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dustedmagazine · 7 months

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Dust Volume 10, Number 2

Ballister

It’s a leap year, so we all get an extra 24 hours to listen to February music. Why not try some of these selections from our endless piles of when-i-get-to-its? We’ve got unhinged beatmakers and noise-addled Canadians, smashing, grabbing jazz men and psychedelic post-punk. And really a lot more. February always seems long. This year it’s even more extended. Use your time wisely. Play records.

This month’s contributors include Patrick Masterson, Ian Mathers, Bill Meyer, Bryon Hayes, Tim Clarke, Jennifer Kelly, Jonathan Shaw, Jim Marks and Andrew Forell.

8ruki — POURquoi!! (33 Recordz)

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This ain’t your mother’s TTC. Bilingual Parisian 8ruki takes most of his cues from Atlanta, acting with a whole lotta Whole Lotta Red in mind and squeezing 22 songs into his third album — about right for contemporary hip-hop in this vein, which frequently abandons ideas after less than two minutes and leaves a trail of incomplete sketches in its wake; like others his age, 8ruki has evolved to consider this less a bug (especially for stans forever thirsty for the next “project”) than a feature, the default mode of working. I don’t know what good it would do to comment on a song called “Andrew Tate!!” or “Elon Musk!!” at this stage other than to suggest the guy’s just being (what the French call) a provocateur, but peek elsewhere and you’ll find an unexpected beat switch on “VAris//PIENna,” not to mention a world-shrinking reference to the Golden State Warriors; the high-pitched squeaks of “CA$h!!” and “GIVENCHY MARgiela!”; the string sample and rolling bass of “EDQuer!!”; and a whole lot more to enjoy. Ignore the annoying tendency to turn caps off halfway through a song title; this is a fun record with a lot going on that’s even better if you more than half understand it.

Patrick Masterson

ALL HANDS_MAKE LIGHT — “Darling The Dawn” (Constellation)

The credits for this duo’s second release are deceptively simple; Ariel Engle (La Force, Broken Social Scene) as just “voice” and Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt Zion) as just “noise.” But there are whole worlds contained in voice and noise, and there’s a sonic, emotional, and political complexity here that makes it feel much weightier and more elaborate than the work of any two people. (It also had one of the best song titles of last year in “We Live on a Fucking Planet and Baby That’s the Sun.”) There are distinct songs here, even some refrains, but the whole of “Darling The Dawn” also feels like one long ebbing and flowing movement, culminating in lovely, shattered grandeur with the closing one-two punch of “Anchor”/“Lie Down in Roses Dear.” Shoegaze without guitars (although not without occasional strings or drums, from Jessica Moss on violin and Liam O’Neill, respectively), emotional noise music, kosmiche played in a paupers’ graveyard; it’s hard to know what to call what ALL HANDS_MAKE LIGHT does, other than impressive. Maybe voice and noise is enough description after all.

Ian Mathers

Ballister — Smash And Grab (Aerophonic)

In Chicago, the smash and grab game is strong. People aren’t just breaking windows but driving vehicles through them. Ballister apply that spirit of aggressive enterprise to performance on this memento of saxophonist Dave Rempis, cellist Fred Lonberg-Holm and drummer Paal Nilssen-Love’s reunion at the Catalytic Sound Festival in Chicago in December, 2022. The reeds wail and probe, the strings splinter and scrape, the drums smash rhythm in the air and reshape them. And that’s just in the first few minutes. Over the course of the set, they find ways to apply that assertive spirit to quieter passages and slower passages, fashioning rough thickets and inconsolable laments from the same rough material. While Dusted does not recommend literal application of the album’s title when acquiring it, we confidently predict that you’ll find the record sticking to your fingers, obliging you to return it to the playback device for another go around.

Bill Meyer

Cuneiform Tabs — Cuneiform Tabs (Sloth Mate)

The Sloth Mate label is the psychedelic tendril sprouting from the flourishing vine that is the modern Bay Area post-punk scene. There’s certainly an affiliation with Famous Mammals, Children Maybe Later and others of that ilk, but there’s a tendency to stray from traditional idioms that is unique to the Sloth Mate catalog. Violent Change, headed up by the imprint’s owner Matt Bleyle, is at the center of this sub-underground cabal, coming across like a garage punk band noisily banging out Face to Face-era Kinks jams after gobbling some mind-altering flora. Sterling Mackinnon’s The False Berries on the other hand is a lo-fi ambient electronic project that recalls the early beat-inclusive work of Christian Fennesz. Bleyle and Mackinnon collaborate remotely under the Cuneiform Tabs moniker (the latter musician is based in London, England). The cross-pollination works incredibly well, with the most listenable aspects of each unit rising to the forefront. When it appears, Mackinnon’s Dan Bejar-meets-Marc Bolan warble acts as a foil for Bleyle’s deeper crooning. Similarly, the former’s atmospheric tendencies highlight the beautiful melodies hidden beneath the latter’s noise-baked tunesmithery. Cuneiform Tabs’ psychoactive sonorities require work to decipher, but the endeavor is certainly worthwhile.

Bryon Hayes

Mia Dyberg Trio — Timestretch (Clean Feed)

It’s tempting to take the title of Timestretch ironically, since this Scandinavian trio compacts a lot of action into 43.18. There are 14 tracks, all but three composed by bandleader and alto saxophonist Dyberg. But more likely, it addresses this paradox; while the music never feels like it’s in a hurry, there’s a fair bit going on. Tonally, Dyberg shifts easily between slightly sour and just sweet enough, and her phrasing is mobile, but never busy. On a few unaccompanied tracks, she unburdens herself more directly, mourning for those laid low by conflict. Bassist Asger Thomsen anchors the music with stark, strategically placed notes, and adds dimension with occasional sparse, bowed comments. But it’s drummer Simon Fochhammer who gives the music shape, sometimes with a quick rustle, other times by building an eventful structure around his partners.

