Date: Wed, 18 Dec 1996 02:58:47 +0100
I came across an Andrew Beaujon (ex-Eggs) 7", 'Marylebone Station', in a
some catalogue update. Is this a new 7"? Please tell me.
Date: Wed, 18 Dec 1996 02:01:27 GMT
On Tue, 17 Dec 1996 10:53:28 -0800, Jens Alfke
Date: Wed, 18 Dec 1996 02:58:41 +0100
>the New Grape tape from Time Stereo...
>it's pretty remarkable...
>the girl is Dara of "Library Girl"
>fame, and a sample from the tape is on the Universal Frequencies
>EP (it's that distorted carousel-type thing). It's sure to bug the
>hell out of most people with its low-fi washings of distortion
>and stuttered samples, but noise-fans will immediately embrace it.
>The only thing I can say against it, and this goes for all Time
>Stereo releases, is that it's on a TDK D90 cassette.
The New Grape tape indeed is very good, and, as I understand from the new
Time Stereo catalogue to be released on CD soon.
Date: Tue, 17 Dec 1996 12:11:30 -0500
>Well, are there any liner notes, record label references, etc??? Who did
>the artwork? The font thing would be a crazy coincidence if it were not
>Dean and Toni.
"All tracks written and performed by Curve. Published by: PXM Publishing.
All tracks licensed from The Product Exchange. (P) 1995 Wazzz Music.
(C) 1995 Disky Communications Europe B.V. Cover design: Van Dijken,
Physics - Astronomy Domine Dept
Michigan State University
Date: Tue, 17 Dec 1996 17:40:23 -0700
I think therefore I am?
>From what I understand of brain functions and physiology is like Reese's
Peanut Butter Cup--if you will. "You've got your data in my systems. No,
you've got your systems in my data."
>From what I understand there is alot of coordinated efforts between the
two hemisphere so as to supplement and enhance to overall perception
of things. If right brain is finding coeherent patterns and associations
in a body of aural input, the left brain is analyzing and dilineating
these sounds into manipulable pieces, serving in effect to enhance the right
brains gestalt by creating the contrast of parts against whole. That is,
the whole of it becomes apparent when distinct spaces are being chopped out
of it and manipulated--eeking out the precision in the rhythm and finding
the thoeretical aspects of the music as they suit mathematical proportions
provides the skeletal basis for dressing the aural input with associations
of emotion and environment, as well as internal associations of the music
itself--voice over the guitar (as opposed to guitar apart frim the voices).
I think that left brain tends to be more of a synthesizer, while the right
brain is more of an analytical engine. However, both are interdependent
and fulfill tasks which fortify their efforts and seek to bring forth
a comprehensive impression of whatever the mind is stimulated with and the
resultant preception obtains.
whatever... hack cognitive science in effect.
Better yet 7-11 Science in effect. Convenience is Everything
Date: Tue, 17 Dec 1996 18:02:02 -0600
Normally a lurker, I fell that now is the time I ought to come
out of my shell and share my thoughts on last Saturday's Red House
Painters show in Salt Lake City, UT. (Any other SL listies?) Aparrently
they had quite a bit of snow trouble over the Rockies (they were coming
from Denver) that turned a 7 or 8 hour dirve into a 15 hour drive. On
top of that, the bass player was sick and stayed at the hotel. Mark came
out by himself with an acoustic guitar and explained about the drive and
the bass player and said that they were going to try to do the show as a
three piece. He played the first several songs by himself, and started
the show with "I'm Gonna Keep On Loving You" by REO Speedwagon. (They
did several covers that night, including Leaving On A Jet Plain, War
Pigs, Don't Fear The Reaper, and others.) The first three songs were
covers. At first I wasn't sure if he was going to play any originals, but
then he broke into an INCREDIBLE version of 'Uncle Joe'.
Finally the rest of the band came out and played several songs
I'd wasn't familiar with. A friend said that a couple of these were off
the new album (I don't have it) but that two he had never heard before
(and he really know their stuff). Aparrently they are trying out brand
new songs. After the band left the stage Mark came out by himslef again
with the acoustic, this time playing sever songs on on the front of the
stage with not amplification. Man, his voice really carries. He
dedicated the acoustic set to a Salt Lake musician who recently died of
cancer. In that he did a very nice medley of Sundays and Holidays and
Three Legged Cat. I didn't make a set list, though.
