Find album reviews, stream songs, credits and award information for Body - The Necks on AllMusic - - Australia's the Necks are a genuine enigma. Over 8/ Discover releases, reviews, credits, songs, and more about Body - Easy To Love at Discogs. Shop Vinyl and CDs and complete your Body collection/5(11). ROACH, STEVE -& ROBERT LOGAN- - SECOND NATURE - Pushing the boundaries of perception-expanding music, Steve Roach and Robert Logan release two vastly different albums ('Second Nature', here on CD, and 'Biosonic') which serve as transmissions of powerful emotion and exploration - a blending of man and machine.5/5(3).
Download the file to your MP3 player and enjoy! On this previous release Borga just used guitars and I assume effects, on this new one he takes credit for using electric guitar, synthesizer, samples, noises and treatments.
The four long pieces, spanning one hour, continue to explore the route of the previous release, and that is one of a very loud form of drone music, sometimes bordering towards noise, making his guitars sound like chain saws, or a full on orchestral approach at times. Borga doesn't use his effects very sparsely and there are times when I believe he's just using effects and nothing much else.
All four of pieces have this 'loud to very loud' approach, although they also start out in a very quiet fashion. Composition wise that means that all of these pieces sound quite similar, even when they they do not sound the same in executing these compositions. It is music that is quite dark and oppressive and on a hot day like this doesn't fare well, but maybe I should wait until night falls and listen to this with headphones and have they shit scared out of me. I am sure that work very well.
Seetyca is a one-man ambient project most of the times, who plays e-maschinen, samplers, ocarina, recorder, zither, voice, acoustic guitar, schwirrohr and I have no idea what that means; google neither and wood blocks, but on this new work he gets help from Thom Yeesland on 'ambiant' guitar sounds, Julian Eckstein on trombone and Kris Caelis on glockenspiel and environmental sounds.
The most curious credit is for Simone Michalko for 'sample food' - chewing on a vegetable like Macca once did for the Beach Boys and Super Furry Animals, if I'm not mistaken? I found this new album an odd one. I understand a piece like 'Hide My Place, Hide My Heart', which seems like textbook Seetyca; ominous lengthy drone music, on an endless ringing sustain, low on the keyboard, dark, atmospheric.
All of those words are useful here. It is also the longest piece here, on a disc that lasts anyway eighty minutes. That piece is not what makes this CD an odd one, although there are a few more of these more traditional drone pieces, and I suspect they are, more or less, Seetyca solo.
There are also pieces in which the other players appear and there is a rather improvisational mood going on. Seetyca lays down his drones, not necessarily all dark as the flute like sounds of 'The Clouds Form A Smile', but then an instrument like the trombone improvises on top of that.
Field recordings are dropped in at seemingly random moments and may consist of people talking, sampled and played around within a piece. That happens in a piece like 'Der Schwimmer Im Dunckel', which is, by result, hardly your traditional drone music. I think that those pieces are a daring move on Seetyca's part, even when it doesn't blow me away musically. The outcome has times a somewhat random result and it makes that these pieces lack coherency.
I think the idea to combine drone music and improvisations is something that could be done more but is not always successful here.
It makes that this album is a varied batch with the majority of the pieces being of the traditional variety, and those are great, if not very innovative and there is an attempt at doing something different, Album), which is partly successful.
That is not a bad score, I would think. I hadn't encountered these duos before, so an introduction to them. In the right corner we find crOw as they spell itbeing Cathal Roche on alto saxophone and loopstation and Ian Wilson on electric guitar, e-bow and toys.
Apart from improvising, crOw 'also seeks to respond to its performative environment by adjusting its sound parameters in real time in order to engage the acoustic and architectural properties of the auditorium itself in performance'. I made up those left and right corner positions of course; I have no idea how they were situated on stage. I am not sure who takes lead here, if anyone at all, but it lives up to the name the quiet club; it could be the name for all of them, as the music is throughout mostly very quiet.
Especially in the first twenty or so minutes it seems as The Quiet Club takes the lead with lots of crackles, objects such as paper and plastic being amplified. The sound of the alto saxophone seems Body - Teffa - Sonic Boundaries (CDr away, if not absent. But no doubt Roche uses it as an object too. In the other thirteen minutes the volume goes up a bit, and the saxophone and guitar are clearly more audible here, and there is a fine interplay going on between objects, surfaces, contact microphones and the two instruments, also allowing the electronics to play a bigger part here.
There is quite some tension in this music, between these four players and it is all less based in the world of traditional improvisation, and more from the world of electro-acoustic music, with the emphasis on the word of acoustic.
