1.
Spiritualized
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Spiritualized are an English space rock band formed in 1990 in Rugby, Warwickshire by Jason Pierce, formerly of Spacemen 3. The membership of Spiritualized has changed from album to album, with Pierce—who writes, composes, Spiritualized have released seven studio albums. The best known and most critically acclaimed of these is perhaps 1997s Ladies and Gentlemen We Are Floating in Space, the band took their name from an adaptation of the text on the back label of a bottle of Pernod. Due to formation from a majority of Spacemen 3 members, a technical clause meant that Spiritualized had to maintain the Spacemen 3 recording contract with Dedicated Records, evans was replaced on keyboards by Pierces then-girlfriend Kate Radley for the follow-up single, Run/I Want You. A number of singles followed, before the band, in early 1992, released their first LP Lazer Guided Melodies, the band embarked on a tour with The Jesus & Mary Chain after the release of the album. A second album, Pure Phase, was released in 1995, the musical style of Spiritualized relies heavily on sustained pedal notes and drones. Lazer Guided Melodies and Pure Phase incorporate elements of the style, drones. Such influences dominated Spiritualizeds next album, Let It Come Down, Amazing Grace favoured a more stripped down sound with the gospel, blues, and soul influences even more dominant than before. On 15 June 1997, Spiritualized became the last band to play at Factory Records Manchester nightclub The Haçienda. After several years of work and Pierces serious illness in July 2005, the album, Songs in A&E was released on 26 May 2008 in the UK, the first single from the 18-track album was Soul On Fire. The release was backed by an Electric Mainlines UK tour which began in May, Pierce has also scored Harmony Korines 2008 film Mister Lonely. Pierce is quoted as saying in a 2008 interview that Spiritualized was scheduled to play the CERN collider and we were gonna play in it before they’d thrown the switch. But it was a timing thing—their timings didn’t coincide with ours, in October and December 2009 the band performed 1997s Ladies and Gentlemen We Are Floating in Space live in its entirety as part of the All Tomorrows Parties-curated Dont Look Back series. The band had played some of this new material over the past 3 years. The album cover, an octagon surrounding the word Huh. on a white background, is a reference to the working title of the album. In an interview regarding the new release it was revealed that the album would embrace more poppy songs compared to previous albums. In the same interview, Jason Pierce also said that the album was inspired by the experiences of performing Ladies. In September 2016, Pierce revealed on Twitter that the next album would be released on June 16th, 2017—the 20th anniversary of the release of Ladies
2.
Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
3.
Industrial music
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Industrial music is a genre of experimental/electronic music that draws on transgressive or provocative sounds and themes. In general, the style is harsh and challenging, allMusic defines industrial as the most abrasive and aggressive fusion of rock and electronic music, initially a blend of avant-garde electronics experiments and punk provocation. The first industrial artists experimented with noise and aesthetically controversial topics, musically and visually, such as fascism, serial killers and their production was not limited to music, but included mail art, performance art, installation pieces and other art forms. Prominent industrial musicians include Throbbing Gristle, Monte Cazazza, SPK, Boyd Rice, Cabaret Voltaire, Musicians also cite writers such as William S. Burroughs, and philosophers such as Friedrich Nietzsche as influences. These artists expanded the genre by pushing it into noisier and more electronic directions, over time, its influence spread into and blended with styles including ambient and rock, all of which now fall under the post-industrial music label. Electro-industrial music is a subgenre that developed in the 1980s. These three distinct genres are often referred to as simply industrial, Industrial music drew from a broad range of predecessors. Industrial music was created originally by using mechanical and electric machinery, monroe also argues for Suicide as an influential contemporary of the industrial musicians. Groups cited as inspirational by the founders of industrial music include The Velvet Underground, Joy Division, genesis P-Orridge of Throbbing Gristle had a cassette library including recordings by the Master Musicians of Jajouka, Kraftwerk, Charles Manson, and William S. Burroughs. P-Orridge also credited 1960s rock such as The Doors, Pearls Before Swine, The Fugs, Captain Beefheart, chris Carter also enjoyed and found inspiration in Pink Floyd and Tangerine Dream. Boyd Rice was influenced by the music of 60s girl groups, Cabaret Voltaire cited Roxy Music as their initial forerunners, as well as Kraftwerks Trans-Europe Express. Cabaret Voltaire also recorded pieces reminiscent of musique concrète and composers such as Morton Subotnick, Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening. 23 Skidoo borrowed from Fela Kuti and Miles Daviss On the Corner, many industrial groups, including Einstürzende Neubauten, took inspiration from world music. Many of the industrial musicians preferred to cite artists or thinkers, rather than musicians. Simon Reynolds declares that Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism, John Cage was an initial inspiration for Throbbing Gristle. SPK appreciated Jean Dubuffet, Marcel Duchamp, Jean Baudrillard, Michel Foucault, Walter Benjamin, Marshall McLuhan, Friedrich Nietzsche, Cabaret Voltaire took conceptual cues from Burroughs, J. G. Ballard, and Tristan Tzara. Whitehouse and Nurse with Wound dedicated some of their work to the Marquis de Sade, another influence on the industrial aesthetic was Lou Reeds Metal Machine Music. Pitchfork Music cites this album as inspiring, in part, much of the contemporary avant-garde music scene—noise, the album consists entirely of guitar feedback, anticipating industrials use of non-musical sounds
4.
Dream pop
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Dream pop is a subgenre of alternative rock and neo-psychedelia that developed in the 1980s. The style is typified by a preoccupation with atmosphere and texture as much as melody, the AllMusic Guide to Electronica defines dream pop as an atmospheric subgenre of alternative rock that relies on sonic textures as much as melody. Common characteristics are breathy vocals and use of effects, often producing a wall of noise. Dream pop tends to focus on textures and moods rather than propulsive rock riffs, lyrics are often introspective or existential in nature. In the view of music critic Simon Reynolds, dream pop celebrates rapturous and transcendent experiences, often using druggy, according to Rachel Felder, dream pop artists often resist representations of social reality in favor of ambiguous or hallucinogenic experiences. The term dream pop, which is thought to relate to the immersion in the experienced by the listener, was coined in the late 1980s by Alex Ayuli to describe the music of his band A. R. It was later adopted by Simon Reynolds to describe the nascent shoegazing scene in the UK, in the 1990s, dream pop and shoegazing were interchangeable and regionally dependent terms, with dream pop being the name by which shoegazing was known in America. Reynolds described dream pop bands as a wave of hazy neo-psychedelic groups, rolling Stone also described dream pop as originating with the early 1980s work of Cocteau Twins and their contemporaries. PopMatters noted an evolutionary line from gothic rock to dream pop, ambient pop music was described by AllMusic as essentially an extension of the dream pop that emerged in the wake of the shoegazer movement, distinct for its incorporation of electronic textures. According to N. George Harrisons 1970 album All Things Must Pass, with its Wall of Sound and fluid arrangements, led music journalist John Bergstrom to credit it as an influence on dream pop
5.
Neo-psychedelia
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Neo-psychedelia is a diverse style of music that originated in the 1970s as an outgrowth of the British post-punk scene. Its practitioners drew from the sounds of 1960s psychedelic music. After post-punk, neo-psychedelia flourished into a widespread and international movement of artists who applied the spirit of psychedelic rock to new sounds. Neo-psychedelia may also include forays into pop, jangly guitar rock, heavily distorted free-form jams. A wave of British alternative rock in the early 1990s spawned the subgenres dream pop, neo-psychedelic acts borrowed a variety of elements from 1960s psychedelic music. Some emulated the psychedelic pop of bands like the Beatles and early Pink Floyd, others adopted Byrds-influenced guitar rock, or distorted free-form jams and sonic experimentalism of the 1960s. Some neo-psychedelia has been focused on drug use and experiences, and like acid house of the same age, projects transitory, ephemeral. Other bands have used neo-psychedelia to accompany surreal or political lyrics, in the view of author Erik Morse, The distinctions between British and American neo-psychedelia were best described as the differences between primitivism and primalism. Psychedelic rock declined towards the end of the 1960s, as bands broke up or moved into new forms of music, including heavy metal music, like the psychedelic developments of the late 1960s, punk rock and new wave in the 1970s challenged the rock music establishment. At the time, new wave was a term used interchangeably with the nascent punk rock explosion, in 1978, journalist Greg Shaw categorized a subset of new wave music as neo-psychedelia, citing Devo, to an extent. The new darling of the new press and opion-makers, yet nothing about it is remotely punk. Shaw wrote that in England, neo-psychedelia was known as punk, noting self-advertised psychedelic punk band. By 1978–79, new wave was considered independent from punk and post-punk, author Clinton Heylin marks the second half of year 1977 and the first half of year 1978 as the true starting-point for English post-punk. Some of the bands, including the Soft Boys, the Teardrop Explodes. The early 1980s Paisley Underground movement followed neo-psychedelia, originating in Los Angeles, the movement saw a number of young bands who were influenced by the psychedelia of the late 1960s and all took different elements of it. The term Paisley Underground was later expanded to others from outside the city. The late 1980s would see the birth of shoegazing, which, among other influences, reynolds referred to this movement as a rash of blurry, neo-psychedelic bands in a 1992 article in The Observer. With loud walls of sound, where individual instruments and even vocals were often indistinguishable, major shoegaze acts included Ride, Lush, Chapterhouse, and The Boo Radleys, who enjoyed considerable attention in the UK but largely failed to break through in the US
6.
