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MP3 Loping Buzzard - The Buzzard Has Landed
19 sonic structures for didjeridu and electro-acoustics, from primitive tribal drum circles to space-age electronic tsunamis, created with unconventional recording techniques, custom effects, psychoacoustics, sound design, and twisted studio procedures.
19 MP3 Songs in this album (70:15) !
Related styles: Avant Garde: Musique Concrète, World: World Fusion, Type: Experimental
People who are interested in Ilhan Mimaroglu Mickey Hart Stephen Kent should consider this download.
“The Buzzard Has Landed” is a collection of sound projects by the noisician Loping Buzzard, completed from 2005 to 2010 with a vast number of didjeridus along with gopichand, berimbau, danmo, cajon, cuica, bilma, a variety of flutes, drums, and homemade noise makers. The styles range from impromptu drum circles to pure musique concrète to Dada pop to horror to comedy to surreal. An Eagle may have been first to land on the Moon, but it will be a Buzzard first to Mars!
Notes on specific tracks:
01 - Buzzard Intro – Fowl Play: Elements of a typical gig. Enthusiastic MC, disinterested crowd, drunk heckler. Drums, didj, wooden free reed noisemaker, Flexatone.
02 - Daybreak: ElectroDidj. Double tracked.
03 - Eye Witness: On a dare, recorded, edited, and mixed in under an hour. Vocals are from a taped interview with a UFO witness. Didj, lots of drums & other percussion, thunder tube.
04 - AtmosFear: Space is not so silent. Synths & didj.
05 - Wind Gust: Solo didj.
06 - Bubble Story: Acousmatic tape pieces and didj.
07 - ElectroDidj 2A: Solo ElectroDidj. Live electric slide didj with expression pedals.
09 - Sink Synch: Inspired by a slow-draining sink. Didj, sink, Vietnamese danmo.
10 - Cymbalic Psychotic: Cymbal with ElectroDidj.
11 - Parable: Acousmatic tape pieces and didj.
12 - Bull Creek: A popular gathering place for centuries. Didj, drums, percussion, cuica, flutes.
13 - K9R10: Starring every dog in the neighborhood. Field recordings.
14 - Sky Dance: Drum circle around the fire with didj.
15 - String Theory – guitar: Because every instrument is a percussion instrument (if played correctly). Didj and electric guitar.
16 - Fluid Chamber: From two short recordings of dripping water, manipulated over 70 tracks with 500 edits.
17 - Rainforest: Didj creatures in the trees. Recorded during a thunderstorm. Storm and many didjeridus.
18 - Nightfall: Solo ElectroDidj.
19 - My Place – Terror-torial: Don''t mess with hermits.
Cultural disclaimer: Though my ancestors are Choctaw, Chickasaw, Cherokee, and possibly French, my recordings do not reflect, nor in any way represent, the traditional customs or music of ANY culture. Ancient musical instruments from all over the world were used with great respect for, and many thanks to, the indigenous people of this planet and their customs. This album features didjeridus and other world instruments on most tracks, but it is not Aboriginal music; it is not Native American music; it is not New Age. Some songs may work well with meditation (Rainforest), some may not (My Place), while other compositions could lead to out-of-body experiences (Fluid Chamber). No claims of healing or transformative powers are implied.
Quotes from critics, fans, and musicians:
“Really fun to listen to, and very creative. Those are some great sounds, and you put them all together in a very musical way.”
“...hypnotic, visceral, and just plain scary in places!”
“That''s some pretty danged cool/weird/scarey/evocative...even funny stuff. Very nice!”
“WHAT''s that NOISE? ''atmos-fear'' is Awesome... ''rain forest'' incredible too... the digeridoo sounds are amazing! Pure magic, that''s what it is.”
“I just moved my speakers further apart so I could hear everything going on in your mix... Nice. You definitely paint a picture.”
“You have some cool visionary recordings there. Way to think outside of the box! Love the didge!”
“The soundscapes you create are brilliant.”
“On Skydance, I kept waiting for Kong to come out of the jungle!”
“Anyone who cites Mimaroglu as an influence has to be interesting!”
“You always sound top shelf. Every speaker I''ve listened to your work on comes alive when I play your music.”
“...original and very interesting in the way you "play" with the sounds."
"...had a very good time listening to your fascinating, complex, and intriguing sonic inventions.”
“Your sonic structures are even more winning since you seem to achieve them with a big variety of "acoustic" sources (as opposed to "electronic").”
