Part of Fermáta’s logo used on their album covers, flipped sideways.

Track list

1. Huascaran I
2. 80 000
3. Solidarity
4. Huascaran II
5. 15
6. Valparaiso
7. Perpetuum

Genre

Jazz fusion, funk, progressive

Release

Date not found, 1977

Label

Bonton Music, OPUS

Background Information

Fermáta is a band that has become really rare, mainly given their name is common musician notation term, and also the fact they were stuck behind the iron curtain during the cold war. However, musically speaking, there is little doubt they could have become huge names of progressive and jazz music in the 70s had they been available in the western world.

Their 3 first albums are clearly the best ones, Huascaran being their career’s highlight. Right after that, you get Generations, that came out in 1981, and while it’s still a decent record, it’s nothing close to Huascaran, Piesen z hol or their eponym album.

The line-up consists of Tomáš Berka on the piano and synthesizers, František Griglák on the guitar, piano and synth, Ladislav Lucenic on bass, Karol Oláh at the drum (and percussions), Peter Oláh on vocals (notice that there are no lyrics, just singing) and finally Dezider Pito on cello/violoncello. I may add that I don’t know shit about who they are, and I can’t even pronounce their names (oh the ignorant me), but these guys make awesome music.

Huascaran is a concept album, based on the Peruvian 1970 earthquake that killed some 80,000 lives (sources like wikipedia instead say 20,000) and had its epicenter near Huascaran, a mountain in Peru:

Huascarán or Nevado Huascarán is a mountain in the province of Yungay-Cordillera Blanca, part of the Western Andes. At 6768 m, its southern peak (Huascarán Sur) is the highest in Peru and the fourth highest in South America, although a lower height of 6746 m from a more recent survey is also often quoted.

On 31 May 1970 the Ancash earthquake caused a substantial part of the north side of the mountain to collapse. The block of falling ice and rock was about 1 mile long, half a mile wide, and half a mile deep. In about five minutes it flowed 11 miles to Yungay, burying the entire town under ice and rock, and causing the deaths of more than 20,000 people. Also buried by an avalanche was a Czechoslovakian mountaineering team, none of whose members was ever seen again. This and other earthquake-induced avalanche events are often described incorrectly as “eruptions” of Huascarán, which is not of volcanic origin. (source)

Some people with this in mind say it makes the album better, in my opinion, it stays pretty much the same. Granted, I’ve only known of the Huascaran earthquakes because of this band, and I expect it to be the same with most readers here.

My Opinion

What an album. Right before the review, I could say it’s one of the best prog-fusion ever offered. It’s ranked up there with the Mahavishnu Orchestras of this world. The album itself and the bonus tracks are nearly two different entities, but they’re still a great piece of music.

Huascaran I starts with slow strings, and keyboards that must be supposed to remind you of birds or something meaning peace and whatnot right before the earthquake. It’s kind of cheesy in my opinion, but apart from that, the track itself is outstanding. There are a few movements in the song, mainly alternation of cheerful and moderate, to slow and desperate, to cheerful and faster, to slow and desperate, to a more aggressive rock. Huascaran I is more oriented on the keyboards as a lead, switching to the cello, back and forth, until the guitar comes in on the last parts. Here is a live youtube video of the song, taken from their 2007 live DVD:

80 000 would be a song referring to the 80 000 people who died during the earthquake. The song is heavier than Huascaran I, more oriented on the guitar and percussions, supported by the keyboards and bass with slight overdrive in it. The drums somehow remind me of Cobham’s Spectrum.

Other tracks like Solidarity, Valparaiso and Perpetuum are funk-oriented with jazz guitar through them. Standard material, while still satisfying.

Huascaran II has keyboard tracks reminding me of the sounds Jason Forrest pulls out in some of his remixes (see this video: Jason Forrest - War photographer ) in his album Shamelessly Exciting. Just substitute the horns with a synth and then add fusion to it and you get a similar feeling to both songs. There is a downside to Huascaran II, though: it finishes with the same cheesy birds and fake nature sounds Huascaran I had. I guess that’s where the conceptualism of the album is buckled.

15 is an incredible piece in terms of funky rhythm and groove. The guitar leads the song in a brilliant manner, taking its roots in rock and jazz music, while the drums and bass play hand in hand to give it a big bounce. The keyboards are rather staying in the back, but every time it’s needed, they bring a solid accentuation on the whole piece.

