Storm Static Sleep: a Pathway Through Post- Rock Pdf, Epub, Ebook
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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. -
"World Music" and "World Beat" Designations Brad Klump
Document généré le 26 sept. 2021 17:23 Canadian University Music Review Revue de musique des universités canadiennes Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This article traces the origins and uses of the musical classifications "world Volume 19, numéro 2, 1999 music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, URI : https://id.erudit.org/iderudit/1014442ar Afrobeat, and Latin popular styles. In contrast, the term "world music" was DOI : https://doi.org/10.7202/1014442ar coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and Aller au sommaire du numéro non-Western musics to a marketing category used to sell almost any music outside the Western mainstream. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Klump, B. (1999). Origins and Distinctions of the "World Music" and "World Beat" Designations. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 5–15. https://doi.org/10.7202/1014442ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. -
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 -
Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ...................................................................................... -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
Lacrimosa Dr
Juli / August 14 AusgAbe 37 - JAhrgAng 7 Deine Lakaien LacrimoSa Dr. mark benecke Letzte inStanz opeth grA mitnehmen entombeD a.D. tis zum otto Dix SubStaat 2 eDitoriaL inhaLt Hoherlehmer Straße 5 – 15738 Zeuthen Tel. 03376/2462946 www.negatief.de Nach zweijähriger Absenz wagten wir mit der letz- 31 Ankh ten Ausgabe den Sprung ins kalte Wasser und be- 8 Astari Nite Herausgeber, Vertrieb & V.i.S.d.P.: lebten das NEGAtief neu. Viel Arbeit und Idealismus 5 CD-Tipps Bruno Kramm ([email protected]) sind in das Heft geflossen und umso erfreuter waren 6 Deine Lakaien Chefredaktion & Redaktionsleitung: wir über die positiven Resonanzen, die wir auf Face- Sascha Blach ([email protected]) book, in den Clubs, von Labels und Bands und vor 15 Digitalis Purpurea Marketing: Johannes Thon ([email protected]) allem beim Wave Gotik Treffen in Leipzig bekommen 24 Entombed A.D. Marketing Multimedia: Yvonne Brasseur 10 Lacrimosa ([email protected]) haben. Vier Tage lang stand unser eifriges Team dort Layout: Miriam Barth ([email protected]) in der Agra-Halle am NEGAtief-Stand und sorgte da- 7 Letzte Instanz Internet: Sandro Griesbach für, dass es jeder, der ohne das Heft nach Hause ge- 19 Löwenhertz Redaktion: Sascha Blach, Daniel Dreßler, Gert hen wollte, schwer hatte. Unseren WGT-Nachbericht 16 Mark Benecke Drexl, Peter Istuk, Bruno Kramm, Jennifer Laux, lest ihr ebenso in der euch nun vorliegenden Juli/ Sigmar Ost, Stephanie Riechelmann, Peter Sailer, Lea 9 Multimedia August-Ausgabe wie spannende Storys über Lacri- 14 No:Carrier Sommerhäuser, Laura Thon, Frank „Otti“ van Düren, mosa, Opeth, Letzte Instanz, Substaat oder Deine Kerstin Vielguth, Paul Winterfeld 26 Opeth Lakaien. -
The Sound of Ruins: Sigur Rós' Heima and the Post
CURRENT ISSUE ARCHIVE ABOUT EDITORIAL BOARD ADVISORY BOARD CALL FOR PAPERS SUBMISSION GUIDELINES CONTACT Share This Article The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place ABOUT INTERFERENCE View As PDF By Lawson Fletcher Interference is a biannual online journal in association w ith the Graduate School of Creative Arts and Media (Gradcam). It is an open access forum on the role of sound in Abstract cultural practices, providing a trans- disciplinary platform for the presentation of research and practice in areas such as Amongst the ways in which it maps out the geographical imagination of place, music plays a unique acoustic ecology, sensory anthropology, role in the formation and reformation of spatial memories, connecting to and reviving alternative sonic arts, musicology, technology studies times and places latent within a particular environment. Post-rock epitomises this: understood as a and philosophy. The journal seeks to balance kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial its content betw een scholarly w riting, erasures of late capitalism. After outlining how post-rock’s accommodation of urban atmosphere accounts of creative practice, and an active into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the engagement w ith current research topics in article’s first case study considers how formative Canadian post-rock acts develop this concrete audio culture. [ More ] practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their CALL FOR PAPERS homeland, through a critical reading of the 2007 tour documentary Heima. -
