Nietzsche’s words on music have always inspired me, particularly the words here. We need the hard words of Nietzsche today more than ever.
I did set the whole of the Preface to sounds, but cut it down to the few words above as I felt that to do justice to the whole preface the sounds would have to run to hours.
jeez, i almost though i heard one in standard tuning in there
Standard tuning?! You know me better than that! ST is anathema to me! No, it is tuned to fourths, but I just re-finger if I want to play some choppy chords [that was on the Deacon Strat copy with the mid and bridge pups out of phase
Five demerits for me. Hmm. Or perhaps lashes.
Nietzsche brings out the punisher in me!
Standard tuning is a market I live in, not Mr. Boethius!
My hatred of ST is irrational, I know
It's ok, I avoid non-ST 99% of the time for the same reason, just because I like to keep one constant in the chaos.
Your tonality is outrageous and never bends the knee to equal temperament, let alone ST - all power to you. But at the same time you don't go down any academic microtonal cul de sacs. Still rock 'n roll - you could just as well be playing for the Stooges or Hawkwind
Yea, I've avoided the microtonal stuff simply because it seemed to focus more on "play by these rules because", and I do not play well with "because" rules.
wow, is that a sequencer or a guitar back there?
That's theremin through guitar synth on a sequence pattern - it's nice because the theremin foxes the mathematical tendencies of the sequencer
another satisfying journey
Thanks - I used a range of guitars; the Ibanez jazz guitar, the Deacon Strat copy, and a guitar I only bought yesteday, a Tokai Tele copy. First thing I did with it is put the hard gritty leads on this. I had been wanting to get a Tele for while but not wanting to spend silly Fender prices. The Squiers are too light weight and even have top loaded strings [more anathema]. So I went on a couple of Tele fanatic forums and found that these deeply biased Teleheads actually respected the Tokai Teles. I then Youtubed them and was shocked at how good they sounded. So I got one and hell, it has the weight, the through stringing and everything and the back pup is steaming. It's enough Tele for me.
Congratulations. I'll be expecting to hear more from that one. I played in a blues/R&B/soul band in the late 80's with a guy who had a Tokai Strat. He swore by it, and it did indeed sound just right.
Tokai took copying to a fine art when the big names were losing their touch. If it looks like a duck, quacks like a duck ... then it is a duck
They're solid beasts, I know guys who still import the Tokai stuff from Japan because they swear by 'em. Their LP copies were better than Gibson's actual product for ages.
And that takes some doing - copying a Tele is straightforward - but a Paul not so easy - I have seen some amazing Tokai Pauls on the 'net. Let's face it, the Japanese have long established a reputation for taking a product, copying it and then sending it back even better than the original. This Tokai is better [as far as I remember] than the Fender Tele I briefly had in the 90s
Yea, the Fender stuff in the 90s was passable unless you got magic. They didn't get their groove back until 10 years ago or so IMO, especially on the mid-range models.
I seem to recall the Fender Tele I had then was fine apart from the neck being beyond chunky. While Teles have a deeper neck profile to Strats [what I was used to] this one was beyond a joke and actually tired your hand out.
I've had that problem with every Tele I've played, my forearm locks up like I tried to go rock climbing after 25 years of not doing it!
that almost short circuiting fuzz is fabulous
It's essentially the Zvex Fuzz Probe, but not only that. The chain is Ibanez AF75 hollow body into Zvex Lo Fi Junky [this has a compressor, and a weird vibrato which subtly destroys your tonality] - into a clean amp with delay and reverb. Then the Zoom Tri-Metal pedal [underrated pedal that is very tweakable] and then the Fuzz Probe, then into the mixer. I also duplicated the passages twice, slowing one down and stretching the other and backgrounded them with reverb. All that to get 'splat'!
Just checked my settings - I also had the Kaoss Pad on the effects send return of the mixer - there's some weird gurglings further down the volume chain caused by that
I really should just send you one of my surplus splat fuzzes.
Hah! I could've got that sound with one box, I bet. The splattiest thing I have is the Fuzz Probe - can you name some other fuzzes that do splat big time?
None off the shelf. Most of the good ones have a voltage starve on them to make the splat even more prevalent.