Noise music
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Noise music is a category of music that is characterised by the expressive use of noise within a musical context. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound, Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect. Some of the music can feature acoustically or electronically generated noise, there may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as improvisation, extended technique, cacophony, in many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with. Contemporary noise music is associated with extreme volume and distortion. In the domain of experimental rock, examples include Jimi Hendrixs use of feedback, Lou Reeds Metal Machine Music, genres such as industrial, industrial techno, lo-fi music, black metal, sludge metal, and glitch music employ noise-based materials. According to Danish noise and music theorist Torben Sangild, one definition of noise in music is not possible. According to Murray Schafer there are four types of noise, unwanted noise, unmusical sound, any sound. Definitions regarding what is considered noise, relative to music, have changed over time, ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethovens Grosse Fuge sounded like noise to his audience at the time. Indeed, Beethovens publishers persuaded him to remove it from its setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro and he defines noise at different times as intrusive, unwanted, lacking skill, not being appropriate and a threatening emptiness. He traces these trends starting with 18th-century concert hall music, Hegarty contends that it is John Cages composition 433, in which an audience sits through four and a half minutes of silence, that represents the beginning of noise music proper. Writing about Japanese noise music, Hegarty suggests that it is not a genre, but it is also a genre that is multiple, Japanese noise music can come in all styles, referring to all other genres. But crucially asks the question of genre—what does it mean to be categorized, in Noise, The Political Economy of Music, Jacques Attali explores the relationship between noise music and the future of society. He indicates that noise in music is a predictor of social change, like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways. In common use, the word noise means unwanted sound or noise pollution, Noise can block, distort, or change the meaning of a message in both human and electronic communication. White noise is a signal with a flat power spectral density. In other words, the signal contains equal power within a fixed bandwidth at any center frequency, White noise is considered analogous to white light which contains all frequencies
7.
Experimental music
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The practice became prominent in the mid-20th century, particularly in North America. John Cage was one of the earliest composers to use the term and one of experimental musics primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. Also, in America, a distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the laws for harmonic music. For this music they developed a group of experimental musical instruments. Musique concrète, is a form of music that utilises acousmatic sound as a compositional resource. Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. The Groupe de Recherches de Musique Concrète, under the leadership of Pierre Schaeffer, publication of Schaeffers manifesto was delayed by four years, by which time Schaeffer was favoring the term recherche musicale, though he never wholly abandoned musique expérimentale. John Cage was also using the term as early as 1955, according to Cages definition, an experimental action is one the outcome of which is not foreseen, and he was specifically interested in completed works that performed an unpredictable action. Rebners lecture extended the concept back in time to include Charles Ives, Edgard Varèse, nyman opposes experimental music to the European avant-garde of the time, for whom The identity of a composition is of paramount importance. David Cope also distinguishes between experimental and avant garde, describing music as that which represents a refusal to accept the status quo. That is, for the most part, experimental music studies describes a category without really explaining it and this was an attempt to marginalize, and thereby dismiss various kinds of music that did not conform to established conventions. In 1955, Pierre Boulez identified it as a new definition makes it possible to restrict to a laboratory. He concludes, There is no such thing as experimental music … and it is therefore not a genre, but an open category, because any attempt to classify a phenomenon as unclassifiable and elusive as experimental music must be partial. Furthermore, the indeterminacy in performance guarantees that two versions of the same piece will have virtually no perceptible musical facts in common. The term experimental music was used contemporaneously for electronic music, particularly in the early musique concrète work of Schaeffer, a number of early 20th-century American composers, seen as precedents to and influences on John Cage, are sometimes referred to as the American Experimental School. These include Charles Ives, Charles and Ruth Crawford Seeger, Henry Cowell, Carl Ruggles, for this music they both developed custom-built musical instruments often characterized as experimental instruments. La Monte Young is known for using this technique when he began working on his minimal drone pieces which consisted of layers of sounds in different pitches
8.
Electronic keyboard
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An electronic keyboard or digital keyboard is an electronic musical instrument, an electronic or digital derivative of keyboard instruments. Broadly speaking, in a popular context, the term electronic keyboard or just a keyboard mostly refers to any type of digital or electronic keyboard instrument. These include synthesizers, digital pianos, stage pianos, electronic organs, however, in true musical terminology, an electronic keyboard is an inexpensive synthesizer equipped with built-in power amplifier and small loudspeakers. Electronic keyboards are capable of recreating a wide range of instrument sounds with less complex sound synthesis, Electronic keyboards are usually dedicated for home users, beginners and other non-professional users. The least expensive models do not have velocity-sensitive keys, but mid- to high-priced models do have these feature, home keyboards typically have little if any sound editing capacity. The user typically selects from a range of voices or sounds. Home keyboards have a lower cost than professional synthesizers. Casio and Yamaha are among the manufacturers of home keyboards. An electronic keyboard may also called a digital keyboard, portable keyboard, or home keyboard, referring their digital-based sound generation and light-weight, portable build. In Russia, most kinds of keyboards were often referred to as a synthesizer. The term electronic keyboard may also be used to refer to synthesizer or digital piano on colloquial usage, Most keyboards use a keyboard matrix circuit to reduce the amount of wiring that is needed. Electronic hardware can also do this, Sound generator, A digital sound module typically contained within an integrated ROM, which is capable of accepting MIDI commands and producing sounds. Keyboard sound generators are mostly based on PCM synth, amplifier and speakers, an internal audio amplifier built to the sound generator chip and low-powered speakers that amplify the sounds so that the listener can hear them. Power supply, Keyboards may or may not have a power supply system built to the main circuit board. Flash memory, Most electronic keyboards have an amount of onboard memory for storing MIDI data and/or recorded songs. Floppy disks were obsolete by the early 2000s, with memory cards start to replace them shortly afterwards, USB storage were originally less common at the time, but was later popularized by Yamahas Tyros2 workstation keyboard in 2005 and has become a standard feature ever since. Most keyboards today uses USB storage, with the exception of some Casio, keyboard instruments can be found as far back as the hydraulis in the 3rd century BCE, which developed into the pipe organ, and small portable instruments such as the portative and positive organ. Additional keyboard instruments, the clavichord and harpsichord, were developed in the 14th century CE, as technology improved, more sophisticated keyboards were developed, including the 12-tone keyboard still in use today
9.
