NEIL NAPPE - NOVA Mauricio Piñeros López 2011-12-16 | Album: July Year: 1986 July" is the only album I know that was done by Neil Nappe. No keyboards used in making music. According to the back of the album, it was done with "Guitar Synthesizer, M.I.D.I. and more M.I.D.I." Released on a short-lived label and not re-issued to this day. Here's a little quote from him: "July" was performed entirely on synthesizers of one sort or another (except for a bit of my trusty '74 Les Paul) and recorded in my home on 4-track cassette format. MATRIXSYNTH
Space Weather - s/t Mauricio Piñeros López 2019-01-06 | Debut album by Scottish astral voyagers, Space Weather released in June 2009.creditsreleased June 26, 2009 Alistair Crosbie - electric guitar Brian Lavelle - synthesizer Andrew Paine - electric bass guitar
Ashem Simian - Omicron Mauricio Piñeros López 2019-01-06 | Album. Omicron In Ostrobothnian Finsternis.Compositor. Ashem Simian (Ami Hassinen).Año. 2009.Género: Electrónica.Estilo. Berlín School.
Alex de Grassi - Clockwork (Live) Mauricio Piñeros López 2019-01-06 | Tema. Clockwork.Compositor. Alex de Grassi.Album. A Windham Hill Retrospective.Interpretado por. Alex de Grassi (guitarra), Chuck Greenberg (lyricon), Darol Anger (violín), Michael Manring (bajo) y Michael Spiro (percusión).Año. 1983.
Gaussian Curve - T.O.R Mauricio Piñeros López 2018-04-30 | Band. Gaussian Curve.Album. The Distance.Theme. T.O.R.Year. 2017.Personnel:Gigi Masin, Jonny Nash, Marco Sterk.Gaussian Curve is a multi-generational ensemble focusing on beautiful slow-burn ambience. Clouds unfolds like a dream, and to call it "atmospheric" would be an extreme understatement. It probably bears as much in common with watercolor as it does most electronic music.
Glass Hammer - Time Marches On Mauricio Piñeros López 2017-06-13 | Album: Perelandra.Song: Time Marches On.ALBUM PERSONNELFred Schendel: Lead and backing vocals, keyboards, acoustic and electric guitars, drums and programming, mellotronSteve Babb: Lead and backing vocals, keyboards, bass guitar, taurus pedals, mellotron, zoominator, rhythm programmingWalter Moore: Vocals, 12-string acoustic guitar, mo-better electric guitarMichelle Young: Vocals, more vocals, singingMilton Hamerick: Steel guitarsRandy Burt: SaxophoneTracy Cloud: Backing vocals, speakingDavid Carter: 12-string guitar on “Into the Night”ALBUM TRACKSNow ArrivingTime Marches OnLliusionThe Way to Her HeartFelix the CatNow DepartingPerelandraLe Danse FinalThat Hideous StrengthEnda the LionInto the NightHeaven ALBUM RELEASE INFORMATIONDate of Original Release: November 1, 1995Label: Arion Records/Sound ResourcesPublisher: Sound Resources/BMIALBUM DESCRIPTIONGlass Hammer’s second disc (based loosely on C.S. Lewis’s Narnia and “fairy tales for adults” series) showed even more maturity, a cooler musical tone, and long sweeping instrumental sections. Progressive rock dealer, The Laser’s Edge, raved, “A strong sense of melody is a Glass Hammer trademark and it’s present here in spades. This is a virtual demo disc for your sound system…one of the best progressive rock albums ever. Alan Parsons should be jealous.” The Spanish magazine Lunar Suite wrote that “Glass Hammer possesses the clarity and positiveness of Yes, and the majesty of ELP. In order to live out a thousand magical experiences put it in your player, press play and let your imagination do the rest!.”
Mole Harness - All Your Memories Return At Once Mauricio Piñeros López 2017-05-27 | James Brewster is an English musician, producer and sound-explorer currently living in Malmö, Sweden. His interests include field recordings, ultra-melodic song-structures, dense digital processing, cryptically evocative lyrics, improvisation, atmospheric sound-design, evolving counterpointed melodies, noise, audience participation, intricate rhythm patterns, spoken-word, no-input, bells, spontaneous collaborations, and the sounds of giant seed pods.'As a hovering insect mass breaks your fall' is his fourth album, and the first to be released under his given name. It came out in March 2011 on the UK label Make Mine Music. The record features six guest vocalists – including Nick Talbot of Gravenhurst (Warp Records) and Albanian opera singer Egzona Gervalla – as well as vocals from James himself on some tracks. This album also incorporates a wider variety of sounds, ideas and influences than any of his previous work. Read more about the album and see the artwork at the release page here.The release was preceded by a free download single, also on Make Mine Music. This features a cover of 'The Great Dominions' by The Teardrop Explodes, as well as a reworking of 'Crumbling spires' from the album. This new version of the track incorporates a passage from the W.H. Auden poem 'In Memory of W.B Yeats', read by Falko Teichmann.James' music has previously been played on BBC national radio programmes 'Mixing It' and 'Late Junction', as well as on other stations in the UK and around the world. It has also been used for ballet performances in Japan. In addition he has made music for short films, both creating soundtrack compositions in the studio as well as performing scores live at film screenings. He has toured the UK, and played at a venue depicted on a Swedish banknote.He has also collaborated with a wide variety of other artists – both live and on recordings - including SJ Esau (Anticon), Andrew Broder and Tim Glenn of US band Fog, Lorenzo Senni (Presto!?), Guy Bartell (Bronnt Industries Kapital / Get Physical), Dave Collingwood (Gravenhurst / Yann Tiersen), Jasper Leyland (12x50 / MOAR), Swedish guitar improv trio Halster, and Andreas Beraha, with whom he forms the drone-rock duo Denied By Character.BackgroundJames Brewster began making music in late 2001 in Bristol, England, inspired by the city's vibrant DIY scene. Over the next seven years he released three albums and three EPs under the moniker Mole Harness (on various labels including Float, Silent Age, Umi and Kesh, as well as on his own Stray Dog Army imprint). In late 2008 he ended the project, deciding that it couldn't be taken any further. He had also started to feel creatively restricted by the relatively defined sound of Mole Harness (which focused heavily on intricate guitar structures and subtle electronic processing).Since then all solo performances and recordings have been under his given name, the sole exception being a 2008 EP under the moniker Centreless, which consisted of abstract digitally processed sounds and painstakingly-edited field recordings. Brewster now lives in Malmö, Sweden, having moved there in mid-2006.He is currently working on a new album of corroded pop music, provisionally entitled 'Tales in brick dust' and set for release later in 2011. This fifth full-length will feature new collaborators and a wider variety of instrumentation than before.
