Experimental pop is pop music that cannot be categorized within traditional musical boundaries or which attempts to push elements of existing popular forms into new areas. It may incorporate experimental techniques such as musique concrète, aleatoric music, or eclecticism into pop contexts; the compositional process involves the use of electronic production effects to manipulate sounds and arrangements, the composer may draw the listener's attention with both timbre and tonality, though not always simultaneously. Experimental pop music developed concurrently with experimental jazz as a new kind of avant-garde, with many younger musicians embracing the practice of making studio recordings along the fringes of popular music. In the early 1960s, it was common for producers and engineers to experiment with musical form, unnatural reverb, other sound effects, by the late 1960s experimental pop music, or sounds that expanded the idea of the typical popular song, was positively received by young audiences.
Throughout the ensuing decades, some purveyors of the style shared a literary-experimental tradition that balanced experimentation with populist cohesion. Author Bill Martin states that while the term "experimental pop" may sound "seemingly oxymoronic", it is possible to identify three criteria for characterizing its music: It is rooted in existing popular forms It experiments with or stretches the use of these popular forms It attempts to draw the audience of those forms toward these new developments, in the manner of the avant-gardeSome tendencies among artists include the incorporation of experimental techniques such as musique concrète, aleatoric music, or eclecticism into pop contexts; the compositional process involves the use of electronic production effects to manipulate sounds and arrangements. According to musicologist Leigh Landy, experimental pop settings combine sound-based work and note-based work, though not always simultaneously. Composer Nico Muhly described the world of experimental pop as "celebrations of sonic juxtapositions".
Martin writes that experimental pop developed at the same time as experimental jazz, that it emerged as "a new kind of avant-garde" made possible by the historical and material circumstances of its time. In the pop and rock music of the early 1960s, it was common for producers and engineers to experiment with musical form, unnatural reverb, other sound effects; some of the best known examples are Phil Spector's Wall of Sound and Joe Meek's use of homemade electronic sound effects for acts like the Tornados. According to author Mark Brend, Meek's I Hear a New World predates better-known experimental pop by several years, whereas musicologist Leigh Landy names the American composer Frank Zappa as one of the first experimental pop musicians. Musician David Grubbs writes that many younger musicians "moved out of Cage's shadow by taking to a different extreme and embracing the practice of making studio recordings of works along the fringes of popular music". Grubbs further explains that some of the most prominent avant-garde musicians who formed rock bands in the mid 1960s were the Welsh John Cale and the American Joseph Byrd, who both went on to create albums of experimental pop music.
However, a "gulf" would still exist between experimental composers and "out-there" pop musicians due to the role of the recording studio. Regarding this, composer Robert Ashley is quoted in 1966; the one thing I like about popular music is. They record it, record it, record it, record it! The astute producer cuts out the magic from the different tapes and puts them in a certain order and gets a whole piece. It's beautiful, because it's aural magic. We have to invent social situations to allow that magic to happen. Music historian Lorenzo Candalaria described American rock band the Beach Boys as "one of the most experimental and innovative groups of the 1960s." Co-founder and leader Brian Wilson wrote and produced songs for the group that ranged from massive hits to obscure experimental pop compositions. Their 1966 single "Good Vibrations" produced and co-written by Wilson, topped record charts internationally, subsequently proliferating a wave of pop experimentation with its rush of riff changes, echo chamber effects, intricate harmonies.
It was followed by an album of stripped-down recordings. In 2003, Stylus Magazine wrote, it is for this reason Smiley Smile flows so well with the more experimental pop of today". In the view of artist Duggie Fields, the Syd Barret-led incarnation of Pink Floyd exemplified experimental pop; the group found their initial success playing at the UFO Club in London, an underground venue whose objective was to provide an outlet for experimental pop groups. According to The New York Times and his subsequent solo albums "became a touchstone for experimental pop musicians". By the late 1960s experimental pop music, or sounds that expanded the idea of the typical popular song, was positively received by young audiences, which cultural essayist Gerald Lyn Early credits to bands like Cream, Blood, Sweat & Tears, "of course", the Beatles. Drummer John Densmore believed that the Doors were on the cutting-edge of experimental pop music until he listened to the Beatles' album Sgt. Pepper's Lonely Hearts Club Band, which he described as " to have done it all".
Mr Noah is the first extended play album by American recording artist Panda Bear, released in 2014. The title track was featured on the 2015 full-length album Panda Bear Meets the Grim Reaper, while the other 3 songs were not
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Person Pitch is the third solo album by American recording artist Noah Lennox under his alias Panda Bear, released on March 20, 2007 via Paw Tracks. Departing stylistically from his prior work as both a member of Animal Collective and a solo artist, the album was recorded using the Roland SP-303 sampler and is composed of manipulated samples and Lennox’s layered vocals, he described it as a collection of "super dubby and old sounding" songs inspired by his recent marriage and move to Portugal. The album was met with universal critical acclaim, ranked among various "top 10 albums of the 2000s" lists, it is noted for influencing a wide range of subsequent indie music, including the chillwave genre and numerous soundalike acts. Five of the album's seven tracks were issued as A-sided singles before the album's release: "I'm Not" and "Comfy in Nautica", "Bros", "Carrots" and "Take Pills". Lennox recorded Person Pitch over a two-year period, working because he lacked large stretches of time to dedicate to the material in between tours with Animal Collective.