Bill Meyer

Kali Malone — All Life Long (Ideologic Organ)

Swedish composer and organist Kali Malone takes a rigorous, structured approach to making music, crafting deliberately pared-back and laser-focused pieces that make the listener acutely aware of the shifting harmonic dynamics within thick layers of sound. This 78-minute album presents an intimidating edifice to a casual listener, but it is organized to allow curious immersion in more easily digestible sections. The longest tracks are organ pieces stretching to around 10 minutes in duration, aching with melancholy. However, there are also shorter vocal and brass pieces that deviate away from held drones into more spacious, overlapping progressions that are, on occasion, almost buoyant. All Life Long feels like music for a less easily distracted age; to be patient enough to bear witness to its full, solemn unfolding requires commitment, but how often do you hear music this awe-inspiringly pure?

Tim Clarke

Michael Nau — Accompany (Karma Chief)

Accompany rides the line between cosmic country and garden variety indie pop, its gentle melancholy enlivened by radiant runs of twanging guitar. “It’s an impossible life to get over,” Michael Nau croons in “Painting a Wall,” sounding beaten down but not quite broken, grounded in the ordinary but yearning for transcendence. Nau, you might remember, fronted the indie chamber pop Page France in the early aughts and the slightly more countrified Cotton Jones in the late ones. This fifth solo album hits its peak in plaintive “Shape-Shifting,” where an otherworldly echo sheathes both Nau’s voice and the rumble of piano, and a glow suffuses everything, making it more.

Jennifer Kelly

Note — Impressions of a Still Life EP (The North Quarter)

Manchester’s Note hasn’t been around all that long — the earliest traces of his Soundcloud only reach back to October of 2021 — but just within the last year, he’s demonstrated a knack for fusing airy, sultry R&B moods with the breaks n’ bass of UK dance music’s storied past. Late January’s Impressions of a Still Life EP out via The North Quarter imprint, helmed by Dutch producer Lenzman (himself a veteran of labels like Metalheadz, Nu-Directions and Fokus), is another fine example: Aside from the stirring “Vespertine” that debuted last summer and features poet and spoken word artist Aya Dia, plus “Cold Nights” that came in November, Note fills out the EP with three additional songs of varying speed and mood. The best might be “EVR,” which again features a vocalist, this time singer-songwriter Feeney. Employing deep bass, fluttering percussion and featherweight piano flourishes, the production here is top-notch Brit-inflected R&D&B. Watch this space.

Patrick Masterson

Plaza — Adult Panic (Self-Release)

The novelist and rock critic (and one-time Dusted writer) Michael Fournier spent the pandemic on Cape Cod with his wife Becca, he learning the bass and she the drums. Adult Panic collects 11 spiked and minimalist cuts from this experiment, almost entirely instrumental (there’s a shouted refrain on “(The Real) Mr. Hotdog”) and rife with lockdown agitation. The drums are pretty basic, a skitter of high-hat with snare on the upbeats, but the bass parts wander and jitter intriguingly. The title track has a Slint-ish post-rock open-ended-ness, repeated riffs left to linger and shift in the air. “The Tomb of Santa Claus” moves faster and more insistently, letting surf-like bent notes flare from rickety architectures. The whole experience is rather dour and claustrophobic, right up until the end when “(The Real) Mr. Hotdog” clatters into earshot and the two Fourniers seem to be, finally, having some fun.

Jennifer Kelly

Caroline Polachek — Desire, I Want to Turn to You: Everasking Edition (Perpetual Novice)

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I’m not gonna sit here and tell you all about how big Caroline Polachek’s 2023 was; if you were paying any attention to the conversation, you already know Desire, I Want to Turn to You was universally, justifiably acclaimed. The Everasking Edition tacks on seven additional songs, five fresh out the box, one an acoustic rendition of “I Believe” and one a cover. Regarding the latter: Anyone paying attention to the machinations of the modern music business will know the name Jaime Brooks, who was half of Elite Gymnastics and now works as Default Genders in addition to unflinching commentary on whatever the fuck is going on with Billboard charts and the ugly realities of how no one’s getting Spotify royalties. “Coma” was originally theirs from Main Pop Girl 2019, a beautiful, delicately skipping adrenaline rush of a love song. Polachek doesn’t radically reinvent what’s already great; instead, she leaves the music alone and takes ownership of the rendition with her lower pitch and breathy delivery. A heartfelt nightcap on an imperial year, you couldn’t have scripted that Valentine’s Day release any more perfectly.

Patrick Masterson

Proton Burst — La Nuit (I, Voidhanger)

When the wife of storied French comics artist Phillipe Druillet died in 1975, Druillet poured his grief and rage into an idiosyncratic graphic narrative, La Nuit (1976); it’s full of mutant biker gangs, Druillet’s signature fever-dream architectural forms and hair-raising violence. French thrash metal weirdos Proton Burst loved the book, and in 1994 they produced an album-length project, part response, part soundtrack to the comic’s maniacal intensities. I, Voidhanger has given that Proton Burst record a deluxe reissue, including the original music, an extended live performance of it from 1995 and a booklet including eye-popping images from Druillet’s comic and an essay. If you’re in this for the music, the real treat is the live set, which is nearly as unhinged as Druillet’s illustrations. The band rages, rants, foments and froths—and is that a harp? Who knows. Like the original graphic narrative, what matters here is the volatility of the feeling tone, more so than any sense-making (or sonic) throughway. Lose yourself in the violence of it. Maybe that feeling of dislocation gets closest to the irrational agony of loss Druillet drew La Nuit in the teeth of, some 50 years ago.

Jonathan Shaw

Mariano Rodriguez — Exodo (self-released)

Mariano Rodriguez is an Argentinian guitarist in the Takoma school tradition with a large and high-quality back catalog. He often focuses on playing with a slide but is equally adept at playing without one and sometimes incorporates experiments with sound, as on Huesos Secos (2020), and fuller traditional instrumentation, as on Praise the Road (2017), into his recordings. Exodo, released late last year, is a set of mainly guitar soli. The playing is typically inspired, impressive without being flashy, and the compositions are tuneful and well-developed. Included is a 12-string anthem (“Lazaro”), Rodriguez’s signature slide work (such as on “The Desterrados”), bluesy 6-string meditations (“Diaspora”), and a couple of experiments with studio effects and overdubs (“The River and the Blind”) and drone (“Mother of the Road”). Over all, Exodo is a fine set of tunes that flows cohesively.