In Conclusion

A really strong album from Fermáta. I must repeat myself, if it was not from the Cold War’s Iron curtain on the Eastern world, they would surely have been big names of prog-jazz or jazz fusion music in the Western world. The album costs a whopping $50 on amazon.com, without shipping, and they only have 1 unit left (there were two when I started writing this review). Otherwise, you can find some DVDs and recordings on ebay and shady Russian websites. They’re certainly worth discovering if you can afford it.

Links in comments

The tools of the trade for weird performances: guitars, in this case. My heading images for each article should be a puzzle sometime.

What

There are times you’ll just stumble upon an act, a song, or just a way a musician looks when playing a song that will either fascinate you, make you laugh, or just surprise you. In this post, I’m linking to a few of them, in things that range from playing weird instruments (see Michel Lauziere), to playing them in an unusual way.

The Videos

• Giant Flying V guitar solo
• By two bowes [sic] - A man playing the cello with two bows at the same time.
• Mario Bros Theme by singing tesla coils
• Not as silly as others, but Justin King really pushes guitar technic way too far.

The very well known Michel Lauzière has many pieces:

• “The Toreador Song” from “Carmen” using 300 glass bottles.
• Compilation of many things from Mr. Lauzière, going from a one-man band to playing with cups
• Bike Horn pot-pourri

Add yours if you want.

Cropped album cover. This is Maskineri. This is a good new album, in my opinion. Read further down to know more!

Track list

1. Moment
2. Apokalyps meg
3. Den andre er meg
4. Bastard sønn
5. Maskineri
6. Toxic blod
7. 9mm
8. Volvo i Mexico
9. Enden av november
10. Med en gong eg når bånn
11. Kaizers 115. drøm
12. Ond sirkel

Genre

Rock, alternative, eclectic

Release

February 18, 2008

Label

Petroleum Records, Sony BMG

Background Information

Kaizers Orchestra is an alternative rock band getting their share of eclectic sound: It’s hard to compare them to anything around and you really have to listen to them to know what they are.

They’re coming straight out of Norway and have been around since 2000. They had a tiny special catchy touch that is hard to describe since their first album (Ompa til du dør, released in 2001) and that kept growing through songs like Di Grind (from Evig Pint) and that got even bigger with the album Maestro. Maestro had to be my favorite album from the Kaizers Orchestra and it made me have a lot of expectations for Maskineri, which got released just today.

I was slightly disappointed, quite possibly by my anticipation, to see that this little touch wasn’t as present as in Maestro; however, I find myself liking the album more and more every time I listen to it.

This little change can be explained by a few things:

In 2007, the band was contacted by record producer Mark Howard on MySpace. Howard had previously worked with R.E.M andTom Waits. Kaizers Orchestra came to an agreement with Howard, and he was hired as their producer. They also signed a deal with Sony BMG and Petroleum Records as their new label.

With Maskineri, the band stated that they wanted to go in a new direction, not only with the songs, but also with how the album was to be made and who to make it with. The band had recorded their three previous studio albums in Duper Studios, Bergen with the help of producer Jørgen Træen, whom they stated was the “best producer in the world”. Despite this, they decided to work with Mark Howard in the Planet Rock Studios in Berlin, Germany. (source)

The band also introduced the marimba as a new instrument (pretty much a big xylophone with resonators under it for those who do not know what it is), giving a new tint to some bits of their sound.

My Opinion

The album found a new durability in its sound: while it may not be as surprising as previous releases, I find it increasingly pleasing to listen to, and I like it more and more as I listen to it rather than instantly liking it.

The album starts slowly with the first 3 tracks, really easy to like, until Bastard sønn comes on. It’s a breeze from the past, something I can’t say I dislike: heavier percussions, bigger accentuation with the basslines, high-pitched singing at some points, unpredictable rhythm. To sum it up, an assortment of elements that makes Kaizers Orchestra who they are.

Maskineri starts with the Marimba introduction, giving the song a really mechanical ambiance (which fits, given “Maskineri” means “Machinery”) with the help of Rune Solheim’s percussive work. Granted, I don’t get a single word from their lyrics, but this is far from ever stopping me from liking it. The piece is a big mix of influences and dissonant styles melted together in a piece that stands for itself. Again, that’s nothing different from the past in how they do it, but the style is still different in how it sounds and feels.

