avant guard
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Today is a big day for Culture Fusion: our efforts to expand to a wider range of writers and musical interests has hit pay dirt with the introduction of new reviewer Audrey. She enjoys exploring the realms of the strange and unusual and who’s innate understanding of music helps create an informative and enjoyable read.
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The avant guard underground of the 60’s was alive with the progress of the unknown, the uncertain and the Cage-ian ideas of chance, non-music, improvisation, the bleeps of electronics and the whir of excitement coming out of the minimalist composers focusing on simple, repetitive mantras: the Phillip Glass, the LaMonte Youngs and the Terry Riley’s.
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After a series of increasingly intense and haunting albums that explored deeper and deeper realms of emotional torment, outre singer Diamanda Galas released “The Singer” a relatively restrained collection of piano and vocal covers that showed her debt to blues, jazz, standards and other roots oriented music. It was perhaps her most easily listenable album
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Noise is noise and music is music but sometimes noise is music and music is noise. Nothing but grinding sounds crashing against each other in discordance. Scrapes. Moans. Bashing out a stupid rhythm on a snare drum. Plucking out a few notes on a sitar (which you’ve never played). Feedback. Rumbles. Looping everything or playing
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Now, to break up the monotony of reviews on either a) classic 60’s pop bands or b) classic 80’s-00’s era pop bands I will review one of the most avant guard performers to ever get a deal with a reasonably big record label and who pushed the boundaries with her vocal and instrumental intensity.
Culture Fusion Reviews 