What are you listening to right now?

by **dada** » Fri Mar 03, 2017 7:16 pm

Drums – Kozo Suganuma
Electric Bass – Hiroki Takeda
Electric Piano – Masato Matsuda
Sitar, Electric Guitar – Yoichi Tanabe
Violin – Ichiro Nakai

[Composer Masahiro] Yuge: "...I have this one bad memory that I’ve always wanted to apologize for, and that’s the tempo being too fast in the Tatsujin [Truxton] port. We didn’t receive any instructions from Sega on the sound hardware until 2 weeks before the mastering deadline. So I was really rushing to program everything and get the data coded, and we didn’t have a lot of time to tweak things, and that fast tempo resulted."

A "happy accident" in my book. If we had a "What are you listening to in the car right now?" thread, I would be posting this there.

Not that the original tempo isn't perfect. It is.

See?

It's like when they'd ask me, "Are you a Floyd guy, or Zeppelin?" And I'd always answer, "Why do I have to choose?" You can usually tell who is who. But they were never sure about me.

I guess if you put a gun to my head, I'd be forced to choose. I'd probably answer "As long as it isn't the Doors, I'm fine. Sounds like a broken carousel over an idiot reading bad poetry." I bet that would be an acceptable answer, keep me from getting shot. I mean it, too. I always thought Jim was an idiot.

by **chump** » Sat Mar 04, 2017 12:27 am

https://youtu.be/VCZy-U0_1X8

by **Iamwhomiam** » Sun Mar 05, 2017 8:51 pm

I thought about posting this in the Animal Uprising thread, but here's good.

For our vegans and vegetarians:

by **PufPuf93** » Sun Mar 05, 2017 10:46 pm

https://www.youtube.com/watch?v=ejmE-F3EJyQ

https://www.youtube.com/watch?v=Gy88-5pc7c8

https://www.youtube.com/watch?v=blJldvAPwpQ

by **David** » Mon Mar 06, 2017 5:52 am

by **chump** » Mon Mar 06, 2017 9:28 am

https://youtu.be/kNg6aF5FEDE
-

by **Laodicean** » Mon Mar 06, 2017 6:25 pm

https://www.youtube.com/watch?v=bZwG2pjzUAo

by **dada** » Mon Mar 06, 2017 9:55 pm

The light in the window is a crack in the sky...

Listening to these three songs at the same time.

Try it, it's fun. (If you need images to go with, just watch the Ozzy video)

I'll tell you how it went. I was driving to work this morning, alternating between the "Septentrion" soundtrack and the radio. Heard the Grass Roots and the Simon and Garfunkel tunes. For some reason 'mama I'm coming home' was stuck in my head, so I was singing it at the same time, too.

I've seen your face a thousand times, everyday we've been apart. And I don't care about the sunshine, yeah...

I thought, "these would sound good together." But mama I'm coming home wasn't quite right. During the day, I'd settled on 'No More Tears' as the third song. When I got back, "something" told me to use 'I Just Want You' for the third song, instead. Thanks, Ozzy!

--

Dinbetween Stations

Why would William Burroughs leave "three off-tuned radios blaring static" in his room in Tangier (Leary 1983:95)? Was he waiting for code, for voices, for an ethereal or chthonic broadcast?

Cocteau's Orpheus tuned his car radio to pick up the latest from the underground. Leonardo heard voices on high in church bells, Joan of Arc, angels. Kerouac took dictation of his dialog with the waves and water of Big Sur. Dali looked to seaside rocks of Cadaques to interpolate signs from noise; Artaud, upon the land of the Tarahumara; and Ernst at the scratches, pits, and grain of floors and other surfaces. Did Burroughs hope to transcribe what the white noise said, to log its wisdom into what had captivated him for so long: the science--or the pseudoscience--of fact?

In collaboration with Brion Gysin, Ian Sommerville, and others he had in fact carried out experiments using tape recorders, many of which incorporated radio sound and static. At times, time and its voices would leak through: one experiment announced the presidential foibles of Watergate a decade before they happened. We don't have to take his word for it. Whereas we have to take the word of Artaud or Kerouac for what they beheld, Burroughs appealed to phonographic repetition first for simple consensus and ultimately for clinical validation.

There are then many ways of producing words and voices on tape that did not get there by the usual recording procedure, words and voices that are quite definitely and clearly recognizable by a consensus of listeners. I have gotten words and voices from barking dogs. No doubt one could do much better with dolphins. And words will emerge from recordings of dripping faucets. In fact, almost any sound that is not too uniform may produce words.

It was obvious Burroughs was a writer, for accompanying the radios was a desk cluttered with papers. Could the radios have been fullfilling a mundane requirement by supplying the room with a surrogate cafe raucousness? Walter Benjamin recommends that writers at certain phases within the production of a work seek out complex sounds: accompaniment by an etude or a cacophony of voices can become as significant for work as the perceptible silence of the night. If the latter sharpens the inner ear, the former acts as touchstone for a diction ample enough to bury even the most wayward thought.

- Douglas Kahn, "Three Receivers"

--

I used to listen to three radios. My method was static on one, news radio on the second, and talk radio or sports on the third.

Your lips are so cold, I don't know what else to say...

by **dada** » Tue Mar 07, 2017 12:07 am

X: Play a song, man.

Link plays song. Pixel purrs on futon.

Samayoimasu hanarete bleed out
the time reaction, babe
Look around at nothing have to say
or magic gun would chase you out of me

One little life is rounded with a scene betting on a silky sheen
The pretty things I now beleap are setting hours at zora dream

If I could trip your mood sublime
stop a fuse burn all the time
break these strings race the lines
pull in close to make you mine

X: (into mic) Dakota.

Pixel: (explains to reader) Song is called that.

_________

Here, have a bun.

You can be a star, yes a star overnight
Be the center of attraction, in the main spotlight
But just when you get there, the lights'll go out on you
And the very next day, they'll be asking, "Who are you?"

It's a poor man who lives on his former glory
With only pride to back up an empty story
So when the time has come for us to go
Let's throw away pride and admit we know

When the fall comes, oh please let it be slow
Don't let us come down, come down before we even know
Sliding so fast, we can't even stop
We still have a chance if we go down slow
We still have a chance if we go down slow

Lighting man, when you bring the lights down
Can you take them down real easy
Lighting man, can you hear me up there
Please bring those lights down easy

_________

Echoes in endless video feedback.

X, Link, Pixel end the jam on unspoken signal.

X: (takes drag, long exhale) Good blade, man. Unrelenting precision. Cuts until there's nothing.

Pixel: Ryu could perform an appendectomy with a rusty tin can without leaving a scar.

X laughs in his spritely way.

_________

X and Link at parapet.

In castle floodlights
shining down rain bit flashes
cosmic ark starfield
thundershower belts from sea
move swiftly over desert.

X: (koans) Hero of Hyrule, Who. Are. You?

Link lifts face to rain.

whoareyou.jpg

by **Iamwhomiam** » Tue Mar 07, 2017 12:30 am

One of my son's favs, Karyn Crisis. I was introduced to all the band's members long ago; the night the lord and too much Goldschlager took my car away early one morning in the late '90s. That was the murdermobile, a story for another time. (I thought Karyn was Ami Difranco before there was an Ami Difranco!)

http://karyncrisis.net/