Noise rock is a noise-oriented style of experimental rock that spun off from punk rock in the 1980s. Drawing on movements such as minimalism, industrial music, New York hardcore, artists indulge in extreme levels of distortion through the use of electric guitars and, less electronic instrumentation, either to provide percussive sounds or to contribute to the overall arrangement; some groups are tied to song structures, such as Sonic Youth. Although they are not representative of the entire genre, they helped popularize noise rock among alternative rock audiences by incorporating melodies into their droning textures of sound, which set a template that numerous other groups followed. Noise rock fuses rock to noise with recognizable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonality and white noise. One notable band of this genre is Sonic Youth who took inspiration from the no wave composers Glenn Branca and Rhys Chatham. Sonic Youth's Thurston Moore has stated: "Noise has taken the place of punk rock.
People who play noise have no real aspirations to being part of the mainstream culture. Punk has been co-opted, this subterranean noise music and the avant-garde folk scene have replaced it." While the music had been around for some time, the term "noise rock" was coined in the 1980s to describe an offshoot of punk groups with an abrasive approach. An archetypal album is the Velvet Underground's White Light/White Heat. Treblezine's Joe Gross credits the "cult classic" with being the first noise rock album, accordingly, "perhaps it’s an obvious starting point, but it’s the starting point. Period."While noise rock has never had any mainstream popularity, the raw and feedback-intensive sound of some noise rock bands had an influence on grunge. Among them are Wisconsin's Killdozer, most notably San Francisco's Flipper, a band known for its slowed-down and murky "noise punk"; the Butthole Surfers' mix of punk, heavy metal and noise rock was a major influence on the early work of Soundgarden. Starting in the 1990s, noise punk developed as a form of party music, with the band Lightning Bolt serving as key players in the 2000s noise punk scene in Providence, Rhode Island.
List of noise rock bands List of noise musicians
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
A synthesizer or synthesiser is an electronic musical instrument that generates audio signals that may be converted to sound. Synthesizers may imitate traditional musical instruments such as piano, vocals, or natural sounds such as ocean waves, they are played with a musical keyboard, but they can be controlled via a variety of other devices, including music sequencers, instrument controllers, guitar synthesizers, wind controllers, electronic drums. Synthesizers without built-in controllers are called sound modules, are controlled via USB, MIDI or CV/gate using a controller device a MIDI keyboard or other controller. Synthesizers use various methods to generate electronic signals. Among the most popular waveform synthesis techniques are subtractive synthesis, additive synthesis, wavetable synthesis, frequency modulation synthesis, phase distortion synthesis, physical modeling synthesis and sample-based synthesis. Synthesizers were first used in pop music in the 1960s. In the late 1970s, synths were used in progressive rock and disco.
In the 1980s, the invention of the inexpensive Yamaha DX7 synth made digital synthesizers available. 1980s pop and dance music made heavy use of synthesizers. In the 2010s, synthesizers are used in many genres, such as pop, hip hop, metal and dance. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer; the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the Musical Telegraph, was invented in 1876 by American electrical engineer Elisha Gray, he accidentally discovered the sound generation from a self-vibrating electromechanical circuit, invented a basic single-note oscillator. This instrument used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray built a simple loudspeaker device into models, consisting of a vibrating diaphragm in a magnetic field, to make the oscillator audible.
This instrument was a remote electromechanical musical instrument that used telegraphy and electric buzzers that generated fixed timbre sound. Though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897 Thaddeus Cahill was granted his first patent for an electronic musical instrument, which by 1901 he had developed into the Telharmonium capable of additive synthesis. Cahill's business was unsuccessful for various reasons, but similar and more compact instruments were subsequently developed, such as electronic and tonewheel organs including the Hammond organ, invented in 1935. In 1906, American engineer Lee de Forest invented the first amplifying vacuum tube, the Audion whose amplification of weak audio signals contributed to advances in sound recording and film, the invention of early electronic musical instruments including the theremin, the ondes martenot, the trautonium. Most of these early instruments used heterodyne circuits to produce audio frequencies, were limited in their synthesis capabilities.
