Wednesday, 16 November 2016

+ Welcome to The Discomfort Zone - Stay Tuned For More Jarring Musical Narrative +

+ SLINT: NOSFERATU MAN +

"...inspired by the 1922 German Expressionist silent film 'Nosferatu', the song's verse includes a dissonant guitar riff, which uses high-pitched notes similar to those in 'Breadcrumb Trail' and a drumbeat based on snare and toms, absent of cymbals. The chorus, featuring 'jagged' distorted guitar and a thrash-influence beat, segues into an extended jam before the song ends with 30 seconds of feedback."

[Anon., Wikipedia.]


"Last one in isn't a math rockster!"  


+ THE VELVET UNDERGROUND: THE MURDER MYSTERY +

" 'The Murder Mystery' is more intricately structured and harder to parse, the closest the Velvets ever came to writing a concerto or symphony. An instrumental intro lays out the two main musical statements of the piece. The spoken/sung lyrics, divided among all members of the band and split cleanly into left and right channels, approach mere gibberish, but also touch on the Velvets’ primary topics—derangement of the senses, violence, body horror, and the nighttime rhythms of urban social life. The Velvets frequently indulged their Dionysian impulses, but 'The Murder Mystery' is possibly their most artfully constructed piece of music, and it’s every bit as impressive as their more chaotic work."

[Source: Magnet Magazine.]






+ CAPTAIN BEEFHEART: DROPOUT BOOGIE +

I told you what, I told you what. 

Please note that passengers should be aware that there will be abrupt time-signature changes during the journey in addition to the occasional unexpected piano bridge. 


"We're The Sweeney, son, and we haven't had any dinner." 

+ RADIOHEAD: PARANOID ANDROID +

"In the suite 'Paranoid Android,' acoustic and electric instruments float understatedly through the mix as Yorke sings, through clenched teeth, lines like "Ambition makes you look very ugly." Complex tempo changes, touches of dissonance, ancient choral music and a King Crimson-like melodic structure propel the song to its conclusion, where Yorke sings in a pleading voice, "God loves his children." "

[Mark Kemp, Rolling Stone.]







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