Simeon Ten Holt - Canto Ostinato for Synthesizers Section 17 Mauricio Piñeros López 2017-04-15 | Sandra & Jeroen van Veen, keyboards/synthesizersCatalogue number: PP 2047Produced by: Van Veen Productions, PianoManiaPianos: 2x Yamaha P120, 2x Roland FP07, Logic MainstageRecording location: Van Veen Productions Studio 01Work published by © Donemus, Den Haag Software: ProTools, LogicProduced by: Van Veen ProductionsEngineered & Mastered by: PianomaniaSoftware: Pro Tools, & SamplitudeRecording date: September & October 2013Recording locations: Culemborg, Van Veen Productions, Studio 01
Jozef Van Wissem - The Stars Fall From The Sky And The Heavens Are Rolled Up Like A Scroll Mauricio Piñeros López 2016-10-25 | The Stars Fall From The Sky And The Heavens Are Rolled Up Like A ScrollAlbum. It Is All That Is MadeYear. 2009
Dieter Moebius - Opaque Mauricio Piñeros López 2016-08-21 | Album: Norton.Year:2006.In a nutshell:• On the second album of his late solo work, the krautrock legendDieter Moebius († 2015) searches for flaws and uses them as acreative impulse. As usual, he blithely ignores any mainstreamexpectations.In science, an experiment is defined as an attempt to methodicallygain information by systematically varying parameters.The results then confirm or refute the hypothesis or the model ofthe experiment. In art, however, confirmation is not of interest.Far more exciting are the flaws. They can lead to completelyunexpected results or to new phenomena that had previouslybeen expected. In science, such moments are called discoveries.In this sense, Nurton is experimental music. We can observeDieter Moebius on his quest for flaws, which he then uses as acreative impulse. Rather than sonically imitating the instrumentsof a band lineup or following a conventional song structure, hedeparts from such rigid approaches. He gladly makes use ofnoises and otherness to create variations, examine the resultsand sculpt his songs. In doing so, he allows us to participate inhis quest to harness unexpected flaws and to share in hisfrequent discovery of an inspiring sonic event found off thebeaten path.Many tracks on the second album of his later solo workcommence with noise-like loops. Moebius then adds levels ofsound, layer by layer. Threatening industrial-sounding squeaking,wheezing and sluggish pounding are joined by playful, digitallead sounds or provided with a foundation using meditative dronesounds. And almost imperceptibly, the piece lures us into acomforting hypnosis that one wishes would never end.On Nurton Moebius demonstrates his true greatness: From aseemingly arbitrary initial loop, he almost imperceptibly creates ahypnotic experimental atmosphere: linear, without escalation,stoic, with clarity and to a hypnotic effect. In doing so, Moebiususes bolder and more experimental lead sounds than on hisprevious solo album Blotch, from seven years prior. The sonicimpression is more diverse and feels reconciled with the soundsof digital synthesis. Only the last track of the album, fittingly titledDas Letzte, provides a preview of the musical development thatwould characterize Moebius’ solo releases to follow.
Manual - Summer of Freedom Mauricio Piñeros López 2016-05-27 | Album. Azure Vista. (2005).Manual is the performing name of electronic musician, Jonas Munk, from Odense, Denmark. Manual's music is considered to be in the styles of ambient dream pop and indietronica. His sound tends to contain a mix of software synthesizers, guitars (sometimes sampled or heavily processed), and various digital signal processing effects. Mixing elements of pop, glitch, and indie music, Manual is compared to artists ranging from IDM artists, such as Boards of Canada, as well as shoegazer groups like My Bloody Valentine.Munk's output as Manual is strongly associated with the aesthetic of Morr Music, the label that released his first two albums. He also is featured on the Morr Music compilation Blue Skied an' Clear, which was a Slowdive tribute.In 2004 he joined the American label Darla. Simultaneously, Munk started a psych stoner band called Causa Sui, and they released their self-titled debut album in December 2005.
Roedelius + Schneider - Indie Woogie Mauricio Piñeros López 2016-05-25 | Album. Tiden.Year. 2013.All music by Hans-Joachim Roedelius and Stefan Schneider.
Andy Hawkins - River Blindness (1995) Mauricio Piñeros López 2016-05-25 | An anthology of noise & electronic music/Fourth 1937-2005.Andy Hawkins is a composer, record producer and guitarist from Missouri as well as a founding member of the band Blind Idiot God. He has also recorded as a solo artist under the moniker Azonic, releasing two experimental drone albums that were more abstract and feedback-based compared to his more structured work in Blind Idiot God. He married Rachel Meuler on Marh 19, 2016 in Kentucky.With an ability to traverse multiple genres and styles and utilize distortion and drone music, Andy Hawkins' technique has been described as being forceful yet precise. Hawkins has noted the importance of equipment and the role space plays in his sound, saying, "I can't play through a small amp for an entire recording. I've got to have that big-amp impact along with the ambience of the room. There's a lot of complexity in a distorted guitar tone, and it needs some room to breathe."[8] The Wire described him as "a master of oceanic reverb and sustain, turning riffs from concrete slabs to gentle, body-caressing ripples." Hawkins has cited modern classical composers such György Ligeti, Krzysztof Penderecki and especially Igor Stravinsky as an influence, crediting The Firebird with kindling his passion for music at an early age.[This track is a lengthy exploration that occasionally gets hazardous, but always comes back to the heart of the purely electrical sound of a plugged -in guitar. Feedback control is a very delicate Art of Movement. Produced by Bill Laswell and Andy Hawkins.
Ron Boots - Andromeda Mauricio Piñeros López 2016-05-25 | Album. Odds & Ends.Ron Boots is part of the so-called third generation of electronic musicians. The first generation, in the early 1970's, consisted of the EM pioneers and the second generation emerged at the end of the 1970's/early 1980's which included their descendants. Ron was born on October 13th 1962 in Eindhoven. Nowadays, he still lives and works in the neighborhood of his native town, in the village of Best. In the middle 1970's, Ron was introduced to electronic music through the album 'Timewind' by grandmaster Klaus Schulze. Ron was so overwhelmed by this style music that he decided he wanted to play electronic music himself. In addition to the well-known electronic music names like Schulze, Tangerine Dream, Vangelis, Steve Roach and Patrick Kosmos, Ron was also influenced by other music genres. His favorite bands and artists included Simple Minds, David Sylvian (from the band Japan), Pearl Jam, Marillion and film composers John Williams and Maurice Jarre (the father of Jean Michele). In 1984 he bought his first synthesizer, a monophonic Yamaha CS10. While, his first excursion into music was in 1977 as a singer in a school band - 'That was to get girlfriends', he explained in an interview. Using the CS10 he began to seriously compose and in 1986 Ron gave his first electronic music concert.