Jim Marks

Twin Tribes — Pendulum (Beso de Muerte Records)

Pendulum by Twin Tribes

It’s unclear precisely which tribes are twinned here, but if the music on Pendulum is any indication, it’s the deathrock freaks (with their long-standing romance of moldering, undead bodies) and the coldwave kids (who like to dance in place, furiously, disaffectedly, bodies frosty for entirely different reasons). Twin Tribes hails from the bastion of moody electronic music that is Brownville, TX, and somehow these Latinx fellows have managed to survive their local cultural climate long enough to release three LPs, a live tape and a whole bunch of singles and remixes. Pendulum refines the essential sonic template laid down in 2019’s Ceremony: tuneful, shimmery synths; snappy, brittle rhythm tracks; baritone vocals about zombies at the disco. If that sounds like fun, it surely is—but you’ll have a hard time convincing the kids in black eye makeup to crack anything like a smile. This reviewer can’t help it. The songs are too good, the vibes are way too goofily gravid. Dance, you flesh-eating misfits, dance.

Jonathan Shaw

Volksempfänger — Attack of Sound (Cardinal Fuzz / Feeding Tube)

Attack Of Sound by Volksempfänger

Attack of Sound’s swirling boy-girl harmonies instantly call to mind shoegaze luminaries Slowdive, but Volksempfänger’s noise-strewn guitar latticework is more aligned with The Jesus and Mary Chain. Furthermore, the Dutch duo’s melodic flavor is as sweet as 1960s AM radio. Ajay Saggar (Bhajan Bhoy) and Holly Habstritt combine these disparate sonic strands to create tidy noise pop gems, which they wrap in Phil Spector sonics. The wall of sound approach imbues each song with a pulsating thrum. This is the beating heart of their sound, underpinning the delightful vocal harmonies, shimmering guitar melodies, and waves of coruscating feedback. The pair attains a balance between saccharine and savory aromas: dream pop wistfulness (“What the Girl Does” and “Your Gonna Lose Hard”) interchanges with propulsive garage rock (“How We Made It Seem” and “Damned & Drowned”). The album closes out with the kaleidoscopic psychedelia of “You’ve Lost It,” introducing yet another aspect of Volksempfänger’s oeuvre. This last-minute shift in mood adds a quirky sense of quietude to an otherwise exhilarating journey.

Bryon Hayes

Ian Wellman — The Night the Stars Fell (Ash International)

The Night The Stars Fell by Ian Wellman

Recorded in the fire swept forests and deserts of Southern California, Ian Wellman’s The Night the Stars Fell plays like a Disintegration Loops for natural disasters. Wellman’s treated field recordings encourage the listener to subsume themselves in the natural rhythm of the wind that fanned the wildfires much like Basinski’s seminal work. While Disintegration Loops drew its potency from the association with 9/11, Wellman’s project is a more deliberate meditation on destruction. He coats his field recordings of deteriorating human structures — railcars, homes — and landscape ambience with short-wave radio static and decaying tape loops. There’s a concentration on both the violence of the destruction and the desolation of the aftermath. Huge swells of sound are interspersed with howls of wind, coruscating swathes of static and the creak and crank of burnt timber both natural and manufactured. The Night the Stars Fell is an absorbing evocation of nature’s power.

Andrew Forell

Wharfer — Postboxing (Self-Release)

Postboxing by Wharfer

Wharfer’s Kyle Wall has long made the kind of shadowy, pared down indie-folk singer/songwriter music that elicits comparisons to Bill Callahan and Will Oldham. This time out, however, he ditches vocals and verse chorus structure entirely and enlists Chuck Johnson (pedal steel), Ian O’Hara (acoustic bass) and Duncan Wickel (violin) for a set of ambient, piano-forward reflections. These tracks are quietly riveting as, like “Wishing Well in White Noise,” the blend the chalky, elegiac tones of the piano’s upper registers with limpid pools of sustained pedal steel. Not quite ambient, the piece swirls and rounds to its own subtle rhythms, a faint thunk of bass ordering it forward. “Alto” brings the long, bowed vibrations of violin into the mix, then a sprightly sprinkle of pizzicato strings. And in the title track, a ritual voice flickers in and out of focus, but only as tone and texture. The piano carries the narrative, as string washes build and bass notes drop in and seagulls cry in the distance. It’s a subtle but powerful voice on its own, and you don’t miss the words one bit.

Jennifer Kelly

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shatar-aethelwynn · 1 year

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stargazer-tps · 2 years

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Overanalyzing Lydia’s Flute (sort of a rant)

Hello everyone! I have a bit of something different today but maybe y’all can help me on this. So I’ve been on a Barbie kick, and specifically I’ve fallen back into the Barbie and the Diamond Castle hole, if you could not tell.

ANYWAY, for a really long time now, I’ve been trying to wrap my head around how Lydia’s flute like…. Actually functions, because it’s confusing to look at and I’ve come to the conclusion that it in fact would not function as an instrument because the animators and artists were probably not expecting anyone to look too closely at her instrument and thus made something that looked cool but was impossible to play.

But seriously, what kind of a flute is this???

The idea of her double flute is likely based on the aulos, which was actually a double reed instrument like an oboe, but that is very clearly not the case here. (It’s not the case for the “good guy” version of this flute either, based on her embouchure and the fact that the entire thing appears to be made out of Ambiguous Gray Material and does not have visible reeds, but whatever I guess.) There’s no edge for the stream of air to be split between the inside and outside of the tube, as on a recorder or a transverse flute (which is how those instruments make sound), and her embouchure does not suggest that she’s buzzing her lips as you would on a trumped, which means that we’ve exhausted all of the possible ways for an aerophone to make sound.

