Extreme music: silence to noise and everything in between
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Port Townsend, WA
Feral House
[2022]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 367 Seiten, 8 ungezählte Tafeln Illustrationen |
| ISBN: | 9781627311243 |
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Datensatz im Suchindex
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|---|---|
| adam_text | TABLE OF CONTENTS INTRODUCTION...................................................................................................... 9 SECTION I: EXTREME SCENES 1.1 LOUD ...................................................................................................... 15 1.1.1 The Loudness War.................................................................... 15 1.1.2 Noise Music............................................................................... 18 1.1.3 Harsh Noise Wall.................................................................... 22 1.2 QUIET ..................................................................................................... 33 1.2.1 Drone...........................................................................................34 1.2.2 New Age Music........................................................................ 34 1.2.3 Ambient...................................................................................... 37 1.2.4 Homemade Drone.................................................................. 39 1.2.5 Lowercase..................................................................................40 1.2.6 Onkyô..................................... 44 1.3 VULGAR...................................................................................................47 1.3.1 Blood and Guts........................................................................47 1.3.2 Pornogrind.................................................................................54 1.4 FAST
......................................................................................................61 1.4.1 Speedcore..................................................................................62 1.4.2 Splittercore............................................................................... 69 1.4.3 Extratone................................................................................... 71 1.4.4 Flashcore.................................................................................... 73 1.5 FOUND................................................................................................... 77 SECTION II: EXTREME DURATIONS 11.1 LONG .................................................................................................... 97 11.2 SHORT................................................................................................... Ill SECTION III: EXTREME RECORDS III.1 LATHE-CUT............................................................................................ 127 III.2 LARGE ................................................................................................... 131 III.3 SMALL.................................................................................................. 135 III.4 SHAPES................................................................................................. 141 III.4.1 Places..................................................................................... 142 III.4.2 Sawblades............................................................................ 143 III.4.3
Beyond................................................................................... 146 III.5 PICTURES.............................................................................................. 149 111.5.1 Picture Disc Prehistory........................................................149 III.5.2 Vogue Records.................................................................... 150 111.5.3 Red Raven Records Zoetrope Discs.............................. 151 IH.5.4 Picture Discs in the Rock Era............................................ 152
III .6 ADULTERATED ....................................................................................159 III .7 NON-VINYL........................................................................................ 165 III.7.1 Records That Melt.................................................................165 III.7.2 Project Dark............................................................................168 III.7.3 Other UnusualMaterials...................................................... 171 SECTION IV: TECHNOLOGICAL QUIRKS IV.l CHIPTUNE........................................................................................... 177 IV .2 LOBIT ...........................................................................................183 IV .3 FLOPPIES .............................................................................................191 IV .3.1 Early Floppy History........................................................... 191 IV.4 IV .3.2 Floppies as Subculture....................................................... 193 MICROCASSETTES .............................................................................199 IV .4.1 Microcassettor..................................................................... 199 IV .4.2 One-Touch Recordings...................................................... 200 IV .4.3 dirgefunk s microcassettes.............................................. 201 IV .4.4 Dictaphonia.......................................................................... 202 IV .4.5