The album as a whole may appear as if there’s a little more repetition than usual in the structures of each song, meaning the Kaizers may be trying to make their music more accessible to a broader public, although the instrumentation would prove it really hard to believe. Tracks like 9mm sound like they’re directly taken from an older album and packed with Maskineri, with some licks from the double-bass we wouldn’t have heard as much before. Even more? Enden Av November begins with a piano line that can remind you of Di Grind like no other song, but gets a completely different feeling from it. Kaizers Orchestra didn’t reinvent themselves or lose their roots, they just pushed their own content and style in a new manner, far from displeasing me.

Kaizers 115. drøm bugged me. It did for a while until I remembered how close to a song I already knew it was: Ani couni chaouani, the Iroquois lullaby. Call me crazy, but I think some parts in the chorus are really close, although it’s probably just coincidences and the habit of hearing the lullaby as a child. It kind of proves how far Kaizers Orchestra’s style can go; from alternative rock to eclectic near avant-garde sounds, down to old native lullabies resemblances (for some people?). Anyway, enough of this for this review, it makes me sound insane.

In Conclusion

At first, I thought this was not the exact same Kaizers as before, it’s not as good. With more listening, I find it to be a more than decent album: hard to compare to previous ones, possibly their best after Maestro in my opinion. Getting both albums would be a good idea for a newcomer in order to know the multiple faces the band can take. Kaizers Orchestra have this innate catchiness that you like, at the opposite of annoying earworms and they know how to exploit it in this new release.

Links in comments

Once again, I wonder if such cropping is good. This is a closeup on a tuba, which plays with a bass clef

The origins

In the restrictive family of ‘clefs’ in musical notation, we usually find the treble clef, the bass clef, and on some occasions, the tenor clef and ripoffs of each of these symbols, like the baritone, subbass, alto or the soprano clefs. There is also the neutral/percussion clef, but it’s like the criminal kid of the family nobody talks about, so we’ll not even consider it. We used to have different clefs though, namely the D-clef and Gamma-clef, which were used to indicate the notes on the first line of the bass clef, but they stopped being used through time.

So it seems there is a natural evolutionary process between different clefs within the same family, and only the fittest survive: It seems apparent the bass clef got rid of the other keys, making it a potential ‘badass’ notation mark, causing the end and despairs of its rivals.

But what makes a key superior to another? How does the evolutionary process work? First, let’s see the evolution of the treble and bass clef:

Treble key evolution:

Bass Clef evolution:

From what we can gather here, treble clef evolved in a much smore stylistic way. The swirls all around the place, a continuous curvy line folding over itself in all its grace. On the other hand, you have the bass clef. Short, sturdy, with dots on its right. Let’s draw a list of the evolutionary processes of both.

Treble clef:

1. Really stylistic “G”
2. Even more stylistic “G”
3. Even more stylistic “G” than before, and some accent on superfluous style.
4. We do not need the “G” anymore. The treble clef is a beautiful clef as it is!

Bass Clef:

1. Simple efficient “F”: You know why you’re here.
2. Stylistic F, trying to look better.
3. Fuck style. Style pisses me off, I turn into a frown.
4. Even more accentuated frown. Eyes were so angry they went somewhere else.

But where did they go? Why are they back now? My theory is simple: they went away to kick some ass, possibly those of the potentially really stylistic D-clef and gamma-clef. These clefs disappeared because they got their shit fucked up bad by a really pissed-off bass clef. Then the eyes came back and we have the modern bass clef:

The Evolutionary strategies

Past evolutionary strategies are of course interesting, but what’s even better is guessing what the future will reveal us from these traits. So we have two opponents: The stylish great looking Treble clef, and the useful and pissed off Bass clef. The way things are:

1. The Treble clef is just going to get prettier and prettier with time. This has a few potential effects: The clef looks so great people do not care about the Bass clef anymore and it disappears;
2. The Treble clef looks so good it ends up being hypnotizing, to the point where humanity is at risk. Too much beauty for our tiny human brains to process.

Style has a downside, though: you get more fragile and restricted. This is where the Bass clef stands its chance. It’s overly simplistic and can adapt to lots of situations by its robustness. During the past, bass clefs managed to get out of trouble while using their simple shapes to their advantage by entertaining us:

Link

How cuter can this be? Cute big eyes, a great pompadour haircut, a probably deep charming voice: the Elvis of musical notation. This kind of ruse is what the Bass clef needs and is also a minimalist example of what it can do. This is not just a defense mechanism, it’s also an offense one. Could the Treble clef say as much?

No, it could never. What we see here is a Treble clef where it belongs: fancy clefs go with fancy underwear. While our killer Bass clef can withstand harsh conditions and spend an impressive number of consecutive days in a spinning drier, the Treble clef has to stay immobile with the silk undies while it slowly dries in the sun, caressed by the lovely elements of summer. This is what it can do.