But Stargazer, you might be saying, maybe there is a hole like on a recorder and you just can’t see it, like how you couldn’t see the finger holes on Melody’s whistle!

To which I reply, “maybe! But there’s also the issue that the two tubes of her flute appear to not really be connected at all (on the inside). Based on this angle, I thought they might be connected like with a drone flute:

But based on this angle, they are in fact not connected like that and appear to be like… glued together at the top or something. Like it doesn’t look like air from the mouthpiece is actually going through the second tube, but evidently it is somehow. Like, you can clearly see space between them:

Anyway I am very confused and I do not like how this fictional magical instrument does not obey the physics of real life instruments or something.

#barbie and the diamond castle #lydia

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homestuck-human-generator · 9 months

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Name: Mistrum Leia Vaughn Color: Medium Orchid #Af69ef Symbol: record Strife Specibus: spatulakind Handle: therapeuticTrick Animal: lion Pronouns: it/its Age: 25 Birthday: 349th day of the year Sexuality: aromantic Interests: art and neuroscience Dream Moon: derse Classpect: Lord of Blood Land: Land of Reluctance and Holes, a weary place, with perfect Mountain Horned Dragon consorts. It is a place full of clocks and islands. Echidna is lonely. Instrument: aerophone

#IFTTT #homestuck #oc generator #homestuck kid

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freemusicbasement · 2 years

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Music Tech Blog Post #11

As a musician, midi instruments have always fascinated me , whether it was an Akai Midi Keyboard, or even an electric guitar Midi controller. The way you can have one instrument and play it to make it sound like a totally different instrument is amazing to me. So when researching for Midi Instruments I wanted to find something really cool that would stand out to me. For me that was the Roland Aerophone AE-01 Mini Digital Wind Instrument. The Roland Aerophone is a woodwind Midi Instrument that has a similar look to a soprano saxophone, which is amazing to me because I am a saxophone player. With this instrument there are also a lot of presets that can make you sound like various instruments. For example with the Roland Aerophone you can sound like a violin, flute or a synth. It also features an app to help beginners learn how to notate or even play music, Overall it has 6 different preset sounds that you can use, and it also comes with its own reverb effect. It can also connect through Bluetooth which is really helpful if you either forgot a USB adapter or even if you want to quickly record something and don’t want to go through the hassle of trying to find a USB adapter. However you do need a USB adapter to recharge the battery of the Aerophone. Overall this Midi instrument is really cool, with a bunch of really cool and unique sounds and presets that make it seem fun and exciting to work with. It is also very intuitive and makes it easy for beginners of an instrument to quickly adapt to its play style.

Citations

Roland Aerophone AE-01 mini Digital Wind Instrument. Sweetwater. (n.d.). Retrieved March 9, 2023, from https://www.sweetwater.com/store/detail/AE01m--roland-aerophone-ae-01-mini-digital-wind-instrument

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diyeipetea · 2 years

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Diez de... agosto de 2022 (I) Por Pachi Tapiz [Grabaciones de jazz]

Diez de… agosto de 2022 (I) Por Pachi Tapiz [Grabaciones de jazz]

Inauguramos la sección Diez de… de Pachi Tapiz con el repaso a diez grabaciones (más o menos) de lo más variado. Ken Vandermark, Perico Sambeat, Dave Rempis, Manuel Mengis, Juan Vinuesa, Wadada Leo Smith, Günter Baby Sommer, Moisés P. Sánchez, otok o Count Basie acompañado de cuatro vocalistas de primera son los protagonistas de las primeras grabaciones que pasan por la sección. Cada día diez del…

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muffinrecord · 5 years

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Do you have any tips on getting curse chips? I'm trying to unlock all the doppels I can right now, and cc is my biggest roadblock. What quests have you been grinding on to get so much of it?

I’m gonna copy + paste a previous answer with a few edits:

The best way to get CC will be the shops imo– so that includes the 1million you can get from the mirrors shop, the 500k you can get from the support point shop, and all of the CC you can get from the event shops as well. Additionally, don’t forget that the mirrors shop/support point shop resets monthly!

When an event comes around that allows you to easily farm the 1k cc option in mass, it’s best to stock up and farm the crap out of it– in fact, I’d say that’s when you really let loose with your max ap pots because it’s so worth it. These events aren’t that often though and also depend on how much of the event memoria you have.

Edit: For example, in the “Voices from Beyond Event,” I spent around 6 - 8 hours a day grinding the quests and ended up with thirty million CC. Definitely worth it, but you don’t have to spend THAT much time– maybe an hour or two a day. Set a goal for what number you want to hit (maybe 5 million or something like that), and try to get to it before the event ends.

Outside of events, your best bet is to farm the weekend labs. It’s very ap cost intensive but it’s the most efficient way otherwise.

If you have Himika, make sure you put her on every team possible and equip her with her personal memoria that gives a small bonus to the amount of CC earned– it’s not much but it’ll add up over time!

Edit: We have a new memoria as well that will add to the bonus of CC earned, and it stacks with Himika’s personal memoria. Make sure you get it from the Hereafter shop while you can! It’s still a small amount but imo any amount is worth it, especially if you’re farming over and over

Other tips for CC would be to watch over how you’re spending it. If you’re leveling a character through gems, make sure you use them all at once in the very beginning– the higher level they are, the more expensive they are to use gems on. Don’t forget that memoria also costs CC to level memoria too. It’s negligible, but when you don’t have much, every bit counts!

