Archive for the 'Charred Mammal Flesh: Exotic Music for BBQ' Category
WAITIKI and Postmodernism
- Include quotes (harmonic, melodic, or textural) from landmarks of orchestral literature or specific composers’ styles
- Rhythms of common Latin feels, played by iconic Latin percussion instruments (congas, bongo, agogo)
- Non-sequiter (even sarcastic) interjections of obscure instruments or musical ideas (including bird calls!)
- Use of standard classical (sonata-allegro, sonata-rondo, scherzo/trio) or jazz forms (AABA, 12 bar blues)
The fusion of these elements respectively turns Baxter’s and Denny’s pieces into musical pastiches of sorts and serve to obsfucate the division between “what is high art music” and “what is pop music.”
One element of postmodernism that isn’t readily found in Baxter and Denny recordings is that of “chance” (i.e. John Cage). I believe that improvisation is a form of ‘chance’ and that its inclusion throughout the various tunes we play fits in with the underlying postmodern concept.
Some elements of inclusion from the postmodernist filmmaker Federico Fellini:
- Bizarre use of perspective in imagery (i.e. those old slides Brian bought on ebay; first shown at our 2004 Lizard Lounge show, and seen in our old promo video clips)
- Jarring caricatures of everyday life (manifested in Bwana hand signals)
- Multiple layers of visual perception and subjects staring at the camera/viewer
The music from Charred Mammal Flesh is particularly influenced by Postmodernism and defines the WAITIKI sound… More on that later!
Diagramming the Cave of Uldo “ALO-HOP” beat
The ‘Alo-hop’ Beat: What is it? And where did it come from?
These are questions that have been plaguing Okonkuluku University students for decades. Lucky for you, dear reader, today’s lecture is a diagram of the beat and its origins.
Sacred & Secular Dance Music of the Ancient & Modern Worlds
The ‘Alo-hop’ Beat has three influences: the ipu rhythms of Hawaiian hula kahiko, the guiro patterns of Latin music, and a bass line borrowed from Usher’s hip-hop anthem “Yeah.”
The diagram below shows the interaction of the ipu rhythm and hip-hop bass line. Note that the downbeat of each bar simultaneously serves as the first note of the bass line and the first heel slap of the ipu. Whereas traditional usage of the ipu would dictate using the heel of one’s hand (as marked, ‘Heel’) and the lengths of one’s fingers (as marked, ‘Slap’), it is suggested that alo-hop performers substitute kick drum for the ‘Heel’ and mounted temple block (or wood block) for all ’slap’ sounds.
The next diagram shows the adaptation of the classic guiro pattern, double-timed for hi-hat.
