The Destruction of Small Ideas
The Destruction of Small Ideas is the third studio album by 65daysofstatic. It was released on April 30, 2007 in the United Kingdom, May 1, 2007 in the United States on Monotreme, April 23, 2007 in Japan on Zankyo. "Don't Go Down to Sorrow" was the first single from the album, released in the UK on April 9, in the United States on April 17, in Japan on March 23. A double-gatefold vinyl version of the album was released on 12 November 2007 through Monotreme Records. On its release the album's production was criticised by some reviewers, but the band have stated that this was directly influenced by an article written by Nick Southall for Stylus Magazine. "When We Were Younger & Better" – 6:54 "A Failsafe" – 4:28 "Don't Go Down to Sorrow" – 6:55 "Wax Futures" – 4:03 "These Things You Can't Unlearn" – 6:27 "Lyonesse" – 3:26 "Music Is Music as Devices Are Kisses Is Everything" – 5:20 "The Distant and Mechanised Glow of Eastern European Dance Parties" – 3:33 "Little Victories" – 5:14 "Primer" – 4:51 "White Peak/Dark Peak" – 3:57 "The Conspiracy of Seeds" – 7:08 The Destruction of Small Ideas at MusicBrainz
The Fall of Math
The Fall of Math is the debut album by the instrumental post-rock band 65daysofstatic, released on September 20, 2004 through Monotreme. It contains what is arguably their most famous track, "Retreat! Retreat!". The album spawned two singles. While "Retreat! Retreat!" was a standard CD single release featuring two b-sides, "Hole" was released as a 7-track EP with a length of thirty minutes. Both tracks were accompanied by promotional videos; the song "Aren't We All Running?" appeared in the initial trailer for the video game Binary Domain
An extended play record referred to as an EP, is a musical recording that contains more tracks than a single, but is unqualified as an album or LP. Contemporary EPs contain a minimum of three tracks and maximum of six tracks, are considered "less expensive and time-consuming" for an artist to produce than an album. An EP referred to specific types of vinyl records other than 78 rpm standard play and LP, but it is now applied to mid-length CDs and downloads as well. Ricardo Baca of The Denver Post said, "EPs—originally extended-play'single' releases that are shorter than traditional albums—have long been popular with punk and indie bands." In the United Kingdom, the Official Chart Company defines a boundary between EP and album classification at 25 minutes of maximum length and no more than four tracks. EPs were released in various sizes in different eras; the earliest multi-track records, issued around 1919 by Grey Gull Records, were vertically cut 78 rpm discs known as "2-in-1" records. These had finer than usual grooves, like Edison Disc Records.
By 1949, when the 45 rpm single and 331⁄3 rpm LP were competing formats, seven-inch 45 rpm singles had a maximum playing time of only about four minutes per side. As an attempt to compete with the LP introduced in 1948 by rival Columbia, RCA Victor introduced "Extended Play" 45s during 1952, their narrower grooves, achieved by lowering the cutting levels and sound compression optionally, enabled them to hold up to 7.5 minutes per side—but still be played by a standard 45 rpm phonograph. These were 10-inch LPs split onto two seven-inch EPs or 12-inch LPs split onto three seven-inch EPs, either sold separately or together in gatefold covers; this practice became much less common with the advent of triple-speed-available phonographs. Some classical music albums released at the beginning of the LP era were distributed as EP albums—notably, the seven operas that Arturo Toscanini conducted on radio between 1944 and 1954; these opera EPs broadcast on the NBC Radio network and manufactured by RCA, which owned the NBC network were made available both in 45 rpm and 331⁄3 rpm.