RPWL - Wasted Land Mauricio Piñeros López 2016-05-20 | Band. RPWL.Country. Germany.Album. The World Through My Eyes.RPWL biography RPWL (Risettion Postl Wallner Lung - the band members) is a German progressive rock band. The band was formed in 1997 as a Pink Floyd cover band. After three years they started to make their own music based on their influences from their cover band era. Their debut CD, God Has Failed was met with international enthusiasm, praise and excellent reviews in all the major progressive rock music magazines.The band wanted to make a statement with Trying To Kiss The Sun in 2002, which relied more on the band as a creative entity and less on their influences. Their 3rd studio album, Stock was released in 2003. It was formed of the tracks that didn't make it onto the first 2 albums, plus a cover of Syd Barrett's "Opel", which the band used at shows as a soundcheck.In 2005 they released their 4th studio album World Through My Eyes. This was received well by fans and off it their first single was taken- "Roses" sung by former Genesis and Stiltskin vocalist Ray Wilson.Later that year, the band released their 1st live album Live- Start The Fire. The double disc album contains the whole of the band's Rockpalast concert, again featuring Ray Wilson on lead vocals for "Roses" and one other track this time, "Not About Us", which is from Ray's one and only album with Genesis entitled Calling All Stations.In 2007, saw the release of 9--a compilation including 5 previously unreleased live songs and 4 brand new solo songs recorded together by the band. Those studio-tracks are representing the different influences in the band. 9 was released in a limited edition of 999 CDs and was only available from their website.In February 2008, they released a new album called The RPWL Experience, which diverted greatly from previous efforts. Martien Koolen of DPRP writes, "The southern German prog rock band certainly explores new musical horizons on this album as some songs even sound raw and unpolished."
Peter Mergener & Michael Weisser - Sunny ROM Rise Mauricio Piñeros López 2016-05-20 | Album. Phancyful Fire.Year.1985.Software biography Software formed in 1983 by German duo Peter Mergener and Michael Weisser, Software owes much to electronic pioneer Klaus Schulze. Software's music usually builds on sequencer patterns and simple melodies, creating a lighter version of The Schulze style. Their later work is woven into concept albums, yet the music rarely lives up to their poetic aspirations. Software's earlier recordings with Peter Mergener are generally more satisfying.(Biography courtesy of/taken from All Music.Com)
Deuter - Ecstasy Mauricio Piñeros López 2016-04-10 | Artist. Deuter.Album. Ecstasy.Theme. Ecstasy.Year. 1979.Born in 1945 in post-war Germany in the town of Falkenhagen, Deuter taught himself the guitar, flute, harmonica and "just about every instrument I could get my hands on," though it wasn’t until after a near-fatal car crash in his early twenties that he decided to pursue a career in music. His first release in 1971, titled D, is widely acknowledged as a Krautrock classic. D marked the beginning of Deuter’s spiritual and musical journey, ostensibly paving the way for a new genre of music known as New Age, which combined acoustic and electronic elements with ethnic instrumentation and nature sounds, such as whale and bird song, the open sea, wind in the trees, etc.[1]During the 1970s and 1980s Deuter, after travelling extensively in Asia in search of spiritual and creative inspiration, settled for a long time in Pune, India, where under the name Chaitanya Hari he became a neo-sannyasin — a disciple of Bhagwan Shree Rajneesh, who later changed his name to Osho. With the aid of a multitrack tape machine, living in the neo-sannyas ashram, he produced a series of music tapes to be used in "active meditations", consisting of several "stages" of ten or fifteen minutes each, which range between, and often merge, Indian classical motifs, fiery drums, loops, synthesisers, bells, musique concrète and pastoral acoustic passages. These works, constructed to the master's instructions in consultation with a team of disciples testing the meditation methods, deserve recognition for their purely functional or objective origination as well as for their originality, power and sometimes beauty.In the early 1990s, Deuter — who always retained his professional name — ended his long standing relationship with Kuckuck, the small record label that had released nearly 20 original Deuter albums in as many years, and relocated to Santa Fe, New Mexico where he signed a deal with New Earth Records, an independent label founded by fellow sannyasin Bhikkhu Schober and Waduda Paradiso. This proved to be a lucrative move for all involved, as Deuter's New Earth Records releases, the majority of them intended to accompany various healing and spiritual practices such as Reiki, massage and meditation or, in the case of Earth Blue (2003), a collaboration with the Autostadt Volkswagen factory in Wolfsburg, Germany, have sold well over half a million copies.Deuter continues to learn and master an ever-expanding array of instruments, including the drums, the shakuhachi flute, the koto, sitar, Tibetan singing bowls, santoor[disambiguation needed], bouzouki, piano and keyboard. He has recorded and released over 60 albums and claims to have sold more than he can count during the course of his career.In 2016, Deuter's 2015 album Illumination of the Heart was voted among the top finalists for Album of the Year and Best Meditation/Relaxation Album by broadcasters and industry experts at Zone Music Reporter. In addition, Deuter received Zone Music Reporter's Lifetime Achievement Award, recognizing his 40 years and more than 60 recordings of musical contribution to the New Age genre.
Qluster - Traum vom Fliegen Mauricio Piñeros López 2015-12-10 | Album: Tasten.Year:2015.Onnen Bock.Armin Metz.Hans-Joachim Roedelius.Introverted, minimalist "classical" music has reached full bloom in recent years. Devotees of the neo-classical movement, as it has become known, flock to see the likes of Nils Frahm, Olafur Arnalds and Chilly Gonzales. Although "neo" is something of a misnomer. Erik Satie is seen as the progenitor of this style—and rightly so—yet he lived over one hundred years ago. If the current breed of "neo-classicists" have one thing in common, it is that they come from a rock/pop background and their audience is socialized accordingly.One pioneer of the genre is Hans-Joachim Roedelius. There is little classical music to be found in his backstory as a member of the avant-garde electronic combo Cluster. When he released an album of solo piano ("Like The Whispering Of The Wind") in 1986, the "neo-classical" designation lay many years ahead in the future. Roedelius has since issued numerous albums on which the piano plays a dominant role, either as a solo instrument or as a component in electronic collaborations, as with Stefan Schneider (To Rococo Rot), for example.Qluster was undoubtedly the most important collaborative project he was involved in. This was the group’s third incarnation, having been founded under the name of Kluster in 1969 by Roedelius, Dieter Moebius and Conrad Schnitzler. In 1970 they were responsible for two milestones of electronic music. Schnitzler quit Kluster two years later, leaving Roedelius and Moebius to carry on as Cluster. When the duo disbanded in 2010, Roedelius continued to fly the K/Cluster flag, this time as Qluster, joined by the keyboarder and electronic musician Onnen Bock. The duo again became a trio in 2013, when Armin Metz, an adventurous virtuoso on the bass, joined Qluster's ranks. Metz has earned quite a reputation for his excellent work in world music collaborations. "Tasten" can conceivably be described as the successor to the 2012 album "Antworten", on which grand pianos played a similarly significant role. Whilst "Antworten" featured singing bowls, "Tasten" is exclusively a piano work, one which sees the instrument used at times in unconventional, percussive ways, its strings plucked or stroked.Qluster explore the musical depths of three Steinway concert grands to their fullest potential. Spherical sounds of three overlapping instruments, complete with gentle tones and little melodies, sporadically culminating in impulsive sonic storms. A wonderful piece of neo-classical music by three masters of their art. (BUREAU B REVIEW)
Steve Rothery - Kendris (The Ghosts of Pripyat) Mauricio Piñeros López 2015-09-06 | Steve RotheryTheme. KendrisAlbum. The Ghosts of PripyatYear. 2014
Channel Light Vessel - Testify Mauricio Piñeros López 2015-07-19 | Band: Channel Light Vessel.Album: Automatic.Song: Testify.A short-lived collaboration between keyboardist Roger Eno, guitarist Bill Nelson, and oboist/saxophonist Kate St. John, Channel Light Vessel is more than a new age supergroup. Perhaps it's the influence of St. John (a key member of the underrated Dream Academy), but this is the most pop-oriented album Nelson's been involved with since his early-'80s run of pre-ambient solo records. Some tracks have vocals by Nelson and/or St. John (the opening duet, "Testify," is downright catchy), but even the instrumentals have recognizable melodies and easy-to-grasp structures. Eno's contributions are about evenly split between piano and synthesizers, and his playing is typically excellent; though often overshadowed by his more famous and innovative older brother Brian, Roger is a notable talent in his own right. His jazzy fills in the chattering "Ballyboots" elevate what might have otherwise been an aimless rhythmic exercise into something far more interesting. It's nice to hear Nelson singing again, and his gruff voice fits perfectly with St. John's angelic harmonies. Overall, the placid but not static feeling of Automatic is very much like David Sylvian's post-Japan work, and an excellent addition to all three artists' respective discographies.
