eiphel asked: It wouldn't be at all hard - I'm sure it's already been done - to make a music player that used some random noise (in the mathematical sense) to generate some, uh... random noise (in the literal sense) on the playback of a track. It wouldn't even take much more to algorithmically generate cracks and hisses and pops based on peaks and troughs and decibel level in the music. You could even store data on how often the track is played and increase the noise level on heavily played tracks.
If you wanted to make a digital track sound like it was being played on vinyl, you could, but it would involve a lot more than just the addition of random noise to change the sound appropriately. (Of course, bear in mind that I’m just being a sort of reverse audiophile here and that the average person probably wouldn’t care at all, but here, have some random thoughts nonetheless.)
Beware; below the cut there be much technical rambling about sound.
The network of influence between musicians is so intertwined and complicated that it’s practically impossible to nail down to specifics. It might be possible to pick out one or two influences on a given song or album, or trace the rise and fall of various influences throughout a band’s career (see: The Jam), but in general, it’s a fairly complex web of events and inspirations and it’s hard to isolate a single driving force, other than their own, in any artist’s work.
That said, Brian Fallon of The Gaslight Anthem has never made a secret of The Clash’s influence on his music. He’s talked about it in interviews, participated in Strummerville events, and even made it pretty much inescapable in his song, “I’da Called You Woody, Joe.”
If you listen, though, you begin to realize that it isn’t necessarily The Clash in exclusivity that inspire him, but the musicianship of Joe Strummer. (You’ll note, along with innumerable Clash references, the line in the aforementioned song that goes, “And a girl on the excitement gang,” calling back to Joe Strummer and the Mescaleros’ “Coma Girl.”)
Anyway, the point of all this rambling is to offer the following two songs up to you, not just because they’re both really good, but also because I’ve been thinking about influences and inspirations and perhaps you can hear a little of that from one song to the other here.
And this is The Gaslight Anthem’s “The Navesink Banks.”
Anonymous asked: Five bands/musicians you wish you saw live, but now cannot for whatever reason. This can include previous lineups of still-playing bands.
Because I am pathologically incapable of choosing just five of anything, I’m afraid I have corrupted your question into “five shows you wish you’d seen live,” rather than five bands or musicians. Even so, I’ve left out dozens of artists I wanted to include, but at least I’ve managed to cheat my way into a few extra bands as openers. (Note that these are not in any particular order, and that one band’s opening for another doesn’t mean I want to see the headliner more than the openers.
Behind a cut, because, as usual, this got rather longer than expected.
It’s that time of year again – gearing up for Gallifrey One, the world’s largest Doctor Who convention. I love going, not only because there is grand fun and amazing programming and incredible opportunities to meet people, but also because some of the best friends I have are ones I’ve met at Gally and whom I see only once a year, when the convention rolls around again.
And also, I give talks there.
As usual, I’ll be talking about the music of Doctor Who this year on the “Dulcet Tones of Doctor Who" panel. This time, in a terrifying turn of events, they have put one of the actual composers from the show on the panel with me. (Yes. You read that right.) And to make matters even scarier, it’s Dominic Glynn, who is not only the composer from the era I profess to know most about, but also a music producer I admire completely apart from his work on the show.
And, for the first time, I’ll be giving another panel as well – a British Invasion panel called “The British Are Coming,” in which I’ll get to ramble in real life about British youth and music subcultures, their influence on America, which ones survived and which didn’t, and all sorts of awesome nonsense like that, normally reserved for my Internet ramblings alone. I’m intimidated, but also incredibly excited. I tried hard to land this panel, so I’m very honoured to have been given it.
So, er, the long and the short of it is, if you’re going to Gallifrey One this year, come and say hello! Or come and see a panel or two! It’ll be a good time, I promise (and I have ribbons, too).