#aerophone-amphibians #Muffin Record #Ask Muffin #Tips and Tricks

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tinyshe · 2 years

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Croatia Traditional Music Instruments Performance

“Sopilka: Sopilka is a name applied to a variety of woodwind instruments of the flute family used by Crocatian folk instrumentalists. Sopilka most commonly refers to a fife made of a variety of materials (but traditionally out of wood) and has six to ten finger holes. The term is also used to describe a related set of folk instruments similar to recorder, incorporating a fipple and having a constricted end. Sopilkas (Ukrainian: Cопiлка) are also used by a variety of Ukrainian folkloric ensembles recreating the traditional music of the various sub-ethnicities in western Ukraine, most notably that of the Hutsuls of the Carpathian Mountains. Often employing several sopilkas in concert, a skilled performer can mimic a variety of sounds found in nature, including bird-calls and insects. Sopile: The sopile (or roženice, as it is called in Istria) is an ancient traditional woodwind instrument of Croatia, similar to the oboe or shawm. It is used in the regions of Kvarner, Kastav, Vinodol, Island Krk, and Istria. Sopile are always played in pairs so there are great and small or thin and fat sopila. “Sopile are musical instrument of sound very interesting possibilities and very piercing special sound. This is replicated in more modern examples of Kvarner music through use of modified double reed clarinet or soprano Dulzaina. Sopile are, by "mih" and "šurle," today very popular in folk tradition of Istria, Kvarner and Island Krk. Roženice are ancient traditional musical instruments which continue to be used today in the region of Istria. Roženice are very similar to sopile from Island Krk. Roženice are always played in pairs so there are great and small or thin and fat rozenica. Roženice have a very piercing special sound, and have the possibility of producing a variety of sounds. Roženice are, by "mih" and "šurle", today very popular in folk tradition of Istra. The sopila is a wooden horn originating from Istria and some of the northern islands along the Adriatic Coast of Croatia. Like oboes, sopilas have double reeds, but are always played in pairs; one larger than the other. Both have six finger holes, being equally spaced on the smaller one, and set in groups of three on the larger one. Often used to accompany dancing, the voice of the sopila is that of the Istrian scale. Frula: The frula (pronounced [frǔla], Serbian Cyrillic: фрула), also known as svirala (свирала) or jedinka, is a musical instrument which resembles a medium sized flute, traditionally played in Serbia. It is typically made of wood and has six holes. It is an end-blown aerophone. The frula is a traditional instrument of shepherds, who would play while tending their flocks. --------- Istarski mih: The Istarski mih or Istrian mih is a bagpipe native to the regions of Istria and Kvarner, Croatia. It consists of a bag made most often from goat skin and a double-chanter with two single reeds. This type of bagpipe is distinct in that it has no drones, but a double-chanter with finger-holes on both bores, allowing both a melody and changing harmony to be played. In this respect the mih more resembles the bagpipes of the Southwest Asia and North Africa than other European bagpipes. The instrument is not dodecaphonically tempered, it is a solistic instrument and it corresponds to the so-called Istrian scale. Due to its specific tone-hole placement, its sound is distinct and unusual even when compared to other instruments of the same "mih" family. Unlike other Croatian bagpipe-like instruments that were forgotten and replaced with the accordion and violin in the 20th century, the art of playing istarski mih has not faced such rapid cultural decay. Ivan Matetić Ronjgov, a native Istrian composer, is credited with having revived the art of playing the istarski mih and the shawm-like instrument sopile in the 20th century. Nowadays, these instruments can be frequently seen and heard on many traditional music manifestations across Istria, with many young and perspective players performing and learning to play. “

#music #instrumental #folk music #tradmusic #croatia

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instrumental-artistry · 7 years

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Bass Recorder, ca. late 1800s attr. Francis William Galpin (England)

- Materials: Body: Walnut • Parts: Brass - Length: 133.1 cm [without bocal] - Other Notes: In C

#long post #musical instruments #aerophone #woodwind #pipe #recorder #bass recorder #european #english #19th Century

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noloveforned · 3 years

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the new show hits wlur at 8pm and we'll be giving a little extra attention throughout to mark lanegan, who passed away earlier this week. tune in or catch up with last week's show below!

no love for ned on wlur – february 18th, 2022 from 8-10pm

artist // track // album // label luluc featuring j mascis // me and jasper // sculptor // sub pop snail mail // adore you (valentine demo) // adore you (valentine demo) - single // matador local tourist // undone // other ways of living // lovers weekend cat stevens // i wish, i wish // harold and maude soundtrack (remastered) // universal cat power // here comes a regular // covers // domino * curtis harding // hopeful // if words were flowers // anti * big thief // simulation swarm // dragon new warm mountain i believe in you // 4ad * picastro // man has been struck down by hands unseen // i've never met a stranger cassette // (self-released) lofi legs // thinking of you // leg day // we were never being boring great lakes // i'm not listening // contenders // happy happy birthday to me * research // delusion loop // the post modern always rings twice // better than your records emma-jean thackray // say something (live on later with jools holland) // yellower, volume one ep // movementt joel vandroogenbroeck // rocks // far view // drag city graham collier featuring feat. harry beckett and ed speight // red sky at night // british conversations // my only desire robbie lee and lea bertucci // image mirror // winds bells falls // telegraph harp dave rempis and avreeayl ra // fire and ash // bennu // aerophonic irreversible entanglements // lágrimas del mar // open the gates // international anthem gene russell // me and mrs. jones // talk to my lady // black jazz i-sef u-sef // alone again // consistency cassette // preference golden browne featuring yu // something // golden browne // hipnott seba kaapstad featuring quelle chris // our people // konke // mello music group akai solo // color of conquerors // ride alone, fly together // novelty kitty craft featuring yoshinori aoki // tonight // lost tapes // takotsubo marinita precaria // tú pa qué // no me miréis // elefant the convenience // kiss me in heaven // accelerator // winspear * teleman // storm chasing // sweet morning ep // moshi moshi * don't // your brother // lightning slow // dreamy life

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dustedmagazine · 6 days

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Rempis / Adasiewicz / Abrams / Damon — Propulsion (Aerophonic)

The title of this recording is apt. Saxophonist Dave Rempis, vibraphonist Jason Adasiewicz, bassist Joshua Abrams, and drummer Tyler Damon sustain direction and momentum throughout its three lengthy tracks, which are excerpted from a concert that transpired on August 31, 2023 at Elastic Arts in Chicago. But it could just as easily be called Cusp, since it captures the precise moment when the quartet’s leader transitioned from one career phase characterized by intense community engagement to another that will focus upon articulating a mode of improvisational music-making that’s taken decades to develop.

