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Descoperiri muzicale


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Posted

White Moustache Talk

 

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Imagine that a musician would play a sound with the certainty of having an infinite amount of time and space. This release, on the other hand, is painfully short at 15 minutes, but still works perfect. Olivier Fairfield plays the organ and Pierre-Yves Martel, whom you might have heard before on Transition de phase, plays his prepared viola da gamba, using quite a range of non-conventional techniques on this traditional instrument. One of the reasons why a well done improv piece is so sweet is that the players most likely couldn’t find this kind of balance and interplay if they tried to pre-plan it. Deeply visceral stuff, creepy and delightful at the same time. It’s also freely available for digital download. (LordSuperb) http://cookshop.ro/2014/05/30/white-moustache-talk/

 

 

http://whitemoustachetalk.bandcamp.com/

http://pymartel.com/bio

Posted

zilele astea am fost biencuvantata cu multe descoperiri muzicale, majoritatea din sfera 'vocii' dar....

spre exemplu, am dat de tipul asta cu o voce soul si multe multe improvizatii originale :D si nici tipa nu-i rea, cel putin aici

 

apoi am dat de o tipa gen Tina Turner care canta blues-uri

 

inca o tipa tare, numa ca asta canta si la chitara. rawr!

 

asta nu cred ca mai are nevoie de prezentare, se vede din video :D crazy momma singing the blues

 

Asta nu e chiar descoperire muzicala in adevaratul sens al cuvantului, dar e o auditie X Factor faina. :)

Posted

Derek Bailey

 

 

 


  Quote

(29 January 1930 – 25 December 2005) was an English avant-garde guitarist and leading figure in the free improvisation movement. [...] In 1980, he wrote the book Improvisation: Its Nature and Practice. This was adapted by UK's Channel 4 into a four-part TV series in the early '90s, edited and narrated by Bailey.

For listeners unfamiliar with experimental music, Bailey's distinctive style can be challenging. Its most noticeable feature is what appears to be its extreme discontinuity, often from note to note: there may be enormous intervals between consecutive notes, and rather than aspiring to the consistency of timbre typical of most guitar-playing, Bailey interrupts it as much as possible: four consecutive notes, for instance, may be played on an open string, a fretted string, via harmonics, and using a nonstandard technique such as scraping the string with the pick or plucking below the bridge. Many of the key features of his music—radical discontinuity, the self-contained brevity of each gesture, an attraction to wide intervals—owe much to Bailey's early fascination with Anton Webern, an influence most audible on Bailey's earliest available recordings, Pieces for Guitar (1966–67, issued on Tzadik)[citation needed].

Playing both acoustic and electric guitars (although more usually the latter), Bailey was able to extend the possibilities of the instrument in radical ways, obtaining a far wider array of sounds than are usually heard. He explored the full vocabulary of the instrument, producing timbres and tones ranging from the most delicate tinklings to fierce noise attacks. (The sounds he produced have been compared to those made by John Cage's prepared piano.) Typically, he played a conventional instrument, in standard tuning, but his use of amplification was often crucial. In the 1970s, for instance, his standard set-up involved two independently controlled amplifiers to give a stereo effect onstage, and he often would use the swell pedal to counteract the "normal" attack and decay of notes. He also made highly original use of feedback, a technique demonstrated on the album String Theory (Paratactile, 2000). Throughout both his commercial and improvising careers his principal "working guitar" was a 1963 Gibson ES 175 model, serial number 120592.

