๐ THE RESIDENTS [Art Rock]
- THE RESIDENTSโคN-Er-Gee (Crisis Blues) [Preserved Edition]โคMeet The Residents [Preserved Edition]โค00:00:25
- THE RESIDENTSโคSpaghetti SundaโคOur Tired, Our Poor, Our Huddled Massesโค00:10:46
- ANDREW LILESโคOgboju Ode Ninu Lgbo Irunmale [Dub]โคNinki Nanka, Yumboes & Monstersโค00:20:21
- TEAR GARDENโคTo Mourn The Death Of ColourโคCrystal Massโค00:31:34
- REPTILICUSโคHoly Tears of Joy in JesusโคOโค00:44:14
- FAUSTโคT-รlectronique [Remixed By The Residents]โคFreispielโค00:51:52
- THROBBING GRISTLEโคWhat A Day / P.A. DestroyerโคUntitledโค00:56:18
- NEGATIVLANDโคWe Are DrivenโคFreeโค01:11:29
- FRANK ZAPPA โคOverture To โUncle SamโโคFrank Zappa For Presidentโค01:18:34
- FRED FRITHโคGambling, Gods and LSDโคEye to Ear IIโค01:33:51
- EINSTรRZENDE NEUBAUTENโคPlanet UmbraโคRampen [Apm Alien Pop Music]โค01:42:36
- THE RESIDENTSโคHello Duck StabโคI Am a Resident!โค01:56:56
- THE RESIDENTS โคThe Knife Fightโค80 Aching Orphansโค02:14:25
โ 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.
โ 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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