Submariner is the debut album from The Dead Science, released in 2003 on Absolutely Kosher Records. Its contributors include jazz musician Michael White. "Unseeing Eye" – 7:04 "White Cane" – 3:40 "White Train" – 4:17 "The Ghost Integrity" – 4:43 "Below" – 4:53 "Batty" – 4:17 "Girl With the Unseen Hand" – 4:48 "Threnody" – 3:45 "Tension at Pitch" – 7:26 "Envelope" – 2:20 Lyrics from official band site MP3 of "White Train" MP3 of "Batty" and "Threnody" Absolutely Kosher Woodson Lateral
Xiu Xiu / The Dead Science split 7-inch
Xiu Xiu/The Dead Science split 7", released in 2005 on Deathbomb Arc, is one of several split EPs by Xiu Xiu, the third EP from The Dead Science. Eugene Robinson contributed vocals for Xiu Xiu's track, The Dead Science track has vocals by Shooby Taylor. Xiu Xiu - "Juarez" The Dead Science - "The Human Horn" MP3 clip of "The Human Horn" Deathbomb Arc
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Bird Bones in the Bughouse
Bird Bones in the Bughouse is the second EP from The Dead Science, released in 2004 on Absolutely Kosher Records. It includes a cover of Terence Trent D'Arby's "Sign Your Name" featuring Jamie Stewart on back-up vocals. "Ossuary" – 4:47 "Gamma Knife" – 4:51 "Film Strip Collage" – 5:28 "Cuz She's Me" – 5:23 "Sign Your Name" – 6:04 MP3 of "Ossuary" MP3 of "Gamma Knife" Absolutely Kosher
Jherek Brandon Bischoff, is an American musician, arranger and songwriter living in Los Angeles. Bischoff was born in California; when he was a young child his parents decided they wanted to move aboard a sailboat, sailed up the coast to the Pacific Northwest. Bischoff spent his early years on the boat and when he was 14 years old, the family departed on a two-year sailing trip to Central America, through the Panama Canal and into the Caribbean; the family returned to their home on Bainbridge Island, where Bischoff learned to play a wide variety of instruments. Bischoff has some fluency on a number of woodwinds and stringed instruments; as a composer, Bischoff is self-taught having attended part-time college classes on the topic and gaining experience by writing arrangements and compositions for fellow artists in the Seattle music scene. Music was a family tradition, his father, who had studied music at the University of California, Davis with John Cage and Stanley Lunetta, had been in avant garde and experimental bands throughout the 1970s.
Bischoff first emerged as a sideman, co-writer, accompanist in several bands. In the first decade of the 2000s, he was a member and collaborator with Parenthetical Girls, Xiu Xiu, Degenerate Art Ensemble, The Dead Science. More he was a member of Amanda Palmer and the Grand Theft Orchestra and has collaborated with The Wordless Music Orchestra, yMusic and Contemporaneous. Bischoff gained attention as a solo performer upon the 2012 release of Composed and a related instrumental album Scores: Composed Instrumentals; the album features nine orchestral pieces with a different vocalist on eight of the nine tracks. Many of the vocalists are well known, included David Byrne, Caetano Veloso, Carla Bozulich, Craig Wedren, Dawn McCarthy, Zac Pennington and more. Guest soloists included Nels Cline; the album was first composed by Bischoff on a ukulele. He orchestrated and mastered the album, achieving an orchestral sound at a low cost by recording the instrumentalists one at a time using a single microphone and a laptop computer recording set-up.
Pitchfork wrote that listening to the album whilst being aware of the process "is like imagining someone filling an Olympic-sized pool with an eye dropper: the mind balks, both at the enormity of the undertaking and at the disposition of the person behind it". In a 4/5 star review, The Guardian described the album as "a collection of lavishly orchestrated pop songs that throb with expressionistic drama, by turns romantic and faintly sinister" adding, "occasionally, Composed sounds indulgent, when Bischoff succumbs to syrupy, symphonic cliche. Bischoff began recording the album Cistern in an empty two million gallon underground water tank under Fort Worden in Port Townsend, Washington; the size of the space was a huge factor in the development of the album. In an interview Bischoff described how "the vast emptiness of the cistern generates a reverb decay that lasts 45 seconds; that means, if you snap your fingers, the sound lasts 45 seconds. That amount of reverberation is an wild environment to try to create music in".
This led to "a record intrinsically linked to the space. A space which forced Bischoff to slow down, to reflect, to draw on his childhood growing up on a sailing boat - an unexpected journey of rediscovery, from the city back to the Pacific Ocean". On 29 June, The Leaf Label announced Bischoff's first UK headline show, to coincide with and celebrate the release of Cistern; the concert was held at the Courtyard Theatre in London on 26 July and featured Bischoff alongside a string quartet and frequent collaborator Amanda Palmer. Three days the pair performed together at London's Royal Albert Hall as part of the BBC's David Bowie Prom, following their Bowie tribute EP Strung Out In Heaven released shortly after his death. Bischoff has been called a "pop polymath", a "Seattle phenom", "the missing link between the sombre undertones of Ennio Morricone and the unpredictability of John Cale". In 2013, Bischoff was interviewed by Terry Gross for her NPR show Fresh Air, where he spoke about his unique childhood growing up on a sailboat, the unconventional process by which he recorded his album Composed.
The title track from Cistern premiered on 3 May 2016 on Stereogum, who described it as "triumphantly building orchestral piece with a fascinating backstory" and "an majestic piece of work". Bischoff was a finalist for The Stranger's Music Genius Award in 2013 and was named Seattle's Best Collaborator by the Seattle Weekly in 2014. Cistern Scores: Composed Instrumentals Composed Jherek Bischoff vs Konono N°1 - Kule Kule - Song on Compilation Tradi-Mods vs Rockers Under the Sour Trees - Split with Richard Webb Jherek Bischoff Royals Privilege Privilege, Pt. V: Portrait of a Reputation Privilege, Pt. IV: Sympathy For Spastics Privilege, Pt. III: Mend & Make Do Privilege, Pt. II: The Past, Imperfect Privilege, Pt. I: On Death & Endearments Morrissey/The Smiths - 7" Split with Xiu Xiu The Scottish Play Entanglements Safe as Houses Theatre Is Evil In This Light: Live at Bear Creek The Cost of Living Only Just Be
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro