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My Life In The Bush Of Ghosts (album)
''My Life in the Bush of Ghosts'' is a studio album by Brian Eno and David Byrne, released in February 1981. It was Byrne's first album without his band Talking Heads. The album integrates sampled vocals and found sounds, African and Middle Eastern rhythms, and electronic music techniques. It was recorded before Eno and Byrne's work on Talking Heads' 1980 album ''Remain in Light'', but problems clearing samples delayed its release by several months. The extensive sampling on ''My Life'' is considered innovative, though its influence on later sample-based music genres is debated. ''Pitchfork'' named it the 21st best album of the 1980s, while ''Slant Magazine'' named it the 83rd. Recording Eno and Byrne first worked together on '' More Songs About Buildings and Food'', the 1978 album by Byrne's band Talking Heads. ''My Life in the Bush of Ghosts'' was primarily recorded during a break between the Talking Heads albums ''Fear of Music'' (1979) and ''Remain in Light'' (1980), both p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brian Eno
Brian Peter George St John le Baptiste de la Salle Eno (; born Brian Peter George Eno, 15 May 1948) is a British musician, composer, record producer and visual artist best known for his contributions to ambient music and work in rock, pop and electronica. A self-described "non-musician", Eno has helped introduce unconventional concepts and approaches to contemporary music. He has been described as one of popular music's most influential and innovative figures. Born in Suffolk, Eno studied painting and experimental music at the art school of Ipswich Civic College in the mid 1960s, and then at Winchester School of Art. He joined glam rock group Roxy Music as its synthesiser player in 1971, recording two albums with the group before departing in 1973. Eno then released a number of solo pop albums beginning with '' Here Come the Warm Jets'' (1974) and, also in the mid-1970s, began exploring a minimalist direction on influential recordings such as ''Discreet Music'' (1975) and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sampledelia
Sampledelia (also called sampledelica) is sample-based music that uses samplers or similar technology to expand upon the recording methods of 1960s psychedelia. Sampledelia features "disorienting, perception-warping" manipulations of audio samples or found sounds via techniques such as chopping, looping or stretching. Sampladelic techniques have been applied prominently in styles of electronic music and hip hop, such as trip hop, jungle, post-rock, and plunderphonics. Characteristics Sampledelia describes a variety of styles which involve the use of samplers to manipulate and play back appropriated sounds, often drawn from outside familiar contexts or from foreign sources. Common techniques include chopping, looping, or time-stretching, the use of found sounds, and a focus on timbre. Artists frequently join musical fragments from different sources and eras, emphasizing rhythm, noise, and repetition over conventional melodic and harmonic development. The 1990s also saw compu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Middle Eastern Music
The various nations of the region include the Arabic-speaking countries of the Middle East, the Iranian traditions of Persia, the Jewish music of Israel and the diaspora, Armenian music, Kurdish music, Azeri Music, the varied traditions of Cypriot music, the music of Turkey, traditional Assyrian music, Coptic ritual music in Egypt as well as other genres of Egyptian music in general, and the Andalusian (Muslim Spain) music very much alive in the greater Middle East (North Africa), all maintain their own traditions. It is widely regarded that some Middle-Eastern musical styles have influenced Central Asia, as well as Spain, and the Balkans. Throughout the region, religion has been a common factor in uniting peoples of different languages, cultures and nations. The predominance of Islam allowed a great deal of Arabic, and Byzantine influence to spread through the region rapidly from the 7th century onward. The Arabic scale is strongly melodic, based on various maqamat (sing. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
African Rhythms
Sub-Saharan African music is characterised by a "strong rhythmic interest" that exhibits common characteristics in all regions of this vast territory, so that Arthur Morris Jones (1889–1980) has described the many local approaches as constituting ''one main system''. C. K. Ladzekpo also affirms the ''profound homogeneity'' of approach. West African rhythmic techniques carried over the Atlantic were fundamental ingredients in various musical styles of the Americas: samba, forró, maracatu and coco in Brazil, Afro-Cuban music and Afro-American musical genres such as blues, jazz, rhythm & blues, funk, soul, reggae, hip hop, and rock and roll were thereby of immense importance in 20th century popular music. The drum is renowned throughout Africa. Rhythm in Sub-Saharan African culture Many Sub-Saharan languages do not have a word for ''rhythm'', or even ''music''. Rhythms represent the very fabric of life and embody the people's interdependence in human relationships. ... [...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] |
Sampling (music)
