martes, 25 de octubre de 2011

Ingenieria musical, Maserati

Maserati's reputation varies depending on who you ask: They are either one of dance music's most viscerally addictive live performers, or underground rock's most ingenious hybrid of U2's guitar heroics, Pink Floyd's arena-ready psych rock, and Daft Punk's head-slamming, club-burning rhythms.

Maserati formed in January 2000 and in 2001 self-released their debut EP, 37:29:24. They released a full-length, The Language of Cities, onKindercore Records in 2002.[1] In 2003, they released the "Confines of Heat" split EP/DVD (also on Kindercore Records) with Gainesville, FL's The Mercury Program.
After a Japan tour in 2004, drummer Phil Horan left the group. Matt Cherry also left the group temporarily, replaced by Tristan Wraight. They released a 7" and a split CD with Cinemechanica and We Versus the Shark on Hello Sir Records in 2004.
In early 2005, Matt Cherry re-joined the band and Jerry Fuchs stepped in on drums. The group began pursuing more of a psychedelic andspace rock-influenced sound and signed with Temporary Residence in 2007, releasing the full-length Inventions for the New Season. In 2008 they issued a 12" featuring remixes of songs from Inventions for the New Season by Thee Loving Hand and Justin Van Der Volgen. They followed this with a split LP with Zombi in early 2009, and a rarities collection, Passages, on Temporary Residence later that same year.
On November 8, 2009, at around 1am, Fuchs fell down an elevator shaft to his death in Williamsburg, Brooklyn.[2][3] ABC reported that he "was trying to jump out of a broken elevator when a piece of his clothing caught on something".[4] The drummer was attending an invite-only party to raise funds to send poor children to school in India [5] He was 34 years old.


lunes, 24 de octubre de 2011

Justin Chancellor, la perfecta sinestecia.

Justin Chancellor tuvo su primer contacto con el bajo a la temprana edad de 8 años, a los 14, entre sus amigos de Inglaterra, comenzaban a realizar sus primeros ensayos, para la que luego fuera su banda conocida como Peach.
Justin Chancellor engendró un primer contacto con la banda Tool en Nueva York, con los quien siguió manteniéndose en abierta relación, por aquellos días. Más tarde Tool realizó una gira por Europa, por los años 1993-1994, tras la realización del álbum Undertow junto con la banda Peach en la que Chancellor tocaba en ese tiempo, quienes habían sacado su nuevo álbum Giving Birth to a Stone, y es así como se producían los primeros desarrollos para llegar así a una gran amistad, en la que comparten gustos y filosofía.

 cover of 1993 Spasm 
2-track vinyl 7-inch only


En 1992, Ben Durling y Rob Havis dejan la banda Unwind, y junto a Justin Chancellor y Simon Oakes forman Peach.1 Desde ese momento, y hasta 1994 graban los EP Don't Make Me Your GodDisappear Here y Burn. En ese año realizan una gira por Europa junto a Tool,2luego de haber grabado su primer álbum Giving Birth to a Stone. En 1995, Simon Oakes deja la banda, y se une a Geyser. Es reemplazado por Roger Sterling. Ese mismo año, debido a la salida de Justin Chancellor para reemplazar aPaul D'Amour en Tool, se integra a la banda el bajista Andy Marlow. read more @

La Sinestecia.

jueves, 20 de octubre de 2011

Celebrating this Band. Empty Space Orchestra.

Empty Space Orchestra certainly knows how to fill a room. The Bend, OR quintet of impeccable musicians crafts a symphonic, melodic sound that seamlessly weaves together elements of space rock, prog-metal, noir jazz, post-rock and afro-punk all in one massive blast of energy. Their 9-song, 50-minute self-titled debut album is a hook-laden marriage of heft and harmony that veers far away from the navel-gazing jamming often associated with music of such explorative origins. Elements of The Mars Volta's most frenetic moments merge with soaring post-rock of Russian Circles, as well as hints of Deftones, Dub Trio and lilting chamber pop all colliding in brilliant synergy from one song to the next. 

The group of classically-trained musicians is anchored by the stunning power and precision of drummer Lindsey Elias -- clearly a musician soon to hold rank amongst her most celebrated male counterparts. Guitarist Shane Thomas and bassist Patrick Pearsall provide a balance of head-bobbing riffs interspersed with tasteful and inventive lines that weave like musical narrative throughout. Meanwhile, multi-instrumentalists Keith O'Dell (keyboards, piano) and Graham Jacobs (saxophone, flute, synths) add myriad melodic layers and cinematic moods that often deftly counterbalance heavy riffs with glissando piano melodies and swaggering horns.
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Empty Space Orchestra
Exit Strategy.

martes, 11 de octubre de 2011

A delicate piece of art, In the court of King Crimson. Eclecticism among us.

Eclecticism is a kind of mixed style in the fine arts: "the borrowing of a variety of styles from different sources and combining them" (Hume 1998, 5). Significantly, Eclecticism hardly ever constituted a specific style in art: it is characterized by the fact that it was not a particular style. In general, the term describes the combination in a single work of a variety of influences — mainly of elements from different historical styles in architecturepainting, and the graphic and decorative arts. In music the term used may be either eclecticismcrossover music, orpolystylism.


