Michael Jonathan "Mick" Turner is an Australian musician and artist. He is the founding mainstay guitarist for Dirty Three and has had art exhibitions around Australia and internationally, he was a member of the Moodists and Venom P. Stinger, he has released four solo studio albums, Tren Phantasma, Marlan Rosa and Don't tell the Driver. Michael Jonathan Turner, born in 1960, grew up in Victoria. In 1979, Turner, on guitar, formed Sick Things in Melbourne alongside Gary Hirst on drums, Dugald McKenzie on vocals and Geoff Martyr on bass guitar. Tim Peacock of Record Collector magazine opined that the group were "Arguably the city's rawest hardcore outfit", they recorded a single, "Committed to Suicide" before Turner and McKenzie left in 1982. It appeared on their posthumous album, The Sounds of Silence on Shock Records. Australian musicologist, Ian McFarlane, felt that "the records featured ferocious guitar riffs and distorted vocals, displaying the band's penchant for flat-out, Black Flag-style hardcore punk."
Turner and McKenzie co-wrote the track, "Where's My Dole Cheque", which appeared on another posthumous album, My Life Is a Mess. In 1982 Turner formed Fungus Brains as a proto-grunge and punk rock group with Simon Adams on bass guitar, Peter Maddick on trumpet, Geoff Marks on vocals and saxophone, Simon Sleigh on guitar and drums, Andrew Walpole on drums and guitar, their debut album, Ron Pistos Real World, was released in 1983. McFarlane described it as "a stylistic collision of punk, Birthday Party trappings, avant no-wave jazzy noise and a dozen other reference points." That group went into hiatus when Turner joined the Moodists, in April 1983. The Moodists were a rock group which had formed in 1980, with Turner aboard the line-up was Dave Graney on lead vocals, Steve Miller on guitar, Clare Moore on drums and Chris Walsh on bass guitar. McFarlane specified that Turner was "adding his squalling guitar work to the band's unnerving, avant-garage rock noise." In October 1983, as a member of the Moodists, Turner relocated to London.
They issued their debut studio album, Thirsty's Calling, in April 1984. The Moodists toured Europe and the United States before returning to Australia in November that year, they supported the Australian leg of a tour by UK group, Public Image Ltd, after which Turner left to reconvene Fungus Brains. Fungus Brains released a self-titled album in 1986 but Turner had left to form Venom P. Stinger in 1985, as an avant-rock group with former band mate McKenzie on lead vocals, Alan Secher-Jensen on bass guitar and Jim White on drums. McFarlane explained that the group "took the experimental avant-garde route to its logical conclusion with an unnerving sound that thrived on raw energy, a complex rhythmic base and unconventional song structures."Their debut album, Meet My Friend Venom, was issued in January 1987, which contained "clattering slices of avant-rock with no concession to commercial gains." Marc Masters of Pitchfork felt it is "a marvel of primal thrust, tearing through the air so forcefully you feel like you're just catching its smoke trails."
The album was followed by a single, "Walking About", in July 1988. By 1989 Fungus Brains were reactivated with Turner and Walpole joined by Paula Henderson on saxophone, Ricky Howell on lead vocals and Peter Villiger on bass guitar; this line-up issued another album, in 1990 before Turner returned to Venom P. Stinger; that group released their second album, What's Yours is Mine, in October 1990. They followed with a four-track extended play, Waiting Room in November 1991. Venom P. Stinger recorded a live album, Live in Davis, California. Early in 1992, back in Melbourne, Turner, on lead and bass guitar, White, on drums, formed an instrumental trio, Dirty Three, with Warren Ellis on violin and bass guitar, their first performance was at the Baker's Arms hotel in Abbotsford in April 1992. During late 1992 to early the following year Turner's living room was used as a recording studio, Scuzz Studio, for the group's first cassette album. Eight of its twelve tracks were produced and engineered by Turner, with the other four tracks by Julian Wu.
Turner runs Dirty Three's record label, Anchor & Hope Records and has provided the cover art for all of their major albums after the first. Since 2003 Turner has had his artwork displayed in galleries in Australia, UK, US, Italy and Ireland. Outside of his work for Dirty Three, Turner issued his debut solo album, Tren Phantasma, on US label, Drag City, in September 1997. Prior to that Venom P. Stinger had issued their final album, Tear Bucket, in 1996. Turner with White formed an instrumental rock duo, the Tren Brothers, in 1998, which released singles and extended plays; the Tren Brothers were the backing band for Cat Power, Boxhead Ensemble and Bonnie'Prince' Billy. Turner's second solo studio album, Marlan Rosa, was issued in 1999. Jessica Billey supplied violins. McFarlane declared that it was " a rough-hewn album of 15 instrumentals with scratchy guitar and mysterious atmospherics." Alex Nosek of Oz Music Project described its "fifteen semi-improvised bundles of gentle aural bliss. Aside from the guitar, countless other noise making devices have been used.
