Lewis Allan Reed was an American musician and songwriter. He was the lead guitarist and principal songwriter for the rock band the Velvet Underground and had a solo career that spanned five decades; the Velvet Underground were not a commercial success during their existence, but are now regarded as one of the most influential bands in the history of underground and alternative rock music. After leaving the band in 1970, Reed released twenty solo studio albums, his second, was produced by David Bowie and arranged by Mick Ronson, brought mainstream recognition. After Transformer, the less commercial Berlin reached No. 7 on the UK Albums Chart. Rock n Roll Animal sold and Sally Can't Dance peaked at No. 10 on the Billboard 200. Reed cleaned up in the early 1980s, returned to prominence with New Sensations, reaching a critical and commercial career peak with his 1989 album New York. Reed participated in the reformation of the Velvet Underground in the 1990s, made several more albums, including a collaboration album with John Cale titled Songs for Drella, a tribute to their former mentor Andy Warhol.
1992's Magic and Loss would become Reed's highest-charting album on the UK Albums Chart, peaking at No. 6. He contributed music to two theatrical interpretations of 19th century writers, one of which he developed into an album titled The Raven, he married his third wife Laurie Anderson in 2008, recorded the collaboration album Lulu with Metallica. He died in 2013 of liver disease. Reed's distinctive deadpan voice, poetic lyrics and experimental guitar playing were trademarks throughout his long career. Lewis Allan Reed was born on March 2, 1942 at Beth El Hospital in Brooklyn and grew up in Freeport, Long Island. Reed was Sidney Joseph Reed, an accountant, his family was Jewish. Reed said that although he was Jewish, his real god was roll. Reed went on to Freeport Junior High School, his sister Merrill, born Elizabeth Reed, said that as an adolescent, he suffered panic attacks, became awkward and "possessed a fragile temperament" but was focused on things that he liked music. Having learned to play the guitar from the radio, he developed an early interest in rock and roll and rhythm and blues, during high school played in several bands.
He began experimenting with drugs at the age of 16. His first recording was, his love for playing music and his desire to play gigs brought him into confrontation with his anxious and unaccommodating parents. His sister recalled that during his first year in college he was brought home one day, having had a mental breakdown, after which he remained "depressed and unresponsive" for a time, that his parents were having difficulty coping. Visiting a psychologist, Reed's parents were made to feel guilty as inadequate parents, consented to electroconvulsive therapy. Reed appeared to blame his father for the treatment, he wrote about the experience in his 1974 song, "Kill Your Sons". Reed recalled the experience as having been traumatic and leading to memory loss, he believed. After Reed's death, his sister denied the ECT treatments were intended to suppress his "homosexual urges", asserting that their parents were not homophobic but had been told by his doctors that ECT was necessary to treat Reed's mental and behavioral issues.
Upon his recovery from his illness and associated treatment, Reed resumed his education at Syracuse University in 1960, studying journalism, film directing, creative writing. He was a platoon leader in ROTC. In 1961, he began. Named after a song by pianist Cecil Taylor, the program featured doo wop and blues, jazz the free jazz developed in the mid-1950s. Reed said that when he started out he was inspired by such musicians as Ornette Coleman, who had "always been a great influence" on him. Reed's sister said that during her brother's time at Syracuse, the university authorities had tried unsuccessfully to expel him because they did not approve of his extracurricular activities. At Syracuse University, he studied under poet Delmore Schwartz, who he said was "the first great person I met", they became friends, he credited Schwartz with showing him how "with the simplest language imaginable, short, you can accomplish the most astonishing heights." One of Reed's fellow students at Syracuse in the early 1960s was the musician Garland Jeffreys.
