, a seamless transition despite the quarter century Simon Finn has won over fans worldwide – including Sonic Youth’s Thurston Moore and ex-Blur gui- tarist Graham Coxon – with his passion, his wit and his soul-shaking music. Aside from his solo shows Simon also plays guitar in a band called Current 93, which were the cover story of the July Wire. In 2006 his original album, Pass the Distance, was made in 1969, with David Toop (author of The Rap Attack and Oceans of Sound) and Paul Burwell. It was produced by Vic Keary who ran Mushroom records at the time. His 2007 release, Accidental Life, has also been recorded and mastered by Vic Keary. Playing on it are: Joolie Woods, David Toop, Karl Blake (Lemon Kittens) Keith Godman, with backing vocals from Danielle Dax and Rose McDowall (Strawberry Switchblade). Alex Shoumatoff, contributing editor Vanity Fair “Simon Finn is one of the last old time Sixties singer-songwriters. His songs have words that are actually worth listening to, and his voice is great. He’s a quirky original and the real deal. -
The History of Rock Music - the 2000S
The History of Rock Music - The 2000s The History of Rock Music: The 2000s History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2006 Piero Scaruffi) Bards and Dreamers (These are excerpts from my book "A History of Rock and Dance Music") Bards of the old world order TM, ®, Copyright © 2008 Piero Scaruffi All rights reserved. Traditionally, the purposefulness and relevance of a singer-songwriter were defined by something unique in their lyrical acumen, vocal skills and/or guitar or piano accompaniment. In the 1990s this paradigm was tested by the trend towards larger orchestrastion and towards electronic orchestration. In the 2000s it became harder and harder to give purpose and meaning to a body of work mostly relying on the message. Many singer-songwriters of the 2000s belonged to "Generation X" but sang and wrote for members of "Generation Y". Since "Generation Y" was inherently different from all the generations that had preceeded it, it was no surprise that the audience for these singer-songwriters declined. Since the members of "Generation X" were generally desperate to talk about themselves, it was not surprising that the number of such singer- songwriters increased. The net result was an odd disconnect between the musician and her or his target audience. The singer-songwriters of the 2000s generally sounded more "adult" because... they were.