In the 1990s, they began appearing on compact discs. RCA had success in the format with their top money earner, Elvis Presley, issuing 28 Elvis EPs between 1956 and 1967, many of which topped the separate Billboard EP chart during its brief existence. During the 1950s, RCA published several EP albums of Walt Disney movies, containing both the story and the songs; these featured the original casts of actors and actresses. Each album contained two seven-inch records, plus a illustrated booklet containing the text of the recording so that children could follow along by reading; some of the titles included Snow White and the Seven Dwarfs and what was a recent release, the movie version of 20,000 Leagues Under the Sea, presented in 1954. The recording and publishing of 20,000 was unusual: it did not employ the movie's cast, years a 12 in 33⅓ rpm album, with a nearly identical script, but another different cast, was sold by Disneyland Records in conjunction with the re-release of the movie in 1963.
Because of the popularity of 7" and other formats, SP records became less popular and the production of SPs in Japan was suspended in 1963. In the 1950s and 1960s, EPs were compilations of singles or album samplers and were played at 45 rpm on seven-inch discs, with two songs on each side. Other than those published by RCA, EPs were uncommon in the United States and Canada, but they were sold in the United Kingdom, in some other European countries, during the 1950s and 1960s. Record Retailer printed the first EP chart in 1960; the New Musical Express, Melody Maker and Music Echo and the Record Mirror continued to list EPs on their respective singles charts. The Beatles' Twist and Shout outsold most singles for some weeks in 1963; when the BBC and Record Retailer commissioned the British Market Research Bureau to compile a chart it was restricted to singles and EPs disappeared from the listings. In the Philippines, seven-inch EPs marketed as "mini-LPs" were introduced in 1970, with tracks selected from an album and packaging resembling the album they were taken from.
This mini-LP format became popular in America in the early 1970s for promotional releases, for use in jukeboxes. Stevie Wonder included a bonus four-song EP with his double LP Songs in the Key of Life in 1976. During the 1970s and 1980s, there was less standardization and EPs were made on seven-inch, 10-inch or 12-inch discs running either 331⁄3 or 45 rpm; some novelty EPs used odd shapes and colors, a few of them were picture discs. Alice in Chains was the first band to have an EP reach number one on the Billboard album chart, its EP, Jar of Flies, was released on January 25, 1994. In 2004, Linkin Park and Jay-Z's collaboration EP, Collision Course, was the next to reach the number one spot after Alice in Chains. In 2010, the cast of the television series Glee became the first artist to have two EPs reach number one, with Glee: The Music, The Power of Madonna on the week of May 8, 2010, Glee: The Music, Journey to Regionals on the week of June 26, 2010. In 2010, Warner Bros. Records revived the format with their "Six-Pak" offering of six songs on a compact disc.
The first EPs were seven-inch vinyl records with more tracks than a normal single. Although they shared size and speed with singles, they were a recognizably different format than the seven-inch single. Alth
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Post-rock is a form of experimental rock characterized by a focus on exploring textures and timbre over traditional rock song structures, chords or riffs. Post-rock artists are instrumental combining rock guitars and drums with electronic instruments; the genre emerged within the indie and underground music scene of early 1990s. However, due to its abandonment of rock conventions, it bears little resemblance musically to contemporary indie rock, borrowing instead from diverse sources including ambient music and minimalist classical; the individual styles of bands that have been described as post-rock differ making the term controversial among listeners and artists alike. The concept of "post-rock" was coined by critic Simon Reynolds in his review of Bark Psychosis' album Hex, published in the March 1994 issue of Mojo magazine. Reynolds expanded upon the idea in the May 1994 issue of The Wire. Writing about artists like Seefeel, Disco Inferno, Techno Animal, Robert Hampson, Insides, Reynolds used the term to describe music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords".
He further expounded on the term, Perhaps the provocative area for future development lies... in cyborg rock. Reynolds, in a July 2005 entry in his blog, claimed he had used the concept of "post-rock" before using it in Mojo referencing it in a feature on Insides for music newspaper Melody Maker, he said he found the term itself not to be of his own coinage, saying in his blog, "I discovered many years it had been floating around for over a decade." The term was used by American journalist James Wolcott in a 1975 article about musician Todd Rundgren, although with a different meaning. It was used in the Rolling Stone Album Guide to name a style corresponding to "avant-rock" or "out-rock"; the earliest use of the term dates back as far as September 1967. In a Time cover story feature on the Beatles, writer Christopher Porterfield hails the band and producer George Martin's creative use of the recording studio, declaring that this is "leading an evolution in which the best of current post-rock sounds are becoming something that pop music has never been before: an art form."
