125 Results for : experimented
-
Regions
Can lively rural violin melodies be played on a 'fat' contrabass clarinet? Sure, they can. You only have to be Michal Górczynski, who has performed on four continents playing Warsaw-Autumnal avant-garde (Kwartludium), experimental improvisations, but also Polish early music (Bastarda) and Jewish (Ircha), Gambian (duo with Buba Kuyateh) or Indonesian themes (the Bidadari project). He has been interested in Polish folk music for a long time. After all, as a composer he has written, among others, Rondo a la krakowiak for screaming pianist and bass clarinet (sic!). He also experimented with 'triple' rhythms in the Slavic-African Polonka. But it was only last year that he dared to take on the challenge of playing authentic folk melodies - with great success - as part of the Radical Polish Songbook project. Over time, free improvisations turned into well-thought-out multi-layered forms, and the magic of the recording studio allowed Michal to turn the bass clarinet into a folk band and even a wind orchestra.- Shop: odax
- Price: 14.42 EUR excl. shipping
-
Alone in Babylon
In 2006, 'Reject on Impact', the debut album of the 'F-Units' came out. This was a refreshingly original punk rock record that Suite 101 felt compelled to give a 9/10 rating to due to it's catchy lyrics, thudding bass and melodic, yet simultaneously grungy guitar riffs. Scotty, lead singer of the band caught up with Suite 101 to tell all about their new record. All The Details 'We're knee deep into mixing the new album which is (currently) titled 'Alone in Babylon',' the charismatic frontman divulged. 'The title comes from one of our favourite new tracks with the same name. 'Alone in Babylon' as an album name describes how the band feels about our current situation as an independent - fending for ourselves in the city that never sleeps. It features twelve punk-influenced hard rock tracks and is around 45 minutes in length.' He continued, 'We're pushing to be completed with mixing and mastering by fall 2010 with a release sometime in late-November. The reality is that this process takes time, so we're not going to let self-induced deadlines get in the way of creating an amazing record. That said, late spring is the goal.' A Change From 'Reject On Impact'? Bellina also revealed how much of a change 'Alone In Babylon' would be from their first record. He noted, 'It's definitely more of a 'progression' than a 'change'. As in the case of a lot of punk bands, there comes a time where you just get a lot better at your craft and want to do more with your music. 'Alone in Babylon' has the same passion and energy found on 'Reject On Impact', but the songs have more layers and are more complex. There's more swagger, more ego, and a lot more confidence. 'Another difference is that 'Reject on Impact' was a predominantly punk record with a rock-vibe. 'Alone in Babylon' is an arena-rock record with traces of those same punk-roots. There's a few tracks on 'Reject' where we experimented with other instruments such as horns, organs, synth, etc... and 'Babylon' has all of that and a lot more. The heavy songs are meaner, the softer songs are sweeter, and there's just more dynamic and dramatic highs and lows all around. 'Due to the shift into a bigger sound, another area of difference will be in the quality of the entire production. We recorded the album at The Cutting Room Studios in NYC, where many grammy-winning artists have recorded, and we're mixing it with Scott Gilman in Los Angeles who co-produced and mixed our first album 'Reject on Impact'. What you get is a more polished, complete sound without straying too far from where we've been.' With there being such a progression in the sound of the band, one would wonder whether Scotty reckons there is a standout track on the LP. On that, he had this to say. 'By the sheer nature of naming the album 'Alone in Babylon', the song of the same name will garner some attention. Is it a standout? Absolutely, but for my money there's about eight standouts on this album. I know everyone in the band secretly has their own personal favorite though. As the lyricist, obviously a few are personal for me. We'll leave it up to the masses to decide. There's definitely something for everyone on this album - even more so than Reject on Impact'.' Right now, as the reader, you may be thinking - 'is this album for me?'. Scotty has the answer. 'The distinct difference between the last album and this album is that this album is more a product of ourselves and less about the influences,' he admitted. 'Naturally those influences don't ever go away, so looking at each track I can probably list bands that have influenced us... and it's pretty long. Here's more than a handful: 'The Who, Queen, Green Day, Guns N Roses, Judas Priest, Sex Pistols, ELO, Social Distortion, Turbonegro, Joan Jett, The Rolling Stones, Led Zeppelin, The Police, Rod Stewart, Muse, Radiohead, Nine Inch Nails, Moby, Aerosmith, AC/DC, Motley Crue, Def Leppard, The Supersuckers, The Replacements, The Ramones, The Clash, U2, Oasis, Creedance Clearwater Revival, Cowboy Mouth, Iron Maiden, The Boss Martians, The Cult.... I could go on forever. The picture that you get is that it's a classic rock record with a modern twist... and a damn good one at that.' Plans For After The Release After making a record which has evidently has hours and hours of time spent on it, surely the plan for Scotty, Max, Tommy and Frankie is to have a good, long rest? Evidently not it seems! 'We're not signed yet, so we need to regroup and work out a plan to market this monster,' Scotty pointed out. 'One obvious thing that we're going to do is get some of the songs published via TV (commercials, programming), radio, podcasts, video games, etc. We've actually already submitted a few tracks in that regard.' 'We're gonna send out the album for reviews on and off-line, and then at some point we're going to pitch to labels. Hopefully we can get some assistance with marketing and touring. So it's not really a question of desire, it's a question of what financially practical for us at the moment. So basically, once the album is done, we're gonna start bugging the shit out of a lot of people!' To finish off, Scotty had this to say to the loyal F-Units fans of the present, and the just as important fans of the future. 'We want to say thanks for the continued support, and we're hoping to reach out to a lot more of you as 2010 promises to be a breakthrough year for us. We'll be re-launching F-Units.com in the coming months, so stay tuned for more news on the upcoming release. We know you will be as excited about it as we are!'- Shop: odax