Besides his dogged work as a musician and label proprietor, Rempis is an indefatigable organizer. He’s had a strong hand in the production end of the Hyde Park Jazz Festival and Pitchfork before that, and for 21 years he ran a weekly concert series presenting improvised music for the Elastic Arts Foundation. The latter affiliation came to an end the night that this music was played, when Rempis booked himself to play the final concert of his tenure with Elastic Arts. It fell on the same weekend as the Chicago Jazz Festival, which has often been an occasion when he would choose to play with one of his more enduring ensembles in some smaller venue after the main festival closes for the night. But this time he picked a new combo, albeit one with deep roots. Rempis, Adasiewicz, and Abrams are part of a cohort that came onto Chicago’s jazz scene in the 1990s, and they’ve been appearing on records together in varying combinations for nearly two decades. Damon and Rempis have been frequent collaborators since 2017, when their trio Kuzu (with Tashi Dorji) was first born on Elastic’s stage.

This web of associations is key to the character of the music on Propulsion. Everyone here understands what Rempis is after, and knows how to make it happen. The essence of his aesthetic is a convergence of the micro and macro. He’s committed to total improvisation. The music is made in the moment that is played, and the selection of personnel is his chief compositional decision. But that’s still very much a compositional act, since Rempis wants his improvisations to develop cohesive forms shaped by the imagination of every contributor. Even an unaccompanied passage, such as the incandescent, circular breathing-fueled four-minute line drawn by Rempis’ alto that opens “Egression,” is simply part of a larger, collectively conceived work. While his keening instrumental voice pushes forward, a calmer vibraphone melody wreathes it, and a seething maelstrom of bowed bass and Sisyphean drumming first fuels the progress and then resolves it as the music gently lands night quite fourteen minutes later.

Music like this doesn’t work unless all parties involved are tuned into each other from moment to moment. But it also requires musicians with sufficient recall where the music has recently been to make contributions that make sense as part of a larger developmental arc. While nothing quite matches the experience of being present when such music is being willed into existence, Propulsion comes close enough to deliver the feeling as well of the sound of committed co-creation.

Bill Meyer

#dave rempis #jason adasiewicz #joshua abrams #tyler damon #propulsion #aerophonic #bill meyer #albumreview #dusted magazine #jazz #elastic arts foundation #total improvisation

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shijinpunnaykaljoseph · 5 years

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#Blog Post 3. Indian Percussion Instruments

The Indian subcontinent's music is usually divided into two main classical music traditions: North India's Hindustani music and South India's Karnatak music, although many areas of India do have their own musical traditions independent of these. According to the Hornbostel – Sachs method, Indian musical instruments can be narrowly divided into four categories: chordophones (string instruments), aerophones (wind instruments), membranophones (drums), and idiophones (non-drum instruments).The diversity of drums and percussion instruments in India is enormous. The famous Indian percussion instruments include Tabla, Mridangam, Dholak, Pakhawaj, Madal, Dhol, Ghatam and many more.

Tabla

The Tabla is one of India's most popular instruments. It is a two-piece percussion instrument and is the main rhythmic accompaniment to most classical and light music from North India. It is said to have originated from the two-faced drum called the mridangam and the pakhawaj. The bass drum or the male drum played with the left hand is called the bayan, the dhaga, or the duggi. The Dayan or tabla is called the treble or the female drum that is played with the right hand. The bayan has a rounded metal shell, and the Dayan usually has a slimmer wood shell. Both are covered with the skin attached to leather hoops that are extended through leather braces over the drum's head. Between the braces and the tabla wall, there is a cylindrical block of wood wedged. It is possible to push up or down the wedges to lower or lift the pitch. Applying a flour-water mixture to the Dayan's left head reduces the pitch and gives the dull bass sound. After use, this coating can always be scrapped off. The plaster is mixed with fillings of iron in bayan and applied once and for all. The table's sound is light and sweet, while the bayan's pitch is infinite. The drums on the field are held upright and played with the fingertips. This instrument has the ability to produce almost all rhythm patterns. The most popular artist of Tabla is Ustad Zakir Hussain.

Ustad Zakir Hussain

Mridangam

Mridangam is the rhythm instrument used in the Carnatic music to sustain the recital thala. Mridangam's word means clay's body. It is the oldest of all instruments for percussion. It's similar to north India's Pakhawaj. The Mridangam is a double-sided drum with one piece of wood in the body of the instrument. It has a barrel shape slightly to one side with the bulge and the right side is smaller than the left side. For high and low pitched sounds, the body is hollow with two openings of different sizes. The left side is called the two-layer tappi. A flat leather ring attached to a plait known as the pinnal is the outer layer. The inner layer is a circular piece parchment with a diameter close to the outer skin. There are three laminations on the right side. There are rings in the inner and outer. The centre circular layer is held by fastening the annular rings of leather along its periphery. The whole complex called ' valan talai ' is stitched onto a pinnal or plait and mounted on the barrel's right mouth. The two heads are joined together and held tightly together by leather straps that move on both sides in and out of the pinnals or braids. On the centre of the left side, a combination of flour and water is added to lower the sound to the desired pitch. It gives a full burst of bass. After use, this is removed every time. The center of the right side has a permanent coating of a black substance called siyahi which is a mixture of boiled rice, manganese dust, iron filings and other substances. This layer gives characteristic tone to the mridangam and facilitates the tuning to a particular pitch.

Chenda

The Chenda is an important instrument of percussion used in many Kerala dance forms, especially in the Kathakali (traditional art form) and the Koodiyattam (traditional art form). It is one of the traditional tools used in temples of Kerala. It is also known in some parts of Karnataka as a chende and is used in the Yakshagana folk dance drama. It is a cylindrical wooden drum with a length of two feet and a diameter of about one foot. Typically the drum is made of wood from jackfruit. The skin is covered on both sides of the Chenda. While the Chenda has two faces, it uses only one surface. From his back, the drummer suspends the Chenda so that it hangs more or less horizontally. Then it is played with the Champpangu tree's specially made sticks. The sound that the Chenda produces is very loud. The Uruttu Chenda, the Veeku Chenda and the Acchan Chenda are some of the varieties in the Chenda.