"The Giles Brothers were looking for a singing organist. I was a non-singing guitar player. After 30 days of recording and playing with them I asked if I got the job or not – joking like, you know? And Michael Giles rolled a cigarette and said, very slowly, 'Well, let's not be in too much of a hurry to commit ourselves, shall we?' I still don't know if I ever got the job."
Robert Fripp on signing up with Michael and Peter Giles[6]
In August 1967, brothers Michael Giles (drums) and Peter Giles (bass) who had been professional musicians in various jobbing bands since their mid-teens in Dorset, advertised for a singing organist to join their new project.[7] Fellow Dorset musician Robert Fripp – a guitarist who did not sing – responded and the trio formed the band Giles, Giles and Fripp.
Based on a format of eccentric pop songs and complex instrumentals, the band recorded several unsuccessful singles and one album, The Cheerful Insanity of Giles, Giles and Fripp.[3] The band hovered on the edge of success, with several radio sessions and a television appearance, but never scored the hit that would have been crucial for a commercial breakthrough. The album was no more of a success than the singles, and was even disparaged by Keith Moon of The Who in a magazine review.[3] Attempting to expand their sound, Giles, Giles and Fripp then recruited the multi-instrumentalist Ian McDonald on keyboards, reeds and woodwinds. McDonald brought along his then-girlfriend, the former Fairport Convention singer Judy Dyble, whose tenure with the group was brief and ended at the same time as her romantic split with McDonald (she would later resurface in Trader Horne).[3][8]More significantly, McDonald brought in lyricist, roadie and art strategist Peter Sinfield, with whom he had been writing songs – a partnership initiated when McDonald had said to Sinfield, regarding his 1968 band Creation, "Peter, I have to tell you that your band is hopeless, but you write some great words. Would you like to get together on a couple of songs?" [9] One of the first songs McDonald and Sinfield wrote together was "The Court of the Crimson King".[citation needed]
Fripp, meanwhile, had seen the band 1-2-3 (later known as Clouds) at the Marquee. This band would later inspire some of Crimson's penchant for classical melodies and jazz-like improvisation.[10] Feeling that he no longer wished to pursue Peter Giles' more whimsical pop style, Fripp recommended his friend Greg Lake, a singer and guitarist, for recruitment into the band, with the suggestion that Lake should replace either him or Peter Giles.[8] Although Peter Giles would later sardonically describe this as one of Fripp's "cute political moves",[8] he himself had become disillusioned with Giles, Giles and Fripp's failure to break through, and stepped down to be replaced by Lake as the band's bass player, singer and frontman. At this point, the band morphed into what would become King Crimson.
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jueves, 6 de octubre de 2011

They will say, Why don't you get a real job?

The Industrial Jazz Group (IJG) is a novel, adventurous big band (currently 17 pieces) showcasing the music of composer Andrew Durkin and the talents of some of the jazz world’s pluckiest, most charismatic players. Frustrated by the limitations of “Jazz, the Institution,” and bored by the mediocrity of much modern pop, the IJG has slowly pioneered the concept of “avant-garde party music”: an idiosyncratic, charming / disarming blend of jazz, rock, cartoon soundtracks, humor, blues, funk, costumes, doo wop, dada, and a lot of other stuff. It’s not really “industrial,” and it’s not really “jazz”: the IJG attempts to demonstrate that music can indeed be complex, sophisticated, sexy, fun, funny, critical, smart, and groovy all at once.
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Can I get a witness, Rolling Stones. A jewel.

The Rolling Stones is the debut album by The Rolling Stones, released by Decca Records in the UK on 16 April 1964.
Recorded at Regent Sound Studios in London over the course of five days in January and February 1964, The Rolling Stones was produced by then-managers Andrew Loog Oldham and Eric Easton. The Rolling Stones was originally released by Decca Records in the UK, while the US England's Newest Hit Makers appeared on the London Records label, with the track "Not Fade Away" (the a-side of the band's third UK single) replacing "Mona (I Need You Baby)".[2]
The majority of the tracks reflect the band's love for authentic R&B material. Mick Jagger andKeith Richards (whose professional name until 1978 omitted the "s" in his surname) were very much fledgling songwriters during early 1964, contributing only one original composition to the album: "Tell Me (You're Coming Back)". Two numbers are credited to "Nanker Phelge" - a pseudonym the band used for group compositions from 1963 to 1965. Phil Spector and Gene Pitney both contributed to the recording sessions, and are referred to as "Uncle Phil and Uncle Gene" in the subtitle of the Phelge instrumental "Now I've Got a Witness".
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One of my favorites Space-Rock Bands, among other styles is Failure. This is the first track from Fantastic Planet.

Failure was an American rock band (often also classified as alternative rock and/or space rock) that was active from 1990 to 1997, during which they recorded and released three critically acclaimed albums. They are often compared to other hard rock bands from that time that were similarly labeled as "alternative", such as NirvanaSoundgarden, or Bush, but are distinguished by their meticulous attention to textural sonic detail, inventive use of guitar effects and signal processing, and the overall expansive sound design of their later albums.

To see more about Ken Andrews

Saturday saviour.

 I'm never gonna say the words
That you want
I'm never gonna feel the shame
Like you do
I'm never gonna stretch my shape
To be with you
I only need you for a day
'cause i only wanna be your

Saturday saviour
I can be that
Saturday saviour
I will be your
Saturday saviour
I can be that imposter in your bed
Wake him up please

I'm never gonna make you feel
That you're satisfied
I'm never gonna feel your pain
Like you wish i would
I'm never gonna open up
More than this
I just wanna be your
I just wanna be your

I'm never gonna break apart
Quite like you
I'm never gonna long for life
The way you do
I'm never gonna push you out
'cause your not in
This will only take a while
'cause i only want to be your

A curiosity about the Band.

Maynard James Keenan took borrow the song "The nurse who loved me" and made an excellent cover for APC on their second album "Thirteen Steps", among other things.

This is the original version.