Guther - Complaint Mauricio Piñeros López 2015-06-28 | Band: Guther.Album: I Know You Know.Song: Complaint.Year: 2003I've never quite understood exactly what "twee" music was; it seemed like just another arbitrary genre subdivider in the record bin of music journalism, probably not deserving of too much contemplation. But now I'm holding a copy of a CD by Guther, slick and shiny and waiting for the trash can, and I think I might just understand. And I'm hoping that I Know You Know is just one end of the no doubt vast spectrum of "twee" music-- the half-assed-attempt-to-sound-like-Belle-and-Sebastian-without- actually-being-very-good end.Aside from constructing a vapid time trap, languishing in the blue-tinged world of The Virgin Suicides, where cute teen actors are replaced by sour-faced indie kids with moptops and sweatbanded wrists, Guther seem to have spent their time perfecting just one song. And instead of filling up their notebooks with extra material-- just in case that one perfect tune isn't really as perfect as they'd hoped-- they decide to mix 9 variations on it and call it an album. If their intent is for I Know You Know to function as the shopping soundtrack for The Gap or Buckle, or that flagship of trust-fund suburban style Abercrombie and Fitch, then I can't talk shit, because that mission has been accomplished. You could browse the sale racks for pre-ripped cargo shorts and stressed AE t-shirts till your knees gave out and think you were listening to track one, "The Other Day" the entire time. There is so little variation in mood and tempo from song to song, you wonder why masterer Stefan Betke inserted the 2 seconds of silence between "Taglieben" and the equally wispy "Trouble You Cause".Coy and passive, with some jangly electric acoustic guitar and a smattering of G4 drums, I suppose this fits in simultaneously with the "twee" tag and the Morr Music ethos, but it's just fucking boring. The song titles contain more pronouns than you can possibly imagine ("You", "What She Felt", "We Walk"-- get the picture?), and the subject matter-- girls and boys in love/hate admiration-- has passed through the digestive system of so many like-minded (and much better) bands that the familiar taste is really starting to overpower the packaging. Maybe for the comatose or half-conscious this isn't really a problem; when you're in the mood for your music to just maintain that mood, and the components aren't of great importance, an album like I Know You Know might not be so offensive. Julia Guther's voice does slip nicely into the haut couture of the music, so whatever Guther is trying to pull off, they've done some homework. But what Morr Music would have us call a "summer record" would be better described as beige wallpaper: nondescript, and easily ignored. And this from the people who brought you Lali Puna and Mum.Julia Guther and Berend Intelmann think they've stumbled on a frequency that vibrates your heartstrings, and they ain't turning the dial anytime soon. Their timid vulnerability and doe-eyed sensitivity positively beg for a Louisville Slugger to the jaw: I Know You Know is less a collection of indie-vidual folktronica tunes than one long, self-absorbed sulk-fest on a big pink canopy bed, cigarettes stashed behind the dresser, vintage jeans strewn across the carpet, locked in the baroque mansion of The Royal Tenenbaums.
WILL ACKERMAN Impending Death Of The Virgin Spirit Mauricio Piñeros López 2015-05-17 | Windham Hill. Live at Red Rocks.
Jean Michel Jarre - Chronologie 4 Mauricio Piñeros López 2015-05-17 | Jean Michel JarreChronologie 4 - VideoAlbum: Chronologie.Year: 1993.Un astronauta extraterrestre visita al planeta tierra, arribando en Brasil. Allí se hace amigo de un indígena que paradójicamente también resulta ser un extraño mas para los congéneres de su propio planeta.
BOGOTÁ paisaje sonoro - Mauricio Bejarano Mauricio Piñeros López 2015-05-17 | BOGOTÁ paisaje sonoro.Compositor: Mauricio Bejarano.Año: 2000.Música Acusmática.El interés por el PAISAJE SONORO es reciente, y poco estudiado desde la perspectiva artística y cultural. Nuestras responsabilidades ambientales lo incluyen, y decidir sobre su aspecto es deber de configuradores y ciudadanos, entendiéndolo como patrimonio cultural que construimos colectivamente con sentido y calidad en el marco de una ecoestética acústica. Ante su creciente complejidad, parece existir tan sólo el deseo de disminución de “ruidos”, pero debemos edificar una actitud positiva ante él y valorarlo como parte de nuestra memoria histórica; pudiendo identificar componentes dignos de proteger, conservar e incluso restaurar. Al aproximarnos al paisaje sonoro debemos asumir el estudio del sonido como documento patrimonial, con una escucha analítica y minuciosa de sus significados; y al trabajar con él como materia sonora, desde el oficio del ARTE FONOGRÁFICO, surge, además de un interés por sus características morfológicas, un umbral, difícil de dilucidar, entre la producción documental y la creación artística. Los objetos sonoros son un recurso, muchas veces no renovable, que al conservarlos en forma de grabación, extendemos su vida útil y generamos otros nuevos, ampliando los horizontes de creación del paisaje futuro, preparando nuevas agendas, fragancias e itinerarios sonoros. Para percibir, comprender y concebir nuestra ciudad como una entidad sonora inteligible y coherente, necesitamos acordar puntos de referencia, rutas de reflexión y espacios de sensibilización hacia la preservación de los “invisibles” y frágiles hilos de su “equilibrio” bioacústico. Estos 17 trozos sonoros de la ciudad contienen información directamente referida a la realidad. Al fijarse el sonido en medios tecnológicos se realizan procesos de selección y (trans)formación que afectan la concepción y el análisis, tanto del paisaje sonoro real como la del “nuevo” paisaje (re)presentado y (re)construido fonográficamente. Estos 17 trazos sonoros en el paisaje constituyen un mapa audible que recorre algunos territorios espaciales y temporales de la heterogenea y compleja ciudad de Bogotá. En ellos se identifican recursos y valores patrimoniales, culturales y naturales.Mauricio Bejarano.