Autoharp
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The autoharp is a trademark for a string instrument having a series of chord bars attached to dampers, which, when depressed, mute all of the strings other than those that form the desired chord. Despite its name, the autoharp is not a harp at all, debate exists over the origin of the autoharp. A German immigrant in Philadelphia, Charles F. Zimmermann, was awarded US257808 in 1882 for a design for an instrument that included mechanisms for muting certain strings during play. He named his invention the autoharp, unlike later autoharps, the shape of the instrument was symmetrical, and the felt-bearing bars moved horizontally against the strings instead of vertically. It is not known if Zimmermann ever commercially produced any instruments of this early design, karl August Gütter of Markneukirchen, Germany, built a model that he called a Volkszither, which most resembles the autoharp played today. Gütter obtained a British patent for his instrument circa 1883–1884, Zimmermann, after returning from a visit to Germany, began production of the Gütter design in 1885, but with his own design patent number and catchy name. Gütters instrument design became popular, and Zimmermann has often been mistaken as the inventor. A stylized form of the term Autoharp was registered as a trademark in 1926, the word is currently claimed as a trademark by U. S. Music Corporation, whose Oscar Schmidt division manufactures Autoharps, the USPTO registration, however, covers only a Mark Drawing Code WORDS, LETTERS, AND/OR NUMBERS IN STYLIZED FORM and has expired. In litigation with George Orthey, it was held that Oscar Schmidt could only claim ownership of the lettering of the word Autoharp. Modern autoharps have 36 or 37 strings, although examples with as many as 47 strings. They are strung in either diatonic or chromatic scales, standard models have 15 or 21 chord bars, or buttons, available, a selection of major, minor, and dominant seventh chords. These are arranged for historical or systemic reasons, as for example, A variety of chord bar layouts exist, although the autoharp is often thought of as a rhythm instrument for playing chordal accompaniment, modern players can play melodies on the instrument. Diatonic players are able to play fiddle tunes using open-chording techniques, skilled chromatic players can perform a range of melodies. Diatonically strung single-key instruments from modern luthiers, such as Orthey, Fladmark, Hollandsworth, DAigle, Baker, Daniels and this is accomplished by doubling the strings for individual notes. Since the strings for notes not in the diatonic scale need not appear in the string bed, until the 1960s, no pickups were available to amplify the autoharp other than a rudimentary contact microphone, which had a poor-quality, tinny sound. Eventually, a bar magnetic pickup was designed by Harry DeArmond, pinkertons Assorted Colours used the instrument on their 1966 single Mirror, mirror. In the 1970s, Oscar Schmidt came out with their own magnetic pickup, shown at the right is a 1930 refinished Oscar Schmidt Inc. Model A
10.
Mellotron
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The Mellotron is an electro-mechanical, polyphonic tape replay keyboard originally developed and built in Birmingham, England, in 1963. It evolved from an instrument, the Chamberlin, but could be mass-produced more effectively. The instrument works by pulling a section of magnetic tape across a head, different portions of the tape can be played to access different sounds. The original models were designed to be used in the home, bandleader Eric Robinson and television personality David Nixon were heavily involved in the instruments original publicity. A number of celebrities such as Princess Margaret were early adopters. The Mellotron became more popular after the Beatles used it on several tracks and it was subsequently adopted by the Moody Blues, King Crimson and Genesis, and became a notable instrument in progressive rock. Later models such as the M400, the best selling model, dispensed with the accompaniments, the instrument became less popular in the 1980s due to the introduction of polyphonic synthesizers and samplers, despite a number of high profile uses from Orchestral Manoeuvres in the Dark and XTC. Production of the Mellotron ceased in 1986, but it regained popularity in the 1990s and this led to the resurrection of the original manufacturer, Streetly Electronics. In 2007, Streetly produced the M4000, which combined the layout of the M400 with the selection of earlier models. The Mellotron has a similar behaviour to a sampler, but 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, 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 lead and rhythm sections. There is a choice of six stations of rhythm sounds, each containing three tracks and three fill tracks. The fill tracks can also be mixed together, similarly, 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 button that allows a variation in both pitch and tempo. Later models do not have the concept of stations and have a knob to select a sound. However, the containing the tapes is designed to be removed. Pressing a key harder allows the head to come into contact under greater pressure, another factor in the Mellotrons sound is that the individual notes were recorded in isolation
11.
French horn
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The French horn is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B♭ is the horn most often used by players in professional orchestras, a musician who plays any kind of horn is generally referred to as a horn player. Most horns have lever-operated rotary valves, but some, especially older horns, use piston valves, the backward-facing orientation of the bell relates to the perceived desirability to create a subdued sound, in concert situations, in contrast to the more piercing quality of the trumpet. A horn without valves is known as a horn, changing pitch along the natural harmonics of the instrument. Pitch may also be controlled by the position of the hand in the bell, the pitch of any note can easily be raised or lowered by adjusting the hand position in the bell. Three valves control the flow of air in the single horn, the more common double horn has a fourth valve, usually operated by the thumb, which routes the air to one set of tubing tuned to F or another tuned to B♭. Triple horns with five valves are made, tuned in F, B♭. Also common are descant doubles, which typically provide B♭ and alto F branches and this configuration provides a high-range horn while avoiding the additional complexity and weight of a triple. A crucial element in playing the horn deals with the mouthpiece, when playing higher notes, the majority of players exert a small degree of additional pressure on the lips using the mouthpiece. It is the goal of all serious brass musicians to develop their technique such that additional mouthpiece pressure is avoided altogether, or at the very least, the name French horn is found only in English, first coming into use in the late 17th century. At that time, French makers were preeminent in the manufacture of hunting horns, as a result, these instruments were often called, even in English, by their French names, trompe de chasse or cor de chasse. The International Horn Society has recommended since 1971 that the instrument be simply called the horn, there is also a more specific use of French horn to describe a particular horn type, differentiated from the German horn and Vienna horn. In this sense, French horn refers to an instrument with three Périnet valves. It retains the narrow bell-throat and mouthpipe crooks of the orchestral hand horn of the late 18th century, and most often has an ascending third valve. This is a whole-tone valve arranged so that with the valve in the up position the valve loop is engaged, the horn is the third-highest-sounding instrument in the brass family, below the trumpet and the cornet. Horns are mostly tuned in B♭ or F, or a combination of both, in some traditions, novice players use a single horn in F, while others prefer the B♭ horn. The F horn is used more commonly than the B♭ horn, sound is produced by vibrating the players lips into the mouthpiece of the instrument. Different partials in the series can be played by adjusting the air pressure and lip tension
12.
Harpsichord
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A harpsichord is a musical instrument played by means of a keyboard. It produces sound by plucking a string when a key is pressed, Harpsichord designates the whole family of similar plucked keyboard instruments, including the smaller virginals, muselar, and spinet. The harpsichord was used in Renaissance and Baroque music. During the late 18th century, it disappeared from the musical scene with the rise of the piano. In the 20th century, it made a resurgence, being used in historically informed performances of music, in compositions. Harpsichords vary in size and shape, but all have the basic functional arrangement. The player depresses a key that rocks over a pivot in the middle of its length, the other end of the key lifts a jack that holds a small plectrum, which plucks the string. When the player releases the key, the far end returns to its rest position, the plectrum, mounted on a tongue that can swivel backwards away from the string, passes the string without plucking it again. As the key reaches its rest position, a felt damper atop the jack stops the strings vibrations and these basic principles are explained in detail below. The keylever is a pivot, which rocks on a balance pin that passes through a hole drilled through the keylever. The jack is a thin, rectangular piece of wood that sits upright on the end of the keylever, the jacks are held in place by the registers. These are two strips of wood, which run in the gap between pinblock and bellyrail. The registers have rectangular mortises through which the pass as they can move up. The registers hold the jacks in the location needed to pluck the string. In the jack, a plectrum juts out almost horizontally and passes just under the string, historically, plectra were made of bird quill or leather, many modern harpsichords have plastic plectra. When the front of the key is pressed, the back of the key rises, the jack is lifted, the vertical motion of the jack is then stopped by the jackrail, which is covered with soft felt to muffle the impact. When the key is released, the falls back down under its own weight. This is made possible by having the plectrum held in a tongue attached with a pivot and a spring to the body of the jack
13.
Accordion
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Accordions are a family of box-shaped musical instruments of the bellows-driven free-reed aerophone type, colloquially referred to as a squeezebox. A person who plays the accordion is called an accordionist, the concertina and bandoneón are related, the harmonium and American reed organ are in the same family. The instrument is played by compressing or expanding the bellows while pressing buttons or keys, causing pallets to open and these vibrate to produce sound inside the body. Valves on opposing reeds of each note are used to make the instruments reeds sound louder without air leaking from each reed block. The performer normally plays the melody on buttons or keys on the manual. The accordion is widely spread across the world, nevertheless, in Europe and North America, some popular music acts also make use of the instrument. Additionally, the accordion is used in cajun, zydeco, jazz music. The piano accordion is the official city instrument of San Francisco, the oldest name for this group of instruments is harmonika, from the Greek harmonikos, meaning harmonic, musical. Today, native versions of the accordion are more common. These names refer to the type of accordion patented by Cyrill Demian, accordions have many configurations and types. Similar to a bow, the production of sound in an accordion is in direct proportion to the motion of the player. The bellows is located between the right- and left-hand manuals, and is made from pleated layers of cloth and cardboard, with added leather and metal. It is used to pressure and vacuum, driving air across the internal reeds and producing sound by their vibration. These boxes house reed chambers for the right- and left-hand manuals, each side has grilles in order to facilitate the transmission of air in and out of the instrument, and to allow the sound to better project. The grille for the manual is usually larger and is often shaped for decorative purposes. The right-hand manual is used for playing the melody and the left-hand manual for playing the accompaniment. The manual mechanism of the instrument either enables the air flow, or disables it, the different types have varying components. All instruments have reed ranks of some format, the most typical accordion is the piano accordion, which is used for many musical genres
14.
