King Gizzard's Murder Of The Universe

The off-beat sequences of the electric guitar create a reggae feel for the song endorsing it to be mellow. Throughout the song, the electric guitar does not have any solos but variations of its sequence are repeated throughout the structure of the song. Doing so gives the lead singers’ message more priority. The domination of the classic drum kit creates a ‘head-bobbing’ motion for some when listening to this song, helping it become more popular and an easily enjoyable song.

The country music group Exile had many changes in line-up during its first sixteen years, including the loss of their lead singer Jimmy Stokley around the release of their album All There Is. Despite this, the group managed to assess their abilities and turn Exile into a new and arguably

3 “We pulled out all those records we used to beg our parents not to play around our friends and found an incredible wealth of music,” says Pérez. “These guys [on the records] were doing amazing things with their instruments, and we started

“Motley unified the composition through his use of repeated forms and a pervasive burgundy tone that bathes the entire scene in intense, unnatural light.” (Powell 2) The vibrant composition and sharp colors vividly express the liveliness of the scene, making Nightlife one of Motley’s most celebrated

Sublime’s music was highlighted by bass-driven grooves, reggae rhythms, elaborately-cadenced rhyme schemes and transitions between paces and styles throughout a given song, sometimes alternating between thrash punk, ska and reggae within the same song (see “Seed”). Their music often contains psychedelic, harmonic, minor-based or bluesy guitar solos, rhythmically-improvised bass solos or dub lines, turntable scratching and rolling drum transitions and heavy bass lines. They are known for being one of the first and most influential reggae fusion musicians. (5)

Making their name from the shadowy secret society purported to control the world, in only one short year THE ILLUMINATI have risen to accolades from fans, critics and artists alike. Formed in the fall of 2002, the Toronto trio have honed their unique brand of psychedelic hard rock, supporting A-list

Berkeley’s 7th Street Band has made its name backing some of the greats and new voices of reggae and running its own studio. While 7th Street Band has been hitting the West Coast stages for a decade, drummer Edi Arnold and keyboardist Benjamin Goff, friends since high school, have played together since 1992. The duo is the production team for its Berkeley studio, and on stage the group expands with other musicians, including bassist Mony Lujan (of Dubwize), who has worked with 7th Street since 2010. 7th

The syncopated rhythms that initiate “Duality” are also velvety. They are an integral part of a magical soundscape, which, even shifting along the way, maintains both the consistency and stability. The improvisations are further extended here, beginning with Cowherd, who pulls out interesting melodic lines over exuberant chord changes. Giving the best sequence to a short bridge, packed with horn unisons and counterpoint, it’s Walden who, taking advantage of the recently appeared balladic tones, makes his alto saxophone cry and beseech intensely within an outstanding, repeatedly motivic post-bop language. Holding an absolute control of tempo, “Broken Leg Days” closes the session, flowing elegantly while Blade's drumming brings together simple rudiments and dynamic rhythmic

Other notable tunes are “Fog Bank (No. 56)”, a suspenseful piece sculpted by guitar, bowed bass, and trombone; “Safety Orange (No. 59)”, an exquisite guitar-horn irreverence played at 3/4 tempo; and the conclusive “Inky Ribbons (No. 53)”, an unattached melodic song embellished by beautiful guitar interactions and featuring the reedists by turns.

The record ends with “Legacy”, another magnetic experimentation that will certainly be appreciated by the fans of Dave Douglas’ compositional style and powerful instrumentation.

Psychedelic Rock: The Defining Music Genre of the 1960’s “Through all of history, mankind has put psychedelic substances to use. Those substances exist to put you in touch with spirits beyond yourself, with the creator, with the creative impulse of the planet.” says Ray Manzarek, a member of the psychedelic band the Doors. The mid-to-late 60s marked a point when drugs were commonplace throughout life, and music was one of them. Psychedelic rock was often underground and was outshined by the previous British Invasion era, but nevertheless has its roots in the British and American music industry. Not only did bands such as Pink Floyd and the aforementioned Doors shape the way music is looked at by the audience, but shaped how other artists

Manga” and “Qubits” share vibrant pulses characteristic of the alternative rock genre. The former shifts tempo with resilience and autonomy, unraveling into interesting experimental passages, while the latter adopts a cool danceable posture reinforced with syncopation and the presence of a shaker.

A comparable approach is used in the melodious and patiently-driven “Bright Abyss”, another fantastic original that quickly connects to our senses through a sober, alert, and provocative instrumentation. The emotional grandeur brought into its final section, which is magnified by voices, has become McCaslin’s signature over the

The avant-jazz trio Thumbscrew, a collaborative project co-led by guitarist Mary Halvorson, bassist Michael Formanek, and drummer Tomas Fujiwara, augmented their discography with the release of two new complementary if conceptually distinct albums, suitably entitled Ours and Theirs. Following the example of their second album, Convallaria, these sessions were born from a residency at Pittsburgh’s City of Asylum and demonstrate the strong sonic chemistry of musicians who have been regular presences in one another’s bands.

Boasting an impeccable tonal control and range, saxophonist Geof Bradfield hires a sterling cast of musicians to give wings to his seventh album of originals, Yes, and…Music For Nine Improvisers. The album title was taken from an improvisational theater game implemented by Compass Players, a cabaret revue from the 50s.