Cruz & Navajas - Electoi Necanoy Mauricio Piñeros López 2015-03-29 | Banda: Cruz & Navajas.Tema: Electoi Necanoy.EP: Epifanía.Año: 2014.Personal.Diego Cruz: Guitarras, Teclados.John Cruz: Batería.Rafael Navajas: Bajo.Cruz & Navajas es agrupación bogotana de Rock Progresivo con un enfoque experimental en torno al rock, el jazz, el blues y el funk, abordando estos lenguajes desde una perspectiva contemporánea y local, incorporando al sonido texturas electrónicas y elementos Ambient.
Andreas Gerber, Thomas Weiss, Urs Wiesner - HATI HATI Mauricio Piñeros López 2015-01-24 | Album: Hati - Hati.Themes; Tadlagi 1 - Sekar I Gusti Gdé.Musicians: Andreas Gerber, Thomas Weiss, Urs Wiesner.Year: 1993.
Jacqueline Nova - Cantos de la Creación de la Tierra (1972). Electroacústica. Mauricio Piñeros López 2015-01-24 | Música Electroacústica en Colombia.Compositora: Jacqueline Nova (1939-1975)Realizada en los laboratorios de acústica de los laboratorios de la Universidad Nacional de Buenos Aires, dirigidos por Francisco Kropfl. La obra se basa en un texto original indígena tunebo de la región nordeste de Boyacá (Colombia), el cual fue transformado y usado como único material de la obra. El texto es un relato en paleo-tegría, lengua fósil de los chibchas utilizada para los cantos mágicos. Ha sido presentada en Bogotá, Uruguay, Buenos Aires y en el Festival de Música Contemporánea de la ciudad francesa de Bourges.
The Reverse Engineers - Mercury In Retrograde Mauricio Piñeros López 2015-01-22 | Band: The Reverse Engineers.Song: Mercury In Retrograde.Album: Max Q.Year: 2004.Album Notes--- CD Reviews ---Cote brothers - bassist Charles, guitarist William and drummer Daniel - make a strong first impression with their debut, "Max Q.'' The band's love of power trios, from Rush to The Police, is apparent. Opening track "Mercury in Retrograde'' features a guitar lick that's a dead ringer for Rush's Alex Lifeson. But the Engineers don't get bogged down in technique spotlighting, instead devoting their talents to straight-ahead rockers such as ``Tell Me Why'' and bouncy pop such as "Be Here Tonight". Brotherly harmonies add heart to the title track and "The Longer Now'', as well as a cover of Simon & Garfunkel's "The Sound of Silence''.--Curtis Ross - Tampa Tribune's Friday Extra The Reverse Engineers evoke both heady trios like Rush and the Police, and austerely quirky old-school college-rock combos like The Fixx or Talk Talk. There's plenty of reverb-filled air between the copious notes, but there are also plenty of hooks and double-take-inducing riffs and lyrics on Max Q. ...these three brothers have crafted an original, compelling power-trio sound that's sure to intrigue older rock fans, adventurous younger listeners and musicians of all stripes...--Mark Sanders - Weekly Planet (Weekly Tampa Bay Entertainment Newspaper)
The Reverse Engineers - Be Here Tonight Mauricio Piñeros López 2015-01-22 | Band: The Reverse Engineers.Song: Be Here TonightAlbum: Max Q.Album Notes--- CD Reviews ---Cote brothers - bassist Charles, guitarist William and drummer Daniel - make a strong first impression with their debut, "Max Q.'' The band's love of power trios, from Rush to The Police, is apparent. Opening track "Mercury in Retrograde'' features a guitar lick that's a dead ringer for Rush's Alex Lifeson. But the Engineers don't get bogged down in technique spotlighting, instead devoting their talents to straight-ahead rockers such as ``Tell Me Why'' and bouncy pop such as "Be Here Tonight". Brotherly harmonies add heart to the title track and "The Longer Now'', as well as a cover of Simon & Garfunkel's "The Sound of Silence''.--Curtis Ross - Tampa Tribune's Friday Extra The Reverse Engineers evoke both heady trios like Rush and the Police, and austerely quirky old-school college-rock combos like The Fixx or Talk Talk. There's plenty of reverb-filled air between the copious notes, but there are also plenty of hooks and double-take-inducing riffs and lyrics on Max Q. ...these three brothers have crafted an original, compelling power-trio sound that's sure to intrigue older rock fans, adventurous younger listeners and musicians of all stripes...--Mark Sanders - Weekly Planet (Weekly Tampa Bay Entertainment Newspaper)
no. 9 - Taking Effect Mauricio Piñeros López 2015-01-22 | British influenced, atmospheric, echo drenched art rock, by Canadian band "no.9". Comprised of Mark Holmes (bass/vocals), David Barrett (guitar) and Sascha (drums), "no.9" released their self titled cd in 1999.Genre: Rock: Space RockRelease Date: 1999
Dom Mino - Bedtime Mauricio Piñeros López 2015-01-22 | Artist: Dom Mino.Theme: Bedtime.Album: Time Lapse.Released: 2008.
Pyrolator - Atlantisches Intermezzo Mauricio Piñeros López 2015-01-22 | Artist: Pyrolator.Theme: Atlantisches Intermezzo.Album: Wunderland.Kurt Dahlke (April 29, 1958) is a German musician and producer. He is a founding member of record label/publishing company Ata Tak and has worked and still works in several bands. Dahlke is also known as Pyrolator.[1] Several times he has been commissioned by the Goethe-Institut for workshops or concerts.On stage Dahlke operates his computer/synthesizer hardware by the movement or the pressure of the hands, with Thunder and Lightning II" two controllers built by Don Buchla. In 1978 Dahlke was a founding member of D.A.F., but left the band in 1979,[2] when he became a member of Der Plan (until 1992), and Fehlfarben (until 1980 and again since 2002). From the same year on he labeled his solo work as Pyrolator.[3]Dahlke collaborated on several films of director Rainer Kirberg, with Der Plan in Die letzte Rache (1983) and Grottenolm (1985) and in 2011 as sound designer in Das schlafende Mädchen.[4]In 1996 he worked with his Der Plan partner Frank Fenstermacher as A certain Frank, in 2005 he started a collaboration with painter Jörn Stoya as Bombay 1. In 1979 he released Inland, his first album as Pyrolator. The cover stated: Pyrolator Synthesizer Inland, the music is quite experimental, close to industrial music, incorporating field recordings and harsh electronica. On the follow-up Ausland (1981) he worked with a list of Ata Tak associated guests including his Der Plan colleagues and Holger Hiller. The songs range from experimental electronica to synth-pop, where Wunderland (1984) became his most playful, melodic and popular effort with references to world music.In 1985 Dahlke collaborated with Arnd Kai Klosowski for the album Hometaping Is Killing Music an early effort in popular music based entirely on sampling.[7]1987's Pyrolator's Traumland with Susan Brackeen on vocals and a whole range of guest musicians became his most commercial and less experimental album. He then teamed up with Linda Sharrock and Frank Samba for Every 2nd, an album commissioned for the German Olympic pavilion at the 1988 Seoul Games.With the singles Ficcion Disco and City Space from 1992/1993 he moved towards Techno, which lead to his productions for Antonelli Electr. the techno project of Stefan Schwander - another Ata Tak artist (with The I-Burnettes, 1990, and The Bad Examples, from 1996 on).Neuland from 2011 is the first Pyrolator album not released on Ata Tak but Bureau-B. It received a four star rating on Allmusic.