In response to this, he entertained the idea of releasing a series of 12-inch singles over time which would eventually be compiled into a singles album, a practice inspired by techno producers such as Basic Channel. Lennox wanted to name it Perfect Pitch before settling on Person Pitch – "pitch being sound and person being a person with person pitch being a sound of a person." He attributed the brighter sound of the project to his move to Lisbon and recent familial developments, saying: A lot of the songs on Person Pitch are kind of sugary. It's mellow and sunny here and I feel like the album sounds like that to me; the stuff that's happened to me in the past two years, like getting married and having a kid and all that, has had a pretty profound impact on the kind of music I play and the kind of subjects I address. My approach to being a musician has drastically changed from being a provider; when Lennox moved to Lisbon, he was unable to bring his guitar into the country after it was held up in customs.
He was, able to bring a Roland SP-303 sampler which he had been experimenting with in previous months, inspired by the work of hip hop producer Madlib. As a result, the album is composed of samples. Lennox estimates that "it's like 96% samples, 10% of which I played," with most taken from songs heard on the radio or short recordings found on the Internet; when working with samples of other material, he "tried pretty hard to hide the stuff or make it my own in some way" by applying elements such as effects and EQ treatments, he developed melodies as he played these samples. Despite his previous drumming with Animal Collective, Lennox did not perform drums on the album. Person Pitch departs from the guitar-based sound and loosely rock-oriented format of Lennox's previous work, both as a member of Animal Collective and on his solo releases. Instead it is constructed out of "carefully mapped-out samples, minimal beats, endless layers of his own reverb-saturated vocal harmonies." The Sydney Morning Herald noted elements such as “watery electronics, washed-out samples and Beach Boys-y vocals,” while AllMusic characterized the album as a "patchwork" of "repurposed samples" and dense vocal layers."
Slant called attention to the influence of dance and electronic music production techniques on the album. Spin described it as "steeped in'60s-style harmony and post-rock noise," and "mash up traces of the Beach Boys with digital burbles, elevator chimes, something that sounds like bubble wrap being popped." Entertainment Weekly noted influences from the "sunny California sound of the Beach Boys/Mamas and the Papas era filtered through a playful avant-garde sieve." Critic Simon Reynolds described its style as "a unique and refreshing sound entirely out of percussion and his own multi-tracked voice," noting the influence of Lennox’s "teenage years singing in a high school choir."Lennox himself described the songs in advance as "super dubby and old sounding, like Motown or Buddy Holly just a little bit." He acknowledged the Beach Boys as a partial influence on his vocals, but stated that "I feel like if you do multi-part vocal harmonies you're gonna get that no matter what if you put a bunch of reverb on it or make it sound kind of spacey.
I don't want to sound like anybody else if I can." He invoked his time in a high school chamber choir as another influence. The artwork for Person Pitch and all of the related singles were done by Agnes Montgomery; the album cover artwork is a doctored version of a photo that appeared in an August 1969 issue of National Geographic. According to Lennox, "Initially I knew I wanted to do something, symmetrical; the album is kind of symmetrical in terms of how long the songs are, I wanted the album art to reflect that." Included in the artwork was a long list of artists who Lennox credited with influencing him. Five of the seven tracks on the album were released prior to the album, some of them with different mixing and/or lengths. "I'm Not" and "Comfy in Nautica" were released together as a double A-side single in 2005. "Bros" was released as a single on Fat Cat Records in late 2006. "Good Girl / Carrots" was released in early 2007 on a split 12" with the band Excepter via Animal Collective's own label Paw Tracks.
"Search for Delicious" was featured in 2005 on Volume 14 of music magazine Comes With a Smile's CD compilations. "Take Pills" was released as a 7" single on June 19, 2007. Despite Lennox's initial assertion that Person Pitch would be issued only on CD, it was announ
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
Pullhair Rubeye is a collaborative studio album released by Animal Collective member Avey Tare and his then-wife Kría Brekkan. The album was released April 24, 2007 in CD, LP, digital formats; the songs were written in August 2005 in Paris, recorded with guitars and piano on an eight-track during 2006 in their practice space in Brooklyn and mixed down on a borrowed two track. Just as both were completing the mix, the two track broke down and they didn’t hear the mixes until two months when they obtained another two track, being surprised by the recorded sounds; the album is based on the live set Avey Tare & Kría Brekkan played during their shows in 2006 in the US and Iceland, but was released with the songs played backwards, as well as sped up at certain points. According to Portner, the couple took this decision at 21 December 2006 as a result of "a combination of being stuck in NYC for Christmas and seeing that new David Lynch movie", meaning Inland Empire. "Sis Around the Sándmill" "Opís Helpus" "Foetus No-Man" "Who Wellses in My Hoff" "Lay Lay Off, Faselam" "Palenka" "Sasong" "Was Ónaíp"