Can S Tago Mago

Finally, a brilliant exploration of the German rock band Can's 1971 album Tago Mago. This hugely unique and influential album deserves close analysis from a fan, rather than a musicologist. Novelist Alan Warner details the concrete music we hear on the album, how it was composed, executed and recorded--including the history of the album in terms of its release, promotion and art work. This tale of Tago Mago is also the tale of a young man obsessed with record collecting in the dark and mysterious period of pop music before Google. Warner includes a backtracking of the history of the band up to that point and also some description of Can's unique recording approach taking into account their home studio set up. Interviews with the two surviving members: drummer Jaki Liebezeit, keyboardist Irmin Schmidt and bassist Holger Czukay make this a hilariously personal and illuminating picture of Can.

Finally, a brilliant exploration of the German rock band Can's 1971 album Tago Mago. This hugely unique and influential album deserves close analysis from a fan, rather than a musicologist. Novelist Alan Warner details the concrete music we hear on the album, how it was composed, executed and recorded--including the history of the album in terms of its release, promotion and art work. This tale of Tago Mago is also the tale of a young man obsessed with record collecting in the dark and mysterious period of pop music before Google. Warner includes a backtracking of the history of the band up to that point and also some description of Can's unique recording approach taking into account their home studio set up. Interviews with the two surviving members: drummer Jaki Liebezeit, keyboardist Irmin Schmidt and bassist Holger Czukay make this a hilariously personal and illuminating picture of Can.

All Gates Open presents the definitive story of arguably the most influential and revered avant-garde band of the late twentieth century: CAN. It consists of two books. In Book One, Rob Young gives us the full biography of a band that emerged at the vanguard of what would come to be called the Krautrock scene in late sixties Cologne. With Irmin Schmidt and Holger Czukay - two classically trained students of Stockhausen - at the heart of the band, CAN's studio and live performances burned an incendiary trail through the decade that followed: and left a legacy that is still reverberating today in hip hop, post rock, ambient, and countless other genres. Rob Young's account draws on unique interviews with all founding members of CAN, as well as their vocalists, friends and music industry associates. And he revisits the music, which is still deliriously innovative and unclassifiable more than four decades on. All Gates Open is a portrait of a group who worked with visionary intensity and belief, outside the system and inside their own inner space. Book Two, Can Kiosk, has been assembled by Irmin Schmidt, founding member and guiding spirit of the band, as a 'collage - a technique long associated with CAN's approach to recording. There is an oral history of the band drawing on interviews that Irmin made with musicians who see CAN as an influence - such as Bobby Gillespie, Geoff Barrow, Daniel Miller, and many others. There are also interviews with artists and filmmakers like Wim Wenders and John Malkovitch, where Schmidt reflects on more personal matters and his work with film. Extracts of Schmidt's notebook and diaries from 2013-14 are also reproduced as a reflection on the creative process, and the memories, dreams, and epiphanies it entails. Can Kiosk offers further perspectives on a band that have inspired several generations of musicians and filmmakers in the voices of the artists themselves. CAN were unique, and their legacy is articulated in two books in this volume with the depth, rigour, originality, and intensity associated with the band itself. It is illustrated throughout with previously unseen art, photographs, and ephemera from the band's archive.

Phil Rose delves into Radiohead’s work and its cultural context, drawing out how the music addresses political, environmental, and social crises. This book reveals the true depth and musical genius that has solidified Radiohead’s place in rock history and pop culture.

In this book, the technical explanation of the nature of analog sound creation is followed by the story of its birth and its subsequent development by various designers, manufacturers and performers. The individual components of analog sound creation are then examined in detail, with step by step examples of sound creation techniques. Then the modern imitative analog instruments are examined, again with detailed instructions for programming and using them, and the book is completed with appendices listing the major instrument lines available, hints on values and purchasing, other sources of information, and a discography of readily available recordings which give good examples of analog sound synthesis. The CD which accompanies the book gives many examples of analog sound creation basics as well as more advanced techniques, and of the abilities of the individual instruments associated with classical and with imitative analog sound synthesis.

This book analyzes regulatory models established in the field of online music distribution, and examines their consistency with the overarching objectives of copyright law. In order to do so, the book takes a deep dive into the provisions of international treaties, EU Directives as well as the German and US copyright systems and case law. It subsequently scrutinizes the identified regulatory models from the standpoint of the copyright’s objectives with regard to incentives, rewards, a level playing field, and dissemination. Lastly, it endorses the improved market-based statutory license as a preferable instrument in the online music field. The book is intended for all readers with an interest in music copyright law. Part I will especially benefit copyright scholars and practitioners seeking in-depth insights into the current legal situation regarding streaming and downloading. In turn, Part II will above all appeal to scholars interested in “law and economics” and in the theoretical foundations of online music copyright. Policy recommendations can be found in Part III.

This Is Hardcore is Pulp's cry for help. A giant, sprawling, flawed masterpiece of a record, the 1998 album manages to tackle some of the most inappropriate grown-up issues of the day – fame, ageing, mortality, drugs, and pornography – and still come out crying and laughing on the other side. The subject of pornography dominates the record – from its controversial artwork to the images conjured up by songs like "Seductive Barry" and the title track – after Pulp's main man, Jarvis Cocker – who'd spent most of his teenage and adult life chasing celebrity, only to be cruelly disappointed when it finally arrived in spades – hit upon the grand notion of using pornography as a metaphor for fame. The album's commercial failure as a follow-up to the band's Britpop-defining, Different Class, also symbolizes a death knell for Britpop itself. Dark, right? Except just like Pulp themselves, Jane Savidge's book is playful and sometimes very funny indeed. Kicking off with an imaginary conversation between Jarvis Cocker and the people who run the Total Fame Solutions helpline, Savidge expertly guides us through the trials and tribulations of an album that begins with the so-called Michael Jackson Incident, when Cocker got up on stage at the 1996 Brit Awards and waggled his fully-clothed bum at the King of Pop. Pulp's This Is Hardcore may be a sleazy run through porn and mental demise, and an album that chronicles Cocker's continuing disillusionment with his newfound lot in life, but Savidge's book assesses the cultural and historical context of the album with insider knowledge and a sharp modern lens, ultimately making a case for it as one of the most important albums of the 1990s.

Impossible objects are those about which the philosopher, narrowly conceived, can hardly speak: poetry, film, music, humor. Such "objects" do not rely on philosophy for interpretation and understanding; they are already independent practices and sites of sensuous meaning production. As Elvis Costello has said, "writing about music is like dancing about architecture." We don't need literary theory in order to be riveted by the poem, nor a critic's analysis to enjoy a film. How then can philosophy speak about anything outside of itself, namely all of those things which actually matter to us in this world? In Impossible Objects, Simon Critchley - one of the most influential and insightful philosophers writing today - extends his philosophical investigation into non-philosophical territories, including discussions on tragedy, poetry, humor, and music. In a series of engaging and enlightening conversations, Critchley reflects on his early work on the ethics of deconstruction; the recurring themes of mortality and nihilism; his defense of neo-anarchism; and his recent investigation into secular faith, or "a faith of the faithless". Essential reading for artists, academics, and general readers alike, this book explores the relationship between the philosophical world and those complex and fascinating "impossible objects" which give life meaning.