Barry Cleveland - Abrasax Mauricio Piñeros López 2013-07-07 | Artist: Barry Cleveland. Album: Mythos. Theme: Abrasax. Year: 1984.
Fabio González Zuleta - Ensayo Electrónico (1965) Mauricio Piñeros López 2013-07-07 | 1965-1998. 33 años de Música Electroacústica en Colombia. Obra: Ensayo Electrónico. Compositor: Fabio González Zuleta. Año: 1965. Este ensayo consiste en la transcripción de una coral tradicional al sonido electrónico mediante el sencillo procedimiento de establecer una serie de relaciones numéricas entre la estructura armónica de las sonoridades y las frecuencias electrónicas. La producción de la pieza se realizó en los estudios de la Radiodifusora Nacional de Colombia con la ayuda técnica de Guillermo Díaz, siendo la primera composición electrónica realizada en Colombia.
Spheruleus - Blue Moon Mauricio Piñeros López 2013-07-07 | Artist: Spheruleus. Album: The Disguised Familiar. Year: 2009 Spheruleus, aka Harry Towell, is a British artist who records music under a variety of project names, probably the best known being Audio Gourmet. With this release, he brings us a lovely and peaceful collection of still life portraits captured on a singular winter's day when much of England was blanketed with snow by a particularly heavy winter storm. Spheruleus combines field recordings captured on that day with beautifully conceived ambient drone pieces, creating a sublime collection of some of the most restful pure ambient music we've heard in a while. On this release, Stuart Towell contributes some delicious ambient guitar that really helps cement the floating and placid feel of the tracks. Interestingly, we are told that ordinarily Stuart doesn't do ambient music but decided to give it a go on this exceptional day. We would encourage him to consider doing ambient more often, because his contributions to the pieces are simply excellent. Overall this is a refreshing album, a perfect set of tracks to enjoy on a winter's morning with a steaming cup of tea and a nice warm blanket. We are very happy to be bringing our audience the music of Spheruleus, and hope this is the first of many releases to come on Earth Mantra.
Roedelius & Schneider - Upper Slaughter Mauricio Piñeros López 2013-07-07 | Album: Stunden. Track; Upper Slaughter Year: 2011 Not long after Hans-Joachim Roedelius (Cluster, Harmonia) and Stefan Schneider (To Rococo Rot, Kreidler, Mapstation) had released their first album "Stunden", accompanied by a few live shows in 2011, Eric Satie and Brian Eno were quoted as the great inspiration for their musical collaboration. Fine references no doubt, one having invented musique d'ameublement, and the other having refined it into ambient music 80 years later. Yet "Tiden" does not sit easily in either camp. This is neither tasteful decor (à la Satie), nor is it electronic-auditory space filler (à la Eno), gazing towards infinity. The short duration of the 13 pieces is enough to discount either genre. Better to consider these as concentrated, inspired études, carefully thought through and in no way random or sketchy. With cheerful gravitas, the two artists create absolute music -- music which desires only to be itself, without ulterior effects and with the declared intent of involving the listener in his emotional, inventive game. Perhaps Franz Schubert's moments musicaux would be a more suitable citation. The lightness and atmospheric intimacy of this music reveal Roedelius (grand piano, synthesizer) and the decades younger Schneider (Elektronik) as musicians who understand how to listen to one another and improvise on each other's ideas immediately. The result is a lively, relentless interplay of great composure, more surprising than any tide could be, as precise calendars exist for tidal flows. Roedelius can already look back on a adventuresome career in music. Schneider has also prospered through exciting decades in contemporary pop. This is the second time their paths have crossed. "Tiden" keeps the promise which their first album made, genial contemporary music from two artists who are as one in heart and soul. And when Roedelius steps on the pedal of his grand piano, well it squeaks a little. (Asmus Tietchens) About the musicians: The electronic pioneer Hans-Joachim Roedelius lives in Baden near Wien (Austria) and is a legendary figure in popular music. He founded the seminal bands Cluster and Harmonia, which also included Dieter Moebius and Michael Rother. He produced the albums "Zuckerzeit" (1974) and "Deluxe" (1975), which are considered blueprints for today's electronica and were recently successfully reissued. And in the late 70s he worked with the great Brian Eno -- the albums "Cluster & Eno" (1977), "After The Heat" (1978) and "Tracks & Traces" (1997) document the cooperation between the Bowie and U2 producer and the sound researcher who was then living in a creative commune in Forst. Roedelius began releasing solo albums in 1978. He was already exploring the interplay between piano and electronics on his second LP, "Jardin au Fou" (1979). This synthesis is also the core of "Stunden". The Düsseldorf based Stefan Schneider was a founding member of Kreidler (1994â€"99) and is part of the trio To Rococo Rot. He has released several albums under the name Mapstation.
Garry Hughes - Rushcutters Mauricio Piñeros López 2013-05-01 | Artist: Garry Hughes. Theme: Rushcutters. Album: Sacred Cities. Year: 1986.