They performed very good, especially considering what they had
been through, but Mark was being such an asshole. I've never ffelt so
berated in my whole entire life, not even by my own parents. Does he
really feel that way about his fans, or just certain cities, or is it
just a gimmick? (EVery band has got some kind of gimmick....)
Date: Wed, 18 Dec 1996 00:02:05 EST
on a lighter note...
While vainly doing a net search for raw info on Funky Porcini (anyone?),
one of the things I was led to was the 4AD-L archives at evo.org for the
date May 13 (my birthday, coincidentally). Apparently someone had a
Funky Porcini 12" for sale that day. :G)
Anyway, in another post that same day, someone was saying that Pale
Saints have now disbanded for good, and that Graeme & Chris were working
on a new project, Colleen was looking for a new band to join, and no
mention was made about Meriel. I went through the archives for the
following week or so, but no other mention was made about the band.
So does anyone happen to know if this is definitely true? Just curious,
Date: Tue, 17 Dec 1996 09:10:21 -0800
The FAQ is at:
It contains instructions on how to unsubscribe. Bye.
__________ _____________________ _______________________
Jens Alfke\ Wild-Eyed Java Zealot\ email@example.com -work\
Paget saw an Irish tooth, Sir, in a waste gap.
Date: Wed, 18 Dec 1996 00:02:05 EST
I wasn't going to, but I just can't help myself.
> Case in point: laying blame on the artist... this is absolutely stupid.
So if someone puts out an album that isn't up to my standards, I should
blame myself? The guy working the counter at Best Buy?
> Unless you personally KNOW the artist at hand, you cannot say they...
> "have lost that magic touch they used to have", or other such stupid
> and completely anal left brain opininated reasons.
Sorry, but I can, did, and surely will again in the future. (In my post
last night on this subject, I was going to level the same "accusation" at
Throwing Muses, but decided not to, in light of the fact that
_Hips_and_Makers_ is an INCREDIBLE album, so Kristin apparently hasn't
"lost it". But interestingly, someone else also posted something to the
> There are other totally stupid and completely anal reasons I have
> seen named on here for not liking M&K and other music that I am
> not even going to bother going into because I will probably just be
> inserting my foot in my wide open mouth.
As Andrew already pointed out, the contradictions in your ramblings took
care of your foot placement. Basically, if you don't like hearing
people's opinions, especially negative ones, then you've definitely
subscribed to the wrong list. Let me know if you need the directions for
> In this day and age of information, misinformation is our worst
> enemy. Taking and believing something as fact blindy without
> finding out for yourself is idiocy.
Uh, I bought _M&K_ the day it came out, thank you very much. I've forced
myself to listen to it several times, hoping that eventually something
will jump out and make me like the damn thing. No luck yet.
I thought that Iceblink's "long and rambling" post (which I accidentally
deleted) was pretty spot-on. I know that the band has been through a lot
of turmoil, and true, we can't expect a band to go on for 14+ years
without some change in direction. But then again, I've already jumped
off the train, so to speak. I'd already decided months ago that the next
CT release will be the first one that I won't pounce on without hearing a
few times first. Sad.
Date: Tue, 17 Dec 1996 09:03:28 -0800
>Case in point: laying blame on the artist... this is absolutely
>stupid. Unless you personally KNOW the artist at hand, you cannot say
>they "sold out", "compromised their style to sell more records",
>"have lost that magic touch they used to have", or other such stupid
>and completely anal left brain opininated reasons.
Not so. (If this were true, it would be impossible for anyone alive today
to write criticism of, say, Charles Flaubert, Charles Dickens, Chaucer,
Dante or Homer.) There is often very little connection between the artist
as a person and his/her art.
I don't see what the left brain has to do with any of this, apart from
that it's used for language and you can't express yourself verbally
without using it. I get the feeling you're just using it as a common
>Really, though... think before you close your mind off to
>certain music. Try not to be so opinionated. Don't make up/think up
>stupid and totally unfounded reasons to not like certain music or
>support your reasons for not liking it.
I don't think I'm closed-minded, and I don't see how you can possibly
infer simply from my thinking that 4CC is crap and M&K is lackluster that
I'm closed-minded. Hey, I listened to both albums and gave them a chance,
and I found them not only uninteresting but unchallenging and sadly
derivative of their earlier great works.
>Whatever happened to liking
>or not liking a particular thing purely on the basis that it is [not]
>the kind of thing you are personally into?