Dictafawn.............................................................................. 203 IV .4.6 Lavender Sweep................................................................. 204 IV.5 8-TRACKS............................................................................................207 IV .5.1 Malcolm Tent s 8-Track Obsession.................................208 IV .5.2 8-Tracks in the Nineties..................................................... 210 IV .5.3 The 21 st Century................................................................. 210 IV .6 CYLINDERS.......................................................................................... 215 IV .7 NON-TRADITIONAL FORMATS............................................... 219 IV .7.1 USB SD................................................................................ 219 IV .7.2 Self-Reliant Formats........................................................... 220 SECTION V: EXTREME PACKAGING V.l ELABORATE..........................................................................................227 V .l.l History of ElaboratePackaging......................................... 228 V .l.2 American Tapes..................................................................... 229 V .1.3 MSBR Records........................................................................ 233 V .l .4 Toxic Industries / Very Toxic............................................. 235 V V.2 .1.5 Others....................................................................................... 239 DISGUSTING
..................................................................................... 243 V .2.1 Packs ....................................................................................... 247 V .2.2Body Fluids............................................................................. 248 V .2.3 Perishables............................................................................. 252 V .2.4 A Final Anecdote...............................................................255
SECTION VI: RECORDINGS? VU SILENT..................................................................................................261 VI.1.1 Silent Pioneers..................................................................... 261 Vl.1.2 Silent Recordings................................................................. 263 VI.2 DAMAGED .......................................................................................... 273 VI.3 UNPLAYABLE ...................................................................................... 281 VI .3.1 Anti-Records Underground Music............................... 283 VI .3.2 RRRecords Anti-Records.................................................... 284 Vl .3.3 The Haters............................................................................. 286 Vl .3.4 Major Ego Produkt Objekts Aktions....................... 289 VI .3.5 One-Off Anti-Recordsin the Nineties..............................292 VI .3.6 Anti-Recordings in Other Formats................................ 295 VI .3.7 Contemporary Anti-Recordings: NONE Records, Michael Ridge, and Auris Apothecary............. 298 VI .3.9 Anti-Recordings: Tying It All Together........................ 304 SECTION VII: THE DIGITAL AGE VILI WAVES.............................................................................................. 313 Vll .1.1 Mallsoft................................................................................ 313 VII .1.2 Broken Transmission......................................................... 321 VII .1.3 Late Night Lo-
Fi.................................................................. 324 VII.2 RINGTONES........................................................................................ 327 VII.3 BLACK MIDI ....................................................................................... 331 VII.4 OUTSIDERS...........................................................................................333 VII.4.1 R.A.E.D..................................................................................... 333 Vll.4.2 Vll.4.3 Vll.4.4 Vll.4.5 Viper........................................................................................ 335 Farrah Abraham.................................................................. 336 Al Walser............................................................................... 337 Chief Kooffreh...................................................................... 338 Vll.4.6 Fallen Vengeance................................................................. 338 Vll.4.7 Girls With Attitude............................................................... 339 Vll.4.8 Ornaments of Agony...........................................................340 VII.4.9 Hekaloth Records................................................................. 340 VI 1.4.10 Tonetta.................................................................................... 341 CONCLUSION..................................................................................................... 345
