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The Dead C's Clyma est mort - Darren Jorgensen - Bog

Bag om The Dead C's 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:
  • Ukendt
  • ISBN:
  • 9781501386961
  • Indbinding:
  • Paperback
  • Sideantal:
  • 144
  • Udgivet:
  • 13. juli 2023
  • Størrelse:
  • 128x7x200 mm.
  • Vægt:
  • 164 g.
  • BLACK NOVEMBER
  På lager
Leveringstid: 4-7 hverdage
Forventet levering: 30. november 2024

Beskrivelse af The Dead C's 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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