There is plenty of music I don't like just because it's not the kind of
thing I'm into, not because I think it's terrible. Mojave3, Beethoven,
LFO, Hank Williams, Slayer ... I do however reserve the right to think
there are actual solid reasons why some music is bad, and to express
those reasons. This is called criticism. You may have heard about it in
You then go into a long spiel about not believing everything you hear,
and making up your own mind. Excuse me, I _did_ make up my own mind,
along with others who think these are both poor albums. We stated our
opinions, and now you are whining at us for it and telling us our
opinions are invalid because they don't match yours. Don't you see
something a wee bit hypocritical here?
What really bothers me about your message is that you implicitly assume
there are no standards in music, that "good" and "bad" are invalid and
the worst thing you can say about any piece of music is "it's not the
kind of thing I like". Obviously standards can be highly individual and
open to debate, but we have to be able to judge things as good or bad, as
better or worse, otherwise there's not really much of anything to say
about a piece of music other than "I liked it" or "I didn't"; and there's
no feedback we can offer the artist. There seems to be a consensus on
this list that Alanis Morisette's music is bad; but how can we render
such an opinion of her if we're forbidden to come to such a conclusion
about other bands?
Your overall tone is "if you don't like what I like you must be fooling
yourself into coming up with lame-ass opinions that you don't really
mean". Get off your ego trip, Ryan.
__________ _____________________ _______________________
Jens Alfke\ Wild-Eyed Java Zealot\ firstname.lastname@example.org -work\
'Time in the shadow of the wing of the thing too big to see, rising.'
Date: Tue, 17 Dec 1996 11:46:46 -0500
i just found this doing an altavista search on HNIA, and had
a laugh. check it:
One of the most intriguing offerings in this aesthetic realm is Mouth By
Mouth, the third recording
produced by "his name is alive," an ensemble comprising a weird variation
on the power trio
(guitar/samples, cello, and drums). Not surprisingly (considering their
English roots), the sound world
of "his name is alive" is more arty and less ironic than the deeply
American Zorn. The curious thing
about Mouth By Mouth is its "almost normal" quality: straight pop tunes
which feel a little wrong. A
dropped beat here and there (on "Baby Fish Mouth"), drastic changes in
tempo at unusual moments
(throughout the CD), mutations of the verse-chorus pop song format ("Sort
Of"), insertions of
erroneously placed samples (Balinese gamelan in the middle of a
pseudo-heavy metal song), all lead
the listener into a drugged state of consciousness (the listening
experience is comparable to jet lag).
To complete the surreal picture the female vocalist sings in a breathy
Julie Cruise voice, "do you
know the smell of your own face?... will you eat the world?... gone to a
place that's rotten... feast on
what's in the way."
The ordering of pieces on Mouth By Mouth also contributes to an overall
sense of dislocation and
heterogeneity. However, whereas Zorn radically mixes genre within single
pieces, "his name is alive"
has the tendency to move from one style to another on a more macro level.
The result makes the CD
feel like one long piece rather than a collection of short pop songs. Not
unlike a concept album in
delivery, but with the distanced cold gaze of British post-punk, Mouth By
Mouth ranges through
affectations of just about everything imaginable, with the band stopping
at points to sing lovely little
ditties such as "Lord, Make Me A Channel Of Your Piece" with such
expression that you almost
think they are serious. A subtle sense of affective progression leads us
to the next point, moving us
through emotional ranges almost unnoticed. A slight orchestrational change
here and there, a
background sample slowly moved to the foreground and suddenly the
emotional context has
completely altered within an apparently static musical background.
These techniques of musical/emotional progression and large-scale
heterogeneity give "his name is
alive" a theoretical depth which sets them apart from the musical naivety
of most of the British
post-punk scene. With Mouth By Mouth they have also managed to articulate
a statement for
European postmodernism which points in a radically different direction
from that of the European
Post-Romantics. Moving away from both classical formal models and the pop
song format, they are
consciously working in a state of ecstatic musical confusion, in a space
where the boundaries are
simultaneously uncertain and exhilarating. On Mouth By Mouth "his name is
alive" have carved out a
unique musical niche, presenting the listener with some distinctive new
insights into the possibilities of
European genre eclecticism. Their theoretical incisiveness combined with
with their instrumental and
technological fluidity, makes Mouth By Mouth one of those rare popular
releases which actually
endure multiple listenings.
this is available at
Now I need to come down slowly
I need to come down slowly D
so let me down now gently a
very, very gently n K
so that when I finally hit it i l
I'll hit the deck real slow e y
sweet anaesthesia email@example.com
sweet anaesthesia Document Defnording
-david j- Wondermonkey Cabal
Date: Tue, 17 Dec 1996 19:39:16 -0500
In a message dated 96-12-15 19:20:57 EST, you write:
<< I just read that Frank Black is name of the main character in Chris
Carter's new TV-production 'Millennium'. Where did he get that name?