In sound and music, sampling is the reuse of a portion (or sample) of a sound recording in another recording. Samples may comprise elements such as rhythm, melody, speech, sounds or entire bars of music, and may be layered, equalized, sped up or slowed down, repitched, looped, or otherwise manipulated. They are usually integrated using hardware ( samplers) or software such as digital audio workstations. A process similar to sampling originated in the 1940s with ''musique concrète'', experimental music created by splicing and looping tape. The mid-20th century saw the introduction of keyboard instruments that played sounds recorded on tape, such as the Mellotron. The term ''sampling'' was coined in the late 1970s by the creators of the Fairlight CMI, a synthesizer with the ability to record and play back short sounds. As technology improved, cheaper standalone samplers with more memory emerged, such as the E-mu Emulator, Akai S950 and Akai MPC. Sampling is a foundation o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Jezebel Spirit
"The Jezebel Spirit" is the fifth song from the 1981 album '' My Life in the Bush of Ghosts'' by David Byrne and Brian Eno. It was released as a single the same year. Content The song includes a "found sound"—an exorcism performed by an anonymous exorcist—over Afrobeat music similar to that Byrne and Eno had used in the Talking Heads album ''Remain in Light''. The exorcism was to have been a recording of Kathryn Kuhlman, but her estate prohibited the use of her voice. The phrase "Jezebel spirit" is referencing a woman in the Book of Kings in the Hebrew Bible. Based on stories in that chapter, Jezebel has become associated with prostitution. Reception While the album was generally well received by critics, the song attracted negative criticism. Jon Pareles wrote in ''Rolling Stone'' magazine that Byrne and Eno had used the exorcism for their own purposes and "trivialized the event". References External links "The Jezebel Spirit"at discogs.com "The Jezebel Spirit"at allmusi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
On Land
''Ambient 4: On Land'' is the eighth solo studio album by British ambient musician Brian Eno. Released in 1982, it was the final edition in Eno's ambient series, which began in 1978 with '' Music for Airports''. Overview ''On Land'' is a mixture of synthesizer-based notes, nature/animal recordings, and a complex array of other sounds, most of which were unused, collected recordings from previous albums and the sessions that created them. As Eno explained, "... the making of records such as ''On Land'' involved feeding unheard tape into the mix, constant feeding and remixing, subtracting and "composting". Eno actually found, in the three-year process of making the album, that the synthesizer came to be of "limited usefulness" and that his "instrumentation shifted gradually through electro-mechanical and acoustic instruments towards non-instruments like pieces of chain and sticks and stones ... I included not only recordings of rooks, frogs and insects, but also the complete bo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Day Of Radiance
''Ambient 3: Day of Radiance'' (1980) is an album by the American ambient musician Laraaji (alias Edward Larry Gordon), which was produced by Brian Eno. Overview This album is the third entry of Eno’s Ambient series, which began in 1978 with '' Music for Airports'', and was preceded by ''The Plateaux of Mirror''. The series ended with '' On Land''. Compared to the rest of the series, ''Day of Radiance'' features very little in the way of electronics. Laraaji uses a variety of acoustic stringed instruments such as a hammered dulcimer and 36-stringed open-tuned zither. Track listing All tracks by Laraaji #”The Dance #1” – 9:06 #”The Dance #2” – 9:39 #”The Dance #3” – 3:15 #”Meditation #1” – 18:42 #”Meditation #2” – 7:50 Content The first three tracks are variations on a theme named "The Dance", and are delivered in a fast, hypnotic, Gamelan-like, rhythmic pace on a hammered dulcimer. Eno's input is not only in the role of producer; he also add ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Catherine Wheel (album)
''The Catherine Wheel'' is David Byrne's musical score commissioned by Twyla Tharp for her dance project. ''The Catherine Wheel'' premiered September 22, 1981, at the Winter Garden Theatre in New York City. The tracks "Big Blue Plymouth", "My Big Hands", "Big Business", and "What a Day That Was", were performed live by Talking Heads in 1982 and 1983; the latter two appear in their ''Stop Making Sense'' film, and "What a Day That Was" appears on the album. Byrne has also performed several of these tracks in his solo tours, including "What a Day That Was" which featured on his DVDs Live from Austin, TX and Live at Union Chapel. Track listing All songs written by David Byrne, except as indicated. LP track listing Cassette and CD track listing Personnel *Adrian Belew – electric guitar, steel guitar, sound effects, steel drums, beats *David Byrne – synthesizer, bass guitar, flute, guitar, piano, sound effects, vocals, clavinet, Prophet synthesizer, Oberheim synt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Everything That Happens Will Happen Today
''Everything That Happens Will Happen Today'' is the second collaborative studio album by David Byrne and Brian Eno, released on August 18, 2008, by Todo Mundo. Marking Byrne's eighth studio effort overall and Byrne and Eno's first joint project in nearly 30years, the album explores themes of humanity versus technology and optimism in spite of bleak circumstance through the blending of electronic and gospel music. Critical reception was largely positive and the album received awards for both the musical content as well as the packaging and technical production. This album is the first joint effort between the two musicians since 1981's '' My Life in the Bush of Ghosts'' and Eno's work producing and co-writing with Talking Heads. Byrne and Eno worked on the tracks in their home studios throughout 2007 and early 2008 and sent digital copies of the recordings to one another over e-mail. The single "Strange Ov ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