The ondes martenot and trautonium were continuously developed for several decades developing qualities similar to synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, similar graphical sound and tonewheel systems were developed around the world. In 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. Although his idea of reconstructing a sound from its visible image was simple, the instrument was not realized until 20 years in 1958, as Murzin was, "an engineer who worked in areas unrelated to music". In the 1930s and 1940s, the basic elements required for the modern analog subtractive synthesizers — electronic oscillators, audio filters, envelope controllers, various effects units — had appeared and were utilized in several electronic instruments; the earliest polyphonic synthesizers were developed in the United States. The Warbo Formant Orgel developed by Harald Bode in Germany in 1937, was a four-voice key-assignment keyboard with two formant filters and a dynamic envelope controller.
The Hammond Novachord released in 1939, was an electronic keyboard that used twelve sets of top-octave oscillators with octave dividers to generate sound, with vibrato, a resonator filter bank and a dynamic envelope controller. During the three years that Hammond manufactured this model, 1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers. In the 1940s and 1950s, before the popularization of electronic organs and the introductions of combo organs, manufacturers developed various portable monophonic electronic instruments with small keyboards; these small instruments consisted of an electronic oscillator, vibrato effect, passive filters. Most were designed for conventional ensembles, rather than as experimental instruments for electronic music studios, but contributed to the evolution of modern synthesizers; these instruments include the Solovox, Multimonica and Clavioline.
In the late 1940s, Canadian inventor and composer, Hugh Le Caine invented the Electronic Sackbut, a voltage-controlled electronic musical instrument that provided the earliest real-time control of three aspects of sound —corresponding to today's touch-sensitive keyboard and modulation controllers. The controllers were impl
The Physical World
The Physical World is the second studio album by Canadian rock duo Death from Above. It was released September 2014, through Last Gang Records; the album was produced by Dave Sardy who has worked with artists such as Oasis, Red Hot Chili Peppers, LCD Soundsystem, Nine Inch Nails. The album was announced on June 11, 2014; the first single, "Trainwreck 1979", was released on July 8, the second single, "Government Trash", was released on August 14. "Trainwreck 1979" impacted radio on August 5, 2014. The album was a long-listed nominee for the 2015 Polaris Music Prize, it was named Rock Album of the Year for 2015 at the Juno Awards. Death From Above 1979Jesse F. Keeler – bass, songwriting Sebastien Grainger – drums, songwritingAdditional personnelDave Sardy – production, mixing recording Andy Brohard - engineering Cameron Barton - engineering Ryan Castle - engineering Show Group - design Eva Michon - photography Dennis Chow - "tattoo flash"
Hard rock is a loosely defined subgenre of rock music that began in the mid-1960s, with the garage and blues rock movements. It is typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar and accompanied with keyboards. Hard rock developed into a major form of popular music in the 1970s, with notable bands such as AC/DC, the Who, Led Zeppelin, Deep Purple, Aerosmith and Van Halen. During the 1980s, some hard rock bands moved away from their hard rock roots and more towards pop rock, while others began to return to a hard rock sound. Established bands made a comeback in the mid-1980s and it reached a commercial peak in the 1980s, with glam metal bands like Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses, which followed up with great success in the part of that decade. Hard rock began losing popularity with the commercial success of R&B, hip-hop, urban pop and Britpop in the 1990s. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, new hard rock bands that emerged from the garage rock and post-punk revival scenes.
Out of this movement came garage rock bands like the White Stripes, the Strokes, Interpol and on, the Black Keys. In the 2000s, only a few hard rock bands from the 1970s and 1980s managed to sustain successful recording careers. Hard rock is a form of aggressive rock music; the electric guitar is emphasised, used with distortion and other effects, both as a rhythm instrument using repetitive riffs with a varying degree of complexity, as a solo lead instrument. Drumming characteristically focuses on driving rhythms, strong bass drum and a backbeat on snare, sometimes using cymbals for emphasis; the bass guitar works in conjunction with the drums playing riffs, but providing a backing for the rhythm and lead guitars. Vocals are growling, raspy, or involve screaming or wailing, sometimes in a high range, or falsetto voice. Hard rock has sometimes been labelled cock rock for its emphasis on overt masculinity and sexuality and because it has been predominantly performed and consumed by men: in the case of its audience white, working-class adolescents.
