I had a good experience on my bike ride home, so I had to write about it.

http://i.imgur.com/1mAoYcT.png

Take the picture and put it in spectrograph form for you next album.

I was thinking of using it as part of a musicircus type thing using field recordings and possibly a trumpet/sax/trumpophone combo. Example of a musicircus below.

Some more poetry


Some pictures of the sunrise that inspired this

https://scontent-lax3-1.xx.fbcdn.net...26&oe=572FAE18

https://scontent-lax3-1.xx.fbcdn.net...8b&oe=5738309F

When the planes crashed into the towers, eyewitness reports claim that they heard the airplane explode before they looked up to see it. Why would an airplane explode? Airplanes don't just explode like that. There has not been a single case in recorded history where an airplane has exploded. What caused the explosion was a warhead in the tip of the plane that caused the initial explosion. There were additional bombs in the building, both affixed to the building itself and strapped to bound and gagged political prisoners that the CIA didn't want to waste time on giving a trial to. The evidence is clear.


We all know how horrifically GWB acted when he first heard the news, so I won't waste your time with that lie. His biggest giveaway was during a speech that he gave where he said:

"America was under attack. We are all the people who died in the attacks. We are all the volunteers and firefighters, those brave men and women, who gave their lives to save others. We are all Americans."

Um, what? Bush either overestimated how many people died in the attacks or he doesn't know how many people there are in America. I didn't die in the attacks and I live in America? How do you explain that? Did you die in the attacks (if you're an American, that is)? There are 330 million people in the United States, and even the most liberal official documents say that three thousand people died on 9/11. Bush has never been able to get himself out of this particular tangle of lies because it's some of the more compelling evidence that the government orchestrated the attacks.


I went to Chicago in 2005, and the two towers were still standing. I was stunned. This is THE red flag of this whole ordeal. Go to Chicago. See for yourself.

My friend said that he went to the exact location to where the twin towers were, and there was just one massive building that they called WTC 1. Buildings don't just grow out of the ground, do they? He went to the lobby to see if he went to the right place because he wanted to see the twin towers, and they showed him a monument. What? Monuments aren't towers, and they aren't big enough for planes to crash into--that's a scientific fact. When he was asking questions for more proof that the towers were here, using his megaphone so that people could hear him better, secret service security drones REMOVED HIM FROM THE BUILDING. The government is very careful not to let these lies slip through, but the people who really know how to spot lies like me can see right through them.


First off, I've never seen them and I'm pretty sure that you haven't either. Afghanistan is an illegal country that the British Empire has owned for centuries. This is where the British and the Americans house their secret intergalactic meeting rooms, in which they discuss their plans for world domination. Pakistan is a similarly illegal country, with the British pretending to give the region independence in 1947. Lastly, Al Qaeda. Complete bullshit. All of the videos of Osama Bin Laden and any other Al Qaeda members were CIA footage of white actors doing sandface. In the early 50s, we armed and trained the fake group, according to government records. This became a way to use espionage to infiltrate the oil empires in the Middle East. The media says that these things all exist, but they're dead wrong.


Not one thing. How does someone just hijack an airplane? I thought Americans were badasses? Pussies who would just let a terrorist with an itty bitty box knife wouldn't be able to make it in this country. How does a building just fall down? Every explanation I've been told is utter nonsense and I'm baffled by how people can believe them. Do you just accept so called "Newtonian physics" because someone said they exist? I've never seen them. It just makes way too much sense to me that the big evil government that I already hate would kill thousands of its people for fun than the absurd notion that there were a small group of people out there who don't like Americans and wanted to kill some. Who the fuck but an American would kill an American? We are rightly the most highly regarded country in the world and everyone wants to suck our toes because of it. No, the only way that 9/11 could have happened (which, of course, it didn't) is if thousands of people came together in secret to use as a platform for a vague war against countries that don't exist so that Americans can buy more cargo pants. Why cargo pants you ask? Laura Bush runs the cargo pants industry, and we all know that the first lady has the most say in the executive branch.

When I was in kindergarten, I noticed how we weren't really doing anything in class. I remember thinking, "why isn't it recess right now?" So I announced to the class that it was recess and everyone followed me out of the classroom and went to the playground. We had two teachers for the class, and the assistant one was the only one there that day. She was always really tired on those days.

wow frownload you're such a badass

I figured.