In fact, it is Turners' knack for looping and/or arranging the most delicious of fragile and sometimes unorthodox sound that gives this recording such an amazing feel."Ed Nimmervoll, an Australian rock music journalist, compared his solo effort with his work for the trio "In Dirty Three, alongside the lashing
In the Fishtank 7
In the Fishtank 7 features Low and Dirty Three. In November 1999 Konkurrent invited Low to record one of Konk's in house Fishtank-sessions. Low, being familiar with the series, accepted. In the spirit of'In The Fishtank' Low took things a step further and extended the invitation to their friends Dirty Three to collaborate on the session which took place when both bands played the Crossing Border Festival in Amsterdam. "I Hear… Good Night" "Down by the River" "Invitation Day" "When I Called Upon Your Seed" "Cody" "Lordy" Konkurrent
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording 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", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; 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 where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Warren Ellis (musician)
Warren Ellis is an Australian-French musician and composer. He is Grinderman, he has composed film scores with Nick Cave. Ellis plays violin, accordion, guitar, mandolin, tenor guitar, viola. Ellis has been a member of Nick Cave and the Bad Seeds since 1994. Ellis was born in Ballarat, Australia, he has said that he came to music by accident: while playing at the local tip, he found an abandoned piano accordion. He took it to school and his teacher showed him how to play it, he learned classical violin and flute at school in Ballarat. After winning a scholarship to a private high school. Ellis went to university in Melbourne. After that he worked as a schoolteacher in country Victoria. In January 1988 he travelled to Europe, where he busked in Greece, Hungary and Ireland. A year he returned to Australia. Ellis wrote music for theatre groups and performed at art openings and plays in Melbourne, before he started playing in bands in the early nineties. In 1992 Ellis formed The Dirty Three with drummer Jim White.
As of 2018 the band have recorded nine studio albums, including several to appear on the ARIA charts in their native Australia. In 1993, Ellis was invited to play with Nick Cave and the Bad Seeds as part of a small string ensemble for several songs on Let Love In, he would soon join the band as a full-time member co-writing many of the band's songs and becoming a pivotal collaborator with singer Nick Cave in film scores and other projects. Ellis was a member of Grinderman, a side-group from the Bad Seeds, who have released two albums. In 2002, Ellis released. Since 2005 he has played on several Marianne Faithfull albums. Nick Cave and Warren Ellis composed the award-winning score of the film The Proposition, collaborated again on the scores of The Assassination of Jesse James by the Coward Robert Ford, The Road and Far from Men. In 2009, Nick Cave and Warren Ellis released White Lunar – an album that includes other soundtrack scores. Writing in the Guardian in 2016, Van Badham acknowledged Ellis' influence in the development of Australian music, describing him as a "brilliant multi-instrumentalist as well as musical creator aesthetic range has furnished the distinctive sound of Australian bands from the Blackeyed Susans to Kim Salmon and the Surrealists."Ellis has lived in Paris since 1998 with his French wife and their two children.
Three Pieces for Violin Mustang, soundtrack Django, soundtrack Woyzeck, theatre score, adaptation by Gísli Örn Gardarsson The Proposition, soundtrack Metamorphosis, theatre score The Assassination of Jesse James by the Coward Robert Ford, soundtrack The English Surgeon, soundtrack with Nick Cave The Road, soundtrack The Girls of Phnom Penh, soundtrack Lawless soundtrack composed with Nick Cave Days of Grace, soundtrack With Nick Cave, Atticus Ross, Claudia Sarne, Leopold Ross & Shigeru Umebayashi West of Memphis, soundtrack Loin des Hommes, soundtrack Hell or High Water, soundtrack composed with Nick Cave War Machine, soundtrack composed with Nick Cave Wind River, soundtrack composed with Nick Cave Kings, soundtrack composed with Nick Cave The Blackeyed Susans' album All Souls Alive Kim Salmon's album Hey Believer David McComb's album Love of Will Played live music for Chicago neo-burlesque performer Maya Sinstress in 2000 Cat Power's album You Are Free Loene Carmen's album Slight Delay "Crazy Love" by Marianne Faithfull/Nick Cave, with Isabelle Huppert on Before the Poison "Hell's Coming Down" from Primal Scream's album Riot City Blues Theo Hakola's album Drunk Women and Sexual Water Jim Yamouridis' album Into the Day "Pirate Jenny" with Shilpa Ray and Nick Cave on Son of Rogues Gallery: Pirate Ballads, Sea Songs & Chanteys Marianne Faithfull's album Give My Love to London "Stepkids" from The Avalanches' album Wildflower "A Common Truth" by Saltland 2005 AFI Awards: Best Original Music Score 2005 Inside Film Awards: Best Music 2005 Film Critics Circle of Australia Awards: Best Musical Score 2010 Kermode Awards: Best Score 2016 César Award for Best Original Music: Best Original Music Score Nick Cave official site Grinderman official site Warren Ellis on IMDb
Encyclopedia of Australian Rock and Pop
The Encyclopedia of Australian Rock and Pop or Rock and Pop by Australian music journalist Ian McFarlane is a guide to Australian popular music from the 1950s to the late 1990s. The encyclopedia was described in Australian Music Guide as "the most exhaustive and wide-ranging encyclopedia of Australian music from the 1950s onwards"; the encyclopedia is out of print, but was for a time available on the whammo.com.au online record store, is still in the Internet Archive. In 2017 the second edition was published by Third Stone Press. Publishers, Allen & Unwin describe McFarlane's encyclopedia as containing over 870 entries and is an "essential reference to the bands and artists who molded the shape of Australian popular music in an A-to-Z encyclopedia format complete with biographical and historical details; each entry includes listings of original band lineups and subsequent changes, record releases, career highlights, cross-references with related bands and artists."United States Barnes & Noble reviewer, David Turkalo, found that although it was written solidly and had "a surprising number of Australian-American connections", it was too specialised for general American library patrons.
The book has a similar title to the 1978 work by Noel McGrath, Australian Encyclopaedia of Rock and Pop. The second edition appeared in 2017 and was updated to 2016. Steven Carroll of The Sydney Morning Herald opined that "Any survey of Australian pop and rock that includes entries on such bands as Serious Young Insects is a serious tome. It's so easy to get lost in this revised edition: one band leading to another, so on, until you're asking yourself what happened to the last hour." Online version of the book as stored at the Internet Archive Turkalo, David M. "The Encyclopedia of Australian Rock and Pop.". Library Journal. Library Journals, LLC. 125: 82. ISSN 0363-0277
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