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Mutant Disco
Avant-funk (also called mutant disco in the early 1980s) is a music style in which artists combine funk and disco rhythms with an avant-garde or art rock mentality. Its most prominent era occurred in the late 1970s and 1980s among post-punk and no wave acts who embraced black dance music. Characteristics Artists described as "avant-funk" or "mutant disco" have blended elements from styles such as funk, punk, disco, freeform jazz and dub. Some motifs of the style in the 1970s and 1980s included "neurotic slap-bass" and "guttural pseudo-sinister vocals," as well as "Eurodisco rhythms; synthesizers used to generate not pristine, hygienic textures, but poisonous, noisome filth; Burroughs’ cut-up technique applied to found voices." According to critic Simon Reynolds, the movement was animated by the notion that "rock's hopes of enjoying a future beyond mere antiquarianism depends on assimilating the latest rhythmic innovations from black dance music." Musicologist Simon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Punk-funk
Dance-punk (also known as disco-punk, punk-funk or techno-punk) is a post-punk subgenre that emerged in the late 1970s, and is closely associated with the disco, post-disco and new wave movements.Rip It Up and Start Again: Post Punk 1978-1984.Simon Reynolds.Faber and Faber Ltd, April 2005, (U.S. Edition: Penguin, February 2006, ) Predecessors Many groups in the post-punk era adopted a more danceable style. These bands were influenced by funk, disco, new wave, and other dance music popular at the time (as well as being anticipated by some artists from 1970s including Sparks and Iggy Pop). Influential bands from the 1980s included Talking Heads, Public Image Ltd.,Swaminathan, Nikhil (25 December 2003) Dance-punk ends scenester dormancy New Order, Gang of Four, Pigbag, the Clash, the Pop Group, Maximum Joy, Minutemen, and Red Hot Chili Peppers. New York City dance-punk included Defunkt, Material, James Chance and the Contortions, Cristina Monet, Bush Tetras, ESG, and Li ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Funk
Funk is a music genre that originated in African American communities in the mid-1960s when musicians created a rhythmic, danceable new form of music through a mixture of various music genres that were popular among African Americans in the mid-20th century. It de-emphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bassline played by an electric bassist and a drum part played by a percussionist, often at slower tempos than other popular music. Funk typically consists of a complex percussive groove with rhythm instruments playing interlocking grooves that create a "hypnotic" and "danceable" feel. Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths and thirteenths. Funk originated in the mid-1960s, with James Brown's development of a signature groove that emphasized the downbeat—with a heavy emphasis on the first bea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psychedelia
Psychedelia refers to the psychedelic subculture of the 1960s and the psychedelic experience. This includes psychedelic art, psychedelic music and style of dress during that era. This was primarily generated by people who used psychedelic drugs such as LSD, mescaline (found in peyote) and psilocybin (found in magic mushrooms) and also non-users who were participants and aficionados of this subculture. Psychedelic art and music typically recreate or reflect the experience of altered consciousness. Psychedelic art uses highly distorted, surreal visuals, bright colors and full spectrums and animation (including cartoons) to evoke, convey, or enhance the psychedelic experience. Psychedelic music uses distorted electric guitar, Indian music elements such as the sitar, tabla, electronic effects, sound effects and reverb, and elaborate studio effects, such as playing tapes backwards or panning the music from one side to another. A psychedelic experience is characterized b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New Statesman
The ''New Statesman'' is a British political and cultural magazine published in London. Founded as a weekly review of politics and literature on 12 April 1913, it was at first connected with Sidney and Beatrice Webb and other leading members of the socialist Fabian Society, such as George Bernard Shaw, who was a founding director. Today, the magazine is a print–digital hybrid. According to its present self-description, it has a liberal and progressive political position. Jason Cowley, the magazine's editor, has described the ''New Statesman'' as a publication "of the left, for the left" but also as "a political and literary magazine" with "sceptical" politics. The magazine was founded by members of the Fabian Society as a weekly review of politics and literature. The longest-serving editor was Kingsley Martin (1930–1960), and the current editor is Jason Cowley, who assumed the post in 2008. The magazine has recognised and published new writers and critics, as well as e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Simon Frith
Simon Webster Frith (born 1946) is a British sociomusicologist and former rock critic who specializes in popular music culture. He is Tovey Chair of Music at University of Edinburgh. Career As a student, he read PPE at Oxford and earned a doctorate in sociology from UC Berkeley. He is the author of many influential books, including ''The Sociology of Rock'' (Constable, 1978), ''Sound Effects: Youth, Leisure and the Politics of Rock 'n' Roll'' (Pantheon, 1981), '' Art into Pop'' (Methuen, 1987 – written with Howard Horne), ''Music for Pleasure: Essays on the Sociology of Pop'' (Cambridge University Press, 1988), and'' Performing Rites: On the Value of Popular Music'' (Oxford University Press, 1996). He has also co-edited key anthologies in the interdisciplinary field of popular music studies, including: ''On Record: Rock, Pop & the Written Word'' (Routledge, 1990), ''Sound and Vision: Music Video Reader'' (Routledge, 1993), and '' The Cambridge Companion to Pop and Rock'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Simon Reynolds