You can probably guess which pretentious forum member is going to post about their own music in this thread.

https://f4.bcbits.com/img/a2413684659_16.jpg
Queens of Shiva - Queens of Shiva

Track Listing:
1. Release 16:48
2. Incantations 11:20
3. The Reptilian 06:22
4. QOFS (feat. Chinese Man in the Sky) 15:04
5. Leopard Eyes 07:34
6. Negative Space 09:56
7. The Noose (Regret) 06:42

This is one of my favourite albums that I've been on so far for the first two tracks alone. QOFS is myself and a classmate, Bradley Pate, as we pretty much terrorized our campus with free jazz. Release, Incantations, QOFS (feat. Chinese Man in the Sky), Negative Space, and The Noose (Regret) were all recorded in a big hall with a grand that we prepared, trumpet, sax, drums, and guitar. The Reptilian and Leopard Eyes were recorded using a clarinet and percussion on a bench when the hall was occupied. Chinese Man in the Sky is Jesse, who I ended up collaborating with more in the future. The track that he's featured on was his first ever musical venture.

The opener, Release, is the longest track and like most of the album is an entirely improvised duet. Brad is on the piano, which is prepared with a sawblade set on the strings, giving it a cymbal-esque sound. He plays a pretty straightforward melody in comparison to a lot of my work without losing the morose atmosphere that we decided to build the track on. I'm on saxophone and deliver some of my best screechy sax so far on this track. I remember doing this recording and just being drenched in sweat afterwards. We technically had an audience since there was an event that was being set up outside of the building with people rolling in, but I have no idea what their reactions were. I'd say it's one of my five most accessible songs. See for yourself. 10/10



The next track, Incantations, is more of the vein of what you'd expect from me: spastic free jazz with a modern classical bent. It kicks off with me still on sax and Brad on trumpet. Then I begin to play the prepared piano as the track descends into some Sergey Kuryokhin, John Cage, and Alexander von Schlippenbach inspired improvisations on my end as Brad carries on with some trumpet variations. You can hear a guy walk in during a really intense part and talk to Brad for a moment before we continue. After a while, Brad goes onto drums and we take the track to through one of many essentially indescribable free improvisation songs. Check it out https://queensofshiva.bandcamp.com/releases. 10/10

The next song, The Reptilian, has Brad on drums and me on clarinet. Brad slams out a few beats and I tongue out as many different clarinet textures as I can. 8/10

QOFS is next, with myself on prepared piano, Brad on trumpet, vocals, and guitars, and Jesse on drums and acid. This is some of the most difficult and dense material on the album and at some points it does retread a few phrases and ideas from Incantations. It goes on for a little bit too long imo, but if it didn't some of my favourite parts of the track wouldn't be included. Extremely chaotic and a lot to chew on. 7.5/10

Leopard Eyes is just another drum/clarinet track that I usually skip on the album tbh. 6.5/10

Negative Space has myself on drums and Brad on trumpet and it's a bombastic conversation between the two instruments. We were ****ing wasted and had we performed this one as a show, it would've stuck with that audience for sure. The first reason is because the music is really awesome and dramatic (duh). The second is because I kept losing my drums when they'd fall off of the table I was playing them on and I decided to just start throwing them around the room while playing them partway throughout the song. See Han Bennink for further antics. 9/10

The Noose (Regret) has a very lame title and isn't my favourite on the record, but that doesn't mean I don't love the interplay between Brad on trumpet and myself on piano (notice that's not prepared piano). The album ends abruptly as we die from marijuana overdoses. I had a stroke, Brad had a heart attack.7/10

I hope you guys enjoyed reading that and checked out the album if you haven't already.

http://i.imgur.com/YcQzJrL.jpg?1

You know making the acronyms for your projects not make sense (f.ex. QOFS and WISK) isn't artistic. It's just dumb.

No **** Sherlock. Btw, since anything can be art, any art is artistic. Even dumb art. :yikes:

With someone as pretentious as you it can be impossible to tell when you're being artsy fartsy and when you're being ironic.

Isn't it great?

Art, ladies and gentlemen?

ALANG?

(lowercase letters ignore these)

Can you review your own music?

I guess not.

...for John Cage

As I was rolling in the bins from the street to the side of the house, I heard 12,000 notes. The wheels of my recycling bin rattled and the body of the can rumbled. Overtones rang as a car passed by and as I walked through the gate the sound changed. I could hear bassy reverberations of the garbage can bounce off the fence, echoing slightly on the second or third second before I understood what was happening. The top of the empty can clattered and skipped out higher pitches pouncing after each brick. It was beautiful.

http://leveledmag.com/wp-content/gal...ri/snowman.jpg

Loved that last one. I've been trying to listen to the world as music lately. The catalyst was how painfully grating the sounds of my work environment are now that I've been evicted from my quiet personal office and relocated to the middle of the print production floor.