Theremin
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The theremin is an early electronic musical instrument controlled without physical contact by the thereminist. It is named after the Westernized name of its Russian inventor, Léon Theremin, the electric signals from the theremin are amplified and sent to a loudspeaker. The theremin was used in soundtracks such as Miklós Rózsas Spellbound, The Lost Weekend. It has also used in theme songs for television shows such as the ITV drama Midsomer Murders. This has led to its association with eerie situations, Theremins are also used in concert music and in popular music genres such as rock. The theremin was originally the product of Soviet government-sponsored research into proximity sensors, the instrument was invented by a young Russian physicist named Lev Sergeyevich Termen in October 1920 after the outbreak of the Russian Civil War. After a lengthy tour of Europe, during which time he demonstrated his invention to packed houses, Theremin moved to the United States, subsequently, Theremin granted commercial production rights to RCA. Although the RCA Thereminvox, was not a success, it fascinated audiences in America. Clara Rockmore, a well-known thereminist, toured to wide acclaim, performing a repertoire in concert halls around the United States. In 1938, Theremin left the United States, though the circumstances related to his departure are in dispute. Many accounts claim he was taken from his New York City apartment by NKVD agents, taken back to the Soviet Union and made to work in a sharashka laboratory prison camp at Magadan, in any case, Theremin did not return to the United States until 1991. However, a niche interest in the theremin persisted, mostly among electronics enthusiasts, one of these electronics enthusiasts, Robert Moog, began building theremins in the 1950s, while he was a high-school student. Moog subsequently published a number of articles about building theremins, Moog credited what he learned from the experience as leading directly to his groundbreaking synthesizer, the Moog. Since the release of the film Theremin, An Electronic Odyssey in 1994, even though many theremin sounds can be approximated on many modern synthesizers, some musicians continue to appreciate the expressiveness, novelty, and uniqueness of using an actual theremin. The film itself has garnered excellent reviews, both theremin instruments and kits are available from manufacturers such as Moog Music Inc. Burns Theremins, Harrison Instruments, Inc. Theremaniacs LLC, PAiA Corporation USA, and Jaycar Electronics, the theremin is distinguished among musical instruments in that it is played without physical contact. The thereminist stands in front of the instrument and moves his or her hands in the proximity of two metal antennas, the distance from one antenna determines frequency, and the distance from the other controls amplitude. Higher notes are played by moving the hand closer to the pitch antenna, louder notes are played by moving the hand away from the volume antenna
15.
Sampler (musical instrument)
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The samples are loaded or recorded by the user or by a manufacturer. These sounds are played back by means of the sampler program itself. Because these samples are stored in digital memory, the information can be quickly accessed. A single sample may often be pitch-shifted to different pitches to produce musical scales, often samplers offer filters, effects units, modulation via low frequency oscillation and other synthesizer-like processes that allow the original sound to be modified in many different ways. Most samplers have polyphonic capabilities – they are able to more than one note at the same time. Many are also multitimbral – they can play back different sounds simultaneously, prior to computer memory-based samplers, musicians used tape replay keyboards, which store recordings on analog tape. When a key is pressed the tape head contacts the moving tape, to change sounds a new set of tapes had to be installed in the instrument. The emergence of the sampler made sampling far more practical. Bruce Haack built a digital sampler which he demonstrated on Mister Rogers Neighborhood in 1967, the home made synthesizer device included a built-in sampler which recorded, stored, played back and looped sounds controlled by switches, light sensors and human skin contact. EMS Musys system, developed by Peter Grogono, David Cockerell, the system ran on two mini-computers, Digital Equipment PDP-8s. These had 12,000 bytes of memory, backed up by a hard drive of 32k. EMS equipment was used to control the worlds first digital studio, the E-mu SP-1200 percussion sampler progressed Hip-Hop away from the drum machine sound upon its release in August 1987, ushering in the sample-based sound of the late 1980s and early 1990s. Akai pioneered many processing techniques, such as crossfade looping and time stretch to shorten or lengthen samples without affecting pitch, during the 1980s, hybrid synthesizers began to utilize short samples along with digital synthesis to create more realistic imitations of instruments than had previously been possible. Examples are the Korg M1, Roland U-110, Yamahas SY series, samplers, together with traditional Foley artists, are the mainstay of modern sound effects production. Using digital techniques various effects can be pitch-shifted and otherwise altered in ways that would have required many hours when done with tape, usually a sampler is controlled by an attached music keyboard or other external MIDI controller or source. Each note-message received by the sampler accesses a particular sample, often multiple samples are arranged across the keyboard, each assigned to a note or group of notes. Keyboard tracking allows samples to be shifted in pitch by an appropriate amount, each group of notes to which a single sample has been assigned is often called a keyzone, and the resultant set of zones is called a keymap. For example, in Fig 1, a keymap has been created four different samples
16.
Eskaton
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Eskaton is a defunct vanity record label created by Coil, exclusively for albums put out by the group and their friends. Its brother labels are Threshold House and Chalice, the symbol of the chaos cross was used almost exclusively in the times of Coils side projects. It is a dominant symbol which can be found on a number of releases, List of record labels List of electronic music record labels Threshold House Chaos Cross on Above Air artwork
17.
Coil (band)
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Coil were an English cross-genre, experimental music group formed in 1982 by John Balance—later credited as Jhonn Balance—and his life partner and collaborator Peter Christopherson, aka Sleazy. The duo worked together on a series of releases before Balance chose the name Coil, today, Coil remains one of the most influential and best-known industrial music groups. The groups first official release as Coil was a 198412 album titled How to Destroy Angels released on the Belgian Les Disques du Crépuscules sublabel LAYLAH Antirecords. In 1985, the group working on a series of soundtracks, among them music for the first Hellraiser movie based on the novel The Hellbound Heart by their acquaintance at that time. The groups first live performance in 16 years occurred in 1999, following the death of John Balance on 13 November 2004, Christopherson announced via their official record label website Threshold House that Coil as an entity had ceased to exist. Coil was formed in 1982 and became a concern in 1984. Balance and Christopherson began working with John Gosling on the project Zos Kia, which resulted in four live performances, following the underground hit How to Destroy Angels, Coil left L. A. Y. L. A. H. Antirecords for Some Bizzare Records and produced Scatology, released in 1984 as their first full-length studio album, the album was largely based on the sound of industrial music as well as the Post-punk movement. While songs such as Restless Day, Panic and Tainted Love are representative of a mainstream style, the single Panic/Tainted Love became the first AIDS benefit music release, as the profits from sales of the single were donated to the Terrence Higgins Trust. The Tainted Love music video, directed by Christopherson, is in the permanent collection of The Museum of Modern Art in New York, Horse Rotorvator followed in 1986 as the next full-length release. The Four Horsemen of the Apocalypse killed their horses and use their jawbones to make this huge earth-moving machine, the artwork features a photograph of the location of a notorious IRA bombing, in which a bomb was detonated on a military orchestra pavilion. Horse Rotorvator was in part influenced by the AIDS related deaths of some of their friends. Furthermore, the song Ostia, is about the death of Pier Paolo Pasolini, as well as what Balance described as the number one suicide spot in the world. After the release of Horse Rotorvator, Coil left Some Bizzare Records, the 13-track Unnatural History compilation was then released on Threshold House in 1990. The first three songs on the album were first released as one half of the Nightmare Culture mini-album, loves Secret Domain followed in 1991 as the next proper Coil album, although a few minor releases had been produced since Horse Rotorvator. LSD represents a progression in Coils style and became a template for what would be representative of newer waves of post-industrial music, blended with their own style of acid house. Although the album was upbeat, it was not intended as a dance record, as Christopherson explained I wouldnt say its a party atmosphere. Windowpane and a Jack Dangers remix of The Snow were released as singles, the video for Windowpane was shot in the Golden Triangle, where, Balance claimed, the original Thai and Burmese drug barons used to exchange opium for gold bars with the CIA
18.
