New single from Yellow Beard, "Côte d'Ivoire" off of forthcoming Beach Tapes: '67-'72.
Những yếu tố cơ bản về chụp ảnh sản phẩm
9 years ago
5.24.2009
5.20.2009
5.11.2009
5.05.2009
I'm not sure I like yogurt
Lux Coffee Bar
Stinkweeds Record Exchange
Tracks in Wax Rare Records
Lo-Lo's Chicken and Waffles
Caramba Fresh Mexican Food
The Clarendon Hotel and Rooftop Bar
Shady's Bar
The Roosevelt Bar
The Lost Leaf Bar
P.S.: DO NOT go to The Clarendon on the weekends (tankinis and bras abound)
P.P.S.: DO NOT go to Lo-Lo's near closing time because you will not be served well (deservedly) because people need to get home.
Stinkweeds Record Exchange
Tracks in Wax Rare Records
Lo-Lo's Chicken and Waffles
Caramba Fresh Mexican Food
The Clarendon Hotel and Rooftop Bar
Shady's Bar
The Roosevelt Bar
The Lost Leaf Bar
P.S.: DO NOT go to The Clarendon on the weekends (tankinis and bras abound)
P.P.S.: DO NOT go to Lo-Lo's near closing time because you will not be served well (deservedly) because people need to get home.
5.03.2009
David Thomas of Pere Ubu on the creation of music...and it's kind of a bummer
Pere Ubu is not now nor has it ever been a viable commercial venture. We won't sleep on floors, we won't tour endlessly and we're embarrassed by self-promotion. Add to that a laissez-faire attitude to the mechanics of career advancement and a demanding artistic agenda and you've got a recipe for real failure. That has been our one significant success to this date: we are the longest-lasting, most disastrous commercial outfit to ever appear in rock 'n' roll. No one can come close to matching our loss to longevity ratio.
– David Thomas
It's been released!
Found!: Lost recordings of Yellow Beard entitled, "The Yellow Beard Classics Album." We're proud to issue these recordings that were almost lost to the sands of time. Each song encompasses a forgotten era in music that is rarely captured in modern recording and especially within one studio session. Track list:
1. Old Men Die
2. I Should Go To Bed
3. Brand New Trilogy
Possible reissue in the future. We hope you enjoy these rare audio gems.
Yellow Beard — The Yellow Beard Classics Album by ohgodnauseous
Download
Proudly Presenting
Today we proudly present to you the first Yellow Beard recording on flight9. Entitled, "Some Real High-Brow Shit," and it is exactly just that. There are instructions you must follow in order to truly take in the audio. They are as follows:
1. Play each track (Part A & B) on two separate stereo listening devices simultaneously.
2. Place the four speakers so that they comfortably surround you (preferably at ear level).
3. Play Part B at 3/4 the volume of Part A.
4. Remember to align the speakers so that Part A does not phase out the sound in Part B. We suggest placing Part B speakers directly in front of you, while placing Part A speakers slightly adjacent to you at a forty-five degree angle. Notice the diagram to the right.
5. Please toggle the equalization so that it utilizes the bass frequencies. Those using itunes can confidently switch the equalizer to electronic or jazz and achieve the intended results. Be careful to not damage your speakers.
6. Please be aware that although we recommend that you listen at the highest possible volume that you find comfortable, we in no way suggest you damage your hearing. Please also be warned that the recording includes high frequency feedback and ear splitting distortion.
7. Enjoy with your favorite beverage.
Part A by ohgodnauseous
Part B by ohgodnauseous
Download
2. Place the four speakers so that they comfortably surround you (preferably at ear level).
3. Play Part B at 3/4 the volume of Part A.
4. Remember to align the speakers so that Part A does not phase out the sound in Part B. We suggest placing Part B speakers directly in front of you, while placing Part A speakers slightly adjacent to you at a forty-five degree angle. Notice the diagram to the right.
5. Please toggle the equalization so that it utilizes the bass frequencies. Those using itunes can confidently switch the equalizer to electronic or jazz and achieve the intended results. Be careful to not damage your speakers.
6. Please be aware that although we recommend that you listen at the highest possible volume that you find comfortable, we in no way suggest you damage your hearing. Please also be warned that the recording includes high frequency feedback and ear splitting distortion.
7. Enjoy with your favorite beverage.
Part A by ohgodnauseous
Part B by ohgodnauseous
Download
5.02.2009
What is your earliest memory of sound?
The sound of my large basketball shoes as I dropped them on the linoleum floor of the kitchen as I entered that morning. Age:5.
The strange recurring dream I would have that involved a man talking very slowly and incoherently as though he were speaking backwards. Age:5-7.
The strange recurring dream I would have that involved a man talking very slowly and incoherently as though he were speaking backwards. Age:5-7.