“Wow! Very cool sounds, noises, textures, vibes, etc...! I can''t imagine how you get those sounds, but I like what I hear.”
“I love your sounds and soundscapes! Atmos-fear and Rainforest: Great work. Very innovative use of those instruments!”
“...very soothing and adventurous at the same time. Also has a very pleasing enchantment to it, too. Creative stuff!”
“Your music blows my mind!I love it.”
“Wow, I could listen to this all day...”
"...too noisy to be music, too musical to be noise."
I call myself a Noisician because my work is "too noisy to be music and too musical to be noise," as one critic stated. I approach audio in an almost a visual way, coming from a background in art, so I hear and arrange sounds as textures, colors, patterns, shapes, transparency, weight, highlights, and shadows, and bring them together in unique spaces of varied dimensions.
Raised on country, bluegrass, and gospel, I soon discovered the early Pink Floyd instrumental works on the radio and was thrilled with the sound. Shortly thereafter, Rick Wakeman''s solo work alerted me to the existence of synthesizers and I began seeking out electronic works, beginning with the first two albums of Isao Tomita. Eventually, I found the early works of electronic music pioneers to be the most interesting to me.
Early electronic music was revolutionary because it made all kinds of new sounds possible and those sounds could be arranged in ways that conformed to musical conventions or NOT. I was interested in recordings that challenged how we define music, and I absorbed the early electronic works of Morton Subotnick, Charles Dodge, Ralph Lundsten, David Vorhaus, and especially Ilhan Mimaroglu (whose "Wing of the Delirious Demon" I consider one of the most original recordings ever made) as well as the avant-garde and musique concrète works of Steve Reich and John Cage.
Music of this type was hard to find, and I wished that I could make my own sounds and music that I could enjoy. In ninth grade, I wrote a score for electronic music using a graphic notation system that I devised, but I had no way of realizing the music because synthesizers at that time were rarely found outside of university computer music labs. By the early 80s, I was making audio tapes with whatever equipment I could piece together. A lot of tapes were made during that period with no musical instruments at all, using instead, aluminum foil, carefully tuned bicycle spokes, metal shelving, glass bowls, and small microphones placed inside of spaces like a freezer or a five-gallon glass bottle. It was years before I finally acquired a Moog synthesizer and put together a crude no-budget studio. Most of the work done at that time was accomplished by abusing equipment. For instance, I discovered that by jamming a screwdriver between the transport buttons on one particular cassette deck and twisting this way or that, I could speed up or slow down the tape, allowing for recording and playback at different speeds.
By the time analog was giving way to digital, I abandoned synthesizers and electronics for one of the most ancient of instruments, the Australian Aboriginal aerophone, the didjeridu (or didgeridoo, didjeridoo, yidaki, etc.) I went totally acoustic, seeking out ancient percussion instruments from all over the world. Playing didjeridu extensively, I wanted to make a didjeridu CD and in pursuit of that goal, obtained an Akai DPS-24 studio deck, better microphones, studio monitors, and more and more gear. With multiple tracks to work with, it was too tempting to add other instruments. I began collecting even more drums and world percussion instruments and incorporating them into my compositions. Eventually, I began letting more electronics re-enter my work, adding drum sequencers, synthesizers, vocoders, electric guitar, and even a Theremin.
Lately, I have been working on an evolving contraption I call ElectroDidj, which merges the ancient acoustics with modern electronics, centered around a DidgeriBone slide didj, designed by Charlie McMahon, that I''ve equipped with a saxophone microphone, a contact mic, and a pickup running through various effects boxes and expression pedals with custom settings to produce an array of effects for different frequencies. My next CD will probably be more of an ambient soundtrack movie score sound design using a lot of field recordings and some archive material.
If you like my recordings, tell all your friends. If you don''t like my recordings, tell all your enemies!
Major influences: Ilhan Mimaroglu, Yves Labat, Andrew Rudin, Max Neuhaus, Pink Floyd, Leon Russell, Djalu Gurruwiwi, Mark Atkins, David Hudson, David Vourhaus, Inlakesh, Yothu Yindi, Hugh Le Caine, Osamu Kitajima, Steve Reich, John Cage, Mickey Hart, Blue Man Group, Klaus Nomi, Dr. John, Kodo Drummers, Ken Nordine, Frank Zappa, Daddaism, planetary science, quantum physics.
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