The series will be shown over here sometime next year.. is it any good?
I love it. But very dark. Frank Black is a big fan of the X Files, so CHris
Carter probably named the character after him. I was surprised at the
subject material though. American TV usually doesn't allow such subjects.
Date: Tue, 17 Dec 1996 15:50:42 -0700
fluff--An indie/grunge band with a pretty intense sonic drive
KLF-You know that English techno/ambient band from the late 80's early 90's
Date: Tue, 17 Dec 1996 16:09:02 -0800
On Tue, 17 Dec 1996, Matthew T DeBellis
Date: Wed, 18 Dec 1996 09:42:12 -0500
This is very interesting. While Curve were signed to Anxious/Charisma (Pre
1995), they were published by Virgin Songs. Their artwork from pre-Cuckoo
times was all done by Flat Earth. But since they apparently left the
Anxious/Charisma arrangement in 1994, this does indeed appear to be some
sort of interim release.
Anyone have any ideas how we might be able to get more info on this? I'm
not familiar with copyright law in Europe, so I don't know what the
stipulation is if someone over there wanted to release an independent
recording under a name already in use. Technically, at the time, it wasn't
in use, really.
At 12:11 PM 12/17/96 -0500, you wrote:
>>Well, are there any liner notes, record label references, etc??? Who did
>>the artwork? The font thing would be a crazy coincidence if it were not
>>Dean and Toni.
>"All tracks written and performed by Curve. Published by: PXM Publishing.
>All tracks licensed from The Product Exchange. (P) 1995 Wazzz Music.
>(C) 1995 Disky Communications Europe B.V. Cover design: Van Dijken,
>Physics - Astronomy Domine Dept
>Michigan State University
Date: Wed, 18 Dec 1996 08:49:24 -0800
On Tue, 17 Dec 1996, John Mcintyre wrote:
> "All tracks written and performed by Curve. Published by: PXM Publishing.
> All tracks licensed from The Product Exchange. (P) 1995 Wazzz Music.
> (C) 1995 Disky Communications Europe B.V. Cover design: Van Dijken,
i replied to this when it was first brought up by Mr. Gman2 but i guess
nobody saw that. This is a different curve. They were around before the
Curve w/ Toni & Dean and they have sometimes been known as Curve Sr. I
think this might be the only release that you'll run across but just in
case, all Curve records must have some mention of Anxious, Charisma,
Sony, or Fatlip. They are also credited to Halliday/Garcia, not just
Date: Wed, 18 Dec 1996 13:35:00 CST
At 12:00 AM 12/18/96 +1900, jens wrote:
It was something like possession, it
> came to them and they didn't have the facilities to explain it.
> around 1988 or so I think they lost that connection to the sublime, and
> been left to make music with their daylight personalities and nothing
> on but a few fading memories and the master tapes to their old stuff...
and then jeremy wrote:
>This is the most coherent explanation of this concept I've ever come
>across. Someone else suggested that they were making better music when
>Robin was doing serious amounts of drugs. Sadly, this may be the
>case...after all, around the time that they "lost their connection to the
>sublime" was also when Robin began cleaning up, correct? Just a
Date: Wed, 18 Dec 1996 16:54:53 EST
i'd like a lis of your alternative and indei records please...
Date: Wed, 18 Dec 1996 18:24:28 -0800
>From the Throwing Music site:
This morning (December 18) at 9:36am EDST, Kristin Hersh gave birth to a
beautiful 7 lb. 1 oz. baby boy named Wyatt True O'Connell...
We both want to thank all of you for your thoughts, support, concern,
and understanding, throughout the entire pregnancy.
Kristin and Billy
Date: Wed, 18 Dec 1996 18:03:45 EST
Wow! Just came back from a spur-of-the-moment trip to a local record
store, and am I glad I did! I walked away with Richard H Kirk's
_Virtual_State_, Honey Tongue's _Nude_Nudes_, and Laurie Anderson's
_The_Ugly_One_with_the_Jewels_ for two bucks each (along with other less
thislisty stuff like Close Lobsters, Cows, Dambuilders, etc)!