Julian Cope
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Julian David Cope is an English musician, author, antiquarian, musicologist, poet and cultural commentator. Cope is also an author on Neolithic culture, publishing The Modern Antiquarian in 1998, Copes family lived in Tamworth, Staffordshire, but he was born in Deri, Caerphilly, Wales, where his mothers parents lived, while she was staying there. Cope was staying with his grandmother near Aberfan on his birthday, which was the day of the Aberfan disaster of 1966. Cope grew up in Tamworth with his parents and his younger brother Joss and he played Oliver in Wilnecote High Schools production of the musical. He attended City of Liverpool C. F, mott Training College, and it was here that he first became involved in music. In July 1977, Cope was one of the founders of Crucial Three, post-Crucial Three, Cope, and McCulloch initially went on to form other short-lived bands UH. and A Shallow Madness. When Cope sacked McCulloch from A Shallow Madness, McCulloch went on to form Echo, the two former bandmates would maintain a frequently antagonistic rivalry from then on, often carried out in public or in the press. In 1978, Cope formed The Teardrop Explodes with drummer Gary Dwyer, organist Paul Simpson and guitarist Mick Finkler, with himself as singer, bass player, drawing on a post-punk version of West Coast pop music, the band became part of a wave of neo-psychedelic Liverpool bands. Cope and Dwyer were the only constants, although seven other members passed in. Several well-received early singles culminated in the bands biggest hit, Reward, Copes photogenic charm and wild, garrulous interview style helped keep the band in the media eye, and made him a short-lived teen idol during the bands peak. Success brought the Teardrops plenty of attention, but no further stability, Cope, however, has strenuously resisted taking advantage of any nostalgic and commercial opportunities to reunite the band. In 1982 Cope had moved to the Staffordshire village of Drayton Bassett, following the dissolution of The Teardrop Explodes, he spent a period in seclusion recovering from the strain of the groups final year and amassing a collection of vintage toys. During this period, Cope befriended a teenage Drayton Bassett musician called Donald Ross Skinner, in 1983 Cope began recording the songs for his first solo album, World Shut Your Mouth. Although the album retained the uptempo pop drive of the Teardrops, it was also an introspective. Former Teardrops drummer Gary Dwyer, guitarist Steve Lovell and Dream Academy oboist Kate St. John all contributed to the album, World Shut Your Mouth was seen as out-of-step with the times, gained poor reviews and sold indifferently. A single from the album, Sunshine Playroom, featured a video directed by David Bailey. During a concert at Hammersmith Palais on the subsequent promotional tour, although the wounds were superficial, it shocked the audience and resulted in another memorable addition to his reputation for bizarre behaviour. Notoriously, the featured a naked Cope crouched on top of the Alvecote Mound slag heap clad only in a large turtle shell
19.
Graham Lewis
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Graham Lewis is an English musician. Lewis is the bassist with punk rock/post-punk band Wire, a band formed in 1976, on Wires first studio album Graham Lewis was credited as Lewis, he continued to be known by this abbreviation, however some subsequent record credits give his full name. He worked on music projects, such as Dome, Duet Emmo, Po, Kluba Cupol, Ocsid, Where Everything Falls Out, He Said Omala. His solo projects have been He Said and Hox, Graham studied textiles at Middlesex Polytechnic in London in the early seventies. He later switched to fashion but formed the band before he was able to have a career in this world. The time at art school was influential on his later music as he was able to go and see a range of bands including Kilburn. Lewis currently lives in Uppsala, Sweden
20.
Wire
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A wire is a single, usually cylindrical, flexible strand or rod of metal. Wires are used to bear mechanical loads or electricity and telecommunications signals, Wire is commonly formed by drawing the metal through a hole in a die or draw plate. Wire gauges come in standard sizes, as expressed in terms of a gauge number. The term wire is used more loosely to refer to a bundle of such strands, as in multistranded wire. Wire comes in solid core, stranded, or braided forms, edge-wound coil springs, such as the Slinky toy, are made of special flattened wire. In some cases, strips cut from metal sheet were made into wire by pulling them through perforations in stone beads and this causes the strips to fold round on themselves to form thin tubes. This strip drawing technique was in use in Egypt by the 2nd Dynasty, from the middle of the 2nd millennium BCE most of the gold wires in jewellery are characterised by seam lines that follow a spiral path along the wire. Such twisted strips can be converted into solid round wires by rolling them between flat surfaces or the wire drawing method. The strip twist wire manufacturing method was superseded by drawing in the ancient Old World sometime between about the 8th and 10th centuries AD, there is some evidence for the use of drawing further East prior to this period. Square and hexagonal wires were made using a swaging technique. In this method a metal rod was struck between grooved metal blocks, or between a punch and a grooved metal anvil. Swaging is of great antiquity, possibly dating to the beginning of the 2nd millennium BCE in Egypt and in the Bronze and Iron Ages in Europe for torcs, twisted square-section wires are a very common filigree decoration in early Etruscan jewelry. In about the middle of the 2nd millennium BCE, a new category of decorative tube was introduced which imitated a line of granules. True beaded wire, produced by mechanically distorting a round-section wire, appeared in the Eastern Mediterranean and Italy in the seventh century BCE, a forerunner to beaded wire may be the notched strips and wires which first occur from around 2000 BCE in Anatolia. Wire was drawn in England from the medieval period, the wire was used to make wool cards and pins, manufactured goods whose import was prohibited by Edward IV in 1463. The first wire mill in Great Britain was established at Tintern in about 1568 by the founders of the Company of Mineral and Battery Works, apart from their second wire mill at nearby Whitebrook, there were no other wire mills before the second half of the 17th century. Despite the existence of mills, the drawing of wire down to fine sizes continued to be done manually. Wire is usually drawn of cylindrical form, but it may be made of any desired section by varying the outline of the holes in the draw-plate through which it is passed in the process of manufacture
21.
Glam rock
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Glam artists drew on diverse sources ranging from bubblegum pop and 50s rock and roll to cabaret theatrics, science fiction, and complex art rock. The flamboyant clothing and visual styles of performers were often camp or androgynous, the UK charts were inundated with glam rock acts from 1971 to 1975, with glam also manifesting in all areas of British popular culture during this period. British glam rock artists include Marc Bolan and T. Rex, David Bowie, Sweet, Slade, Mud, Roxy Music, in the US the scene was much less prevalent, with Alice Cooper and Lou Reed the only American artists to score a hit. Other US glam artists include New York Dolls, Iggy Pop and it declined after the mid-1970s, but influenced other musical genres including punk rock, glam metal, New Romanticism, and gothic rock and has sporadically revived since the 1990s. Glam rock can be seen as a fashion as well as musical subgenre, Glam artists rejected the revolutionary principles of the late 1960s rock scene, instead glorifying decadence, superficiality, and the simple structures of earlier pop music. Musically it was diverse, varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art rock of Roxy Music. Glam is most noted for its sexual and gender ambiguity and representations of androgyny and it was prefigured by the showmanship and gender identity manipulation of American acts such as the Cockettes and Alice Cooper, the latter of which combined glam with shock rock. Glam rock emerged from the English psychedelic and art scenes of the late 1960s. Its origins are associated with Marc Bolan, who had renamed his folk duo T, Rex and taken up electric instruments by the end of the 1960s. Often cited as the moment of inception is his appearance on the UK TV programme Top of the Pops in March 1971 wearing glitter and satins, to perform what would be his second UK Top 10 hit, Hot Love. In 1973, a few months after the release of the album Tanx, from late 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional makeup, mime and performance into his act. These performers were soon followed in the style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud, Glam was not only a highly successful trend in UK popular music, it became dominant in all other aspects of British popular culture during the 1970s. In the UK, the glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter. The Glitter Band and Gary Glitter had between them eighteen top ten singles in the UK between 1972 and 1976, a second wave of glam rock acts, including Suzi Quatro, Roy Woods Wizzard and Sparks, dominated the British single charts from about 1974 to 1976. Quatro directly inspired the pioneering Los Angeles based all-girl group the Runaways. Existing acts, some not usually considered central to the genre, also adopted glam styles, including Rod Stewart, Elton John, Queen and, for a time, in Japan in the 1980s, visual kei was strongly influenced by glam rock aesthetics. Glam has since enjoyed continued influence and sporadic modest revivals in R&B crossover act Prince, and bands such as Marilyn Manson, Suede, Placebo, Chainsaw Kittens, Spacehog, movies that reflect glam rock aesthetics include, T. D. An Eyewitness Account Omnibus Press,2005 ISBN 1-84609-149-7 A Biased History of UK Glam Rock
22.