Dholak

The dholak is a double-headed drum with one side of the bass head and the other side of the treble head. It is one of the most commonly used drums in India's folk music. In most recording and broadcast environments, it is also a common instrument. The Bass head is more like a multi-layered skin tabla head. A paste on the head of the treble gives a tone of high pitch. Metal hooks keep the heads in place with nuts at the bottom that can be tightened or loosened to change the head's pitch. It is mainly used in folk music, light music, bhajan, and movie music.

Pakhawaj

The Pakhawaj is an ancient percussion instrument in the shape of a barrel with two hands. It's basically a Mridangam's North Indian version. The right head is the same as the tabla and the left head is similar to the tabla bayan except that instead of the black permanent spot, there is a temporary application of flour and water. It is rawhide lined and has tuning blocks between the straps and the case. A sequence of mnemonic syllables known as bol shows the rhythms. The Pakhawaj is used primarily to accompany dhrupad and dhammar singers. It is also used extensively in Orissi dances and sometimes in the kathak. It is also present in Rajasthan's classical form called the Haveli Sangeet. This instrument is rare today.

Ghatam

The Ghatam is one of South India's oldest percussion instruments. It is a specially designed mud pot with a narrow end, which together with the Mridangam is used as a secondary percussion instrument. The pot usually consists of a mixture of clay baked with fillings of brass or copper and a small amount of fillings of iron. The pitch of the Ghatam varies according to its length. Each Ghatam has its own inherent pitch, but it can be slightly altered by adding plasticine, clay, and water to the pot's inner layers. The performer sits with the ghatam cross-legged on his lap, the mouth of the instrument facing his belly. The ghatam is sometimes turned around, so the mouth faces the crowd, and the artist plays on the ghatam's head. Often, to the delight of the audience, the performer throws the pot in the air and catches it in rhythm.

Instruments which I have encountered with!!!

Even though I don’t know any of these instrument I had got a chance to explore some of them. They include tabla, mridangam, chenda and ghatam. In our state Kerala (in India), there is an annual youth festival in which there is competition for these instruments. When I was studying under graduation in Kerala I also got chance to visit this competition as a part of students union. We had students from my college who plays these instruments. Therefore I got a chance to play some rough beats and had a great time exploring them.

References

1. Chenda. (n.d.). [Image] Available at: http://niagaratharangam.com/photo_gallery.php [Accessed 7 Nov. 2019].

2. Courtney, D. (n.d.). Pakhawaj - Indian Drum. [Online] Chandrakantha.com. Available at: https://chandrakantha.com/articles/indian_music/pakhawaj.html [Accessed 7 Nov. 2019].

3. Darbar.org. (2019). The Mridangam: an ancient, divine drum | Darbar Explains | Music of India. [online] Available at: https://www.darbar.org/article/the-mridangam-an-ancient-divine-drum/84 [Accessed 7 Nov. 2019].

4. Dholak. (2017). [Image] Available at: https://www.istockphoto.com/gb/photo/indian-drums-dholak-gm638213674-114300219 [Accessed 7 Nov. 2019].

5. En.wikipedia.org. (2019). Chenda. [Online] Available at: https://en.wikipedia.org/wiki/Chenda [Accessed 7 Nov. 2019].

6. En.wikipedia.org. (2019). Dholak. [Online] Available at: https://en.wikipedia.org/wiki/Dholak [Accessed 7 Nov. 2019].

7. En.wikipedia.org. (2019). Ghatam. [Online] Available at: https://en.wikipedia.org/wiki/Ghatam Accessed 7 Nov. 2019].

8. En.wikipedia.org. (2019). Mridangam. [Online] Available at: https://en.wikipedia.org/wiki/Mridangam [Accessed 7 Nov. 2019].

9. En.wikipedia.org. (2019). Tabla. [Online] Available at: https://en.wikipedia.org/wiki/Tabla [Accessed 7 Nov. 2019].

10. En.wikipedia.org. (2019). Zakir Hussain (musician). [Online] Available at: https://en.wikipedia.org/wiki/Zakir_Hussain_(musician) [Accessed 7 Nov. 2019].

11. Ghatam. (n.d.). [Image] Available at: https://www.ghatamudupa.com/ [Accessed 7 Nov. 2019].

12. Indianmirror.com. (n.d.). Dholak. [Online] Available at: https://www.indianmirror.com/music/dholak.html [Accessed 7 Nov. 2019].

13. Kasliwal, s. (2001). Ghatam - India Instruments. [Online] India-instruments.com. Available at: https://www.india-instruments.com/encyclopedia-ghatam.html [Accessed 7 Nov. 2019].

14. Kasliwal, S. (2001). Mridangam - India Instruments. [Online] India-instruments.com. Available at https://www.india-instruments.com/encyclopedia-mridangam.html [Accessed 7 Nov. 2019].

15. Kasliwal, s. (2001). Pakhawaj - India Instruments. [Online] India-instruments.com. Available at: https://www.india-instruments.com/encyclopedia-pakhawaj.html [Accessed 7 Nov. 2019].

16. Kasliwal, S. (2001). Tabla - India Instruments. [Online] India-instruments.com. Available at: https://www.india-instruments.com/encyclopedia-tabla.html [Accessed 7 Nov. 2019].

17. Keralaculture.org. (n.d.). Chenda, Percussion Instrument. [Online] Available at: http://www.keralaculture.org/chenda/105 [Accessed 7 Nov. 2019].

18. Mridangam. (2019). [Image] Available at: https://www.flickr.com/photos/skbalasub/14251452512 [Accessed 7 Nov. 2019].

19. Pakhawaj. (2019). [Image] Available at: http://adit151621.blogspot.com/2016/11/musical-instruments-used-in-odissi.html [Accessed 7 Nov. 2019].

