๐Ÿ’€ THE RESIDENTS [Art Rock]

 


  1. THE RESIDENTSโžคN-Er-Gee (Crisis Blues) [Preserved Edition]โžคMeet The Residents [Preserved Edition]โžค00:00:25
  2. THE RESIDENTSโžคSpaghetti SundaโžคOur Tired, Our Poor, Our Huddled Massesโžค00:10:46
  3. ANDREW LILESโžคOgboju Ode Ninu Lgbo Irunmale [Dub]โžคNinki Nanka, Yumboes & Monstersโžค00:20:21
  4. TEAR GARDENโžคTo Mourn The Death Of ColourโžคCrystal Massโžค00:31:34
  5. REPTILICUSโžคHoly Tears of Joy in JesusโžคOโžค00:44:14
  6. FAUSTโžคT-ร‰lectronique [Remixed By The Residents]โžคFreispielโžค00:51:52
  7. THROBBING GRISTLEโžคWhat A Day / P.A. DestroyerโžคUntitledโžค00:56:18
  8. NEGATIVLANDโžคWe Are DrivenโžคFreeโžค01:11:29
  9. FRANK ZAPPA โžคOverture To โ€œUncle Samโ€โžคFrank Zappa For Presidentโžค01:18:34
  10. FRED FRITHโžคGambling, Gods and LSDโžคEye to Ear IIโžค01:33:51
  11. EINSTรœRZENDE NEUBAUTENโžคPlanet UmbraโžคRampen [Apm Alien Pop Music]โžค01:42:36
  12. THE RESIDENTSโžคHello Duck StabโžคI Am a Resident!โžค01:56:56
  13. THE RESIDENTS โžคThe Knife Fightโžค80 Aching Orphansโžค02:14:25

โœš Active since the early 1970s, The Residents are a highly influential and enigmatic collective known for their avant-garde and experimental approach to music, particularly within the realm of electronic music. The Residents were among the first groups to extensively use synthesizers and tape manipulation techniques in their recordings. Their debut album, Meet The Residents (1974), features a blend of traditional instruments and electronic sounds, creating a unique sonic palette that was ahead of its time. They treated the recording studio as a creative tool, much like contemporaries such as Brian Eno. This approach allowed them to manipulate sound in unconventional ways, pushing the boundaries of what could be achieved with the available technology. The Residents were pioneers in integrating visual art with their music. Their work often combined music, video, and performance art, creating an immersive experience that was both innovative and influential. This multidisciplinary approach prefigured the later developments in electronic music where visuals became an integral part of live performances and music videos. In the 1980s and 1990s, The Residents embraced new digital technologies, producing some of the first interactive CD-ROMs, such as Freak Show (1990) and Bad Day on the Midway (1995). These projects combined music, visual art, and interactive elements, foreshadowing the multimedia capabilities that would become commonplace in the digital age. The Residents are known for their conceptual albums, which often feature abstract and surreal narratives. Albums like Eskimo (1979) and Mark of the Mole (1981) use electronic soundscapes to create immersive, otherworldly environments, pushing the boundaries of storytelling in music. Their work frequently deconstructs and subverts popular music genres, using electronic manipulation to distort and recontextualize familiar sounds. This approach has influenced many electronic and experimental artists who seek to challenge the conventions of popular music. The Residents' early use of electronic instruments and their experimental approach has had a lasting impact on the industrial music scene and electronic music as a whole. Bands like Throbbing Gristle and Coil have cited The Residents as an influence, and their work continues to resonate with artists in these genres. Despite their anonymity and unconventional style, The Residents have garnered a dedicated following and have influenced a wide range of musicians across various genres, from avant-garde to electronic music. Their legacy is seen in the work of artists who prioritize innovation and conceptual depth in their music. The Residents were also pioneers in the way they distributed their music. Early on, they founded Ralph Records, which allowed them to release music that major labels would likely have rejected. Their DIY approach to music distribution has inspired countless independent artists and labels in the electronic music scene. In summary, The Residents have been a critical force in the development of electronic music, not only through their innovative use of technology and multimedia but also through their conceptual and thematic explorations. Their influence can be seen in the work of numerous artists who continue to push the boundaries of electronic and experimental music.