Pinknoises Interview
Excerpts from an interview with composer/musician/human rights advocate Pauline Oliveros:
There's a book that's been published recently called The Audible Past that's worth taking a look at - it's a history of recording. The first interest was in recording what sound looked like. There was an instrument called a phonautograph, made with a human ear, a tympanum connected to a mechanical graph, so when the sounds vibrated, it would write the sound. That was the interest, to make sound visible. Then there was the phonograph; the record was also a writing of sound, with the stylus used to make it audible. The whole history of recording and reproduction of sound is something that has a huge trajectory, and I've experienced that for 71 years now. I remember having a phonograph, a Victrola that you'd wind up. The thing about that, that was interesting to me, was that it wound down, so the sound would wind down. I used to like to listen to the sound winding down!
...The most recent version of [the expanded instrument system] uses Max/MSP as the interface. I have a program running which can improvise with me so when I play, whatever I play gets taken up, but then it's treated algorithmically, and I don't know what's gonna come back. So not only am I doing what I said with the expansion of time, but also the expansion of the material. It's transformed, and I have to be open to that as it comes back. The algorithms are based on my own ideas of what could happen to the material, but it's really unpredictable. I enjoy that situation of just listening and taking it in and responding. And the thing is, there's a half-second delay in the brain, so if you're going to do something, the brain knows before you know consciously, so there are evoked potentials already a half-second before you do things, but the brain remembers it as the present, which is a very interesting phenomenon. What it tells me is that the body knows what to do without the conscious mind intervening. Things get messed up when we think we have to control by our consciousness, or what we call consciousness...
Q: I've done some workshops for women and girls different places around the country, teaching the basics of recording, and there never seems to be a shortage of interest, it's more that they haven't been encouraged to work with the tools.
So you've got to just keep on keepin' on. Be subversive, very subversive.
Follow Up!
There's a book that's been published recently called The Audible Past that's worth taking a look at - it's a history of recording. The first interest was in recording what sound looked like. There was an instrument called a phonautograph, made with a human ear, a tympanum connected to a mechanical graph, so when the sounds vibrated, it would write the sound. That was the interest, to make sound visible. Then there was the phonograph; the record was also a writing of sound, with the stylus used to make it audible. The whole history of recording and reproduction of sound is something that has a huge trajectory, and I've experienced that for 71 years now. I remember having a phonograph, a Victrola that you'd wind up. The thing about that, that was interesting to me, was that it wound down, so the sound would wind down. I used to like to listen to the sound winding down!
...The most recent version of [the expanded instrument system] uses Max/MSP as the interface. I have a program running which can improvise with me so when I play, whatever I play gets taken up, but then it's treated algorithmically, and I don't know what's gonna come back. So not only am I doing what I said with the expansion of time, but also the expansion of the material. It's transformed, and I have to be open to that as it comes back. The algorithms are based on my own ideas of what could happen to the material, but it's really unpredictable. I enjoy that situation of just listening and taking it in and responding. And the thing is, there's a half-second delay in the brain, so if you're going to do something, the brain knows before you know consciously, so there are evoked potentials already a half-second before you do things, but the brain remembers it as the present, which is a very interesting phenomenon. What it tells me is that the body knows what to do without the conscious mind intervening. Things get messed up when we think we have to control by our consciousness, or what we call consciousness...
Q: I've done some workshops for women and girls different places around the country, teaching the basics of recording, and there never seems to be a shortage of interest, it's more that they haven't been encouraged to work with the tools.
A: They haven't been encouraged. They haven't been supported to do it. And that just continues, that boys are much more supported to do tech-y stuff than girls. And girls quickly learn to restrain themselves from being interested in things like that. So, it's a problem which I've grappled with and banged heads around trying to raise consciousness and try to change things, but it's not easy. Because you run up against the canon of Bach, Beethoven, Mozart, Brahms. How can you not recognize this masterful music? (Laughs) Millions of people are educated to that. So there's a very strong force field. In the orchestra repertoire they play that stuff over and over again. So being a composer in this time is not easy, no matter what the gender. Because there's not a place for composers, really, to be nurtured and developed and to have the excitement of creative music being as interesting as traditional music. The art market is a big market and a lot of money is put into that; some artists can make a lot of money that way. But profit being the driver in the culture, when you come up with some nice weird something - juicy, especially new - but it doesn't sell, then you're not part of the game. These are big issues, and they're there. The main hope is that people need to be nourished spiritually so that there's the understanding that creative work is of the spirit. If you don't nourish that creative part of the human being then you get what you've got in Iraq right now, and Israel and Palestine. You have death and destruction instead of creative energy. The energy's gone amok.
So you've got to just keep on keepin' on. Be subversive, very subversive.
Follow Up!
Subscribe to:
Posts (Atom)
