The great thing about Esquivel is that whenever you put it on, and whatever you're doing, it suddenly becomes "martini time at the bachelor pad." Try it.
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Pink Fairies - Never Never Land, early 70's British Acid Rock. This has been remastered and still sounds great today. I had an old scratched up LP I got from my cousin around 1976 or so. Standout tracks are Do It and Uncle Harry's Last Freak Out. Nash the Slash - Children of the Night, saw him twice in the early 80's. Very unique, he performs wrapped in bandages like a mummy. Music is great too, out there indeed. |
Wildoats: With Trout Mask Replica, it helps if you have a background of delta blues and some avant garde jazz. It's an amazing blend of those two seemingly unblendable genres and is well worth the effort you put into understanding it. Start with the more accessible tracks like "Moonlight on Vermont". |
A performance of The Whale at Ravinia about 12 years ago. The flautist sings through the flute to make a very odd whale like sound while others make keekoo keekoo sounds in the background. My wife and I still joke about that performance. It was very strange. Does anyone know where a recording of this can be found? I'd like to have it just for fun. |
Have to agree w/ Photon46 alot of music that initially seems totally alien, disjionted or unfathomable can later seem perfectly logical - like just plain good or great music, (Varese, Ruins, Beefheart, Univers Zero, Area, Morton Subotnick). Can't say that yet about some of the stuff released by Cecil Taylor, Derek Bailey or Anthony Braxton. |
Most any John Cage will fit in here, but the antithesis of silence is a piece called "Solo for Voice 22, Theatre with Electronics (from Songbooks, 1970)". It is a duet of sorts that involves electronically filtered sounds of breathing and sniffing. It actually has a written score that dictates when and where motifs of irregular vs. regular breathing through mouth and/or nose are to be administered. It is hard to imagine that it was written with a clear mind. |
I think this is very culturally relative. When I first heard classical music from Vietnam, Thailand, and Burma, the microtonal scales and rhythmic meters really threw me. But after repeated exposure to it, I found that it no longer seemed so strange. But man, talk about strange looks when someone walks in and hears southeast asian music playing at work. "Pat Waing: The Magic Drum Circle of Burma" on the Shanachie label is a very interesting cd of contemporary Burmese percussion music played on a 21 drum ensemble. |
For a true original try Harry Partch. An American composer who developed his own microtonal musical scale in the 30s and wrote for it until his death in the early 70s. His compositions often combined theater along with his striking and unusual instruments (which he invented to play his 40+ note scale). His 3 LP release "Delusion and the Fury" had one record showcasing his instruments along with a great booklet containing many pictures of them. http://www.harrypartch.com |
Yusef Lateef "Encounters" haunting, yet beautiful in a very strange sort of way. Don't play while other people are around or they will think you have lost it. I like to play this with the lights off. http://www.amazon.com/exec/obidos/tg/detail/-/B00005NG40/qid=1081428970/sr=1-37/ref=sr_1_37/002-6102916-2970426?v=glance&s=music Dave |