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DEAD CS CLYMA EST MORT - Jon Stratton - Bog

Bag om DEAD CS CLYMA EST MORT

The Dead C's Clyma est mort (1993) is the record of a live gig for one person. Tom Lax was running the Siltbreeze label in Philadelphia and had come to New Zealand to meet the artists he was releasing. He heard The Dead C at their noisy, improvised best, turning rock music on its head with a free-form style of blaring, loosely organised sound. Leading a second wave of music from Dunedin, New Zealand, The Dead C were an assault against the kind of jangly pop that had made the Dunedin Sound famous during the 1980s. This book uses The Dead C and in particular their album Clyma est mort (1993) to offer insights into the way the best of rock music plays vertigo with our senses, illustrating a sonic picture of freedom and energy. It places the album into the history of independent music in New Zealand, and into an international context of independent labels posting, faxing and phoning each other.

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  • Sprog:
  • Tysk
  • ISBN:
  • 9781501386954
  • Indbinding:
  • Hardback
  • Sideantal:
  • 144
  • Udgivet:
  • 13. juli 2023
  • Størrelse:
  • 127x25x197 mm.
  • Vægt:
  • 454 g.
  • 2-3 uger.
  • 20. november 2024
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  • BLACK NOVEMBER

Medlemspris

Prøv i 30 dage for 45 kr.
Herefter fra 79 kr./md. Ingen binding.

Beskrivelse af DEAD CS CLYMA EST MORT

The Dead C's Clyma est mort (1993) is the record of a live gig for one person. Tom Lax was running the Siltbreeze label in Philadelphia and had come to New Zealand to meet the artists he was releasing. He heard The Dead C at their noisy, improvised best, turning rock music on its head with a free-form style of blaring, loosely organised sound. Leading a second wave of music from Dunedin, New Zealand, The Dead C were an assault against the kind of jangly pop that had made the Dunedin Sound famous during the 1980s. This book uses The Dead C and in particular their album Clyma est mort (1993) to offer insights into the way the best of rock music plays vertigo with our senses, illustrating a sonic picture of freedom and energy. It places the album into the history of independent music in New Zealand, and into an international context of independent labels posting, faxing and phoning each other.

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