Another pre-1994 example of the term in use can be found in an April 1992 review of 1990s noise-pop band The Earthmen by Steven Walker in Melbourne music publication Juke, where he describes a "post-rock noisefest". The post-rock sound incorporates characteristics from a variety of musical genres, including krautrock, psychedelia, prog rock, space rock, math rock, tape music, minimalist classical, British IDM, dub reggae, as well as post-punk, free jazz, contemporary classical, avant-garde electronica, it bears similarities to drone music. Early post-rock groups often exhibited strong influence from the krautrock of the 1970s borrowing elements of "motorik", the characteristic krautrock rhythm. Post-rock compositions make use of repetition of musical motifs and subtle changes with an wide range of dynamics. In some respects, this is similar to the music of Steve Reich, Philip Glass and Brian Eno, pioneers of minimalism. Post-rock pieces are lengthy and instrumental, containing repetitive build-ups of timbre and texture.
Vocals are omitted from post-rock. When vocals are included, the use is non-traditional: some post-rock bands employ vocals as purely instrumental efforts and incidental to the sound, rather than a more traditional use where "clean" interpretable vocals are important for poetic and lyrical meaning; when present, post-rock vocals are soft or droning and are infrequent or present in irregular intervals. Sigur Rós, a band known for their distinctive vocals, fabricated a language they called "Hopelandic", which they described as "a form of gibberish vocals that fits to the music and acts as another instrument."In lieu of typical rock structures like the verse-chorus form, post-rock groups make greater use of soundscapes. Simon Reynolds states in his "Post-Rock" from Audio Culture that "A band's journey through rock to post-rock involves a trajectory from narrative lyrics to stream-of-consciousness to voice-as-texture to purely instrumental music". Reynolds' conclusion defines the sporadic progression from rock, with its field of sound and lyrics to post-rock, where samples are stretched and looped.
Wider experimentation and blending of other genres have taken hold in the post-rock scene. Cult of Luna, Russian Circles, Palms and Pelican have fused metal with post-rock styles; the resulting sound has been termed post-metal. More sludge metal has grown and evolved to include some elements of post-rock; this second wave of sludge metal has been pioneered by bands such as Giant Battle of Mice. This new sound is seen on the label of Neurot Recordings. Bands such as Altar of Plagues, Lantlôs and Agalloch blend between post-rock and black metal, incorporating elements of the former while using the latter. In some cases, this sort of experimentation and blending has gone beyond the fusion of post-rock with a single genre, as in the case of post-metal, in favor of an wider embrace of disparate musical influences as it can be heard in bands like Deafheaven. Post-rock appears to take a heavy influence from late 1960s
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
65daysofstatic are an experimental rock band from Sheffield, England. Formed in 2001, the band is composed of instrumentalists Paul Wolinski, Joe Shrewsbury, Rob Jones and Simon Wright; the band’s music has been described as heavy, guitar-driven instrumental post-rock, interspersed with live drums and off-beat sampled drums akin to those of IDM artists, although they have continued to evolve their sound by incorporating electronic music and bass and glitch music. They have been described as, "a soundtrack to a new dimension, where rock and electronica are equals."The band's first album, The Fall of Math, was released in September 2004, to critical acclaim, described as "an album that can retain the dynamics, fraught tension and climactic explosiveness of its peers and influences, whilst still sounding like one of the most urgent and direct long-player releases of the year." The band released a further four studio albums, One Time for All Time, The Destruction of Small Ideas, We Were Exploding Anyway and Wild Light, a soundtrack, Silent Running.