Not all the stuff in the bin was $2, but I think they all maxed out at
around $3.99. There were several others items I thought might be of
interest to some of you, which I left on the shelf, but could still go
back and get, such as...
The Wolfgang Press, _Queer_ (import 4AD version, slight wear and tear to
booklet, but in pretty good shape)
The Moon Seven Times, _7=49_ (cut-out)
Hex, _Vast_Halos_ (two copies, both from Columbia House)
Tarnation, "The Hand" (promo CD5)
Loop, _A_Gilded_Eternity_ (cut-out)
Xymox, "At the End of the Day" (CD5)
A. R. Kane, _rem'i'xes_ (spine slightly faded, otherwise in excellent
The Wild Swans, "Music and Talk from Liverpool" promo
The last one is the one that really surprised me. The Wild Swans were
once an excellent band that put out one incredible album
(_Bringing_Home_the_Ashes_) in 1987. Think thislisty sounds wrapped
around Smiths/Echo-esque (VERY English) melancholy but upbeat pop songs.
This promo (which I paid like $20 for when it was new) has album tracks
interspersed with commentary by guitarist Jeremy Kelly, and ends with the
A-side of their now-ultra-rare first 7", "Revolutionary Spirit".
And come on...no one on this list of anal-retentive trainspotters wants
my limited edition Underground Lovers single in the hand-stamped
Date: Wed, 18 Dec 1996 16:54:50 -0800
> Biggest Disappointments
Don't forget Bel Canto's Magic Box.... woo, boy, was that stinky.
Date: Wed, 18 Dec 1996 20:07:19 EST
Can someone give me the tracklisting for New Grape tape if there is one.
i have a copy of the tape and don't know what the songs are called...
Date: Wed, 18 Dec 1996 17:38:06 -0500
SOOOO many assumptions on who I am and what I have done with my
life and a lot of wonderfully petty personal attacts. I loved that
one guy that started calling me names. And Jens... the subject header
is for you! But seriously... don't take everything so seriously...
its only life. I have to admit that when I hit the send button on
that last email message I knew I was in for something. But to be
completely serious I totally appreciate all the email and the
discussion on this subject. Even from the negative reactions and
especially from the guy that was calling me names. I couldn't stop
laughing about that one. I have to admit that you guys have pointed
out things that I had a hard time seeing before. A lot of things I
believe you took me a little to literal on, though. Just to get this
out of the air, I apologise to each and everyone of you that thought
I was saying that you were wrong and I was right and took it
personally. One of the things that you should know about me and my
writing is that it is only what I believe to be the answer for me.
Even though they might not be aware of it, Andrew and Mike are
probably the ones that opened my eyes the most. Next time I am
thinking of writing such a controversial message, I think I will
forward it to them first (if they don't mind) and have them edit it
and critique it for me. I really appreciate Andrew pointing out my
inconsistencies. The only two excuses I have for my "rambling" is
that I was near dropping off to sleep and that I by nature do
"ramble" a lot. I kind of already knew that it had some
inconsistencies in it, but I was hoping that you guys would get the
general gist of it without taking it so seriously and so literally.
Like say for instance the new topic that has sprung out of it about
which part of the brain is used to enjoy music. Not a bad subject. I
am learning tons from it. I am caught in the act of being a hypocrite.
I used an assumed generalization and I am sorry. To clear things up
once and for all what I meant in the last email I will repeat what I
believe to be the only measure to judge music by.
Music is music. Whether you like it or you don't (or like parts
or kind of like it or really like it or you think it is total crap).
But you are always reserved the personal right to change your mind
about it. I personally have done that many times with different CDs
as my tastes have broadened. You can make up, assume, or try to find
ways to support the reasons why you don't like it, but it all comes
down to only one valid point... I like it/I don't like it. End of
story. I like M&K and pretty much everything else that the Cocteau
Twins have done. You guys certainly have a lot different opinion.
That is totally fine. I don't mind. Just the fact that you are on
this mailing list such as I proves the fact that we all have music
that we all passionately love. I'm sure that we all have a band or
many here and there that we can agree upon, and for that I am glad.
In the meantime if you thing I was ragging on you for not having the
same taste, I apologise. I truly didn't mean to and you will have to
trust me on that one... or don't. I guess it really doesn't matter. I
know what I meant. I just hope that in the future I can be more
syntactically correct for everyone to understand.