Although Bailey occasionally made use of prepared guitar in the 1970s (e.g., putting paper clips on the strings, wrapping his instruments in chains, adding further strings to the guitar, etc.), often for Dadaist/theatrical effect,[citation needed] by the end of this decade he had, in his own words, "dumped" such methods.[8] Bailey argued that his approach to music-making was actually far more orthodox than performers such as Keith Rowe of the improvising collective AMM, who treats the guitar purely as a "sound source" rather than as a musical instrument. Instead, Bailey preferred to "look for whatever 'effects' I might need through technique".


http://en.wikipedia.org/wiki/Derek_Bailey_(guitarist)

 

:)

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Posted

Bird Traps
 

  Quote
"...slow shimmering soundscapes, cinematic and warm, lush and emotional, long slowly unfurling melancholic melodies, sun dappled and soft focus, dreamlike abstract chamber music of sorts reminding us of William Basinski, the Caretaker, Rachel's, Klimek, Max Richter, Tim Hecker, Belong, but unlike many of those sound sculptors, the music of Bird Traps is not distorted, or decayed, not warped or blown out, but IS hushed and delicate, mysterious and gauzy, a softly spun series of mini epics, long tones stretched out over hazy expanses of minimal whir, of blurred minimal melody, the songs developing gradually, soft swells giving way to gentle washes of crystalline sound, completely mesmerizing, able to envelop the listener in a velvet cocoon of sonic tranquility, but infused with just enough pathos and emotion, to make the sounds compelling, evocative, intimate and intense. A soundtrack to a slowly shifting, nearly static sepia toned film of the sky melting into the horizon, the stars fading into the cloak of night, this world slipping into the next... " Aquarius Records

Composed by Marcus Skinner, Bird Traps continues to build on abstraction and minimalist arrangements, The sound features a four piece string section, guitars, organs and field recordings from forests, building sites, the hum of air conditioners and broken fuzz pedals.

 


http://birdtraps.co/home.html
http://birdtraps.bandcamp.com/
https://www.facebook.com/birdtraps

Posted (edited)
  On 19/02/2015 at 21:16, StratMan said:

Un supergrup, nou infiintat, impresionant!

 

Fain ...Suna a  Winger +  Stix     lipseste Tommy Shaw  ....aceleasi "radacini"

 

 

Doritorii sa   foloseasca   butonul  sigla = YOUTUBE_COM  de pe imaginea videoului  /"watch on YouTube_com "

 

deoarece vad ca are    blocata vizionarea de pe alt site ...

 

https://www.youtube.com/watch?v=NF_-_MVfFiw

 

Jack Blade mi-a placut impreuna cu Tommy Shaw si  Ted Nugent  , supergrupul  Damn Yankees

 

https://www.youtube.com/watch?v=RLetxDAiHKk

Edited by karpi
Posted

:) ...Ewan Dobson... Chitarist fingerstyle, de origine canadiană... îmbină elemente din muzica lui Paganini, cu cele de metal, bluegrass, trance, folk... Recomand piesele Wash Away, Machinery, The Legend Of The Brown Goat, Disk Read Error şi Level 40. :)

 

Îmi cer iertare că nu pot posta link-uri către piesele dânsului.. :)

  • Like 1
  • 2 weeks later...
Posted (edited)

Giraffes? Giraffes! (often abbreviated as G? G!) are an instrumental math rock band formed in 2001 in Massachusetts by guitarist/drummer Kenneth Topham and guitarist Joseph Andreoli. Along with math rock, the band's music frequently touches on post-rock, progressive rock and experimental rock.











GIRAFFES? GIRAFFES! is/are the musical duo of Joseph ‘Joe’ Andreoli and Kenneth ‘Ken’ Topham. They play guitar, drums, keyboards and other noodley-woodleys and clankey-wankeys and occasionally bleat and breathe mouth-sounds into microphones. They’re known for writing engaging music- employing alternatively-tuned guitars, loops, two-handed tapping, traditional and bizarro drum work, lots of effect pedals, and sometimes wackadoo time-signatures. Some call the songs ‘math-rock’ or ‘post-rock’ or ‘experimental pop’ or ‘experimental poop’- but most people call it “hot shit!” which could be taken either way…

http://www.giraffesgiraffes.com/

https://giraffesgiraffes.bandcamp.com/
 
https://www.facebook.com/giraffesgiraffes Edited by Guest

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