This is a great work of improvised music from a more unusual perspective. I have no idea why it took them so long to do another album, but perhaps they have been lots of concerts in between? Rotterdam is a duo of Susanne Amann cello, flute, electronics and Michael Klauser Body - Teffa - Sonic Boundaries (CDr guitar, electronics and 'Cambodia' was certainly an odd CD. It was not unlike Pan Sonic or the collaboration between Jaap Blonk and Radboud Mens see Vital Weekly ; small snippets of cello, flute or acoustic guitar are sampled and placed together to create a form of dance music.
Back then I thought that was a fresh and original look how to create this sort of 'dance music', out of the results of improvised music. Now I am playing the seven pieces of 'Gizicki' and must say that the novelty is of course no longer there.
This is what Rotterdam does, apparently. I am a bit in a dilemma here I must admit. Seeing there is no longer a novelty, and it seems to continue what they already done, and I notice that for me it becomes less interesting. But I notice that this is odd.
When somebody plays drone music for a couple of albums, I also don't loose interest with the next release, so why does this happen now, I wondered? I am not sure why that is. The machine rhythm music of Rotterdam is quite minimal, bouncing in strange, odd rhythms, do not make up for a proper dance music release, and all of this is a very arty take on the word 'techno' I think.
I guess the route is, dare I say it, to go 'all techno' on this and have it remixed by some DJs and see Album) that brings. I can imagine that in concert, with the proper volume, this might work very well, but on disc I wasn't too sure.
Is this is the difficult second album rock journalists complain about? Although I realize I don't recall the previous release that well, after re-reading the old review, it is safe to say that this new album is something completely different. The previous album was all about dark ambient spiced up with a fair amount of percussion added to the mix. On this new release there is not a lot of percussion; only in the closing piece 'Eye Of Terror' we find some of slow bass thump, which one could perhaps constitute as percussion.
Back then it reminded me of Inanna, Deutsch Nepal and Archon Satani and such likes from the Cold Meat Album) label, which is, I can safely say, not my kind of music perhaps but then also a fine reminder of old days, another life.
Now all of that percussion is absent, and just the massive drone sound remains, and while Phelios delivers an album that is most enjoyable, especially for some nocturnal spin in a darkened room, I must say that it's not really that different from the many other albums which are made a ton of synthesizers and sound effects and aiming for everything that 's 'dark', 'atmospheric' or 'spacious' or a combination of all of that, which is best of course.
Maybe his 'old' sound wasn't that new either and surely many others operate in a similar field of musical interest, but it was something that I don't hear a lot, whereas of his current variety there are surely similar albums, almost on a weekly basis. That I thought was a pity; production wise and how everything is played, I thought it was all done with some great care and sense of style.
No other names are known. Loki-Found believes in their artists so that old CDR release is now granted a re-issue, Album) remastered and with two bonus pieces. Here too we see a continuation from the other new release by Loki-Found, but obviously this is the kind of music they deal with. There are of course differences. Whereas Phelios uses I think mainly synthesizers and sound effects, I think Ionosphere adds to that quite a bit of sampled 'other' sounds.
They might be from percussive elements, spoken word but heavily treatedhumming voices or acoustic objects but they seem to rattling on in the music on a very subdued level. Imagine you are on board a spaceship and flying through a storm of windy cosmic debris, which you hear far away, on the outside of the vessel. It is that kind of rattle, and not something that appears on top of the music. Inside the ship we you hear the gentle of machines, of mechanics and motors, all buzzing away, creating that spacious drone, in which one pleasantly enjoys the dark environment outside.
Just like Phelios I don't think much 'news' is happening here, even when I think the music of Ionosphere is a bit more original, mainly because those sounds that add a bit of roughness on the side.
It's not easy to describe what he does, but perhaps working with musical concepts comes close. This new release gives a pretty accurate overview of his work. The title consists of three different parts, and on CD we only find two of them. The first CD is 'Montreal Spy Diary' and the second contains 'Nothing'; for 'Living Room Tour Montreal' you have to go the label's website where you can download these concerts, easily six times thirty to forty minutes of music.
Download codes are in the CD package. So the first CD is a diary of a visit of Yan Jun to Montreal where he recorded secretly bits and bobs of sound at people's places; Yan Jun plays his concerts preferably for a small audience, in a living room, so he's entering lots of homes and tapes then a bit of sound. I assume he uses quite a bit of different microphones, as sometimes the sound is quite loud and crackling.