I think I have found the way to the funhouse mirrors, it is just over here.
It could be another set of mirrors
Nice style. Unique sounds - you pinpoint two important aspects; the kinds of sounds, how they appear; and the freshness, differences of the sounds.
60s sci-fi hyperdrive engaged!
60s rule and I don't want to know much about anything after 1970 [perhaps 1971]
I love some of the stuff past that, but....my heart is in the LSD heartland still. Even if Hawkwind's best period is 1971-75, I can pretend it's '67. :)
Of all the years between 1965 and 1975, if you had to choose one? Silly question really.
I'm going to choose 1975, because I can cheat and find any album released earlier! :)
: great answer - I was going to chose 1970 but that would be one dark year on its own!
Thus spake the beat-fuzz.
Yeah - electric guitars and Nietzsche? Has to be incongruous and anachronistic .... but then didn't Nietzsche invent rock 'n roll?
He really did. It's music for supermen.
Yeah - good thought; step forward Lemmy, you gave us the Ubermensch!
There is a funhouse of mirrors here somewhere, if only I could find the way there.
The mirrors have mirrors ed infinitum. The Eternal Recurrence of Nietzsche is at work!
PAs it should be, the man would not want us to be static and not constantly searching.
The automated doors will do as they please, I can hear them slam shut!
Crashing whether you like it or not, it's a blues/jazz exploration!
: those blues licks just peeled out of my new Tokai Tele
Nice, I know a few guys who love the Tokai stuff but it's a "import it from overseas here" since they just don't clear at a wholesale level and can only be imported by private people.
I know you have never got on with a Tele of any description, but those slabs have a sound like nothing else, and to find this Tokai for under £200 do the job on every level - feel, weight, sound, looks - well that's very exciting when Fender are putting out thin top loading Squier Teles. This Tokai Tele sits right next to my Ibanez jazz guitar [a 175 copy really, except your not paying over the top for the Gibson logo] as my essential axes
I"d love to have a Tele but my forearm disagrees!
Almost could have been a sitar on that open.
As usual you are right, I keep wanting to get into sitar sounds, but end up making do with guitars. I want to have a monkish period where I just concentrate on getting those kinds of sounds in a woodshedding way.
The best fake sitar I've found short of buying a Coral electric copy (since I still don't own an acoustic and have resisted any urge to get one of any type) is the fake Coral vGuitar in the GR-55 - tweakable, stupid, and buzzes for days.
Yeah I would like to get a Coral sitar guitar, but they are stupidly expensive - need to find a cheaper copy. I like the fake Boss sitar sounds - I like all the Boss sounds. I'm laughing to myself thinking about a Boss effects pedal forum I went on where I was describing how I made patches on the GT-6 etc., when some purist guy on there got shirty saying, "I prefer playing rather than tweaking". I thought, 'Are you mad?' You prefer playing? Tweaking is far more interesting!
That and "once you have a pile of stuff saved, you just play and go from X to Z to Q boom, so there!"
you've got a huge stockpile that means the possible combinations are fairly extensive. With the Synth 1 your palette is fairly limitless
Yea, at this point I can get damn near anything, if I can't it's not the fault of the equipment!
lovely
lyrics
New ears for new music.
The experience of seven solitudes.
New ears for new music,
New eyes for what is most distant.
A new conscience for truth that had hitherto remained unheard.
The will to economise in the grand manner, and hold together its strength, its enthusiasm.
Reverence of self,
Love of self,
Absolute freedom of self.
The rest are merely humanity.
One must make oneself superior to humanity;
In power,
In loftiness of soul,
In contempt.
[FW Nietzsche, from the Preface to the Antichrist – translated by Mencken, read by Cohen, in public domain]
archive.org/details/antichrist_librivox_
credits
from News Ears for New Music,
released October 29, 2017
Bill Boethius; guitars, theremin, bass, synth.
Straddling the threshold between studio performance and digital technique; the NYC artist applies "fake jazz" principles to synthpop. Bandcamp New & Notable May 2, 2024
A collection of tracks from the singer and multi-disciplinary artist's 111 collaboration series, featuring KMRU, Laraaji, and others. Bandcamp New & Notable Apr 25, 2024