During the Game Awards 2014, it was announced that they would be providing the soundtrack for the video game No Man's Sky, followed by a live performance. An album containing music from the soundtrack, entitled No Man's Sky: Music for an Infinite Universe, was released in August 2016. During September 2017, the band announced new work involving algorithmic techniques, titled Decomposition Theory; the band was formed in 2001 as a three-piece, consisting of Joe Shrewsbury, Paul Wolinski and Iain Armstrong. The line-up of the band has changed somewhat since its initial formation with Feedle, a fellow member of the Tefosav collective, joining in March 2003, playing a part in writing the band's first single from The Fall of Math, "Retreat! Retreat!", drummer Rob Jones making the band a five-piece before the departure of Armstrong in May and Feedle in July 2003. By the time of the release of their first EP, Stumble. Stop. Repeat, in December 2003, Gareth Hughes had jointed on bass guitar, increasing the band to four members.
Hughes left around the time of the release of The Fall of Math. Simon Wright took over on bass guitar. Members of other bands The Mirimar Disaster and Youthmovies join them in their live shows. In their early days the band was known as 65*daysofstatic, though this version was never used on any release; the origin of the name is unclear, with the band once stating that they took their name from an unreleased John Carpenter film called Stealth Bomber, starring Kurt Russell, that they had formed to create the soundtrack to. However, the lack of any further information regarding the film's existence makes this unlikely. Other theories include that the band took their name from the CIA's 1954 Guatemalan coup d'état during which the CIA put a white book instrument to use according to which 65 days of disabling the communication systems of a nation while spreading propaganda is enough to overthrow a country, or, as put forward by New Statesman, that the name was derived from psychological experiments conducted in the 1950s to 1960s, in which it was found that exposure to 65 days of white noise would render the listener insane.
Much of their early work consists of remixes and mash-ups of mainstream pop artists such as Christina Milian, Natasha Bedingfield and Justin Timberlake. One such mash-up, "White Noise Christmas", featured on the first Boomselection compilation CD; some of these were unofficially released on Unreleased/Unreleasable Volume 1 and Volume 2 in 2003 and 2005 respectively. The band wrote their own music, releasing their first EP, Stumble. Stop. Repeat, in December 2003 on their own label, Dustpunk Records. Recorded at 2fly studios in Sheffield in four days their first album was released on 20 September 2004, to considerable critical praise. To promote the album, the band released a single, "Retreat! Retreat!", in November 2004, embarked on two tours, firstly around the time of release and again in January and February 2005. Their second EP, was released in March 2005, with the title-track taken from The Fall of Math and the band toured again in April and June of that year, with new material played in the latter tour.
During summer 2005, the band returned to the studio, intending to write an EP as a follow-up to The Fall of Math. However, the resulting tracks were released as their second album in October 2005. At the same time the band released a DVD, the third release in the Unreleased/Unreleasable series, entitled Volume 3: The Kids Have Eyes; this DVD was their final release on Dustpunk Records. To promote this album, 65 embarked on another UK tour in October, their fourth of the year, with support again from YMSS. Although "Radio Protector" was the only track released as a single, a promotional video was made for "Drove Through Ghosts To Get Here"; this video was made by Medlo, their long-time collaborators, Lord Bunn, an artist responsible for many of their T-shirt designs. "Radio Protector" was the only track from One Time for All Time issued as a single. Released on 7" in February 2006, it was limited to 1500 numbered copies, with the first 1000 having a unique polaroid picture as the artwork; the remaining 500 have a digital copy of the thousandth picture as their artwork.
An error in the numbering meant that each record is denoted as being x of 3000 instead of 1500. The band auctioned off the copy numbered 1/3000 on eBay, with the proceeds going to Friends of the Earth. A further UK tour, entitled the "Radio Protector Tour", coincided with this release; this tour was sandwiched between further dates by the band where they supported Hundre