6.-9.JULI 2017 1 3 BOCHUM TOTAL 2017 Vorwort
6.-9.JULI 2017 BERMUDA3ECK www.bochum-total.de 1 Moop Mama – SO. 09.07. 20.45 – 1LIVE Bühne 3 BOCHUM TOTAL 2017 Vorwort „Ohne Musik wäre das Leben ein Irrtum“, so der große Denker Eine ganz besondere Partnerschaft feiert in diesem Jahr ein Jubi- Friedrich Wilhelm Nietzsche. Recht hat er damit. Musik überwindet läum. 1Live hat sich vor 20 Jahren zum ersten Mal mit einer Bühne Grenzen, Musik schafft ein Miteinander und einen Austausch. Musik präsentiert. Und seit dieser Zeit haben die Wellenreiter aus Köln das ist es auch immer wieder, die unterschiedlichsten Menschen mitein- Publikum im Pott immer wieder mit tollen Konzerten von großartigen ander verbindet. In unserem Fall schafft es die Musik, dass wir nicht Bands und Künstlern beglückt. Seien es nun die Chartstürmer von nur Bands und Künstler aus der ganzen Welt in Bochum begrüßen Silbermond, Kraftklub, Frida Gold, The Boss Hoss, Casper, Mark dürfen, sondern in den letzten Jahren auch mit zahlreichen Initiativen Foster, Andreas Bourani, Seeed und vielen mehr, sie alle erlebten und Institutionen kooperieren. Wobei dieses Wort eigentlich nicht auf dieser Bühne ihre Feuertaufe. 1Live hat uns dabei nicht nur diese den ganzen Umfang der Zusammenarbeit widerspiegelt. Unter ande- großartigen Musiker auf die Bühne geholt, sondern diese auch von rem sind zu dem Polnischen Institut Düsseldorf enge Bande geknüpft großartigen Moderatoren präsentieren lassen. Stellvertretend sei worden. Auch der gelebte deutsch-polnische Bandaustausch hat hier Tobi Wienke genannt, dessen Verbindungen zu Bochum mittler- viele neue Freundschaften entstehen lassen. weile so eng sein sollen, dass er angeblich lieber Pils statt Alt trinkt. Aber im Ernst, es ist für uns einmal die Gelegenheit, Danke zu sagen. -
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.). -
Metaldata: Heavy Metal Scholarship in the Music Department and The
Dr. Sonia Archer-Capuzzo Dr. Guy Capuzzo . Growing respect in scholarly and music communities . Interdisciplinary . Music theory . Sociology . Music History . Ethnomusicology . Cultural studies . Religious studies . Psychology . “A term used since the early 1970s to designate a subgenre of hard rock music…. During the 1960s, British hard rock bands and the American guitarist Jimi Hendrix developed a more distorted guitar sound and heavier drums and bass that led to a separation of heavy metal from other blues-based rock. Albums by Led Zeppelin, Black Sabbath and Deep Purple in 1970 codified the new genre, which was marked by distorted guitar ‘power chords’, heavy riffs, wailing vocals and virtuosic solos by guitarists and drummers. During the 1970s performers such as AC/DC, Judas Priest, Kiss and Alice Cooper toured incessantly with elaborate stage shows, building a fan base for an internationally-successful style.” (Grove Music Online, “Heavy metal”) . “Heavy metal fans became known as ‘headbangers’ on account of the vigorous nodding motions that sometimes mark their appreciation of the music.” (Grove Music Online, “Heavy metal”) . Multiple sub-genres . What’s the difference between speed metal and death metal, and does anyone really care? (The answer is YES!) . Collection development . Are there standard things every library should have?? . Cataloging . The standard difficulties with cataloging popular music . Reference . Do people even know you have this stuff? . And what did this person just ask me? . Library of Congress added first heavy metal recording for preservation March 2016: Master of Puppets . Library of Congress: search for “heavy metal music” April 2017 . 176 print resources - 25 published 1980s, 25 published 1990s, 125+ published 2000s . -
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.