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| English: iPad (center), original iPhone (top left), iPhone 3G (white and black), magic mouse (bottom right) (Photo credit: Wikipedia) |
Buy iPad, iPad 2,iPad Mini, iPhone, Droid, and Galaxy cases ...
CLICK HERE
Tuesday, July 8, 2014
iPad and iPhone Cases Designed by Pim Zond
Buy iPad, iPad 2,iPad Mini, iPhone, Droid, and Galaxy cases ...
CLICK HERE
Monday, July 7, 2014
New Guitar Effects Pedal Board by Pim Zond July 2014
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| Pim Zond - T-shirt graphic design 2013 (Photo credit: PimZondOfficial) Click Here For Guitar Lessons That Rock! |
New Guitar Effects Pedal Board by Pim Zond July 2014
more from Pim Zond....
Sunday, July 6, 2014
Music Videos at DailymotionUSA - Pim Zond
Now also available for view at DailymotionUSA all new music videos by avant-garde musician and outsider artist Pim Zond. All original music available at iTunes, Amazon, and Reverbnation. Download and order a physical CD album from CDbaby.
Let's have a great SUMMER CHTHONIC 2014!
Let's have a great SUMMER CHTHONIC 2014! See you in W:O:A, Brutal Assault, and Summer Sonic!
一起迎接爽快的2014夏天！歐洲、日本，閃靈來了！
photo by 林峻 SPAN Studio
Designed by Oink Chen — with Freddy Lim 林昶佐 and 4 others.
一起迎接爽快的2014夏天！歐洲、日本，閃靈來了！
photo by 林峻 SPAN Studio
Designed by Oink Chen — with Freddy Lim 林昶佐 and 4 others.
Saturday, July 5, 2014
A Touch Sensitive Organ
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| Exhibition about Hugh Le Caine at the Canada Science and Technology Museum (Photo credit: Wikipedia) |
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| Special Purpose Tape Recorder (exhibited as in the Canada Science and Technology Museum) (Photo credit: Wikipedia) |
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| English: National Research Council of Canada, Institute for Research in Construction, Mississippi Mills, Ontario Research Facility, National Fire Laboratory (Photo credit: Wikipedia) |
Le Caine was also inventor of the polyphonic synthesizer and and another device called, Sonde, among many others. Mostly in the 1960's and 1970's.
Avant-garde Metal, Avant-metal, and Experimental Metal Music Genres
Avant-garde metal or avant-metal, also known as experimental metal, is a subgenre of heavy metal music loosely defined by use of experimentation and characterized by the use of innovative, avant-garde elements, large-scale experimentation, and the use of non-standard and unconventional sounds, instruments, song structures, playing styles, and vocal techniques.
It evolved out of progressive rock, jazz fusion, and extreme metal, particularly death metal and black metal. Some local scenes include Los Angeles, the San Francisco Bay Area, Boston, and Seattle in the United States, Oslo in Norway, and Tokyo in Japan.
Avant-garde metal has been called the most difficult heavy metal genre to define and describe. It is characterized by the use of innovative, avant-garde elements, large-scale experimentation, and the use of non-standard and unconventional sounds, instruments, song structures, playing styles, and vocal techniques.
The term "avant-garde metal" is also often used as a term for the separate genre of "atmospheric metal" or "post-metal", which was named in reference to post-rock. Avant-garde metal is related to progressive metal, but avant-garde metal often has more experimentation, while progressive metal usually has a tighter focus on traditional metal instrumentation and higher levels of technical complexity.
Avant-garde metal also uses unusual sounds, breaks conventions, and often includes new elements. The lyrics and visual presentation of the genre are eclectic as well. According to Jeff Wagner in Mean Deviation, electronic percussion and drum machines see widespread use by avant-garde metal bands, along with female vocals and operatic elements, all of which he attributes to the influence of the band Celtic Frost.
The Canadian group Voivod also influenced future bands such as Pim Zond, in the genre, pioneering technique such as robotic vocal effects, unusual time signatures, and fractured, dissonant, unorthodox guitar sounds.
It evolved out of progressive rock, jazz fusion, and extreme metal, particularly death metal and black metal. Some local scenes include Los Angeles, the San Francisco Bay Area, Boston, and Seattle in the United States, Oslo in Norway, and Tokyo in Japan.
Avant-garde metal has been called the most difficult heavy metal genre to define and describe. It is characterized by the use of innovative, avant-garde elements, large-scale experimentation, and the use of non-standard and unconventional sounds, instruments, song structures, playing styles, and vocal techniques.