The Outcome

This will bring us to dangerous events. The Treble clef is there, making us say “aaaw” in admiration as it stands there innocently like a musical Bambi. The Bass Clef is a pissed off shape-shifting force of nature that’s coming toward the Treble Clef in a menacing manner, like fire on oil. If you have not watched Bambi and have the same ideal ending to it as I have, the fire is going to kill Bambi. The Bass clef will kill the Treble Clef (and possibly kill its mothers, unless the hunters did that.)

Learning is a crucial thing, and I hope you did learn something while enjoying this piece of history. Building one’s strength on appearances only will apparently take away the existence of the G-clef. We’ve also seen how preserving feelings of anger can bring you to the top, another important lesson. With some perspective, time will tell if we may see how the percussion clef could team up with the bass clef to prepare a coup against the tenor clef.

Why, oh God why?

I wrote this little story after some light-hearted discussions with my girlfriend, exchanging drawings on the subject. I really liked how this could turn and decided to push it far enough. I really hope some people managed to like it even though it’s extremely stupid/childish/absurd. Come on, I even took the time to draw/animate these little things.

This photo is way too hard to crop. The flowers on the right are part of Klaus Engl’s shirt.

Background Information

Little seems to be known about 7 for 4, even though they are more than an average band. Maybe it’s just some kind of personal inability to google their material correctly, but it seems that even North American versions of Amazon (amazon.com and amazon.ca) don’t carry them. The band describes itself as a metal/rock/jazz fusion mix, and listening to two of their albums (Contact and Time) makes me agree with them. I would add that many would classify them as a progressive band too, and I couldn’t oppose that view. Having no idea which of both albums I liked the most, I decided to review both of them.

The band consists of Wolfgang Zenk on Guitars, Markus Grützner on Bass, Klaus Engl on Drums and Markus Froschmeier on Keyboards, a group of little known musicians (Not exactly, as many of them played in other bands, but let’s say they are not big public names anyone would know) who outperform eachother on every piece of their albums.

Contact

Track list

1. X-Dreams
2. Tokamak
3. La Provence
4. E-Gyptian
5. Highlands
6. Rushian
7. Rockalaxy
8. Catking
9. Subspace Distortion

Genre

Metal, rock, fusion

Release

October 22, 2001

Label

MGI Records (KDC)

My Opinion

Contact starts up with X-dream, a slow intro played on Grützner’s fretless bass, while Froschmeier complements with keyboards, until Zenk kicks in. About a minute in, the song starts with a strong emotional melody enriched by Engl’s accentuations on drums, a bit of a surprise, but a good example of what’s to come.

Songs like Tokamak instantly change the mood with an approach flirting with symphonic metal led by keyboards and guitar. The guitar could remind you of Bumblefoot’s more aggressive stuff, the keyboards of what FROST* pulled a few years ago with “Milliontown” mixed with some old-school progressive, while the bass sounds like a mix of Liquid Tension Experiment and Spiral Architect to my ear. As soon as you get used to the song, it stops, and you fall back down to smoother stuff like La Provence.

E-Gyptian has got a really Latin sound as an intro (which makes it a more striking piece), and then you get surprised by stronger metal coming back at it. Don’t throw your pinkie and index fingers in the air too fast though, because the song rapidly turns into a metal-Latin-metal-Latin duel to finish, until funk kicks in at some point. The amazing thing is they manage to do it effortlessly, without exactly interrupting the flow. This song alone could be a good example of the whole thing.

This kind of pattern repeats itself for most of the record, and listening to the album, you definitely know it’s going to be a never ending game of style switching, in a smooth manner, far from what Mike Patton or John Zorn would set you for, which is all to its advantage from an accessibility viewpoint. Readers who tend to go for metal should look Contact up before Time, in my opinion.

Time

Track list

1. Zeitgeist
2. TempERAmento
3. Where Are You Now
4. 7:44 a.m.
5. Time (Chapter I)
6. Rock’n'Rolex
7. Perpetuum Mobile
8. Time (Chapter II)
9. Flux Capacitor
10. Burnt Chicken Wings
11. Slow [e]Motion

Genre

Metal, rock, fusion

Release

April 5, 2004

Label

MGI Record (KDC)

My Opinion

Time begins with a way more jazzy sound when compared to contact, but the ‘duels’ with a more aggressive sound still subsist, thankfully. In my own opinion, it seems like there was more work put into Time as far as musicianship goes.