Simon Reynolds (born 19 June 1963) is an English music journalist and author who began his professional career on the staff of ''Melody Maker'' in the mid-1980s. He has since gone on to freelance and publish a number of full-length books on music and popular culture, ranging from historical tomes on rave music, glam rock, and the post-punk era to critical works such as ''Retromania: Pop Culture's Addiction to Its Own Past'' (2011). He has contributed to '' Spin'', ''Rolling Stone'', ''The New York Times'', ''The Village Voice'', ''The Guardian'', ''The Wire'', ''Pitchfork'', and others. Biography Early life and ''Blissed Out'' (1990) Reynolds was born in London in 1963 and grew up in Berkhamsted. Inspired by his younger brother Tim, he became interested in rock and specifically punk in 1978. In the early 1980s, he attended Brasenose College, Oxford University, which dates back to the 1200s. After graduating, in 1984 he co-founded the Oxford-based pop culture journal ''Monitor'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Found Sound
Found objects are sometimes used in music, often to add unusual percussive elements to a work. Their use in such contexts is as old as music itself, as the original invention of musical instruments almost certainly developed from the sounds of natural objects rather than from any specifically designed instruments. Use in classical and experimental music The use of found objects in modern classical music is often connected to experiments in indeterminacy and aleatoric music by such composers as John Cage and Karlheinz Stockhausen, although it has reached its ascendancy in those areas of popular music as well, such as the ambient works of Brian Eno. In Eno's influential work, found objects are credited on many tracks. The ambient music movement which followed Eno's lead has also made use of such sounds, with notable exponents being performers such as Future Sound of London and Autechre, and natural sounds have also been incorporated into many pieces of new-age music. Also other ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cut-up Technique
The cut-up technique (or ''découpé'' in French) is an aleatory literary technique in which a written text is cut up and rearranged to create a new text. The concept can be traced to the Dadaists of the 1920s, but it was developed and popularized in the 1950s and early 1960s, especially by writer William S. Burroughs. It has since been used in a wide variety of contexts. Technique The cut-up and the closely associated fold-in are the two main techniques: *''Cut-up'' is performed by taking a finished and fully linear text and cutting it in pieces with a few or single words on each piece. The resulting pieces are then rearranged into a new text, such as in poems by Tristan Tzara as described in his short text, ''TO MAKE A DADAIST POEM''. *''Fold-in'' is the technique of taking two sheets of linear text (with the same linespacing), folding each sheet in half vertically and combining with the other, then reading across the resulting page, such as in '' The Third Mind''. It is a joint ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William S
William is a male given name of Germanic origin.Hanks, Hardcastle and Hodges, ''Oxford Dictionary of First Names'', Oxford University Press, 2nd edition, , p. 276. It became very popular in the English language after the Norman conquest of England in 1066,All Things William"Meaning & Origin of the Name"/ref> and remained so throughout the Middle Ages and into the modern era. It is sometimes abbreviated "Wm." Shortened familiar versions in English include Will, Wills, Willy, Willie, Bill, and Billy. A common Irish form is Liam. Scottish diminutives include Wull, Willie or Wullie (as in Oor Wullie or the play ''Douglas''). Female forms are Willa, Willemina, Wilma and Wilhelmina. Etymology William is related to the given name ''Wilhelm'' (cf. Proto-Germanic ᚹᛁᛚᛃᚨᚺᛖᛚᛗᚨᛉ, ''*Wiljahelmaz'' > German ''Wilhelm'' and Old Norse ᚢᛁᛚᛋᛅᚼᛅᛚᛘᛅᛋ, ''Vilhjálmr''). By regular sound changes, the native, inherited English form of the name shoul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Synthesizer
A synthesizer (also spelled synthesiser) is an electronic musical instrument that generates audio signals. Synthesizers typically create sounds by generating waveforms through methods including subtractive synthesis, additive synthesis and frequency modulation synthesis. These sounds may be altered by components such as filters, which cut or boost frequencies; envelopes, which control articulation, or how notes begin and end; and low-frequency oscillators, which modulate parameters such as pitch, volume, or filter characteristics affecting timbre. Synthesizers are typically played with keyboards or controlled by sequencers, software or other instruments, and may be synchronized to other equipment via MIDI. Synthesizer-like instruments emerged in the United States in the mid-20th century with instruments such as the RCA Mark II Sound Synthesizer, RCA Mark II, which was controlled with Punched card, punch cards and used hundreds of vacuum tubes. The Moog synthesizer, d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Slap-bass
Slapping and popping are ways to produce percussive sounds on a stringed instrument. It is primarily used on the double bass or bass guitar. Slapping on bass guitar involves using the edge of one's knuckle, where it is particularly bony, to quickly strike the string against the fretboard. On bass guitars, this is commonly done with the thumb, while on double bass, the edge of the hand or index finger may be used. Popping refers to pulling the string away from the fretboard and quickly releasing it so it snaps back against the fretboard. On bass guitar, the two techniques are commonly used together in alternation, though either may be used separately. Overview On the double bass, the technique was developed by jazz bands in New Orleans in the early 1900s, and later spread to other genres, including western swing, rockabilly, and other offshoots of those styles. On the bass guitar, the technique is widely credited to Larry Graham, an electric bassist playing with Sly and the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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