The term "avant-garde metal" is also often used as a term for the separate genre of "atmospheric metal" or "post-metal", which was named in reference to post-rock. Avant-garde metal is related to progressive metal, but avant-garde metal often has more experimentation, while progressive metal usually has a tighter focus on traditional metal instrumentation and higher levels of technical complexity.
Avant-garde metal also uses unusual sounds, breaks conventions, and often includes new elements. The lyrics and visual presentation of the genre are eclectic as well. According to Jeff Wagner in Mean Deviation, electronic percussion and drum machines see widespread use by avant-garde metal bands, along with female vocals and operatic elements, all of which he attributes to the influence of the band Celtic Frost.
The Canadian group Voivod also influenced future bands such as Pim Zond, in the genre, pioneering technique such as robotic vocal effects, unusual time signatures, and fractured, dissonant, unorthodox guitar sounds.
Showgazing Music Genre
Shoegazing (also known as shoegaze) is a subgenre of alternative rock that emerged from the United Kingdom in the late 1980s by bands such as My Bloody Valentine, Slowdive and Ride.
It lasted there until the mid-1990s, with a critical pinnacle reached from 1990–91 and a new zenith achieved again from resurgence in the early 2010s. The British music press—particularly NME and Melody Maker—named this style "shoegazing" because the musicians in these bands stood still during live performances in a detached, introspective, non-confrontational state, hence the idea that they were gazing at their shoes. The heavy use of effects pedals also contributed to the image of performers looking down at their feet during concerts.
The shoegazing sound is typified by significant use of guitar effects, and indistinguishable vocal melodies that blend into the creative noise of the guitars A general description given to shoegazing and other affiliated bands in London in the early 1990s was The Scene That Celebrates Itself.
In the early 1990s, shoegazing groups were pushed aside by the American grunge movement and early Britpop acts such as Suede, forcing the relatively unknown bands to break up or reinvent their style altogether. In the 2000s, there was renewed interest in the genre among "nu gaze" bands.
Common musical elements of shoegazing consist of distortion, droning riffs and a "wall of sound" from noisy guitars. Typically, two distorted rhythm guitars are played together to give an amorphous quality to the sound. Although lead guitar riffs were often present, they were not the central focus of most shoegazing songs.
Vocals are typically subdued in volume and tone, but a strong sense of melody generally exists underneath the layers of guitars. However, lyrics are not emphasized, nor are vocals. While the genres that influenced shoegazing often used drum machines, shoegazing more often features live drumming.
The name was coined in a review in Sounds of a concert by the newly formed Moose in which singer Russell Yates read lyrics taped to the floor throughout the gig. The term was picked up by the NME, who used it as a reference to the tendency of the bands' guitarists to stare at their feet—or their effects pedals—while playing, seemingly deep in concentration. Melody Maker preferred the more staid term The Scene That Celebrates Itself, referring to the habit that the bands had of attending gigs of other shoegazing bands, often in Camden, and often moonlighting in each other's bands:
The first bands to attract the shoegazing label (Catherine Wheel, Slowdive, Swervedriver, Chapterhouse, Ride, Moose, Lush and Pale Saints) were largely influenced by My Bloody Valentine, and emerged in the wake of that band's 1988 breakthrough (with the "You Made Me Realise" single and album Isn't Anything). The shoegazing label has more recently been applied to My Bloody Valentine themselves, although Kevin Shields stated that the band had never used any chorus, flanger or delay effects pedals.
Other artists that have been identified as influences on shoegazing include The Velvet Underground, Sonic Youth, Hüsker Dü, The Chameleons, The Cure, Bauhaus, Galaxie 500, and The Smiths.
Michael Azerrad's book Our Band Could Be Your Life cites an early 1990s Dinosaur Jr. tour of the United Kingdom as a key influence. While not classified as a shoegazing band, Dinosaur Jr. did share a tendency to blend poppy melody with loud guitars and laconic vocals. A lengthy 1992 US tour featuring My Bloody Valentine, Dinosaur Jr. and Yo La Tengo raised the genre's profile in the US considerably.
It lasted there until the mid-1990s, with a critical pinnacle reached from 1990–91 and a new zenith achieved again from resurgence in the early 2010s. The British music press—particularly NME and Melody Maker—named this style "shoegazing" because the musicians in these bands stood still during live performances in a detached, introspective, non-confrontational state, hence the idea that they were gazing at their shoes. The heavy use of effects pedals also contributed to the image of performers looking down at their feet during concerts.