Newport, Wales
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Newport is a cathedral and university city and unitary authority area in south east Wales. It is located on the River Usk close to its confluence with the Severn Estuary, at the 2011 census it is the third largest city in Wales, with a city population of 145,700 and an urban population of 306,844. The city forms part of the Cardiff-Newport metropolitan area with a population of 1,097,000, Newport has been a port since medieval times, when the first Newport Castle was built by the Normans. The town outgrew the earlier Roman town of Caerleon, immediately upstream and it grew significantly in the 19th century, when its port became the focus of coal exports from the eastern valleys of South Wales. Until the rise of Cardiff from the 1850s, Newport was Wales largest coal-exporting port and it was the site of the last large-scale armed insurrection in Britain, the Newport Rising of 1839 led by the Chartists. During the 20th century, when the docks declined in importance and it was granted city status in 2002. Newport hosted the Ryder Cup in 2010, the city was the venue for the 2014 NATO summit. It is the largest urban area within the county boundaries of Monmouthshire. The City of Newport, which includes surrounding rural areas as well as the built up area, is governed by Newport City Council. Bronze Age fishermen settled around the estuary of the River Usk. In AD75, on the edge of their empire. According to legend, in the late 5th century Saint Woolos church was founded by Saint Gwynllyw, the church was certainly in existence by the 9th century and today has become Newport Cathedral, the seat of the Bishop of Monmouth. The Normans arrived from around 1088–1093 to build the first Newport Castle and river crossing downstream from Caerleon, the settlement of Newport is first mentioned as novo burgus established by Robert, Earl of Gloucester in 1126. The name was derived from the original Latin name Novus Burgus, the city can sometimes be found labelled as Newport-on-Usk on old maps. The original Welsh language name for the city, Casnewydd-ar-Wysg means New castle-on-Usk, the original Newport Castle was a small motte-and-bailey castle in the park opposite Newport Cathedral. It was buried in rubble excavated from the Hillfield railway tunnels that were dug under Stow Hill in the 1840s and no part of it is currently visible. Around the settlement, the new town grew to become Newport, obtaining its first charter in 1314 and was granted a second one, by Hugh Stafford, in the 14th century friars came to Newport where they built an isolation hospital for infectious diseases. After its closure the hospital lived on in the place name Spitty Fields, austin Friars also remains a street name in the city
23.
American Recordings (record label)
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American Recordings is a Los Angeles-based record label headed by record producer Rick Rubin. Formerly known as Def American Recordings, the label has been home to Slayer, the Black Crowes, ZZ Top, Danzig, Trouble, Tom Petty, Johnny Cash, The Mother Hips, American Recordings was founded after Rick Rubin left Def Jam Recordings in 1988. Rubin continued his association with music by signing artists such as the Geto Boys. American had its first major success with The Black Crowes 1990 debut album, Shake Your Money Maker, the group’s 1992 follow-up, The Southern Harmony and Musical Companion, gave American Recordings its first No.1 album. Emcee Sir Mix-a-Lot managed a hit with the song Baby Got Back as well as a platinum-selling album titled Mack Daddy. Heavy metal acts Slayer and Danzig also enjoyed commercial success, with Slayer in particular. Rubin produces many of the recordings on the label, as well as directing other related ventures, Rubin changed the name of the company to American Recordings in 1993 after seeing the word def in a dictionary. The company was renamed because he believed that finding the word in a source was against the anti-establishment image that he was trying to project for the company. A mock funeral presided over by the Reverend Al Sharpton was done for the name change. American had several sub-labels over the years, including Onion Records, Ill Labels, Wild West, Whte Lbls, the latter was a partnership with Henry Rollins that specialized in reissues of obscure albums. None of these made the distribution transition after American Recordings left Warner Bros. Records in 1997. The first-ever Def American release was Reign in Blood by Slayer, a Def Jam Recordings logo was also present on its follow-up album. Danzigs 1988 debut album was the first release to bear the Def American logo. Initially, the label was distributed by Geffen Records through Warner Bros, americans distribution has been handled through several labels over the years. Americans first incarnation was distributed by Geffen Records through Warner Bros. Records from 1988 to 1990, after a falling out with Geffen over the content of the Geto Boys only Def American release, Warner Bros. itself took over distribution duties from 1990 to 1997. However, sub-label Ill Labels was distributed by hip-hop specialist and former Warner Bros. subsidiary Tommy Boy Records as part of its deal, for a brief time during the 1990s, the label also distributed Too Pure Records in the USA. Rubin signed a deal with Columbia/SME Records in 1997, which distributed the labels titles until 2001. That year, Universal Music Group, through its Island Def Jam Music Group division, in 2005, with the exception of the recordings of Johnny Cash, the label returned to the aegis of Warner Bros
24.
Astral Disaster
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Astral Disaster is an album by Coil, which has been released in two distinct versions. The original pressing of the album was released in an edition of 99 copies on 12 vinyl via the record label Acme/Prescription with catalogue number Drug 8. It was available only to those who had subscribed to the entire Drug series and it included an insert with the track listing and release notes, and a piece of handmade artwork in a plastic zip-lock bag. The later pressing of album, released on CD and 12 via the Threshold House label, is completely rebuilt. This version also includes a remake of The Mothership & The Fatherland titled MÜ-ÜR, the 12 inch release was limited to 1,000 copies on gray vinyl and a special edition of 100 copies on red vinyl. The special edition includes a sheet of lyrics that is signed by Jhon Balance, Peter Christopherson and it also includes an original numbered drawing, which is signed by Jhon Balance and Peter Christopherson. The album is themed on mankinds pollution of the seas for commerce. The majority of the album was recorded in an area below the level of the Thames River, the Avatars was made with a Syrinx synthesiser, and was John Balances attempt to recreate memories of sneaking through his house at night to watch Bernard Quatermass series on television. The title of the song comes from a book by George Russell, second Son Syndrome was purposely renamed 2nd Sun Syndrome on reissue. Most of the lyrics to The Sea Priestess were based on Aleister Crowleys descriptions of the murals on the walls of the Abbey of Thelema at Cefalu in Sicily
25.
Musick to Play in the Dark Vol. 1
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Musick to Play in the Dark Vol.1 is a CD in its third pressing, as well as a 12 vinyl, by Coil. Musick to Play in the Dark Vol.1 was one of two albums attributed purely to a style called moon music, which signified their change from a solar to a moon group, Musick to Play in the Dark Vol.2 is the sequel album. The initial CD pressing was limited to 2,000 copies, approximately 1,000 of those copies that were ordered directly from Coil include a certificate of provenance, numbered and signed by Peter and John. The 12 version of this record features edited versions of the songs as they appear on the CD and it was released on translucent white vinyl in an edition of 500. FOR YVES TANGUY is etched in side A of the vinyl, ITS JUST A PHASE WERE GOING THROUGH is etched on side B. This album is available in CD format at Coils official website. Are You Shivering. is about the drug MDMA, colloquially known as Ecstasy, the song Red Birds. is based on the album Rubycon by Tangerine Dream. The name for song was taken from Nostradamus book The Prophecies. Piano on Red Queen is performed by Thighpaulsandra and is about the media spreading lies, the spoken line on Strange Birds is taken from Aleister Crowley. The Dreamer Is Still Asleep is about William Blake. –9,40 Red Birds Will Fly Out of the East and Destroy Paris in a Night –12,40 Red Queen –11,02 Broccoli –9,21 Strange Birds –7,37 The Dreamer Is Still Asleep –9,56 Side A, Are You Shivering. Red Birds Will Fly Out of the East and Destroy Paris in a Night –8,41 Red Queen -, the Dreamer Is Still Asleep -. John Balance Peter Christopherson Thighpaulsandra Drew McDowall Moon Musick website
26.