Jeffreys recalled Reed's time at Syracuse: "At four in the afternoon we'd all meet at The Orange Grove. Me, Delmore and Lou; that would be the center of the crew. And Delmore was the leader - our quiet leader." While at Syracuse, Reed was introduced to heroin for the first time, contracted hepatitis. Sterling Morrison was not attending Syracuse at the time, but met Reed while he was visiting mutual friend Jim Tucker, the older brother of Velvet Underground drummer Moe Tucker, att
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid-1950s. The terms "popular music" and "pop music" are used interchangeably, although the former describes all music, popular and includes many diverse styles. "Pop" and "rock" were synonymous terms until the late 1960s, when they became differentiated from each other. Although much of the music that appears on record charts is seen as pop music, the genre is distinguished from chart music. Pop music is eclectic, borrows elements from other styles such as urban, rock and country. Identifying factors include short to medium-length songs written in a basic format, as well as common use of repeated choruses, melodic tunes, hooks. David Hatch and Stephen Millward define pop music as "a body of music, distinguishable from popular and folk musics". According to Pete Seeger, pop music is "professional music which draws upon both folk music and fine arts music". Although pop music is seen as just the singles charts, it is not the sum of all chart music.
The music charts contain songs from a variety of sources, including classical, jazz and novelty songs. As a genre, pop music is seen to develop separately. Therefore, the term "pop music" may be used to describe a distinct genre, designed to appeal to all characterized as "instant singles-based music aimed at teenagers" in contrast to rock music as "album-based music for adults". Pop music continuously evolves along with the term's definition. According to music writer Bill Lamb, popular music is defined as "the music since industrialization in the 1800s, most in line with the tastes and interests of the urban middle class." The term "pop song" was first used in 1926, in the sense of a piece of music "having popular appeal". Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country and hillbilly music. According to the website of The New Grove Dictionary of Music and Musicians, the term "pop music" "originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced".
The Oxford Dictionary of Music states that while pop's "earlier meaning meant concerts appealing to a wide audience since the late 1950s, pop has had the special meaning of non-classical mus in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc." Grove Music Online states that " in the early 1960s,'pop music' competed terminologically with beat music, while in the US its coverage overlapped with that of'rock and roll'". From about 1967, the term “pop music” was used in opposition to the term rock music, a division that gave generic significance to both terms. While rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial and accessible. According to British musicologist Simon Frith, pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" but "doesn't come from any particular place or mark off any particular taste". Frith adds that it is "not driven by any significant ambition except profit and commercial reward and, in musical terms, it is conservative".
It is, "provided from on high rather than being made from below... Pop is not a do-it-yourself music but is professionally produced and packaged". According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, an emphasis on craftsmanship rather than formal "artistic" qualities. Music scholar Timothy Warner said it has an emphasis on recording and technology, rather than live performance; the main medium of pop music is the song between two and a half and three and a half minutes in length marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure. Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, a chorus that contrasts melodically and harmonically with the verse; the beat and the melodies tend to be simple, with limited harmonic accompaniment. The lyrics of modern pop songs focus on simple themes – love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are "that of classical European tonality, only more simple-minded." Clichés include the barbershop quartet-style blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function. Throughout its development, pop music has absorbed influences from other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, spoken passages from rap. In the 1960s, the majority of mainstream pop music fell in two categories: guitar and bass groups or singers
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
Performance art is a performance presented to an audience within a fine art context, traditionally interdisciplinary. Performance may be either scripted or unscripted, random or orchestrated, spontaneous or otherwise planned with or without audience participation; the performance can be live or via media. It can be any situation that involves four basic elements: time, the performer's body, or presence in a medium, a relationship between performer and audience. Performance art can happen anywhere, for any length of time; the actions of an individual or a group at a particular place and in a particular time constitute the work. Performance art is an contested concept: any single definition of it implies the recognition of rival uses; as concepts like "democracy" or "art", it implies productive disagreement with itself. The meaning of the term in the narrower sense is related to postmodernist traditions in Western culture. From about the mid-1960s into the 1970s derived from concepts of visual art, with respect to Antonin Artaud, the Situationists, installation art and conceptual art, performance art tended to be defined as an antithesis to theatre, challenging orthodox art forms and cultural norms.
The ideal had been an ephemeral and authentic experience for performer and audience in an event that could not be repeated, captured or purchased. The discussed difference, how concepts of visual arts and concepts of performing arts are utilized, can determine the meanings of a performance art presentation. Performance art is a term reserved to refer to a conceptual art which conveys a content-based meaning in a more drama-related sense, rather than being simple performance for its own sake for entertainment purposes, it refers to a performance presented to an audience, but which does not seek to present a conventional theatrical play or a formal linear narrative, or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions. It therefore can include action or spoken word as a communication between the artist and audience, or ignore expectations of an audience, rather than following a script written beforehand; some kinds of performance art can be close to performing arts.