INDEX................................................................................................................... 349 ACKNOWLEDGEMENTS.................................................................................... 367
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| adam_txt |
TABLE OF CONTENTS INTRODUCTION. 9 SECTION I: EXTREME SCENES 1.1 LOUD . 15 1.1.1 The Loudness War. 15 1.1.2 Noise Music. 18 1.1.3 Harsh Noise Wall. 22 1.2 QUIET . 33 1.2.1 Drone.34 1.2.2 New Age Music. 34 1.2.3 Ambient. 37 1.2.4 Homemade Drone. 39 1.2.5 Lowercase.40 1.2.6 Onkyô. 44 1.3 VULGAR.47 1.3.1 Blood and Guts.47 1.3.2 Pornogrind.54 1.4 FAST
.61 1.4.1 Speedcore.62 1.4.2 Splittercore. 69 1.4.3 Extratone. 71 1.4.4 Flashcore. 73 1.5 FOUND. 77 SECTION II: EXTREME DURATIONS 11.1 LONG . 97 11.2 SHORT. Ill SECTION III: EXTREME RECORDS III.1 LATHE-CUT. 127 III.2 LARGE . 131 III.3 SMALL. 135 III.4 SHAPES. 141 III.4.1 Places. 142 III.4.2 Sawblades. 143 III.4.3
Beyond. 146 III.5 PICTURES. 149 111.5.1 Picture Disc Prehistory.149 III.5.2 Vogue Records. 150 111.5.3 Red Raven Records' Zoetrope Discs. 151 IH.5.4 Picture Discs in the Rock Era. 152
III .6 ADULTERATED .159 III .7 NON-VINYL. 165 III.7.1 Records That Melt.165 III.7.2 Project Dark.168 III.7.3 Other UnusualMaterials. 171 SECTION IV: TECHNOLOGICAL QUIRKS IV.l CHIPTUNE. 177 IV .2 LOBIT .183 IV .3 FLOPPIES .191 IV .3.1 Early Floppy History. 191 IV.4 IV .3.2 Floppies as Subculture. 193 MICROCASSETTES .199 IV .4.1 Microcassettor. 199 IV .4.2 One-Touch Recordings. 200 IV .4.3 dirgefunk's microcassettes. 201 IV .4.4 Dictaphonia. 202 IV .4.5
Dictafawn. 203 IV .4.6 Lavender Sweep. 204 IV.5 8-TRACKS.207 IV .5.1 Malcolm Tent's 8-Track Obsession.208 IV .5.2 8-Tracks in the Nineties. 210 IV .5.3 The 21 st Century. 210 IV .6 CYLINDERS. 215 IV .7 NON-TRADITIONAL FORMATS. 219 IV .7.1 USB SD. 219 IV .7.2 Self-Reliant Formats. 220 SECTION V: EXTREME PACKAGING V.l ELABORATE.227 V .l.l History of ElaboratePackaging. 228 V .l.2 American Tapes. 229 V .1.3 MSBR Records. 233 V .l .4 Toxic Industries / Very Toxic. 235 V V.2 .1.5 Others. 239 DISGUSTING
. 243 V .2.1 Packs . 247 V .2.2Body Fluids. 248 V .2.3 Perishables. 252 V .2.4 A Final Anecdote.255
SECTION VI: RECORDINGS? VU SILENT.261 VI.1.1 Silent Pioneers. 261 Vl.1.2 Silent Recordings. 263 VI.2 DAMAGED . 273 VI.3 UNPLAYABLE . 281 VI .3.1 Anti-Records Underground Music. 283 VI .3.2 RRRecords' Anti-Records. 284 Vl .3.3 The Haters. 286 Vl .3.4 Major Ego Produkt Objekts Aktions. 289 VI .3.5 One-Off Anti-Recordsin the Nineties.292 VI .3.6 Anti-Recordings in Other Formats. 295 VI .3.7 Contemporary Anti-Recordings: NONE Records, Michael Ridge, and Auris Apothecary. 298 VI .3.9 Anti-Recordings: Tying It All Together. 304 SECTION VII: THE DIGITAL AGE VILI WAVES. 313 Vll .1.1 Mallsoft. 313 VII .1.2 Broken Transmission. 321 VII .1.3 Late Night Lo-
Fi. 324 VII.2 RINGTONES. 327 VII.3 BLACK MIDI . 331 VII.4 OUTSIDERS.333 VII.4.1 R.A.E.D. 333 Vll.4.2 Vll.4.3 Vll.4.4 Vll.4.5 Viper. 335 Farrah Abraham. 336 Al Walser. 337 Chief Kooffreh. 338 Vll.4.6 Fallen Vengeance. 338 Vll.4.7 Girls With Attitude. 339 Vll.4.8 Ornaments of Agony.340 VII.4.9 Hekaloth Records. 340 VI 1.4.10 Tonetta. 341 CONCLUSION. 345
INDEX. 349 ACKNOWLEDGEMENTS. 367 |
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| spelling | Tau, Michael Verfasser (DE-588)127861642X aut Extreme music silence to noise and everything in between by Michael Tau Port Townsend, WA Feral House [2022] © 2022 367 Seiten, 8 ungezählte Tafeln Illustrationen txt rdacontent n rdamedia nc rdacarrier Das Extreme (DE-588)1031657800 gnd rswk-swf Ästhetik (DE-588)4000626-8 gnd rswk-swf Experimentelle Musik (DE-588)4153365-3 gnd rswk-swf Musikwahrnehmung (DE-588)4126097-1 gnd rswk-swf Musical perception Music / Philosophy and aesthetics Experimentell musik Experimentelle Musik (DE-588)4153365-3 s Musikwahrnehmung (DE-588)4126097-1 s Das Extreme (DE-588)1031657800 s Ästhetik (DE-588)4000626-8 s DE-604 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033975605&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Tau, Michael Extreme music silence to noise and everything in between Das Extreme (DE-588)1031657800 gnd Ästhetik (DE-588)4000626-8 gnd Experimentelle Musik (DE-588)4153365-3 gnd Musikwahrnehmung (DE-588)4126097-1 gnd |
| subject_GND | (DE-588)1031657800 (DE-588)4000626-8 (DE-588)4153365-3 (DE-588)4126097-1 |
| title | Extreme music silence to noise and everything in between |
| title_auth | Extreme music silence to noise and everything in between |
| title_exact_search | Extreme music silence to noise and everything in between |
| title_exact_search_txtP | Extreme music silence to noise and everything in between |
| title_full | Extreme music silence to noise and everything in between by Michael Tau |
| title_fullStr | Extreme music silence to noise and everything in between by Michael Tau |
| title_full_unstemmed | Extreme music silence to noise and everything in between by Michael Tau |
| title_short | Extreme music |
| title_sort | extreme music silence to noise and everything in between |
| title_sub | silence to noise and everything in between |
| topic | Das Extreme (DE-588)1031657800 gnd Ästhetik (DE-588)4000626-8 gnd Experimentelle Musik (DE-588)4153365-3 gnd Musikwahrnehmung (DE-588)4126097-1 gnd |
| topic_facet | Das Extreme Ästhetik Experimentelle Musik Musikwahrnehmung |
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