- Price: 24.67 EUR excl. shipping
-
Minimal Flute
The movement is older than it's name - the term "minimal music" evolved in the early 1970's. Michael Campillo used it with reference to "Minimal Art", others who named this genre were the composers Michael Nyman and Tom Johnson. When predominantly serial music was taught in the 1950's and 1960's, several young composers based in the USA were looking for a simple musical language analyzable by the ear. Influences from Asia and Africa played an important role: Around 1970, La Monte Young and Terry Riley became students of the Indian raga singer Pandit Pran Nath, while Philip Glass worked with Ravi Shankar, among others, and Steve Reich studied Balinese gamelan, African drumming and Jewish cantillation. In the process, two approaches emerged. La Monte Young felt an early attraction to static sounds (trio for strings 1958). A similar approach had Charlemagne Palestine or Phill Niblock, whereas Terry Riley and Steve Reich experimented with infinite tape loops in the 1960's, thus creating music with repetitive structures with which we are dealing on this CD. Steve Reich made the break-through 1965 with the tape piece "It's gonna rain". The piece uses the recording of a sermon about the end of the world, given by a black street-preacher. Two identical tape loops were started at the same time, but as the two recorders didn't synchronize, you could soon hear an offset in time. This inspired Reich to use the phase shifting technique on instrumental compositions, for the first time ever in "Piano Phase" for two pianos (1967). Both parts have identical lines of music, the second part overtaking the first occasionally by a note. This performance of shifting tone patterns creates new patterns, called "resulting patterns", a kind of musical moiré effect. "Vermont Counterpoint" for solo flute and tape (11 prerecorded flute parts) doesn't use the phase shifting technique any longer. The canon voices are constantly shifted by three sixteenth notes, and by five sixteenth notes in the third of the four sections. The solo flute (also alto flute and piccolo) has two jobs: On one hand, it introduces new canon voices, first interspersed with rests, then becoming more and more complete until they merge into the ensemble, on the other, it emphasizes the resulting patterns, which partly form in turn a canon voice of their own in the following section. The piece, written in 1982, kicked off a series of counterpoints in which an instrumentalist is playing with one's taped self. At the age of 8, Philip Glass became flute student at the Peabody Conservatory in Baltimore. The "Arabesque in Memoriam" for solo flute (1988) was written in remembrance of his former teacher Britton Johnson, principal flutist of the Baltimore Symphony Orchestra. When the French composer Eric Satie heard that his music was regarded shapeless, he wrote in answer to this accusation his "Trois Morceaux en Forme de Poire" for four-handed piano. The title of the "Piece in the Shape of a Square" (1967) for two flutes by Philip Glass is based on Satie. Stylistically, it's still far from Glass' later opera and movie music, it starts with a motive full of holes and rests, which is filled more and more with notes with the entry of the second voice, passing eventually into ascending scales. It was first performed at Jonas Mekas's Film-Makers Cinemathèque in New York on May 19, 1968 - a concert contributing considerably to the composer's fame. Glass and Jon Gibson arranged the scores in a square and moved in different directions through the piece until meeting again at the end. "In C" by Terry Riley, written in 1964, is a freely configurable concept. On a sheet of paper, 53 short phrases are noted, which are repeated by several performers and played in canon. Steve Reich played a part in the first performance, and it was his idea to play a repeated eighth notes pulse of high Cs on the piano in order to keep the piece together. On this CD, Hans Balmer has recorded 36 tracks with piccolo, alto and bass flute by using the technique of overdubbing.- Shop: odax
- Price: 17.92 EUR excl. shipping
-
The Barry Attack
Not quite a London System and not quite a Veresov. The unusually named ‘Barry Attack‘ lies somewhere between the two. Yet another challenging queen pawn system that Black has to prepare for. In fact, the ’Barry Attack’ had roots as early as 1922, when Tartakower experimented with what was then an unknown opening, but didn’t really take off until the late 1970’s and 1980’s, when a whole series of strong players such as Niaz Murshed and several English masters started to win game after game with it. On this new ChessBase video course, FIDE Senior Trainer and IM Andrew Martin gets you ready to play the Barry in your own games. Players under 2200 will benefit the most. It turns out that after 1 d4 Nf6 2 Nf3 g6 3 Nc3!? d5 4 Bf4 Bg7, White has no less than four dangerous moves, 5 e3, 5 Qd2, 5 Nb5 and 5 h3, all of which are considered here. Your final choice will be a question of taste. The Barry Attack has developed into a winning weapon, which even world-class Grandmasters use in the modern day. In this ChessBase video course, you are going to find what the Barry is all about.• Video running time: 5 hours (English)• With interactive training including video feedback• Extra: Training with ChessBase apps - Memorize the opening repertoire and play key positions against Fritz on various levelsSystem requirements: Minimum: Pentium III 1 GHz, 1 GB RAM, Windows 7, DirectX9 graphic card with 256 MB RAM, DVD-ROM drive, Windows Media Player 9 and internet connection for program activation. Recommended: PC Intel Core i7, 2.8 GHz, 4 GB RAM, Windows 7 / 8 or 10, DirectX10 graphic card (or compatible) with 512 MB RAM or better, 100% DirectX10 compatible sound card, Windows Media Player 11, DVDROM drive and internet connection for program activation.- Shop: odax
- Price: 29.90 EUR excl. shipping
-
BanPresto - Stranger Things Eleven Vol. 1 Q posket Figure
Jane Hopper, better known as Eleven, is one of the main protagonists of Netflix Original Series: Stranger Things.Eleven was kidnapped and raised in a laboratory where she was experimented for her psychokinetic abilities.- Shop: odax
- Price: 30.53 EUR excl. shipping