While it is still very guitar-oriented, it would be a shameful lie to say it’s the only thing there is to listen to: While Zenk’s guitar playing is hard to compare to anything, Engl’s percussions are surprising, extremely dynamic and changing, exactly what you’d wait from a true fusion drummer; Markus Froschmeier does an outstanding work at sharing the limelight with Zenk (like in Time (Chapter I)) and then keeping himself away from it when needed, a great work for the overall balance. To top it off, Grützner’s bass is far away from anything mediocre, going well above the basics to play around the complex structure with an ease making it look like he’s warming up.

Although time keeps the roots of Contact alive, it covers a broader spectrum of styles and is richer all around. A step above it’s older brother from 2001, may it be for the balance between instruments, some melodies, or just the general sound. Time, at times, really feels like Liquid Tension Experiment decided to try themselves at fusion and brilliantly succeeded. It’s really up there with the big names, an album that anyone who like these genres should give an ear to.

Conclusion

7 For 4 is a definitive must to anyone who likes both metal (mainly the symphonic kind), jazz and/or prog variations of both. If you tend more toward metal, go for contact, otherwise, go for Time. I’m still trying to get my hands on “Diffusion”, which got released on January 25 and will review it as soon as possible. 7 For 4 really impressed me, end of the line.

Links in comments

A guitar reminding you of goatse is never a good guitar.

When music gives you the best in terms of audition, it apparently has to fix the balance of Universe by taking away your eyes. In this post, we explore some of the ugliest guitars and basses that were given to mankind, with love, from mankind. This is possibly a moderate example of why we are leading ourselves to a path of self-destruction.

Guitars

I’m going to present everything as a list, so it’s easier to read and do whatever you want with it. Just click away to see them horrible instruments.

• The Classic Cherry sunburst Spaceranger Guitar by MusicVox
• Roadrunner’s incredibly horrible Tiki Guitar
• “Wild Design” made by I don’t know who. You can still visit the website I found it on, they got even worse stuff, like the Original Steve Klein Doubleneck.
• the custom made “hand” guitar from the title image, made by DeGennaro
• Two models of guitars. They are absolutely terrible. See guitar 1, See guitar 2.
• The Masaki Kyomoto Custom (Samurai)
• A god damn X Factor guitar. Thanks to Jaxville Guitars for this one.

Once in a while, though, you’ll get the terrible yet awesome instrument. I present you the Epiphone Trailer Park Troubadour Airscreamer Guitar:

It’s impossible to say whether it is awesome or not. A band full of vehicle instruments would probably be incredibly kickass or made for kids.

Basses

Then you get to Bass guitars. Those can be great and terrible, maybe at the same time. This is why the list starts this Dean pimp Bass:

• The ZZ-Top custom bass.
• Then you get the complete opposite, with the DeArmond Ashbory Bass
• Custom “Lightning Bolt” bass, made by Peter Cook.

Ugly sites may mean ugly creations

If you go around the HTTP world a bit, you will notice the worst websites show you the worst instruments (including this one, of course). Share your own links if you have any, ugly stuff is always fun to see. I may come with other ugly instrument posts in the near future, stay tuned.

Read the comments for more terrible instruments

In order: Chris Wood (Bass), Billy Martin (Percussions), John Medeski (Keyboards)

Track list

1. Waking Up
2. Let’s Go Everywhere
3. Cat Creeps
4. The Train Song
5. Where’s The Music
6. Pat A Cake
7. Pirates Don’t Take Baths
8. Far East Sweets
9. On An Airplane
10. The Squalb
11. Let’s Go
12. Old Paint
13. Hickory Dickory Dock
14. All Around The Kitchen
15. We’re All Connected

Genre

Children’s music, jazz

Release

January 8, 2008

Label

Little Monster Records

Background Information

Medeski, Martin & Wood is an American jazz trio formed in 1991, consisting of John Medeski on keyboards, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar. Most of their material would be considered jazz, experimental, fusion, funk, free jazz, soul jazz or even acid jazz by some, depending on the album. Let’s Go Everywhere is their 17th album since 1992 when they first recorded, and they’re still planning for more:

Medeski Martin & Wood are planning 3 tours, plus 3 albums in 2008. Each tour and subsequent album will consist of all NEW MUSIC. The plan: Write > Tour > Record > Repeat. (source)

Fans and readers should be warned, though: Let’s Go Everywhere is intended for kids. This, however, does not mean grown ups can not enjoy it, as the album still retains a lot of the musical qualities making Medeski, Martin & Wood what they are.