Such performance may utilize a script or create a fictitious dramatic setting, but still constitute performance art in that it does not seek to follow the usual dramatic norm of creating a fictitious setting with a linear script which follows conventional real-world dynamics. Performance artists challenge the audience to think in new and unconventional ways, break conventions of traditional arts, break down conventional ideas about "what art is"; as long as the performer does not become a player who repeats a role, performance art can include satirical elements. Some artists, e.g. the Viennese Actionists and neo-Dadaists, prefer to use the terms "live art", "action art", "actions", "intervention" or "manoeuvre" to describe their performing activities. As genres of performance art appear body art, fluxus-performance, action poetry, intermedia. Performance art activity is not confined to American art traditions. Performance artists and theorists point to different traditions and histories, ranging from tribal to sporting and ritual or religious events.
In an episode of In Our Time broadcast on Thu, 20 Oct 2005, 21:30 on BBC Radio 4, Angie Hobbs, Lecturer in Philosophy, University of Warwick. Western cultural theorists trace performance art activity back to the beginning of the 20th century, to the Russian constructivists and Dada. Dada provided a significant progenitor with the unconventional performances of poetry at the Cabaret Voltaire, by the likes of Richard Huelsenbeck and Tristan Tzara. Russian Futurist artists could be identified as precursors of performance, such as David Burliuk, who painted his face for his actions and Alexander Rodchenko and his wife Varvara Stepanova. According to the art critic Harold Rosenberg in the 1940s and 1950s Action Painting gave artists the freedom to perform—the canvas as "an arena in which to act", thereby rendering the paintings as traces of the artist's performance in his/her studio. Abstract expressionism and Action painting preceded the Fluxus movement and the emergence of Performance Art. Performance art was anticipated, if not explicitly formulated, by Japan's Gutai group of the 1950s in such works as Atsuko Tanaka's Electric Dress.
Yves Klein had been a precursor of performance art with the conceptual pieces of Zone de Sensibilité Picturale Immatérielle 1959–62, Anthropométries, works like the photomontage, Saut dans le vide. In the late 1960s Earth artists as diverse as Robert Smithson, Dennis Oppenheim, Michael Heizer and Carl Andre created environmental pieces that predict the performan
A music director, musical director, or director of music is the person responsible for the musical aspects of a performance, production, or organization, for example the artistic director and chief conductor of an orchestra or concert band, the director of music of a film, the director of music at a radio station, the person in charge of musical activities or the head of the music department in a school, the coordinator of the musical ensembles in a university, college, or institution, the head bandmaster of a military band, the head organist and choirmaster of a church, or an organist and master of the choristers. The title of "music director" or "musical director" is used by many symphony orchestras to designate the primary conductor and artistic leader of the orchestra; the term "music director" is most common for orchestras in the United States. With European orchestras, the titles of "principal conductor" or "chief conductor" are more common, which designate the conductor who directs the majority of a given orchestra's concerts in a season.
In musical theatre and opera, the music director is in charge of the overall musical performance, including ensuring that the cast knows the music supervising the musical interpretation of the performers and pit orchestra, conducting the orchestra. In the 20th century, the title and position brought with it an unlimited influence over the particular orchestra's affairs; as implied by the name, the music director not only conducts concerts, but controls what music the orchestra will perform or record, has much authority regarding hiring and other personnel decisions over an orchestra's musicians. Such authoritarian rule, once expected and thought necessary for a symphonic ensemble to function properly, has loosened somewhat in the closing decades of the 20th century with the advent and encouragement of more power sharing and cooperative management styles; the music director in American lingo assists with fund-raising, is the primary focus of publicity for the orchestra, as what is called its "public face".
The term "music director" or "musical director" became common in the United States in the middle of the 20th century, following an evolution of titles. Early leaders of orchestras were designated as the "conductor." In the 1920s and 1930s, the term musical director began to be used, in order to delineate the fact that the person in this position was doing much more than just conducting, to differentiate them from guest conductors who led one particular program or concert. George Szell, for instance, was appointed as "musical director" of the Cleveland Orchestra in 1946, his position was so named until his death in 1970, his successor, Lorin Maazel, was given the title "music director." Other major American orchestras kept more current with the times and began using the simpler term in the 1950s and 1960s. The term can refer to the person who directs a school band or heads the music program. Alternatively, the term "music director" used to appear in the film credits for a professional hired to supervise and direct the music selected for a film or music documentary, but today the more common designation is music supervisor.