But this is a really interesting CD of found sound, which even includes two live recordings, and if you didn't know you would have probably not noted these were live recordings. In his living room concerts Yan Jun plays feedback concerts and he describes how different they can be. In 'Nothing' he did a feedback improvisation in a real studio, and effectively this is then his first studio CD.
The music is most certainly not 'easy', with a ton of high-pitched sounds, which perhaps is more than what I can hear, due to loss of hearing advanced age. This is certainly not easy listening, but quite essential to understand where Yan Jun comes from. To follow straight from 'Nothing' to all the living room concert recordings is hard-core, but I tried a bit. The booklet lists all the places and what kind of materials there were to play his concerts and the results are quite different from each other.
It depends on material available and I guess size of the space. When she has say in it, Yan Jun can only play this living room when she's not here.
The release comes with an oversized folder with texts and images and that makes a complete package. Here he teams up with work he recorded with Stephen Cornford as part of a residency in Cornford is also somebody who works installations and performances, but since he has his label, Consumer Waste, he's a bit more visible when it comes to these pages.
The remains were buried, so the cover tells us. I assume the recordings of all of that are on this CD, but it's not easy to make out if this is a live recording of some kind or the result of some form of editing process. There is a beautiful, calm interaction between both players, with a fine emphasis on 'small sound'. One could think: 'I'd love to have seen how that worked', and I too would have loved to see the action but without seeing and without knowing I think this has more mystery; it leaves more to ponder about, which in this case I think is great.
These sounds are very fascinating, I must say. Without the image it sounds even better. This is the pleasant art of destruction. Labelowner Ben Owen sent me another release at the same time, which appears not to be on his own Winds Measure Recordings, or on any label at all. It is a private release of just thirty copies, but it comes with a cover printed by Middle Press, Owen's own private letterpress. The music is very quiet, and consists of a single field recording, a near empty space perhaps, and the far away sound of a trombone.
Now with The Netherlands currently under a small attack of a heat wave, windows are open but overlooking a quiet street and ventilator is full on, so something gets lost. I went back to this a few days later and still found it very quiet, so I had to crank up the volume quite a bit. I found it very hard to make out what exactly Owen was doing on this release, I must admit. Hailee Steinfeld had made a name for herself as an actor at a young age, then added pop music to her repertoire in after Pitch Perfect 2.
She even gets inspired by model Ashley Graham on the track, chooses Burger King over broccoli, and drinks soda like a hobby. Lizzo asks people to join her on her journey to answer the question, making herself simultaneously vulnerable and approachable in the process.
Other tracks on her album Feminasty celebrate self-pleasure, smiling when you want to not when someone random on the street tells you to, dismissing the fuckboys forever, and more.
In an angsty, lo-fi tirade, she tears apart the systems that try to mess with her identity. Since departing her Disney roots, the pop singer has made herself a force to be reckoned with in sharing the truth about body positivity. Arie has discussed her desire to make music for self-care and emotional wellbeing. How could we talk about body positivity without mentioning Queen Bey? By learning to love herself in the public eye she has also enabled millions to do the same; that is, to love her and to love themselves.
Body Count is an American heavy metal band formed in Los Angeles, California, in The group is fronted by Ice-T, who first established himself as a rapper but co-founded the group with lead guitarist Ernie C out of their interest in heavy metal music. Ice-T took on the role of vocalist and writing the lyrics for most of Body Count's songs, while Ernie C has been responsible for writing the Genres: Crossover thrash, rap metal, thrash . Without Boundaries: Sonic Lost World Original Soundtrack is the official soundtrack of Sonic Lost World, composed by Tomoya Ohtani. Without Boundaries was released on 27 November and was published by Wave Master. The album contains 93 music tracks over three discs, and it was recorded with invitation of more than seventy musicians in total. Disc Length: (). The Body discography and songs: Music profile for The Body, formed Genres: Drone Metal, Sludge Metal, Power Electronics. Albums include I Shall Die Here, No One Deserves Happiness, and I Have Fought Against It, but I Can't Any Longer.
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ALBUM REVIEW: Yves Jarvis – ‘Sundry Rock Song Stock’: a thrilling solo quirk-psych vision. Chris Sawle, September 21, Track / Video. Track: Pet Shimmers reveal Live-In Atrocity and Snake Eats a Lady from forthcoming album. Jim F, September 23, Feb 12, · Missy Elliot paved the way for ferocious body positivity and self-love beginning with her first studio album, ’s Supa Dupa Fly, through ’s “Work It,” ’s “I’m Really Hot.
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