RIO Drop-In Centre

Yes, Wolf Eyes is difficult. Out of the two albums I have their lastest offering is definately the more proggy of the two, but I don't think fully prog. The big thing for me is whether this music is rock or not? It does have tendancies to lean this way, but I don't think enough. So for me at the moment it would be between prog-related and not at all. I think it would open up too many boundries, though I do think the band 'Nord' d a better job at this style, bring in longer compositions into the equation. I'm really wishing I went to see Wolf Eyes when they were in Australia. I was talking to a person how works in one of the second hand store in Sydney and he said seeing them live really showed what the band was about. I think this would have helped me to understand the bands ideas a little clearer.  

5UU's:

I have Hunger's Teeth and Crisis in Clay and both are very good in my opinion.

They do sound good.

Geck0 wrote: Oh and by the way, you can hear Estradasphere's live output at Archive.org.  I've just been listening to a sample of theirs too and it's crazy stuff, but good! They remind me of Taal slightly actually, but I prefer Taal still.

]

I always pay very special attention to the detail of my snares, and you could say that the snare is the lead instrument in most of my tracks, where maybe a vocalist would tell the story. Since the name came about, I've been told of a television news piece entitled Venetian snares. Apparently children were accidentally hanging themselves in Venetian blinds and dropping like flies.

I enjoy the word snare in the context of a trap or a lure.

Somebody else mentioned to me, they came across Venetian snares in some medieval text."

 

Getting on with it. This has been a band that I have taken a great interest in over the last six month. I only own one of his ablums, but for the mean time I think it is enough for my brain to disgest. He does have many other projects, and I have  heard this is not his best one, which intreges me even further.

His music is something quite hard to pin down into one genre, with influences coming in from far and wide. I think the easiest way to describe the music is a cross between 20th century Classical and Drum and Bass. Then for good measures throw in some loose Jazzy affairs and a sprink of Trip Hop. Now we have only touch the surface of what this music is about.

 

I think that will be as far as I will explain, if you find this interesting, please check out some of his stuff.

I've heard Ruins' Prog Medley!!

Go to Hisashi's website to see all the songs that are in the song.




Edited by Faaip_De_Oiad - September 16 2006 at 04:17

                         Here's the link to their Medley madness:

http://www.nekoma.com/hisashi/mu_nr.html


                                     Kouenji Hyakkei are doin' a Magma medley these days. Astonishing technique




Edit: fixed link


Edited by Yukorin - September 16 2006 at 04:24

I worship Koenji Hyakkei and Yoshida-san but for some reason Ruins have never clicked with me. Gonna pick up this one up tho' ! Gotta hear the studio versions

just got henry cow's "legend" and "in the phraise..."- dont know which one is better...

avestin wrote: Just thought I'd mention (here as well) that NeBeLNeST will release a new album this month - ZePTo http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=79713225 http://www.nebelnest.com/flash_index.htm http://www.progarchives.com/Progressive_rock_discography_CD.asp?cd_id=12833

avestin wrote: Another release this September - BIRDSONGS OF THE MESOZOIC with ORAL MOSES     Taken from the Cuneiform website:   For their 13th album and in their 25th year together, post-punk, art-rock pioneers Birdsongs of the Mesozoic do a 180 degree musical swerve and link up with bass-baritone vocalists Oral Moses, one of the preeminent African-American performers of traditional spirituals. The band demolish all preconceptions about themselves by presenting a program of heavily rearranged, well known African-American spirituals and 19th century art songs. The blend of Birdsongs' cutting-edge instrumentation with the strength and majesty of Moses' voice creates a very unorthodox yet deeply moving sound, which The Noise called, "Totally sublime and deeply moving." This collaboration represents a new experiment from all parties - something of a meeting at the crossroads between two creative parties passing in very different directions. Together they bring these centuries-old songs kicking and screaming into the 21st century.   And this as well: THE MICROSCOPIC SEPTET Active for a dozen years, the Microscopic Septet were widely recognized as "New York's Most Famous Unknown Band." The group started with a basic reeds-and-rhythm texture (soprano, alto, tenor and baritone sax, piano, bass and drums) that was sonically similar to the sound of the Swing Era. However, they employed these textures to address a widely eclectic range of styles, from free-form music to R&B, rhumbas and ragtime. The result was a brilliant blend of fresh-sounding orchestration and inspired soloing. Beloved in New York, where they generally drew capacity crowds, "The Micros" were one of the most celebrated of the many cutting-edge units associated with experimental music's best-known venue, the Knitting Factory, during the peak years of the "Downtown" music movement in the mid 1980s onward. This beautifully packaged and annotated set includes new cover artwork by Pulitzer-prize winning illustrator Art Spiegelman, new notes by leader Phillip Johnston, lots of great photographs and newly remastered versions of the first two albums by the band: "Take The Z Train" and "Let's Flip!", as well as quite a lot of never-before released material, including the well-known theme to the NPR show Fresh Air. The majority of this set has never appeared on CD and all of it has been unavailable for a number of years. "A truly distinctive sound that pumps Basie boogies, zestfully shifts from tangoed unison to Dixieland discordance with Mingus precision and sax solos that reach Eric Dolphy free and Earl Bostic blue within the same tune; this is one band that can afford to be seriously original and share a playful humor" - Rolling Stone Jazz Record Guide