Musick to Play in the Dark Vol. 2
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Musick to Play in the Dark Vol.2 is an album by Coil currently in its third pressing in CD format, it was also released in double 12 vinyl format. Musick to Play in the Dark Vol.2 was the second of two albums attributed purely to a style called moon musick, which signify their change from a group to a moon group. Musick to Play in the Dark Vol.1 was the first installment, an Emergency is sung by Rose McDowall. The lyrics of Batwings have many references to Musaeum Clausum written by Sir Thomas Browne and this song was also played at John Balances funeral service and Peter Christopherson described it as a language that only he knows. The first 1,000 mail-order copies of the CD came with Coil Presents Time Machines as a bonus, four different versions of this album were pressed onto two 12 vinyl records, A standard edition limited to 1300 numbered copies. A special edition limited to 50 copies with one light blue record, the records themselves have plain white labels, with gold leaf attached to the label on side four. A special Trauma edition is said to be limited to 26 copies and it was pressed white vinyl with plain white covers smeared with John Balances own blood during a psychotic/demonic episode. These also contain the cover picture and prints from the amethyst edition listed above, initially, only 11 copies were to be sold with the remainder being held by Coil in their personal archive, but the edition was expanded due to high demand. This album was recorded by Peter Christopherson, Jhonn Balance, Thighpaulsandra, the phrase The key to joy is disobedience, there is no guilt, there is no shame is whispered at the beginning of Batwings. A shorter version of Batwings appeared on the Russian compilation Пособие для начинающих and this album is currently unavailable in CD format. Something –5,02 Tiny Golden Books –12,19 Ether –11,32 Paranoid Inlay –7,17 An Emergency –1,18 Where Are You, –7,53 Batwings –11,32 Side A, Something -. John Balance Peter Christopherson Thighpaulsandra Rose McDowall, vocals on An Emergency Moon Musick website
27.
The Waterboys
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The Waterboys are a Scottish folk rock band formed in Edinburgh in 1983 by the Scottish musician Mike Scott. The bands membership, past and present, has composed mainly of musicians from Scotland, with Edinburgh, London, Dublin, Spiddal, New York City. Mike Scott is the only constant band member. They have explored a number of different styles and they dissolved in 1993 when Scott departed to pursue a solo career. They reformed in 2000, and continue to release albums and tour worldwide, Scott emphasises a continuity between The Waterboys and his solo work, saying that To me theres no difference between Mike Scott and the Waterboys, they both mean the same thing. They mean myself and whoever are my current travelling musical companions, the early Waterboys sound was dubbed The Big Music after a song on their second album, A Pagan Place. This style was described by Scott as a metaphor for seeing Gods signature in the world, Waterboys chronicler Ian Abrahams elaborated on this by defining The Big Music as. a mystical celebration of paganism. Its extolling the basic and primitive divinity that exists in everything, religious, here is something that cant be owned or built upon, something that has its existence in the concept of Mother Earth and has an ancestral approach to religion. And it takes in and embraces the feminine side of divinity, the Waterboys eventually returned to rock and roll, and have released both rock and folk albums since reforming. Their songs, largely written by Scott, often contain literary references and are concerned with spirituality. The Waterboys have gone through three distinct phases, after a brief return to the Big Music for one tour and the release of a mainstream rock and roll album with Dream Harder, the band dissolved until its rebirth in 2000. In the years since, the band has revisited both rock and folk music, and continues to tour and release studio albums. Scott, the founder and only permanent member of The Waterboys, made a number of recordings in late 1981. These sessions at Redshop Studio are the earliest recordings that would be released under The Waterboys name. During the same period, Scott formed the short-lived band The Red and the Black, with saxophone player Anthony Thistlethwaite, after hearing him play on Waiting on Egypt, the Red and the Black performed nine concerts in London. Thistlethwaite introduced Scott to drummer Kevin Wilkinson, who joined The Red, during 1982, Scott made a number of recordings, both solo and with Thistlethwaite and Wilkinson. These recording sessions, both of Scotts solo work and the performances, would later be divided between The Waterboys first and second albums. In 1983, even though Scotts record label, Ensign Records, expected his first album to be a solo effort and he chose The Waterboys as its name from a line in the Lou Reed song The Kids on the album Berlin. In March 1983, Ensign released the first recording under the new name, a single titled A Girl Called Johnny
28.
A Rock in the Weary Land
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A Rock in the Weary Land was an album released in 2000 by The Waterboys. It was their first album after a seven-year break, the album cover photography is by Steve Gullick. Critic John Mulvey, writing for NME, describes the album as largely excellent except for We Are Jonah, All songs written by Mike Scott, unless otherwise noted. Let It Happen –6,20 My Love Is My Rock in the Weary Land –8,16 Its All Gone –2,15 Is She Conscious, let It Happen –6,20 The Charlatans Lament –6,52 Is She Conscious. A limited two-disc edition was issued in Japan by BMG International. The track list of the first disc is identical to the track list. The single also contained a video for the song, –4,51 Sad Procession –7,22 The Faeries Prisoner –2,10 Is She Conscious. –4,31 Savage Earth Heart –16,01 My Lord, What A Morning –2,27 BMG also issued and these are considered collectors items by some Waterboys fans and command high resale prices
29.
John Balance
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He was responsible for vocals, lyrics, chants, synthetics and various esoteric sound-making instruments and devices. Outside of Coil he collaborated with Nurse with Wound, Death in June, Psychic TV, Current 93, Chris & Cosey, Thighpaulsandra and his early work and wide-ranging collaborations made him one of the most influential figures in the industrial, experimental minimalist and neofolk music scenes. Balance first recorded using the alias Merderwerkers, the Merderwerkers track, Blue Funk, was included on the Sterile Records cassette compilation Standard Response. Balance also published a zine, Stabmental, and released a track, A Thin Veil of Blood. A Thin Veil of Blood was included on the cassette compilation Deleted Funtime – Various Tunes for Various Loons, Balance then joined up with Peter Christopherson and Boyd Rice to record Nightmare Culture under the moniker The Sickness of Snakes. Balance subsequently joined Psychic TV and performed alongside Christopherson, however in 1984, Balance, a short collaboration with Zos Kia produced the split tape Transparent. Credit for the album was shared, and marked Coils first release, the original Coil / Zos Kia tape, Transparent, was released as a His-Storical CD reissue in 1997. Dreams Less Sweet Just Drifting Berlin Atonal Vol.2 N. Y, scum Thee City ov Tokyo/Thee City ov New York Mein-Goett-In-Gen Merderwerkers, Blue Funk on Sterile Records compilation Standard Response. Stabmental, A Thin Veil of Blood on compilation Deleted Funtime - Various Tunes for Various Loons, Sickness of Snakes, Nightmare Culture Rosa Mundi, The Snow Man on compilations The Final Solstice, The Final Solstice II and split album Grief. Balance died on 13 November 2004, after falling from a balcony at his home. Peter Christopherson announced Balances death on the Threshold House website, Balances memorial service was held near Bristol on 23 November, and was attended by approximately 100 people. November 2014 saw the publication of a volume of his art called Bright Lights and Cats with no Mouths by Edition Timeless
30.
Some Head
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Some Head is the first release by Thighpaulsandra. The CD was released via Coils label Eskaton, the EP was limited to 1000 copies and was packaged in a black clamshell case. Thighpaulsandra, synthesizers, piano, horn, vocals John Balance, vocals, text Hans-Jürgen Raüsch, enforcement, retractors discogs. com entry
31.