While I am not too far off the subject I would like to bring up
the whole blame argument. I personally don't believe that you can
blame an artist for what they have done. They don't owe you a damn
thing. The only thing they have to answer to when it comes down to it
is there conscience. Not you or me. If that artist on one album makes
something that you believe to be the music of your soul and on the
next make something that you believe to be total shit, it isn't their
fault that your musical tastes don't jive with yours. On the contrary,
its just a pure shame that your vision and theirs are not the same
anymore. Even if you read in this article or that article or that
review or this interview that they sold out or they don't believe it
was their best record or such or someone was expecting god and was
let down. This is just nonsense and people talk and I believe has
very little to do with the music contained in the recording. That is
just the OPINION of either the writer or the artist themselves. When
it comes down it, this means nothing at all at the point when you hit
the play button and the music starts flowing (or hitting) and you
like it or don't like it based on your own OPINION.
I'm not glad that it seems that most people on this list don't
relate to the latest Cocteau stuff, but I CAN and have accepted that
fact. Its no big deal really. To me that is not even part of my point
in this email or the last one for that matter. My only point that I
was ever trying to make is that you like it or you don't. You can
carry on with reasons and such of why you think the artist just
didn't get it right this time around or why they did, but that is
just a guess and really the only valid point you could make is that
you don't like or you do like it. I could even accept naming facts of
your agreement/disagreement with the work by discussing parts of the
work that you don't like. That is acceptable. I believe that once a
piece is made, the work stands or falls on its own. When it comes to
music or art in general, my opinion is that as long as one person
somewhere (even if it is only the artist) liked it, even if everyone
else in the world hated it and thought it was crap, it stands.
To end this, I hope that I haven't alienated myself from this
whole list and made most of you hate me. I would like to keep on
subscribing to this mailing list. I get news and I desperately need
to tame my music addiction and hear stories from you all that make me
laugh. For one last time, I apologise if my words hurt you or made
you mad at me. Do not take me so seriously and I will try to do the
same with you next time our views don't meet eye to eye. Thank you
for your time and bubye...
Date: Wed, 18 Dec 1996 16:56:22 -0800
> portishead (have they fallen off the face of the earth??)
One can only wish, huh?
Date: Wed, 18 Dec 1996 16:51:34 -0800
On Fri, 13 Dec 1996, Emiel Efdee wrote:
> Believe it or not but there's a third Gus Gus promo twelve inch out there...
> GUS 3
I received a copy of GUS 5 (I think it's 5, anyway) a couple of weeks ago
which is five album tracks from Polydistortion (the album)... it includes
Gun, Polyesterday and Believe...I don't remember the other two. The
tracks are amazing, and I really think, with some cool remixes or
something that this band could be a huge club hit (ala M/A/R/R/S, only
with an album and more than one song recorded). Let's hope that 4AD can
get their hands on Todd Terry or someone cool to do some really killer
remixes. I'd love to dance to gusgus somewhere besides my apartment. ;)
Date: Thu, 19 Dec 1996 00:56:14 -0000
i=B4d like to know anything about the "Moonspirit" band, can you help =
Date: Wed, 18 Dec 1996 19:16:22 -0800
> This morning (December 18) at 9:36am EDST, Kristin Hersh
> gave birth to a beautiful 7 lb. 1 oz. baby boy named
> Wyatt True O'Connell...
Congratulations to Kristin! That's an interesting middle name. I like it! ...
though, Wyatt 'Erp' O'Connell might be more appropriate in the next several
Date: Wed, 18 Dec 1996 21:17:46 EST
While browsing through the import section at Blockbuster, I saw a Frazier
Chorus "mini-CD" called _Wide_Awake_, which had a bunch of baby bottles
on the cover. Although I had forgotten about it, now I remember reading
a review of a new FC album in Select last summer. Is this the same
thing? I didn't have the time to listen to it...anyone have any comments
Date: Thu, 19 Dec 1996 12:36:56 +1100
As the resident neuroscience bore on the list, I must compliment Paul and
Brett on their accurate replies to Jens' question about musical perception.
I did a little psychophysiology (including some experimental work) on the
perception of music, and it's quite true that the processing and
understanding of music becomes more like that of language in trained
Interestingly, the melody appreciation regions also work in concert with
speech stuff - the prosody (speech melody) of spoken language carries a lot
of its meaning as well. That's why people have to put those sad little
smileys (oxymoron intended) to indicate context within cold, raw text.
Anyone who'd like to check out what I do now, which is using oscillating
magnetic fields to stimulate the brain non-invasively for therapeutic and
neuropsychological reasons, can check out the website I've made:
(Both sites are the same, one's a mirror.)