I tried to enjoy the steady rhythm of the folding machine and the mindlessly vapid chatter of my dimwitted coworkers as somehow musical, but I've yet been unable to realize Cage's philosophy.

I count down the seconds til 5pm when I can retreat to my listening room at home and tune out the outside world.

How do you do it, man?

Have you ever really listened hard to a big crowd while on acid? It's a very exciting auditory experience. Low traffic (especially on a very wide open road), an old, echoey house, and different architectural spaces are also great. You just always have to be ready for something great to happen, and it will.

That being said, I don't always necessarily enjoy it. I tune out my workmates as well (especially the "fun" ones) by wearing earbuds all day. They can't all be zingers.

Imagine how strange
we all are

to the

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Beyond Silence: The Lesser-Known Works of John Cage

Not enough people know about John Cage except for the fact that he wrote 4'33", and only about a quarter of those people know about the philosophy behind the piece (nevermind agreeing with it or not, that's a discussion for another time). So I'll be doing a series that will include at least one part (gotta account for laziness) focusing on one of Cage's many other pieces. We'll start off with

Credo In Us (1942)

Self-described by Cage as a "satire on America", Credo In Us is a piece that encompasses a lot of prominent elements of John Cage's style over the years. Written for one pianist, two percussionists, and one performer on electronics, the piece utilizes a lot of interesting instrumentation. The piano involves a lot of hand muting on the strings (on a grand piano, obviously) and using the piano itself as a percussive instrument. The two percussionists play tin cans, buzzer, tom tom, and muted gongs. The electronics include a phonograph and a radio. The music used on the phonograph is recommended by Cage to be something classical, but whatever recording is used is up to the performer.

The radio is something that comes up quite a bit in Cage's work. It makes the music indeterminate because what is played on radio stations themselves is beyond the performer's control, making each performance unique. The aleoteric nature of Cage's music echoes the Zen philosophy of one of his mentors, D. T. Suzuki, as the music mimics nature's chaos. The piece advises not using news stations.

The conventional performance of the piece (there are many interpretations and some student performances that are...clunky) starts off with swells of romantic classical music from the phonograph that gets interrupted by heavy, metallic drums and a frantic piano melody line. The crazy, dark, dramatic relationship between the piano and percussion is what makes this one of my favourite Cage pieces. The piano takes a solo and plays a cowboy song that leads to another heavy interlude. Various piano lines take a solo and is sparsely joined by the rest of the performers for a really pounding, intense effect. The radio becomes more prominent as the piece goes on as the piano carries on with the simple style that it presents throughout the piece. There are two more extended piano solos, one that's more of a jazzier one and the other a poppier sounding one.

The piece was originally performed with Merce Cunningham, who choreographed the dance to be solo, with two performers, and with three performers alternately throughout the piece. There is one video of a solo dancer doing the piece, but the performance isn't that great, so I won't embed it.

This is always one of the first Cage songs that I show to people who only know about 4'33", not only because it gives a round idea of what to expect from Cage when you can hear him, but because it's badass. You can hear echoes of this album to a great degree in the tribal elements of The Residents' The Big Bubble. It's a stellar piece. You should check it out. Check out different versions, too.

http://static.politico.com/capny/fil...cageDereau.jpg
Yes, this was painted by John Cage.

john cage is a meme

Loved this feature! I'm really looking forward to the rest of the series.

This also serves as a reminder that I really need to read more of my copies of Silence, For the Birds, and Empty Words.

Thanks!

Quite.

You might like this. It has an interview in there that I got some of the info for the review from and also some really great music. Like, extremely great music.

Thanks! I'll give it a listen!

I don't want to do a full list and review clinic of all of my favourite albums from this year, so I'll be dropping short reviews occasionally. A lot of these albums fall under the "why the **** is no one on MB talking about this except me?" category, so take note.