Peter Christopherson
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Peter Martin Christopherson was a musician, video director, commercial artist, designer and photographer, and former member of British design agency Hipgnosis. He was one of the members of the Industrial Records band Throbbing Gristle. After the disbandment of Throbbing Gristle, he participated in the formation of Psychic TV along with Genesis P-Orridge, Christopherson participated in the reunification of Throbbing Gristle and, after his relocation to Thailand in 2005, composed an album for his solo endeavour The Threshold HouseBoys Choir. Christopherson died in his sleep on 25 November 2010, Christopherson was born on 27 February 1955 in Leeds, UK. His father, Derman Christopherson, was a professor of engineering who became master of Magdalene College, Cambridge prior to receiving a knighthood. Following school, Christopherson studied computer programming, theatre design and video at the State University of New York at Buffalo in New York, Christopherson was a founding member of Throbbing Gristle, who are credited with creating the industrial music genre before disbanding in 1981. Throbbing Gristle members Chris Carter and Cosey Fanni Tutti formed their own group, while Christopherson, Balance met Christopherson as a Throbbing Gristle fan and the two became intimate partners. Christopherson worked on the first two Psychic TV albums, Force the Hand of Chance and Dreams Less Sweet, joined by Balance on the latter, the two performed live several times with Psychic TV prior to forming their own project Coil. Strictly a recording project, Coil consisted of Christopherson and Balance, while Steven E. Thrower occasionally played bass guitar, Balance was the lyricist and also played Chapman Stick and some keyboards. In 1987, Christopherson explained the sound of Coil, A ‘big movie theater’ ambience, we’ve always liked movies about Turkish prisons and Roman galleys. Most contemporary music draws its imagery from the past 30 years, but there’s a whole wealth of imagery from earlier times that’s fascinating to draw from. Over two decades, Coil released a myriad of recordings, in addition to contributing to the work of other artists and they recorded parts of the album The New Backwards at Nothing Studios in New Orleans, US, owned by musician Trent Reznor at the time. In the liner notes of the 2008 CD release, Christopherson wrote, Thanks to everyone there, despite Christophersons long and extensive history as a musical artist, he only released two tracks under the name Peter Christopherson. In 2005, following the death of Balance, Christopherson relocated from England to Bangkok, Thailand and he also released the final Coil CDs—The Remote Viewer, Black Antlers. And The Ambulance Died in His Arms and The New Backwards—on the bands own Threshold House label. Throbbing Gristle also reformed for a few concerts in 2005 and announced a new album called Part Two, the group announced several additional concerts in 2007 for the promotion of the album. In 2007 Christopherson released the album of The Threshold HouseBoys Choir. The album, Form Grows Rampant, consists of five parts or songs, One tour promoter who organized a Threshold HouseBoys Choir concert described it as easily the most shocking thing I have ever experienced. In 2008 Christopherson and Ivan Pavlov started a new project called Soisong, the band officially premiered in Tokyo on 9 March 2008 and later performed several shows in Europe, having self-released their debut EP
32.
The Golden Communion
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The Golden Communion is the sixth album by Thighpaulsandra, released on September 4,2015. It marks Thighpaulsandras return to work after nearly a decade of touring with Spiritualized, Elizabeth Fraser. Overall, the music presented contains threads of psychedelic and progressive rock, featuring orchestrations, the Golden Communion was released physically in 2CD and 3LP formats, as well as digitally in 24-bit FLAC. All tracks written by Thighpaulsandra, unless otherwise noted, the Foot Garden, Misery and Valerie Lara Ward – vocals on Did He Fall. Choreography Nick Pullin – vocals on Did He Fall
33.
Extended play
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An extended play is a musical recording that contains more tracks than a single, but is usually unqualified as an album or LP. EPs generally do not contain as many tracks as albums, and are considered less expensive, an EP originally 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, in the United Kingdom, the Official Chart Company defines a boundary between EP and album classification at 25 minutes of length or 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 33 1⁄3 rpm LP were competing formats, seven-inch 45 rpm singles had a maximum playing time of only about four minutes per side. Partly 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 levels and sound compression optionally. These were usually 10-inch LPs split onto two seven-inch EPs or 12-inch LPs split onto three seven-inch EPs, either separately or together in gatefold covers. This practice became 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, originally broadcast on the NBC Radio network and manufactured by RCA, in the 1990s, they began appearing on compact discs. During the 1950s, RCA published several EP albums of Walt Disney movies and these usually featured the original casts of actors and actresses. Each album contained two seven-inch records, plus an 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, Pinocchio, and what was then a recent release, 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 usually compilations of singles or album samplers and were played at 45 rpm on seven-inch discs. Record Retailer printed the first EP chart in 1960, the New Musical Express, Melody Maker, Disc 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 this mini-LP format also became popular in America in the early 1970s for promotional releases, and also for use in jukeboxes
34.
Industrial rock
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Industrial rock is a musical genre that fuses industrial music and specific rock subgenres. Like most industrial subgenres, industrial rock is generally dark. Experimental 60s group Cromagnon are said to have one of the bands that helped foresee the birth of industrial rock. Specifically, their song Caledonia has been noted for its pre-industrial stomp, Industrial music was created in the mid- to late 1970s, amidst the punk rock revolution and disco fever. Prominent early industrial musicians include Throbbing Gristle, Cabaret Voltaire, NON, SPK, many other artists have been cited as influences such as Kraftwerk and Gary Numan and Tubeway Army as well as Einstürzende Neubauten. Many other musical performers were incorporating industrial-musical elements into a variety of musical styles, some post-punk performers developed styles parallel to industrial musics defining attributes. Pere Ubus debut, The Modern Dance, was described as industrial, so was San Franciscos Chrome, who mixed Jimi Hendrix, The Sex Pistols and tape music experiments, and Killing Joke, considered by Simon Reynolds as a post-punk version of heavy metal. According to Chris Connelly, Foetus is the instigator when it comes to the marriage of machinery to hardcore punk, the New York City band Swans were inspired by the local No Wave scene, as well as punk rock, noise music and the original industrial groups. Steve Albinis Big Black followed a path, while also incorporating American hardcore punk. Big Black has also been associated with post-hardcore and noise rock. Industrial rocks true commercial breakthrough took place with the rise of the metal bands, Ministry, Marilyn Manson. Records Nothing Records Industrial rock musical groups Industrial rock sales and awards List of industrial music bands Blush, concrete, Bulletproof, Invisible + Fried, My Life as a Revolting Cock. The Mojo Collection, The greatest albums of all time, rip it up and start again, Postpunk 1978-1984. Atari Teenage Riot,60 second wipe out
35.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
36.
Chamber Music (Thighpaulsandra album)
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Chamber Music is the fifth album by Thighpaulsandra. The album is the first to be pressed to both CD and vinyl since The Michel Publicity Window E. P, the vinyl pressing was limited to an edition of 525, hand numbered picture discs. The cover image, taken by Thighpaulsandra, is titled The Hunting Party, john, Piano on A Blizzard of Altars Robert Greensmith, Relentless stomping on Bleeding Text… CD entry at discogs. com 12 vinyl entry at discogs. com
37.
The Lepore Extrusion
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The Lepore Extrusion is a 2006 release by Thighpaulsandra. The album was released via Brainwashed Recordings in a limited CD edition of 500 letterpress sleeves, the exhibit opened in June 2005 in New York City. Included in a portion of the disc is an essay titled Is Evolution Evil. Surgical Transformation as the New Punk Aesthetic in the 21st Century, alongside a schematic and video of the installation
38.
Rachel Stamp
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Rachel Stamp are an English rock band formed in London in 1994. Their debut album, Hymns For Strange Children, was released in 2000, Rachel Stamp were formed in 1994 when David Ryder Prangley met Will Crewdson before recruiting Cliff Harris and Mike Rowe. The band signed to WEA Records, but were dropped without releasing the album they had recorded for the label. Their debut album Hymns For Strange Children was recorded in two weeks with John Fryer as record producer, and upon its release went to the top of the NMEs Independent Chart. The band next signed to Pure Stirling Records, who released their second album Oceans Of Venus in the UK and it was subsequently released in the US by Captiva Records, and in Germany through Sony Music. This was followed by a short UK tour in late 2009, in 2010, Will Crewdson and David Ryder-Prangley played alongside Adam Ant on guitar and bass for performances around London. Ant and former longtime collaborator Marco Pirroni had previously guested with Rachel Stamp at a 1997 gig at the original Camden Monarch. Crewdson later returned to Ants band as joint guitarist in early 2014 and is currently sole guitarist for Ant following the death of bandmate Tom Edwards during a US tour in January 2017. Crewdson is also working with a band called LIVAN, fronted by Greek-born musician Cosmas Livanos. Will Crewdson and Sheheena Dax have also formed a band She Made Me Do It and they have released two EPs - She Made Me Do It and Garbos Pool, with an album due out in 2015 and in January 2015 supported Sigue Sigue Sputnik at Electrowerkz. John Robb made them his artist of the day in September 2013, live. /Home Made Sex Change Ravenous Rachel Stamp on MySpace Rachel Stamp Photo Archive Official Will Crewdson website David Ryder-Prangley & The Witches Catfish Scar She Made Me Do It Web Site