20. Ponmelil, V. (n.d.). India - Percussion Musical Instruments - India Info @ New Kerala .Com. [Online] Newkerala.com. Available at: https://www.newkerala.com/india/Indian-Music/Indian-Musical-Instruments/Percussion-Musical-Instruments.html [Accessed 7 Nov. 2019].

21. Siebenkaes, M. (n.d.). Indian Musical Instruments. [Online] Tarang Indian Instruments. Available at: https://www.indian-instruments.com/drums_and_percussion/drums_and_percussion_overview.htm [Accessed 7 Nov. 2019].

22. Tabla. (n.d.). [Image] Available at: http://vedanshmusicschool.com/home/ [Accessed 7 Nov. 2019].

23. Zakir Hussain. (2019). [Image] Available at: https://www.clatgyan.com/clat-general-knowledge/briefs/the-daily-brief-18th-july-2019/ [Accessed 7 Nov. 2019].

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homestuck-human-generator · 9 months

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Name: Ind. Verl Madden Color: Laguna #F8e473 Symbol: record Strife Specibus: fankind Handle: aqueousClam Animal: squirrel Pronouns: she/her Age: 25 Birthday: 209th day of the year Sexuality: irrelevant Interests: handball and association football Dream Moon: derse Classpect: Witch of Heart Land: Land of Cathedrals and Dew, a nervous place, with happy Fire Skink consorts. It is a place full of spider shaped ponds and canals. Hephaestus can't wait to meet the player. Instrument: aerophone

#IFTTT #homestuck #oc generator #homestuck kid

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nuadox · 2 years

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How the music of an ancient rock painting was brought to life

- By Neil Rusch , Sarah Wurz , University of the Witwatersrand , The Conversation -

Archaeologists spend a lot of time examining the remains of distant pasts, which includes the study of rock paintings. This is largely visual work – but sometimes we can “hear” the ancient past using acoustic methods.

Our archaeoacoustic research is focused on bringing to life sounds made by people living in the past. No aural record remains but people did dance, sing and clap. Instruments either no longer exist or are extremely rare. One exception are the gong rocks, known as lithophones, which ring when struck and produce purposeful, percussive sounds. Occasionally, unfamiliar and rare musical instruments are depicted in rock paintings.

In a new study we turned our ears to a rock painting in the Cederberg Mountains in South Africa’s Western Cape province. The human figures in this painting have previously been interpreted as healers holding fly-whisks and doing a trance-dance. Fly-whisks were an important accessory for the dance because they were thought to keep arrows of sickness at bay.

But our results suggest that the fly-whisks are in fact musical instruments of a type known as a !goin !goin – a name that only exists in the now extinct ǀXam language that was spoken by hunter-gatherers in central southern Africa. The !goin !goin is an aerophone; these instruments produce sound by creating vibrations in the air when they are spun around their axes.

To reach this conclusion we combined digital image recovery techniques with instruments created from life-size templates based on our findings. The eight instruments were played in a Cape Town sound studio and the sounds were recorded. Sound produced by the recreated instruments convincingly matches the sound spectrum (90 – 150 Hz) produced by a similar 19th century model of the !goin !goin aerophone, which is archived in the Kirby Collection of Musical Instruments, curated by the University of Cape Town’s College of Music.

Our results suggest that !goin !goin type aerophones were used around or before 2000 years ago. This conclusion is based on the age of the image that is painted in the fine-line technique, which is a style of painting that disappeared with the arrival of pastoralists in the southern Africa region 2000 years ago.

The Cederberg painting is one of only four known examples of aerophone playing depicted in rock paintings in the southern Africa region. By contrast many paintings are identified as illustrating fly-whisks. Our findings suggest the need for greater nuance when studying rock paintings. Perhaps some of the fly-whisk depictions should be revisited with a “listening ear”?

Composition

The !goin !goin generates a distinct pulsating sound (visualised in the image below) due to the circular rotation of the player’s arm and the twisting and untwisting of the cord that attaches the rotating blade to the stick.

Spectrogram illustrating the pulsating charater of !goin !goin sound. Orange and yellow areas represent frequencies of high intensity, and blue the low intensity.

An unexpected finding was the compositional possibilities offered when two or more !goin !goin were played at the same time. Speeding up and slowing down the rotation subtly changes the sound. Two instruments, one played fast and the other slow, creates a composition. Playing in sync and out of sync adds another layer of musical creation.

It was not possible to play eight instruments in the sound studio at one time. An eight-instrument performance requires more space than the studio could provide. But a sound recording of three !goin !goin playing together suggests what group music-making with the !goin !goin may have sounded like.

A sound recording of three !goin !goin playing together. Neil Rusch, Author provided (no reuse) MP3/309 KB (Play or download)

This compositional aspect of the instrument was not well known at all so we delved deeper. In the Special Collections archive at the University of Cape Town we found an obscure description of the !goin !goin which confirmed, as does the Cederberg painting, that groups did play the instruments together.

An instrument consisting of a blade of wood attached to a little stick, which is held in the hand. The performer grasping the little stick whirls the blade about in the air, producing a whirring sound. It is used by both sexes among the Bushmen [another name used for the San and today considered derogatory by some] and, at times, by a number of persons together with the view to causing rain.

ǀXam-speaking hunter gatherers associated the sound of the !goin !goin with honey bees. They even went so far as to say that with the !goin !goin they could “move bees”. This complements the previous statement linking the instrument’s sound with “causing rain”. The archive statement also confirms that both men and women worked with rain, using the sound of the !goin !goin for this purpose.

Trance links

What of the trance healing dance suggested by earlier interpretations of the Cederberg painting? It is well known that all senses, not just vision, hallucinate in trance and that the aural hallucination of buzzing is construed as the sound of bees, rushing wind or falling water. So the painting does link to trance because of the association with bees and buzzing – but the items depicted in the painting are musical instruments, not fly-whisks.

Neil Rusch, Research Associate, University of the Witwatersrand and Sarah Wurz, Professor, University of the Witwatersrand

This article is republished from The Conversation under a Creative Commons license. Read the original article.