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
Spasm
Catfood
Peach
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 EPDon't Make Me Your God, Disappear 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 @
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 architecture, painting, and the graphic and decorative arts. In music the term used may be either eclecticism, crossover 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.
A fractal is "a rough or fragmented geometric shape that can be split into parts, each of which is (at least approximately) a reduced-size copy of the whole,"[1] a property called self-similarity. Roots of the idea of fractals go back to the 17th century, while mathematically rigorous treatment of fractals can be traced back to functions studied by Karl Weierstrass, Georg Cantor and Felix Hausdorff a century later in studying functions that were continuous but not differentiable; however, the term fractal was coined by Benoît Mandelbrot in 1975 and was derived from the Latinfractus meaning "broken" or "fractured." A mathematical fractal is based on an equation that undergoes iteration, a form of feedback based on recursion.[2] There are several examples of fractals, which are defined as portraying exact self-similarity, quasi self-similarity, or statistical self-similarity. While fractals are a mathematical construct, they are found in nature, which has led to their inclusion inartwork. They are useful in medicine, soil mechanics, seismology, andtechnical analysis.
Its music is a highly psychedelic mixture of thumping basslines, sound effects and keyboard and guitar work, with a sound influenced bySteve Hillage and Gong.[3][4] Many of the Ozrics' songs are in unusual time signatures and/or unusual Eastern-influenced modes. Furthermore, the band often features complex arrangements which change time signature, key signature and tempo frequently in the course of a track, a well-known element present in progressive rock. However, there are also moments of straightforward funk-influenced grooves and strong influences from jazz fusion, dub/reggae and ambient music styles.
These features are mixed with electronic elements, including densely layered psytrance- and techno-influenced arpeggiated synthesizers, pads, synth basslines, effects and programmed drumbeats. It also has a strong influence from dub and ambient music, with many quiet relaxed tracks that balance the frenetic, intense material.
The Ozrics also use a wide range of instruments in their performances. Electric and acoustic guitars, flutes, recorders, xylophones and even sounds of digitally tweaked human voices appear throughout.
A fractal is "a rough or fragmented geometric shape that can be split into parts, each of which is (at least approximately) a reduced-size copy of the whole,"[1] a property called self-similarity. Roots of the idea of fractals go back to the 17th century, while mathematically rigorous treatment of fractals can be traced back to functions studied by Karl Weierstrass, Georg Cantor and Felix Hausdorff a century later in studying functions that were continuous but not differentiable; however, the term fractal was coined by Benoît Mandelbrot in 1975 and was derived from the Latinfractus meaning "broken" or "fractured." A mathematical fractal is based on an equation that undergoes iteration, a form of feedback based on recursion.[2] There are several examples of fractals, which are defined as portraying exact self-similarity, quasi self-similarity, or statistical self-similarity. While fractals are a mathematical construct, they are found in nature, which has led to their inclusion inartwork. They are useful in medicine, soil mechanics, seismology, andtechnical analysis.
Se propone designar como "Fractalismo" a un modo de entender al mundo y una actitud vital subyacente hoy en las acciones de muchas personas. El término se derivó del concepto matemático de "fractal". Un fractal es, a estos efectos, una figura o entidad caracterizada porque cualquier sección de ella que se seleccione, independientemente del tamaño o escala, es enteramente igual al todo, lo contiene y lo replica en todas sus características y complejidad.
Oceansize were a Britishrock band, formed in Manchester, England in 1998. The band consisted of Mike Vennart (vocals, guitar), Steve Durose (guitar, backing vocals), Richard "Gambler" Ingram (guitar, keyboards), Mark Heron (drums) and Jon Ellis (bass guitar) for the majority of its career, with Steve Hodson replacing Ellis on bass in 2006. The band released four studio albums, in addition to a number of minor EPs and singles, and can be categorized variously as progressive rock, post-rock, alternative rock, new prog and space rock, among other genres. Following a twelve-year career, Oceansize announced their split in February 2011,[1]with the members moving on to different projects.
Oceansize were named after the Jane's Addiction song "Ocean Size". According to guitarist Gambler, the band's then-bassist Jon Ellis came up with the name: "I think, at the time, he was thinking what we would sound like. Jane’s Nothing's Shocking album, which has the track "Ocean Size" on it, was definitely a big influence."[2]
When I awoke with a start today, determination was set.
Filled with expectation, sacks of soul to collect.
But I am so fearful of the future,
Ignorant of the present,
And wary of the past.
And through the door
I shuffle quietly down the hall,
Identical corridors and artificial lights.
The man in the box, born to set my world to rights,
Effortlessly soon ignites the screaming in my head.
Reborn, the catalyst will blow my joy away.
I bet you thought that I'd have so much more to say.
Come save me now (x2).
But I am so fearful of the future,
Ignorant of the present, I'm wary of the past.
Well, I don't want to,
But it's now a case of HAVE to!
I piss away for pittance,
Suck up to the man.
No wonder - I'm tired
When I awoke - with - a start today.