Solvent - Themogene Mauricio Piñeros López 2013-03-01 | Artist: Solvent. Theme: Themogene. I Dream of Wires - Soundtrack. Year: 2013. Solvent is the stage name used by electronic producer and remixer Jason Amm (b. 1972; Zimbabwe). Although his music has been included in the electroclash movement (as his track "My Radio" appeared on Ghostly International's 2002 compilation album Disco Nouveau), many of Solvent's tracks fall under the intelligent dance music or electropop genres. Jason Amm's music is often associated with its strong influence from early 1980s artists such as Soft Cell and Depeche Mode, but the influence is much wider, spanning the last three decades. Many of the sounds heard on his tracks are made by using analogue gear in more ingenious ways than was ever intended for the equipment.[citation needed] With partner Gregory DeRocher (who records his own music using the pseudonym Lowfish), Amm owned and operated the Suction record label until its demise in 2008. This was partly because 12" records were no longer being manufactured in Canada, leading to costly imports from the USA. Aside from tracks appearing on various-artists compilations, Amm has released several full-length albums using the Solvent moniker. I Dream Of Wares (IDOW), es un documental independiente que versa sobre la historia del resurgimiento del sintetizador modular. Dicho reportaje ha sido escrito y dirigido por Robert Fatinatto y el productor de Ghostly International Solvent (Jason Amm). Además, este último ha sido el encargado de componer la banda sonora, lógico teniendo en cuenta la electrónica que él diseña, repleta de sintetizadores y vocoders. Este filme se encarga de abordar la trayectoria de aquellos artistas e inventores que han trabajado mejorando este aparato para poder utilizarlo en la elaboración de música electrónica. En algunos casos, puede que incluso se trate de una forma de vida, de vivir por y para el sintetizador. Entre ellos, por ejemplo artistas como Clark y James Holden explican por qué dejaron de lado los portátiles para procesarle amor al sintetizador. Y por supuesto, también participan muchos otros conocidos, algunos reconocidos apasionados de estos sintes como Trent Reznor o Carl Craig. No copyright infringemnet is intended. I did not create this song. All credit is imputed to the artist and its record label. This is no way intended copyright infringement; the audio, video, and corresponding artwork are intended solely for cultural purposes. If the record label or artist requests for me to take this video down, I will, by all means, be glad to.
Paper Plane Pilot - Deja Vu Mauricio Piñeros López 2013-02-18 | Artist: Paper Plane Piltot. Album: First Flight. Song: Deja Vu. Year: 2008. Paper Plane Pilot is the electronic pop moniker of San Diego, California musician Dustin Frelich. Dustin combines classic electropop and indie rock music with an introspective form of songwriting and catchy melodies. Released in late 2008, Paper Plane Pilot's debut album entitled First Flight, represents the end of Paper Plane Pilot's musical journey spanning nearly three years. Over the years Paper Plane Pilot created music in quite a few genres with all kinds of instruments, though nowadays he considers himself more a computer player than anything else. No copyright infringemnet is intended. I did not create this song. All credit is imputed to the artist and its record label. This is no way intended copyright infringement; the audio, video, and corresponding artwork are intended solely for cultural purposes. If the record label or artist requests for me to take this video down, I will, by all means, be glad to.
Teruyuki Nobuchika - Hypnotique Mauricio Piñeros López 2012-12-02 | Artist: Teruyuki Nobuchika. Album: Morceau. Song: Hypnotique. Year: 2009. No copyright infringemnet is intended. I did not create this song. All credit is imputed to the artist Teruyuki Nobuchika, and its record label. This is no way intended copyright infringement; the audio, video, and corresponding artwork are intended solely for cultural purposes. If the record label or artist requests for me to take this video down, I will, by all means, be glad to. Teruyuki Nobuchika (延近輝之; born 22 Jun 1974) is a japanese musician, composer and producer, based in Tokyo. He composes mainly the soundtrack of the TV drama and the movie (ambient + electronica + acoustic styles). Teruyuki Nobuchika (延近輝之; born 22 Jun 1974) is a japanese musician, composer and producer, based in Tokyo. He composes mainly the soundtrack of the TV drama and the movie (ambient + electronica + acoustic styles).
Bosques de mi Mente - Tortugas Mauricio Piñeros López 2012-08-06 | Album: Trenes de Juguete. Tema: Tortugas. Año: 2007. Bosques de mi Mente (or, "Forests of my Mind") is the solo project of Nacho, a composer and musician from Madrid, Spain. He is also a member of the Spanish minimalist/experimental band, Nöno. Band Members Nacho — piano, guitar, mellotron, flutes, hammond, xylophone, toy piano, melodica, musical box, toy instruments, samples, programming, melodic noise Music Nacho officially began recording music for this project in mid-2007, however, has claimed that his first song "...began to take shape in late October as I watched the raindrops falling from an ash-gray sky through my window." Before creating Bosques de mi Mente, Nacho was also a member of Myzar, an ambient and instrumental rock band created in August 2006 in Murcia, Spain. Nacho left this group in April 2007, for reasons he described as "... involved 100%... and it was not enough, apparently", but otherwise would not go into the specifics. Genre The music created by Bosques de mi Mente is categorized as Post-Rock, often falling under the Minimalist, Experimental, and Ambient stylistic origins of this genre.
MUSEO DE ARTE VIAL INFANTIL - ROLDANILLO VALLE Mauricio Piñeros López 2012-06-16 | Museo de Arte Vial Infantìl. Roldanillo-Valle. 21 de julio de 2011. Fotografías por: Mauricio Piñeros López. Canción: La Montaña. Autor: Edson Velandia. Album: Sócrates.
CONECTOR 2 - AGUA EN EL DESIERTO Mauricio Piñeros López 2011-12-27 | Conector Album: 2. Canción: Agua en el Desierto. Compuesto por: Héctor Buitrago/Kiki Sauer/Christopher Blenkinsop. Año: 2011 Du...und...Ich Schatten in der wuste, die laufen und sich niemals sehn niemals sehn.