In India, where a large number of films are produced as musicals, the term'music director' is used for the composer and music producer of the songs and score used in the film. Their roles entail arranging, mastering and supervising recording of film music with conducting and orchestration. Another artist will receive the credit for the lyrics of the songs. Further information: Music of Bollywood § Production; the "music director" for a theatrical production or Broadway or West End musical serves as rehearsal pianist and conductor. Brass bands, wind bands, opera companies and other ensembles may have musical directors. A music director of a radio station is responsible for interacting with record company representatives, auditioning new music, offering commentary, making decisions as to which songs get airplay, how much and when. In college radio, there may be more than one music director, as students volunteer only a few hours each per week, most stations have a diverse and extensive library of several different music genres.
In the British Armed Forces, a director of music is a commissioned officer, always a musician commissioned from the ranks, who leads a military band. A non-commissioned officer or warrant officer who leads a band is called a bandmaster. In pop music, a musical director or "MD" is responsible for supervising the musical arrangements and personnel for a touring artist; this can include festivals and televised performances as well as those at traditional on-stage venues. In the modern era, the sound of a studio recording is impossible or impractical to reproduce on stage, it is the music director's job to assemble musicians and arrangements to adapt that material to a live setting; the music director leads rehearsals as well as each performance, allowing the lead artist to focus on performing. Bandmaster Generalmusikdirektor Kapellmeister Music directors Organist and Master of the Choristers Media related to Music directors at Wikimedia Commons
The Mellotron is an electro-mechanical, polyphonic tape replay keyboard developed and built in Birmingham, England, in 1963. It could be mass-produced more effectively; the instrument is played by pressing its keys, each of which presses a length of magnetic tape against a capstan, drawing it across a playback head. As the key is released, the tape is retracted by a spring to its initial position. Different portions of the tape can be played to access different sounds; the first models were designed to be used in the home, contained a variety of sounds, including automatic accompaniments. Bandleader Eric Robinson and television personality David Nixon were involved in initial promotion of the instruments. A number of other celebrities such as Princess Margaret were early adopters; the instrument began to be used by pop groups in the mid to late 1960s. The Moody Blues' keyboardist Mike Pinder was an early adopter, used it extensively on the band's 1967 album Days of Future Passed; the Beatles used the instrument on several tracks, including the hit single "Strawberry Fields Forever".
The Mellotron was subsequently used by groups like King Crimson and Genesis, thus became a common instrument in progressive rock. Models such as the M400, the best selling model, dispensed with the accompaniments and some sound selection controls in order to be used by touring musicians; the instrument's popularity declined in the 1980s after the introduction of polyphonic synthesizers and samplers, despite a number of high-profile users like Orchestral Manoeuvres in the Dark and XTC. Production of the Mellotron ceased in 1986, but it regained popularity in the 1990s and was used by several notable bands; this led to the resurrection of Streetly Electronics. In 2007, Streetly produced the M4000, which combined the layout of the M400 with the bank selection of earlier models; the Mellotron generates its sound via audio tape. When a key is pressed, a tape connected to it is pushed against a playback head, like a tape recorder. While the key remains depressed, the tape is drawn over the head, a sound is played.
When the key is released, a spring pulls the tape back to its original position. A variety of sounds are available on the instrument. On earlier models, the instrument is split into "rhythm" sections. There is a choice of six "stations" of rhythm sounds, each containing three rhythm tracks and three fill tracks; the fill tracks can be mixed together. There is a choice of six lead stations, each containing three lead instruments which can be mixed. In the centre of the Mellotron, there is a tuning button that allows a variation in both pitch and tempo. Models do not have the concept of stations and have a single knob to select a sound, along with the tuning control. However, the frame containing the tapes is designed to be removed, replaced with one with different sounds. Although the Mellotron was designed to reproduce the sound of the original instrument, replaying a tape creates minor fluctuations in pitch and amplitude, so a note sounds different each time it is played. Pressing a key harder allows the head to come into contact under greater pressure, to the extent that the Mellotron responds to aftertouch.
