The woman appears to have some kind of severe throat problem, maybe something that required surgery that altered her larynx. The language... it might be Estonian. I've been puzzling it out using Wiktionary, and that's the likeliest to me.
For your consideration: Anthony Philip Heinrich, the first remotely notable American composer and the only man to publish a score with 1024th notes in it.
As in, 32nd notes in his 32nd notes. I kid you not.
(The above piece is not that piece, although it is far stranger at points than a toccata by an early 19th century music teacher has any right to be.)
man, I haven't heard anyone diss Skrillex in what feels like years
it's kind of funny to think about, honestly-- his stuff is different enough that it can attract its own audience without relying on the idea of "dubstep" as its genre (or "brostep", even)
It's not very funny at all these days but 20 or so years ago during 1991-1993 much amusement was generated by sampling anything from anywhere and sticking a crusty breakbeat and maybe a kick drum over the top. Gimmicky rave records from the US, UK and mainland Europe were in abundance back in the early 90s. Serious music critics hated them and this was another reason that they held a certain amount of appeal for some people, despite their glaring trashiness. Screw face > Po-face. As these records began making their way down under into Australian record stores, the idiotic ideas and blatant disregard for the accepted boundaries of taste (and copyright) started having an impact on certain people, including the then baby-faced and single-chinned members of Nasenbluten. After having guiltily revelled in some of these records - the inevitable knock on effect began as Amigas, televisions, turntables, tape decks and AM radios were fired up into action and Nasenbluten set to work during August, September and October of 1993, eventually shitting out 90 minutes worth of graceless and unrefined dross that is neither funny nor charming two decades after the fact. It is the naive sound of boredom and unemployment in the deep white bread suburbia of early 90s Newcastle. It is also the sound of grabbing at the surrounding cultural ephemera of the time and place (children's TV themes, random radio snippets, advertisements, secondhand records, Australian cultural icons, breakbeats, other people's ideas) and crashing it all together in some sort of obnoxious ham-fisted attempt to kick against the pricks and spin something - anything - back into the fray.
Q. Hang on. If it's such a load of shit Newlands, then why's it up here for download you berk?
A. Because this is cold hard history, son. The same reason The Black Death has a Wikipedia entry. Lest we forget and all that. Plus it was a fucking good laugh at the time and it predated all that breakcore cabaret bullshit of the mid-2000s by more than a decade.
credits
released 01 November 1993
All embarrassing material by Newlands / Lubinski. The 90 minute cassette was released in November 1993, and is the 3rd full length release on the pre-Bloody Fist 'dEAd GirL' imprint. It was sold through C&C Records in Newcastle and through a few stores in Sydney. The cassettes were all individually hand-assembled, dubbed, glued, cut and folded. The cassette has been captured here from the original deteriorating 1993 master with all original recording artefacts - earth hum, crackles, distortion and hiss - left intact.
Basically, Battaglia is a xenharmonic/microtonal composer, and he decided to do a little experiment to demonstrate the effects of different tunings on "normal" scales by taking Bach's Fugue in C Major and transposing the scale structure into different tunings of equidistant pitches, first with narrower and narrower fifths then with wider and wider ones. Each ends with a logical extreme: The first set with seven equal notes, in which the major and minor third are the same interval; and the second with five equal notes, wherein the major third merges with the fourth and the minor third with the major second.
The slightly narrow ones suit the piece best, I think, with 31 being by far the mellowest and 19 probably being the best "conventional" take. My favourites, however, tend to be a bit more awry. I really like the take in 26, which is a very interesting tuning, and the one using the sharp fifths from 72 (which contains twelve, you may notice) is downright trippy due to the extreme differences in the semitones.
Now, aside from the weird moments previously mentioned, the part that really gets mind-screwy is when you listen to them all in order. The changes are subtle, but as they get more and more extreme... you start to slip down the rabbit-hole with them. By the middle and last ones, you'll be wondering where the hell the half-steps went and why you didn't notice their disappearance earlier.
Funny. I was actually planning to shoot an email to Gileah Taylor's website to ask if there was anywhere to get her obscure You Are Golden EP... Then she went and put the whole thing up on bandcamp for free.
Wow. Relistening, "Maybe You're Born With It" is even better than I remembered it. (Because some of the tracks were posted on MySpace, you see.)
This is why I still keep up with Asthmatic Kitty's output. The stuff they put out is wildly hit-or-miss, but the hits are invariably "I didn't even know you existed yesterday, but now I can't live without you" levels of amazing.
VHS "documentary" about one of my favorite bands resurfaced on Youtube. It doesn't really explain much of anything. At least now I know Mercedes Stevens and Starry Dynamo were the same person all along.
The guitar on Fela Kuti's "Teacher Don't Teach Me Nonsense" sounds remarkably like Pat Metheny's version of Electric Counterpoint. Looking it up on Wikipedia, I see the Fela Kuti track came out first, by a year.
The guitar on Fela Kuti's "Teacher Don't Teach Me Nonsense" sounds remarkably like Pat Metheny's version of Electric Counterpoint. Looking it up on Wikipedia, I see the Fela Kuti track came out first, by a year.
I can imagine that Methany and Reich were fans pretty easily. After all, part of what led Reich to minimalism was a love of bebop.
At first, the thought of bebop leading to minimalism struck me as absurd. Bebop, the genre of lightning-fast playing and extensive virtuoso showboating—jazz music for jazz musicians, not for the general public—giving rise to minimalism? But then I remembered Miles Davis and everything clicked into place.
Reich was fascinated by the energy and freedom of playing in hot and cool jazz and how the melodic movement and rhythm could be so different from the harmonic movement. Yes, Miles was a big influence (particularly "So What"), but so was Coltrane as he moved further and further into the abstract.
Of course, many atonalists were also into that sort of jazz, particularly Schuler and Babbit.
I just heard this track off of Liars' new album. It goes in yet another new direction, but I figured that some of you might enjoy this particular direction.
If you're in need of a little more enticement, just let me say that they sound like they actually belong on Mute Records now.
I heard this at Dave & Buster's last night and fell in love. Again. I've always had a back-of-mind appreciation for the Pickups but with this I might just have to take the plunge and check out more of their stuff (I've liked 'Well Thought Out Twinkles', 'Panic Switch' and especially 'Lazy Eye' in the past).
I finally got a listen to Fabulous Muscles and La Forét tonight. I think I actually liked the latter more, although I think the former helped mentally prepare me for the latter, if that makes sense.
Thanks for introducing me to Xiu Xiu, Sredni. You are absolutely right when you say
If the previews are indicative of Wovenhand's upcoming album, then it's going to go even farther in the heavy post-punk direction that Ten Stones and The Laughing Stalk started, and it's going to be crazy awesome.
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Mixmag has spoken
Art vs. Science is putting out a new album soon!
R.I.P.
This is why I still keep up with Asthmatic Kitty's output. The stuff they put out is wildly hit-or-miss, but the hits are invariably "I didn't even know you existed yesterday, but now I can't live without you" levels of amazing.
VHS "documentary" about one of my favorite bands resurfaced on Youtube. It doesn't really explain much of anything. At least now I know Mercedes Stevens and Starry Dynamo were the same person all along.
A. The better song is whichever one I'm listening to at the moment.
If the previews are indicative of Wovenhand's upcoming album, then it's going to go even farther in the heavy post-punk direction that Ten Stones and The Laughing Stalk started, and it's going to be crazy awesome.
http://thedustdiveflash.bandcamp.com/album/someday-well-be-together
I'm not sure what to think of it yet.
it carries on in the melodic psych/shoegaze direction of their last couple. I am liking it. That is all