Sound Waves, Like Light, Behave Like Particles

It turns out that sound behaves like both wave and particle much as light does:

Researchers have gained control of the elusive “particle” of sound, the phonon. Although phonons — the smallest units of the vibrational energy that makes up sound waves — are not matter, they can be considered particles the way photons are particles of light. Photons commonly store information in prototype quantum computers, which aim to harness quantum effects to achieve unprecedented processing power. Using sound instead may have advantages, although it would require manipulating phonons on very fine scales.

In other words, waves and particles behave the same way, suggesting that pattern is more important than form, and that this patterning communicates information which serves to store and forward energy. Sounds about like most of my listening experiences.

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A Guide to Electronic Music: Volume 2.0

Five thousand years ago, the present author created a guide to the main acts associated with the classic 70s-style electronic sound. The response was generally quite positive in nature (which the present author humbly appreciates), and several individuals requested a sequel focusing on later acts and developments in Electronic music.

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Bizarre Curiosities: Rummaging Through the Depths of the Electronic Underground

While the first half of the year has given us a surprising amount of good metal, electronica still continues to hide a few salvageable records that have potential. Escaping from the revisionist nostalgia that the more popular artists in the style seek to recreate in order to use the same tools to express different ideas.

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The Accüsed

The Accüsed came to life in 1981 as a punk/metal-act from Seattle who indulge in a self-coined musical style interchangeably referred to as “splatter core” or “splatter rock.” Releasing their debut full-length album in 1985, The Accüsed developed tangentially to thrash luminaries such as D.R.I., C.O.C. and Cryptic Slaughter, with whom they share musical characteristics. Like the latter, the Accüsed applies metallic riffing to rudimentary song structures fueled by the raging intensity of hardcore punk.

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Hardcore Punk Discoveries, Part I: Five Non-Album Finds

With the exception of borderline subgenres such as grindcore and thrash, metal bands generally compose songs that exceed the standard pop-template in terms of longevity – a feat largely inherited from progressive rock, where compositions often reach for the conceptual and/or epic. Therefore, the full-length album comes off as an ideal format for metal. In the case of punk music, things tend to work differently. Punk – especially hardcore punk – thrives on raw energy, purity of expression and a to-the-point manner. This code of conduct produces some of the most intense music around, but also places certain restrictions on its modes of expression.

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Trench Warfare – Hatred Prayer

Trench Warfare finally grace the world with their first full length. Building from the potential of their demo and split, the band finally manage to fuse their War metal with elements of Black and Death metal into creating a highly enjoyable listen that carries a few more subtleties than its aesthetic quality would allow one to assume.

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Thomas Hewitt Jones – Electro Cello

Thomas Hewitt Jones is a British composer mainly known for being an important figure in the realm of British sacred music. An organ scholar at the incredibly prestigious Gonville and Caius College, Cambridge before then branching off into composing for a plethora of styles that include, ballets, choirs and a notorious piece based on the few hummed notes performed by former British Prime Minister David Cameron as he resigned. Electro Cello is a new take on Neo-romanticism that seeks to focus on the joys of wonder and pensive contemplative.

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G.I.S.M. – Detestation (Dogma, 1984)

For us Westerners, many forms Japanese non-traditional music carry an awkward, or even amusing air of exotism. When it comes to metal and punk, this sense of other-ness often stems from the way European-descended musical genres get filtered through a cultural lens largely alien to its original source. Even when it comes to obvious carbon-copy tribute acts, there’s always something strikingly goofy about Japanese metal/punk. Not surprisingly, this makes for a good marketing device because even if the bands suck (and to be frank, many of them do), they still sound “unique”. Relevant cases in point are just too ubiquitous to deserve mentioning. Let’s instead talk about something that does not suck. Like Japan’s premier hardcore punk act and much-overlooked crossover pioneers G.I.S.M. While definitely goofy, G.I.S.M. succeed where most Japanese metal- and punk-acts fail by forging a highly idiosyncratic expression that not only offers something new to the table, but also manage to resonate with the deeper spirit of both punk and metal.

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