Another factor in the Mellotron's sound is. For a musician accustomed to playing in an orchestral setting, this was unusual, meant that they had nothing against which to intonate. Noted cellist Reginald Kirby refused to downtune his cello to cover the lower range of the Mellotron, so the bottom notes are performed on a double bass. According to Mellotron author Nick Awde, one note of the string sounds contains the sound of a chair being scraped in the background; the original Mellotrons were intended to be used in the home or in clubs and were not designed for touring bands. The M400, designed to be as portable as possible, weighed over 122 pounds. Smoke, variations in temperature, humidity were detrimental to the instrument's reliability. Moving the instrument between cold storage rooms and brightly lit stages could cause the tapes to stretch and stick on the capstan. Leslie Bradley recalls receiving some Mellotrons in for a repair "looking like a blacksmith had shaped horseshoes on top". Pressing too many keys at once caused the motor to drag, resulting in the notes sounding flat.
Robert Fripp stated that "uning a Mellotron doesn't". Dave Kean, an expert Mellotron repairer, recommends that older Mellotrons should not be used after a period of inactivity, as the tape heads can become magnetised in storage and destroy the recordings on them if played. Although tape samplers had been explored in research studios, the first commercially available keyboard-driven tape instruments were built and sold by California-based Harry Chamberlin; the concept of the Mellotron originated when Chamberlin's sales agent, Bill Fransen, brought two of Chamberlin's Musicmaster 600 instruments to England in 1962 to search for someone who could manufacture 70 matching tape heads for future Chamberlins. He met Frank and Les Bradley of tape engineering company Bradmatic Ltd, who said they could improve on the original design; the Bradleys subsequently met bandleader Eric Robinson, who agreed to help finance the recording of the necessary instruments and sounds. Together with the Bradleys and television celebrity David Nixon, they formed a company, Mellotronics, in order to market the instrument.
Robinson was enthusiastic about the Mellotron, because he felt it would revitalise his career, on the wane. He arranged the recording sess
Skúli Sverrisson is an Icelandic composer and bass guitarist. He has worked with musicians Wadada Leo Smith, Derek Bailey, Lou Reed, Jon Hassel, David Sylvian, Arto Lindsay, composers Ryuichi Sakamoto, Jóhann Jóhannsson, Hildur Guðnadóttir, he is known for his work as artistic director for Ólöf Arnalds, recordings with Blonde Redhead, as musical director for Laurie Anderson. Sverrisson released duo albums with Anthony Burr, Oskar Gudjonsson, Hilmar Jensson, he has been a member of Pachora, Alas No Axis, the Allan Holdsworth group, the Ben Monder group. His solo works include Seremonie in 1997 and Sería in 2006. Seria was chosen Best Album of the Year by the Icelandic Music Awards. Sverrisson plays dobro, double bass, charango, in addition to bass guitar, he has composed music for the Icelandic Dance Company, the National Theatre of Iceland, films and installations such as Welcome and Music for Furniture with Olafur Thordason, Spatial Meditation with Claudia Hill, When it was Blue with filmmaker Jennifer Reeves.