In the late 1960s, the term heavy metal was used interchangeably with hard rock, but began to be used to describe music played with more volume and intensity. While hard rock maintained a bluesy rock and roll identity, including some swing in the back beat and riffs that tended to outline chord progressions in their hooks, heavy metal's riffs functioned as stand-alone melodies and had no swing in them. Heavy metal took on "darker" characteristics after Black Sabbath's breakthrough at the beginning of the 1970s. In the 1980s it developed a number of subgenres termed extreme metal, some of which were influenced by hardcore punk, which further differentiated the two styles. Despite this differentiation, hard rock and heavy metal have existed side by side, with bands standing on the boundary of, or crossing between, the genres; the roots of hard rock can be traced back to the 1950s electric blues, which laid the foundations for key elements such as a rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, posturing performances.
Electric blues guitarists began experimenting with hard rock elements such as driving rhythms, distorted guitar solos and power chords in the 1950s, evident in the work of Memphis blues guitarists such as Joe Hill Louis, Willie Johnson, Pat Hare, who captured a "grittier, more ferocious electric guitar sound" on records such as James Cotton's "Cotton Crop Blues". Other antecedents include Link Wray's instrumental "Rumble" in 1958, the surf rock instrumentals of Dick Dale, such as "Let's Go Trippin'" and "Misirlou". In the 1960s, American and British blues and rock bands began to modify rock and roll by adding harder sounds, heavier guitar riffs, bombastic drumming, louder vocals, from electric blues. Early forms of hard rock can be heard in the work of Chicago blues musicians Elmore James, Muddy Waters, Howlin' Wolf, the Kingsmen's version of "Louie Louie" which made it a garage rock standard, the songs of rhythm and blues influenced British Invasion acts, including "You Really Got Me" by the Kinks, "My Generation" by the Who, "Shapes of Things" by the Yardbirds, "Inside Looking Out" by the Animals, " Satisfaction" by the Rolling Stones.
From the late 1960s, it became common to divide mainstream rock music that emerged from psychedelia into soft and hard rock. Soft rock was derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. In contrast, hard rock was most derived from blues rock and was played louder and with more intensity. Blues rock acts that pioneered the sound included Cream, the Jimi Hendrix Experience, the Jeff Beck Group. Cream, in songs like "I Feel Free" combined blues rock with pop and psychedelia in the riffs and guitar solos of Eric Clapton. Jimi Hendrix produced a form of blues-influenced psychedelic rock, which combined elements of jazz and rock and roll. From 1967 Jeff Beck brought lead guitar to new heights of technical virtuosity and moved blues rock in the direction of heavy rock with his band, the Jeff Beck Group. Dave Davies of the Kinks, Keith Richards of the Rolling Stones, Pete Townshend of the Who, Hendrix and Beck all pioneered the use of new guitar effects like phasing and distortion.
The Beatles began producing songs in the new
Alex Puodziukas known by his stage name Al-P, is a Canadian musician, record producer and recording engineer, best known for being part of the electronic music duo MSTRKRFT along with Jesse F. Keeler. Al-P was producer for Black Cat 13, Death from Above's album You're a Woman, I'm a Machine and The Sick Lipstick's Sting Sting Sting. Well before MSTRKRFT, Al-P and Keeler collaborated in the late 1990s lived in different cities as Al-P moved to New York and worked at the studios Sound on Sound and Chung King, did some recording for Jay-Z and Wyclef Jean. Al-P was in the electronic pop group Girlsareshort, with friend Daniel Zabawa, they released Contactkiss in 2002 and Earlynorthamerican in 2003, before disbanding. MSTRKRFT Official Website Girlsareshort on Upper Class Recordings
Human Giant was a sketch comedy show on MTV, starring writer/performers Aziz Ansari, Rob Huebel, Paul Scheer, directed by Jason Woliner. The show ran for two seasons. In interviews, the group has mentioned that they were offered a third season by MTV but were unable to complete it due to Ansari's commitments to the hit NBC show Parks and Recreation, while Ansari mentioned on Howard Stern that the show's end was more because it is hard to keep a sketch show funny over several seasons. However, the group has stated that MTV has left the door open for the group to complete a third season at a date or to produce a special for the network. In 2010, Ansari and Scheer reunited to do a skit for the 2010 MTV Movie Awards. In November 2008, The Hollywood Reporter noted the group was developing a feature film with Red Hour Productions, the production company run by Ben Stiller and producer Stuart Cornfeld; the show, which premiered on April 5, 2007, consists of short humorous videos. Some of the clips were first seen online such as "Shutterbugs", as part of Channel 101 NY, "Clell Tickle: Indie Marketing Guru", "The Illusionators" and an unaired skit called "Other Music".