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Moor Mother - Fetish Bones

Death Grips-inspired noisy hip-hop madness that jumps back and forth between sound collage, pounding industrial rhythms, and spaceship-esque noises, all buried under Camae's confrontational delivery of abstract lyrics. Probably my favourite of the year overall. Perfect listening for when you're drunk with a loaded AK.

https://img.discogs.com/utkwz160gRZD...-7719.jpeg.jpg
Paul Jebanasam - Continuum

Breathtakingly beautiful and almost cinematic drones that really grab your focus and make anything that you do while listening to it feel incredibly important. This album is incredibly evocative and the music tells a story in a way that I rarely hear instrumental music accomplishing.

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Merzbow, Keiji Haino, Balázs Pándi - An Untroublesome Defenselessness

If you didn't shout "holy ****!" and run naked down the streets upon hearing about this album's existence, let me tell you why you should have. First off, these men are gods, plain and simple. Second, it is everything that a fan of these artists could want from them and more. Mainly, all of these ideas seem fresh. I was worried that it would be somewhat derivative of their other works both together and separate, but they accomplished to form a new kind of roaring, huge, ugly beast, bashing your skull in with a mace.

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The Beatloads - The Beatloads

Ja, it's one of mine. To date, I consider this my "pop" record due to it being more accessible than my other landmine riddled albums. Some songs are hypnotic, some are fun and goofy, some are spastic no wave nonsense, all of them are great. I even try to sing a little on it. I'm really proud of it, check it out.

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Syrinx - Tumblers From the Vault

This one is cheating because it is a comp of Syrinx's work from 1970 to 1972 but **** it. This is some massively excellent free folk type ambient prog stuff. It's very ahead of its time and has a groove to boot.

Y'all heard, right?

Jesus Isn't So Sure About You Guys Anymore

https://f4.bcbits.com/img/a2785466223_10.jpg

I watched this last nite. I immediately thought of you, and your musical endeavors. I don't know if you came across this, but I wouldn't doubt if you did. It has a very interesting story how it came about, which takes up about about seven and half minutes of the video.

The world's ugliest music | Scott Rickard

PSA: See them live no matter what the fuck you think about them or their latest project. You are doing a disservice to yourself if you pass up a chance to see them. Attendance is mandatory and I will be hounding members to see them if I know they're close enough. JUST FUCKING DO IT YOU QUAZARZ HATING CUNTS!!!!!!!!

Show began with a poetry reading. Derrick C. Brown. Your surprisingly compelling, wry, and insightful veteran friend that you get beers and talk politics with laying his heart out on stage to laid back piano. Funny dude too, couldn't have set the stage better imo.


Fat, tripped out beats and lush soundscapes with nasally rhymes. I didn't get into their album Watercolor too much but I'm going to be returning to it after this. Weird one to come up on because the music is kind of unresolved, which only really left you to sway. They brought out some guest dude whose name I can’t remember because the Mic was blurry but they really lit up the joint then. Solid set that I enjoyed a lot more than I expected and again, quite a perfect way to set the stage combined with the poet.


Description doesn't do it justice. My god that shit was just off the fucking hook. Shabazz Palaces got a hold of my portal gun and used it to advance their space travel mechanics and the crowd was transported to a universe where we were under tyrannical control of the Palace hand. It was now clear that the spaceship runs on human energy and we're all an cogs taking new approaches to predestined movements. The bass inoculates the body and dictates our actions. The bits of venue that stuck to the outside of the ship after take off have long since disintegrated as we approach light speed.

Shabazz Palaces has some insane levels of presence, it was unreal. As he watches everyone losing their shit, he’s just nodding like “ja that’s what I thought motherfuckers. You can’t even question this shit. Now let’s make it nastier.” Every action was 100% necessary. And they kept getting more psychedelic and wild as the show progressed. They were so sneaky with their change ups and transitions. The heavy Afro-futurist beats would begin to sift and saunter for a second where it would contort and expand and confuse you as it lands hard on some raw heavy jams that they would improvise on.

This show really gave me a whole new appreciation for the Quazarz concept, and I already loved it. They played stuff from their whole discography and brought a new life to it. It was really rewarding as a fan of pretty much everything they’ve done, and it’s made me appreciate Les Majesty way more as well. This was pretty much the best concert that I’ve ever been to in my life. I was expecting something pretty awesome and insane, and I got something that redefined those words for me. I didn’t want it to end, but it had to for my own good or I would have kept going until I passed out from exhaustion. And I 100% guarantee I would have loved it sober as a kite. 20/10

.

Might want to be doing this via PMs....

How the hell would I send him acid via PM?

.

What has become of you, oh holy grammar messiah

.

*Ked and me

Not "me and ked".

Nothing. The use of I instead of me would actually be wrong.