Sverrisson founded Seria, an ensemble featuring Amedeo Pace, Ólöf Arnalds, David Thor Jonsson, Anthony Burr, Eyvind Kang, Hildur Guðnadóttir in 2005. He released Seria in 2006 and Seria ll in 2010. Sverrisson has won five Icelandic Music Awards, including Icelandic Album of the Year for Seria in 2006, he has appeared on over one hundred recordings and has performed with Hildur Guðnadóttir, Hilmar Jensson, Jim Black, Chris Speed, Anthony Burr, Laurie Anderson, Allan Holdsworth, Ryuichi Sakamoto, David Sylvian, Blonde Redhead, Yungchen Lhamo, Jamshied Sharifi, Ólöf Arnalds and Alas No Axis. He was a part of Mo Boma with Jamshied Sharifi and Carsten Tiedemann, releasing four albums on Extreme. 1991 – Secret Stories, Full Circle 1992 – Poetry of Joseph Kopf, Peter Herbert 1992 – Jijimuge, Mo Boma Extreme 1993 – Hard Hat Area, Allan Holdsworth 1994 – Myths of the Near Future Part One, Mo Boma 1995 – Myths of the Near Future Part Two, Mo Boma 1995 – Dofinn, Hilmar Jensson 1995 – Blonde Redhead, Blonde Redhead 1996 – Myths of the Near Future Part Three, Mo Boma 1996 – Esprit, Kazumi Watanabe, 1997 – Seremonie, Skúli Sverrisson 1997 – Prayer for the Soul of Layla, Jamshied Sharifi 1997 – No Boat, Ben Monder 1997 – Extreme 10, Skúli Sverrisson 1998 – Kjár, Skúli Sverrisson & Hilmar Jensson 1998 – Bushes and Briars, Susan McKeown 1998 – Pachora, Pachora 1998 – Unn, Pachora 1998 – Dabilen Harria, Ruper Ordorika 1999 – Desist, Skúli Sverrisson & Anthony Burr 1999 – Yeah No, Chris Speed 1999 – Deviantics, Chris Speed 1999 – Ast, Pachora 2000 – AlasNoAxis, Jim Black's AlasNoAxis 2000 – Origami, Theo Bleckmann 2000 – The Well, Brad Shepik 2000 – Marinade, Mark Dresser 2000 – In His Own Sweet Way, Pachora 2000 – Excavation, Ben Monder 2000 – Emit, Chris Speed 2001 – Life on a String, Laurie Anderson 2001 – Splay, Jim Black's AlasNoAxis 2001 – Klif, Jóel Pálsson 2001 – Live at Town Hall, Laurie Anderson 2001 – Napoli 23, Napoli 23 2001 – After Silence, Skúli Sverrisson & Óskar Guðjónsson 2002 – Asterotypical, Pachora 2002 – Iceman Is, Terje Isungset 2003 – World Citizen, David Sylvian & Ryuichi Sakamoto 2003 – Quartet Lucy, John Hollenbeck 2003 – Voice in the Wilderness, Pachora 2004 – Swell Henry, Chris Speed 2004 – Habyor, Jim Black's AlasNoAxis 2004 – One, Jamshied Sharifi 2004 – Misery is a Butterfly, Blonde Redhead 2005 – Virðulegir Forsetar, Jóhann Jóhannsson 2005 – Ociana, Ben Monder 2005 – Marmorere, Peter Scherer 2005 – A 1000 Incidents Arise, Skúli Sverrisson & Anthony Burr 2005 – Dogs of Great Indifference, Jim Black's AlasNoAxis 2005 – Ama, Yungchen Lhamo 2006 – Bricolage, Ruyichi Sakamoto 2006 – Seria, Skúli Sverrisson 2006 – Family Album, Kitchen Motors 2007 – 23, Blonde Redhead 2007 – Illusionista, Bass Instinct 2007 – Við og Við, Ólof Arnalds 2007 – Jostojoo, Mamak Khadem 2007 – Cycles, Einar Scheving 2008 – Aero, Ghostdigital 2009 – Without Sinking, Hildur Guðnadottir 2009 – Iridescence, Hildur Guðnadottir 2009 – Houseplant, Jim Black's AlasNoAxis 2009 – Haizea Garizumakoa', Ruper Ordorika 2009 – Spiritual Dimensions, Wadada Leo Smith 2009 – Out of Noise, Ruyichi Sakamoto 2010 – Butterfly, Base Instinct Zappel 2010 – Homeland, Laurie Anderson 2010 – Innundir Skinni, Ólof Arnalds 2010 – Seria ll, Skúli Sverrisson 2011 – Hodeien azpian, Ruper Ordorika 2011 – Heart's Reflections, Wadada Leo Smith 2012 – White Mountain, Úlfur 2012 – The Box Tree, Skúli Sverrisson & Óskar Guðjónsson 2013 – Antiheroes, Jim Black's AlasNoAxis 2014 – They Hold It for Certain...
Skúli Sverrisson, Yungchen Lhamo & Anthony Burr 2015 – Intervals, Einar Scheving 2016 – Saumur, Arve Henriksen, Skúli Sverrisson & Hilmar Jensson "Skuli Sverrisson | Extreme Music » Artists". Xtr.com. Retrieved 2014-04-04. 1992 Video of Skúli Sverrisson playing with Allan Holdsworth and Chad Wackerman