SNOWBIRD - NOT READY Mauricio Piñeros López 2011-08-05 | Band: Snowbird Song: Not Ready Snowbird is a group of friends making tunes. listen. to contact snowbird, drop an email to snowbirdmusic@aol.com http://www.snowbirdnest.com
PHONOPHANI - DURATION HAPINESS Mauricio Piñeros López 2011-04-16 | We critics are a contemptuous bunch, aren't we? All, "I have loved this forever, and finally this rare and previously out-of-print gem is yours to own," as if we have heard everything the world has already offered. Sure, I'm clamoring for long-overdue reissues (Seacaucus, anyone?), but given that this particular disc was previously released as a limited 500-print run in Norway when I personally was still trying to figure out whether hot pot Kraft Dinner was better than another trip to the meal hall, you can all already guess what I'm about to admit: I had never heard this disc before it arrived in my mailbox a couple of weeks ago. I had only heard of Phonophani indirectly through my burgeoning love for the Rune Grammofon label which began in 2003 with the release of Supersilent's 6. I'll get to that love more in-depth in my upcoming and disgustingly gushy review of Until Human Voices Wake Us and We Drown, a company retrospective, but suffice to say that despite my unfamiliarity, when RG tells me this is "the best Norwegian electronica album ever," I listen. Which is also sort of the point, because beyond what RG tells me, I don't know enough about the Norwegian music scene as a whole to verify the truth-to-exaggeration ratio of the claim. What I do know is that modern faves like Supersilent, the Shining, and this year's newcomers Moha! are hanging their hats on Phonophani's rack, and if the ties that bind the divergent sounds of the Norwegian experimental community are a shared love for this album, much like the Beats loved Chuck Berry or the Punks loved the Stooges (and lied about their hate for Exile on Main Street), then this is indeed essential listening. Because whether or not it is the best Norwegian electronica album, it's an amazing electronica album period, and my favorite little Norwegian label has done us all a favor by re-pressing Espen Sommer Eide's first effort under this moniker. I dare you to listen to this and not have to wrap your brain around the fact that Eide was pulling this shit in 1998, because what is most amazing is how acutely this record eerily anticipates many of the prominent trends that would become so popular with electronic music between 2000 and 2002. And, sure, who knows? Other geographical scenes may well have similar documents that are waiting to be dug up or revisited, a cornucopia of trans-national evolutionary DNA, but this particular album seems to provide the chromosome chains from which charms like Peter Rehberg, Christian Fennesz, Philip Jeck, Gas, and the Rune Grammofon roster were originally dangled. "Duration-Happiness" stretches a concept of happiness into oblivion; what is left is a rush of the thick phonographic rumbles Jeck would later exploit so evocatively on Stoke. "Order of Disappearence could have fit nicely beside the tracks on the Return of Fenn O'Berg collab; its clashing tones stick pins and needles into one another, forming new hybrid tones that stomp around the sonic spectrum with abandon. "Kaliphoni" could be Fennesz revisiting the main theme from Fantasia, all awkward ring modulations that sound like whispers and sickly guitars. "Ring" is almost upbeat; throw some kick under that synth line and you've got a kicking club track that here is deflated, lying prone on the pavement. "C" has the International Robot Labor Union engaged in a tense meeting over a lovely acoustic guitar loop; the track might be the ancient history of School of the Flower, or the first song that Chihei Hatakeyama really loved. This is like patient zero of post-millenium ambient experimental work. This isn't really a chicken/egg dichotomy; we know which came first and last, and while it took these newer artists to bring this stuff into relative popularity (along with the concurrent growth of Internet 'zines to champion their work), hidden gems like Phoniphani carry their own distinct charm. 500 copies is like a gift to friends and family; this re-release deserves hype because Eide put so many ideas into this beautiful album. We need our stepping stones between Ambient Works and Lisbon, and believe me, this is one graceful way to cross that pond.
PIANA - BUTTERFLY Mauricio Piñeros López 2010-12-31 | Album: Snow bird. Piana es un proyecto de Naoko Sasaki, un chica japonesa que canta, escribe y hace música. Este disco es el primero que edita como Piana, donde toma una serie de influencias y sonidos electrónicos muy experimentales, mezclando su caracteristica voz japonesa y dando como resultado un disco super agradable
KILLING JOKE - ADORATIONS Mauricio Piñeros López 2010-12-26 | Banda: Killing Joke. Album: Brighter Than a Thousand Suns. Canción: Adorations. Año:1986. Killing Joke es una banda post-punk originaria del Reino Unido formada en 1979 en Notting Hill, Londres. Es considerada una banda inovadora y muy influyente, principalmente para bandas nacidas en los 80's y 90's como Nirvana, Ministry, Nine Inch Nails, Big Black, Prong, Metallica, Helmet, Soundgarden, Foo Fighters, Fear Factory, Faith No More y Korn, entre otros. También son considerados por muchos una referencia muy importante en la creación del movimiento de música industrial, principalmente por el sonido desarrollado en sus primeros dos discos. Los integrantes que han permanecido siempre en la banda desde su formación, y que se pueden considerar pilares de la misma, son el cantante y teclista Jaz Coleman y el guitarrista Geordie Walker; los bajistas han variado pero la base siempre -en diferentes épocas- ha sido tanto el bajista original Youth (Martin Glover) como Paul Raven. Su música se caracteriza por el sonido hipnótico y metálico-armónico de las guitarras; por los ritmos pesados, tribales y bailables, así como por el sonido de fondo oscuro y a veces gótico de los teclados; todo esto abrazando la emotiva voz de Jaz Coleman, que va de suave y meláncólica hasta puntos de brutal intensidad. Sus producciones siempre han mostrado una constante evolución en su sonido, pero igualmente siempre han mantenido un sello distintivo y único. Partieron de una mezcla de post-punk y dub-reggae en sus inicios (en sus sencillos de finales de los 70s). Después pasaron por una etapa tribal, proto-industrial metal-post-punk (inicios de los 80s). Gradualmente se alejaron de los sonidos "industriales" para pasar a ambientes más armónicos, que remiten a un sonido mezcla de New Wave con Rock Progresivo (última mitad de los 80s). En los 90's la banda transformó radicalmente su sonido, tornándose en una tormenta energética que incluyó guitarras más distorsionadas, fusionadas con bases de teclados que remitían de nuevo a un ambiente industrial y techno pero mucho más agresivo que en sus inicios. Desde entonces han mantenido un estilo fuerte, rítmico y combativo basado en un sonido orientado un tanto al Metal con espíritu Punk.
Twelfth Night - Fact and Fiction - NEO-PROG Mauricio Piñeros López 2010-12-25 | Twelfth Night biography TWELFTH NIGHT emerged from the Andy Revell Band formed at Reading University, where in 1978 they won a talent competition. Geoff MANN was an artist friend of the band from the moment in 1977 that he knocked on Andy's door to find out what record Andy was listening to and discovered that it was just Andy playing guitar! The embryonic band consisted of Andy and Brian Devoil (drums), with Mr Rick Battersby managing the dry ice. After Clive Mitten joined in 1979, TWELFTH NIGHT as a band were born and got straight down to the work of recording. A live LP followed several tapes and experiments with other musicians, including one Electra Mcleod who performed vocals for one tape only. A vocalist was needed - but where to get one? Many were auditioned - including Geoff, who also performed a gig or two with the band and wrote some words for "Sequences". A successful series of gigs was followed by the band being booked for the Reading Festival - the first local Reading band to have achieved this in the history of the festival. After much deliberating, Geoff MANN, the backdrop painter became Geoff MANN the poet, lyricist and vocalist. It's important to consider the musical, social and political climate of the late 1970s - early 1980s to get a handle on what TWELFTH NIGHT were about; The roots of the music lie mainly in Andy Revell's HACKETT/HILLAGE guitar sound, but GENESIS, early PINK FLOYD and WISHBONE ASH are the most obvious influences. It has been said that there is a punk element to TN, and while there is a certain amount of aggression, that energy comes more directly from NWOBHM than punk. MANN's vocal style and lyrics may be laced with anarchism, but they run a whole lot deeper than that - Geoff was a deep thinker and poet, and later became ordained. His words attack the idle non-thinking majority in a cajoling way, they attack the governments at a grass-roots level and they attack the nonsense of war - but also support the positive aspects of life, like love. After MANN left (amicably) to join the church in 1983, a new era of TN started with Andy Sears as vocalist. TWELFTH NIGHT are still making music in one form or another - but it tends to be fitted around the day jobs. Sadly, Geoff died of cancer in 1993. The "MANN-era" music will live on in prog as being something particularly special, as it goes several steps further than even FISH-era MARILLION, with whom the band are often (mistakenly) compared. (Taken from Progarchives)