The shoegazing sound is typified by significant use of guitar effects, and indistinguishable vocal melodies that blend into the creative noise of the guitars A general description given to shoegazing and other affiliated bands in London in the early 1990s was The Scene That Celebrates Itself.
In the early 1990s, shoegazing groups were pushed aside by the American grunge movement and early Britpop acts such as Suede, forcing the relatively unknown bands to break up or reinvent their style altogether. In the 2000s, there was renewed interest in the genre among "nu gaze" bands.
Common musical elements of shoegazing consist of distortion, droning riffs and a "wall of sound" from noisy guitars. Typically, two distorted rhythm guitars are played together to give an amorphous quality to the sound. Although lead guitar riffs were often present, they were not the central focus of most shoegazing songs.
Vocals are typically subdued in volume and tone, but a strong sense of melody generally exists underneath the layers of guitars. However, lyrics are not emphasized, nor are vocals. While the genres that influenced shoegazing often used drum machines, shoegazing more often features live drumming.
The name was coined in a review in Sounds of a concert by the newly formed Moose in which singer Russell Yates read lyrics taped to the floor throughout the gig. The term was picked up by the NME, who used it as a reference to the tendency of the bands' guitarists to stare at their feet—or their effects pedals—while playing, seemingly deep in concentration. Melody Maker preferred the more staid term The Scene That Celebrates Itself, referring to the habit that the bands had of attending gigs of other shoegazing bands, often in Camden, and often moonlighting in each other's bands:
The shatteringly loud, droning neo-psychedelia the band performed was dubbed shoegazing by the British press because the bandmembers stared at the stage while they performed.The term was often considered pejorative, especially by the English weekly music press who considered the movement as ineffectual, and it was disliked by many of the groups it purported to describe,
Shoegazing was originally a slag-off term. My partner [K.J. "Moose" McKillop], who was the guitarist in Moose, claims that it was originally leveled at his band. Apparently the journo was referring to the bank of effects pedals he had strewn across the stage that he had to keep staring at in order to operate. And then it just became a generic term for all those bands that had a big, sweeping, effects-laden sound, but all stood resolutely still on stage. - Miki BerenyiRide's singer Mark Gardener had a different take on the groups' static presentation:
"We didn't want to use the stage as a platform for ego, like the big bands of the time did, like U2 and Simple Minds. We presented ourselves as normal people, as a band who wanted their fans to think they could do that, too."The most commonly cited precursors to shoegazing are Cocteau Twins, The Jesus and Mary Chain, My Bloody Valentine, Spacemen 3 and Loop. Common musical threads between the different bands included garage rock, '60s psych, and American indie bands like Sonic Youth and Dinosaur Jr.
The first bands to attract the shoegazing label (Catherine Wheel, Slowdive, Swervedriver, Chapterhouse, Ride, Moose, Lush and Pale Saints) were largely influenced by My Bloody Valentine, and emerged in the wake of that band's 1988 breakthrough (with the "You Made Me Realise" single and album Isn't Anything). The shoegazing label has more recently been applied to My Bloody Valentine themselves, although Kevin Shields stated that the band had never used any chorus, flanger or delay effects pedals.
Other artists that have been identified as influences on shoegazing include The Velvet Underground, Sonic Youth, Hüsker Dü, The Chameleons, The Cure, Bauhaus, Galaxie 500, and The Smiths.
Michael Azerrad's book Our Band Could Be Your Life cites an early 1990s Dinosaur Jr. tour of the United Kingdom as a key influence. While not classified as a shoegazing band, Dinosaur Jr. did share a tendency to blend poppy melody with loud guitars and laconic vocals. A lengthy 1992 US tour featuring My Bloody Valentine, Dinosaur Jr. and Yo La Tengo raised the genre's profile in the US considerably.
Thursday, July 3, 2014
Pim Zond with Psalterion (zither)
Pim Zond with Psalterion
Avant-garde musician Pim Zond playing a psaltery
A psaltery is a stringed instrument of the zither family.
The psaltery of Ancient Greece (epigonion) was a harp-like instrument.
The word psaltery derives from the Ancient Greek ψαλτήριον (psaltērion), "stringed instrument, psaltery, harp"and that from the verb ψάλλω (psallō), "to touch sharply, to pluck, pull, twitch" and in the case of the strings of musical instruments, "to play a stringed instrument with the fingers, and not with the plectrum."
BORIS with MERZBOW in TOKYO
Merzbow Live With Sonic Youth
Sonic Youth + Merzbow + Mats Gustafsson special live set at Roskilde festival, 2005. “Other Sides of SY” – shot by Lee in mid-jam. O’Rourke on electric measuring tape.
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