Human Giant has gained a large audience in the New York City comedy scene through live shows at the Upright Citizens Brigade and their weekly comedy show, Crash Test. The show closed out a Thursday night "10 Spot" line-up for MTV, which included Pimp My Ride, Short Circuitz, Adventures in Hollyhood, ending with Human Giant; the line-up started at 9 PM and ended at 11 PM. ^a This skit was removed from the season one DVD. ^b These skits were edited for the season one DVD. ^j Added for the season one DVD. The group began working on Human Giant Season 2 at the end of August, 2007. Season 2 ran for 6 episodes; the season finale premiered April 15, 2008. Note the CrimeTime sketch, the Gay Porn Star Car Accident sketch, the Illusinator Camera Trick sketch for season 2 all show up on the Season 1 DVD as easter eggs; the cast of Human Giant were on-air on MTV and MTV2 for a twenty-four-hour period between noon on Friday, May 18, 2007 to noon on Saturday, May 19, 2007, broadcasting from MTV's Times Square studio, during which time they were given free rein to perform skits, bring in guests, air clips from classic MTV series like “Remote Control” and “The State”.
The ostensible premise of the "marathon" was that their show would be given a second season if they could get a million hits on their website during that time. Notable guests stopping by included Albert Hammond Jr. Fred Armisen, Bill Hader, Andy Samberg, Jorma Taccone from Saturday Night Live, Will Arnett and Michael Cera from Arrested Development, John Krasinski, Bob Odenkirk, Michael Showalter, Kristen Schaal, Eugene Mirman, Ted Leo, Corn Mo, Todd Barry, Matt Higgins, Zach Galifianakis, Mastodon, Tapes'n Tapes, The National and Eric, Tegan and Sara, others. In late May 2010, troupe member Aziz Ansari announced on his website that he and fellow members Rob Huebel, Paul Scheer and Jason Woliner had filmed a brand new sketch for the 2010 MTV Movie Awards, which Ansari was scheduled to host. Ansari mentioned that it would be a Human Giant reunion of sorts, the first time they filmed a new sketch together as a sketch group since the series ended; the sketch was called "Stunt Kidz", which consisted of Huebel and Ansari's Shutterbugs characters, now owners of a child stunt agency where little children act as stunt men for dangerous scenes and end up injured in several occasions.
Scheer acts as a director who employs Ansari. The first season of Human Giant was released on March 4, 2008, one week ahead of the season two premiere on March 11, it was released in a two-disc set. Disc one features all eight episodes and commentary tracks on all episodes with special guests calling-in or with the cast in the commentary room. Disc two features highlights from the 24-hour marathon and alternate scenes, un-aired sketches, sneak previews for season two, early footage with Aziz and Paul, a compilation clip; the core writing team consists of Aziz Ansari, Rob Huebel, Paul Scheer, Jason Woliner and executive producer Tom Gianas. The following people have, at one point worked as consultants on the show: List of programs broadcast by MTV Official website On the Sets of The Human Giant - Images from Venice Beach Human Giant on IMDb Human Giant at TV.com Audio interview with Human Giant on public radio program The Sound of Young America SuperDeluxe.com - Human Giant Interview New York Magazine - Human Giant Profile Pitchforkmedia - Human Giant Interview Onion AV Club - Human Giant Interview NYTimes - "No One Says'9/11.'
No One Needs To." Onion AV Club - Human Giant 24 Hour Marathon Coverage Village Voice - Human Giant 24 Hour Marathon Coverage Human Giant Named One of Variety's "10 Comics to Watch" in 2006