โœš Actifs depuis le dรฉbut des annรฉes 1970, The Residents sont un collectif trรจs influent et รฉnigmatique, connu pour leur approche avant-gardiste et expรฉrimentale de la musique, en particulier dans le domaine de la musique รฉlectronique. The Residents ont รฉtรฉ parmi les premiers groupes ร  utiliser de maniรจre extensive les synthรฉtiseurs et les techniques de manipulation de bande dans leurs enregistrements. Leur premier album, Meet The Residents (1974), prรฉsente un mรฉlange d'instruments traditionnels et de sons รฉlectroniques, crรฉant une palette sonore unique qui รฉtait en avance sur son temps. Ils ont considรฉrรฉ le studio d'enregistrement comme un outil crรฉatif, ร  l'instar de contemporains tels que Brian Eno. Cette approche leur a permis de manipuler le son de maniรจre non conventionnelle, repoussant les limites de ce qui pouvait รชtre rรฉalisรฉ avec la technologie disponible. The Residents ont รฉtรฉ des pionniers dans l'intรฉgration de l'art visuel avec leur musique. Leur travail combinait souvent musique, vidรฉo et art de la performance, crรฉant une expรฉrience immersive ร  la fois innovante et influente. Cette approche multidisciplinaire a prรฉfigurรฉ les dรฉveloppements ultรฉrieurs de la musique รฉlectronique oรน les visuels sont devenus une partie intรฉgrante des performances en direct et des vidรฉoclips. Dans les annรฉes 1980 et 1990, The Residents ont adoptรฉ les nouvelles technologies numรฉriques, produisant certains des premiers CD-ROM interactifs, tels que Freak Show (1990) et Bad Day on the Midway (1995). Ces projets combinaient musique, art visuel et รฉlรฉments interactifs, anticipant les capacitรฉs multimรฉdias qui deviendraient courantes ร  l'รจre numรฉrique. The Residents sont connus pour leurs albums conceptuels, qui prรฉsentent souvent des rรฉcits abstraits et surrรฉalistes. Des albums comme Eskimo (1979) et Mark of the Mole (1981) utilisent des paysages sonores รฉlectroniques pour crรฉer des environnements immersifs et d'autres mondes, repoussant les limites de la narration musicale. Leur travail dรฉconstruit frรฉquemment et subvertit les genres de musique populaire, utilisant la manipulation รฉlectronique pour dรฉformer et recontextualiser des sons familiers. Cette approche a influencรฉ de nombreux artistes รฉlectroniques et expรฉrimentaux qui cherchent ร  remettre en question les conventions de la musique populaire. L'utilisation prรฉcoce par The Residents d'instruments รฉlectroniques et leur approche expรฉrimentale ont eu un impact durable sur la scรจne musicale industrielle et la musique รฉlectronique dans son ensemble. Des groupes comme Throbbing Gristle et Coil ont citรฉ The Residents comme une influence, et leur travail continue de rรฉsonner chez les artistes de ces genres. Malgrรฉ leur anonymat et leur style non conventionnel, The Residents ont acquis un public dรฉvouรฉ et ont influencรฉ un large รฉventail de musiciens ร  travers diffรฉrents genres, de l'avant-garde ร  la musique รฉlectronique. Leur hรฉritage se retrouve dans le travail d'artistes qui privilรฉgient l'innovation et la profondeur conceptuelle dans leur musique. The Residents ont รฉgalement รฉtรฉ des pionniers dans la maniรจre dont ils distribuaient leur musique. Trรจs tรดt, ils ont fondรฉ Ralph Records, ce qui leur a permis de sortir de la musique que les grandes maisons de disques auraient probablement rejetรฉe. Leur approche DIY de la distribution musicale a inspirรฉ d'innombrables artistes et labels indรฉpendants dans la scรจne de la musique รฉlectronique. En rรฉsumรฉ, The Residents ont รฉtรฉ une force critique dans le dรฉveloppement de la musique รฉlectronique, non seulement ร  travers leur utilisation innovante de la technologie et du multimรฉdia, mais aussi ร  travers leurs explorations conceptuelles et thรฉmatiques. Leur influence peut รชtre vue dans le travail de nombreux artistes qui continuent ร  repousser les limites de la musique รฉlectronique et expรฉrimentale.

 






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