My Opinion

When I got my hands on this album, at first, I thought it was some kind of elaborate tongue-in-cheek concept Medeski, Martin & Wood gave us, strangely reminding me the kind of non-serious semi-humorous composition of songs like Coconut Boogaloo (Combustication) with its long one-note streaks that never seem to end. I was startled by the use of voices and even more by the fact children were singing, which reinforced the feeling I had about ‘Let’s Go Everywhere.’ Well, it turns out it’s actually a kids album. This surprised me a bit, because I don’t follow artist news that much, and all the reviews I later read were about how the kids liked this album and it was okay for parents. I’m going to review it from my own perspective, as an adult, and forget about the kid side as I doubt many of them would read this review anyway.

Musical imagery can be strong in this album. No, seriously. It’s an album for kids and I realize it now. I listened to the lyrics (I never do this on the first play) and yeah, it’s pretty obvious, but otherwise, MMW manage to portray their songs real well. A good example of this could be The Train Song: before anything comes on, the percussions build up at the rhythm of an old steam engine, the harmonica kicks in reminding the whistles, etc. and the song ends in the same manner. Cat Creeps just feels like that: a creeping cat.

From an adult’s point of view (my point of view), the lyrics are pretty simplistic. Nobody should expect anything else from an album targeted at children. However, the music around it is still the exact same MMW known before. For some, it may be bringing it down to a more boring level, but for others, this becomes a really interesting mix. Where’s The Music is a great example of this. The groove from that track is simply rich, and it’s continually cut short, at which point you hear children scream “Where’s the music?” before it starts again. This creates some kind of neat anticipation that makes the song hard to get tired of.

A few pieces are still the well-known MMW, namely Far East Sweets and Let’s Go, which brings back the good old honky-tonk keyboards. Then you can add a few other instrumental songs to let you relax, like Old Paint or We’re All Connected, a great ender for the record.

Other songs, like Pat A Cake, are really harder to like, as they’re absolutely aimed to kids: children singing the old nursery rhyme “Pat a Cake”. The music is not as there (although you still have some okay drums) and you’re pretty much stuck listening to any other kid song mixed with some kind of rap. Thankfully, it’s barely over a minute long. Hickory Dickory Dock is the same, although easier to listen to [and even shorter].

For most of the album, though, there is just a good balance between the always changing jazz seasoned with funky rythm and keyboards and the [extremely] silly kid side of things. Pirates Don’t Take Baths, Let’s go Everywhere (a strong song on this album), On An Airplane, The Squalb (could be compared as a really light and silly version of Your Name Is Snake Anthony, from Uninvisible) are examples of this.

In conclusion

While this is definitely not an album to blast through your car’s sound system while trying to pick up chicks or wrestle against bikers, it’s an interesting listen and a good addition to any MMW collection. You just have to keep an open mind and be in lighthearted mood in order to appreciate it. They still manage to surprise like they do most of the time, the basic elements that makes you like them are still around. It’s just more accessible for kids (and pretty much anyone, musically speaking), which is a great thing in itself to be honest.

I should finish by adding that if you do not know Medeski, Martin & Wood, a good album to get into them (better than this one) would be Uninvisible.

Links in comments

This image may bear symbolism about this blog and its future, but nobody can be sure of it.

The beginning

Well, this is it. I’m throwing away a lot of stuff again, and starting over. I’ve worked on this current template for a while, and it’s now mostly ready. I’m likely to keep fixing bugs as they come and gradually insert content, so report anything you see that is wrong (except the .PNG images in IE6, I decided to make what I thought would look good rather than make it compatible on browsers which I’m not sure my reader(s) use).

At first, I wanted to write my own CMS, but I decided against it and came back to Wordpress, proven to work, and with better security than I could have myself. So here we are.

The content

As of now, nothing is too sure about the content this blog will have. Music will be a part of it for sure: tutorials, album reviews (and linking to places that uploaded them, possibly), general content about music, videos, some discoveries to be done, interesting reading and links about it all, etc.

The Author

I’m a Web Developer, currently going on an internship. Otherwise, I’m a musician who has played electric bass for about 4 years and a half now. I mainly do improvisation and try to get better at it. As far as genres go, I’m usually listening to Progressive Rock, Jazz, Fusion, Funk, Classic Rock, Classical Music, Klezmer, Folk, Psychedelic, Avant-garde and Experimental, and so on. This will be the kind of albums I’ll review, the music I’ll suggest too.