In Technology Review, author and essayist Chuck Klosterman delivers a short introduction to the stars of space rock, from Pink Floyd (above) to Hawkwind to Spacemen 3:
Space is a vacuum: the only song capturing the verbatim resonance of space is John Cage’s perfectly silent “4'33".” Any artist purporting to embody the acoustics of the cosmos is projecting a myth. That myth, however, is collective and widely understood. Space has no sound, but certain sounds are “spacey.” Part of this is due to “Space Oddity”; another part comes from cinema, particularly the soundtrack to 2001 (the epic power of classical music by Richard Strauss and György Ligeti). Still another factor is the consistent application of specific instruments, like the ondes martenot (a keyboard that vaguely simulates a human voice, used most famously in the theme to the TV show Star Trek). The shared assumptions about what makes music extraterrestrial are now so accepted that we tend to ignore how strange it is that we all agree on something impossible.
The application of these clichés is most readily seen in the dawn of heavy metal. The 1970 Black Sabbath song “Planet Caravan” processed Ozzy Osbourne’s vocals through a Hammond organ to create a sprawling sense of ethereal distance. Deep Purple’s 1972 “Space Truckin’” used ring modulation to simulate a colossal spacecraft traveling at high speed. The lyrical content of Led Zeppelin’s “No Quarter” is built on Norse mythology, but the dreamlike drone of John Paul Jones’s mellotron and Jimmy Page’s ultra-compressed guitar mirrored the sensation of exploring an alien landscape. Unsurprisingly, the ambiance of these tracks merged with psychedelic tendencies. The idea of “music about space” became shorthand for “music about drugs,” and sometimes for “music to play when you are taking drugs and thinking about space.”
Taylor Swift has been embroiled in a terrible dispute with Scooter Braun, who acquired Swift's former label for $300m, delivering him control over Swift's first six albums. Swift says that Braun had bullied and tormented her for years, and that the owner of her original label, Scott Borchetta, had sold the label to him in […]
In honor of today, please enjoy Harry Manfedini’s “Overlay of Evil/Main Title” from the score to Friday the 13th (1980). And as a bonus, here is the evolution of Jason Vorhees’s handsome mug:
Taeha Types’ Mechanical Keyboard Sounds: Recordings Of Bespoke And Customised Mechanical Keyboards is the album of the year. Roaring into life with the kinetic Apple M011A and the hard-rocking Chicory KB5160AT, it gives way to the delicate ballad Fjell before leaping into the perennial classic HHKB Pro. Granted, some tracks on the flipside might be […]
For some folks, writing notes by hand is just plain easier, but having to re-type them later can be a huge bore, not to mention time-sink. The guys from Rocketbook successfully merged the best parts of analog and digital note-taking with their Everlast notebook awhile back. And now, that tech just got a lot more […]
There are fast-paced card games, and some of them even require enough dexterity for a mini-workout (like Skip-Bo or Snap). But there’s nothing quite like the Mokuru® Card Game, which uses an already addictive fidget toy as the centerpiece for a cutthroat game of tabletop challenges. The game is named for the toy that gets […]
People who ask themselves why they need a dashcam usually have one thing in common: They’ve never been a serious collision. Even in fender benders, these gadgets can save you an immense amount of time and hassle, stopping headaches before they even start. If you’re looking for a reliable starter cam, the myGEKOgear Orbit 110 […]