Difference between revisions of "Resolver & Brutality"
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| + | __NOTOC__ | ||
| + | <div style="float:right;"> | ||
| + | {{Album Release Infobox | | ||
| + | Home = [[Bootlegs (by Cover)|Bootlegs]] | | ||
| + | Previous album = [[Mr. Gene's Greens - Detroit '68|Previous]] | | ||
| + | Next album = | | ||
| + | Cover = Resolverinsert.jpg | | ||
| + | Name = Resolver & Brutality | | ||
| + | Released = ? | | ||
| + | Related = See also:<br>[http://www.online.ee/~afka/Books/resolver-brutality.htm afka article] | | ||
| + | }} | ||
| + | </div> | ||
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==Players== | ==Players== | ||
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==Tracks== | ==Tracks== | ||
| − | = | + | <div id="CS"><big>'''CS'''</big></div> |
| − | + | '''Side A''' | |
#[[Resolver ED.]] (19:57) | #[[Resolver ED.]] (19:57) | ||
#[[Big Sequence]] (15:54) | #[[Big Sequence]] (15:54) | ||
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#[[Oral Sex At Gunpoint]] (5:18) | #[[Oral Sex At Gunpoint]] (5:18) | ||
| − | + | '''Side B''' | |
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#[[Bondage|Bondage (Maniac Mix)]] (4:11) | #[[Bondage|Bondage (Maniac Mix)]] (4:11) | ||
#[[Oral Sex At Gunpoint|Oral Sex At Gunpoint (Maniac Mix)]] (1:49) | #[[Oral Sex At Gunpoint|Oral Sex At Gunpoint (Maniac Mix)]] (1:49) | ||
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==Background Information== | ==Background Information== | ||
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From a tape [[Frank Zappa|Zappa]] recorded around 1985/1986 - about the time of [[Frank Zappa Meets The Mothers Of Prevention]] and the [[Z-Pack - Opening Letter|PMRC campaign]]. It is largely [[Synclavier]] compositions utilising vocal samples from assorted sources. | From a tape [[Frank Zappa|Zappa]] recorded around 1985/1986 - about the time of [[Frank Zappa Meets The Mothers Of Prevention]] and the [[Z-Pack - Opening Letter|PMRC campaign]]. It is largely [[Synclavier]] compositions utilising vocal samples from assorted sources. | ||
| − | + | '''Zappa explains Resolver:''' | |
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<blockquote>"For the sounds that don't resemble any other instruments, we have a whole classification of noises: one being the Evolver, where a sound starts off to be one type of an instrument, and by the time the note is finished, it's been turned into maybe two or three other instruments, all with a smooth transition. Then we have Resolvers, where different types of resynthesized vocal or instrumental timbres are located on each of the four partials, and by depressing a single key on the keyboard, | <blockquote>"For the sounds that don't resemble any other instruments, we have a whole classification of noises: one being the Evolver, where a sound starts off to be one type of an instrument, and by the time the note is finished, it's been turned into maybe two or three other instruments, all with a smooth transition. Then we have Resolvers, where different types of resynthesized vocal or instrumental timbres are located on each of the four partials, and by depressing a single key on the keyboard, | ||
you get a four-note chord that is actually four independent melody lines that resolve against each other to a final payoff. Then if you depress the key at the end of the payoff, you get a bonus of another bent. So you can have little melismas, little eight-note melodies, that occur, and all you do is push the key down, and it sings some kind of Renaissance cadence or whatever. Two of the partials could be resynthesized voices, one could be a resynthesized violin, and the other a resynthesized bassoon. Instant Renaissance ensemble when you hit each key. So you imagine what happens when you play a chord [laughs] -- it gets very absurd. It enables you to write things that you couldn't deal with under any other circumstance."</blockquote> | you get a four-note chord that is actually four independent melody lines that resolve against each other to a final payoff. Then if you depress the key at the end of the payoff, you get a bonus of another bent. So you can have little melismas, little eight-note melodies, that occur, and all you do is push the key down, and it sings some kind of Renaissance cadence or whatever. Two of the partials could be resynthesized voices, one could be a resynthesized violin, and the other a resynthesized bassoon. Instant Renaissance ensemble when you hit each key. So you imagine what happens when you play a chord [laughs] -- it gets very absurd. It enables you to write things that you couldn't deal with under any other circumstance."</blockquote> | ||
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==Conceptual Continuity== | ==Conceptual Continuity== | ||
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| + | ==Versions== | ||
| + | |||
| + | {| {{Versions Table Header}} | ||
| + | | align="center" | n/a | ||
| + | | align="center" | '''1<br>Original<br>[[Wikipedia:Stereophonic sound|Stereo]]''' | ||
| + | | align="center" | 1 | ||
| + | | align="center" | [[Wikipedia:Compact audio cassette|CS]] | ||
| + | | None | ||
| + | | Not released | ||
| + | | None | ||
| + | | None | ||
| + | | [[Wikipedia:Bootleg recording|Bootlegs]] exist. | ||
| + | |} | ||
==See Also== | ==See Also== | ||
Revision as of 07:15, 30 November 2007
| Bootlegs | |
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| Previous | |
| Released ? | |
| See also: afka article | |
Players
Tracks
Side A
- Resolver ED. (19:57)
- Big Sequence (15:54)
- Brutality (4:22)
- Bondage (3:31)
- Oral Sex At Gunpoint (5:18)
Side B
- Bondage (Maniac Mix) (4:11)
- Oral Sex At Gunpoint (Maniac Mix) (1:49)
- Brutality (Maniac Mix) (2:34)
Background Information
From a tape Zappa recorded around 1985/1986 - about the time of Frank Zappa Meets The Mothers Of Prevention and the PMRC campaign. It is largely Synclavier compositions utilising vocal samples from assorted sources.
Zappa explains Resolver:
"For the sounds that don't resemble any other instruments, we have a whole classification of noises: one being the Evolver, where a sound starts off to be one type of an instrument, and by the time the note is finished, it's been turned into maybe two or three other instruments, all with a smooth transition. Then we have Resolvers, where different types of resynthesized vocal or instrumental timbres are located on each of the four partials, and by depressing a single key on the keyboard, you get a four-note chord that is actually four independent melody lines that resolve against each other to a final payoff. Then if you depress the key at the end of the payoff, you get a bonus of another bent. So you can have little melismas, little eight-note melodies, that occur, and all you do is push the key down, and it sings some kind of Renaissance cadence or whatever. Two of the partials could be resynthesized voices, one could be a resynthesized violin, and the other a resynthesized bassoon. Instant Renaissance ensemble when you hit each key. So you imagine what happens when you play a chord [laughs] -- it gets very absurd. It enables you to write things that you couldn't deal with under any other circumstance."
Conceptual Continuity
Versions
| ZFT # | Version # | # discs | Format | Catalog # | Release (YYYY-MM-DD) |
Barcode (EAN-13) |
Artwork | Comment |
|---|---|---|---|---|---|---|---|---|
| n/a | 1 Original Stereo |
1 | CS | None | Not released | None | None | Bootlegs exist. |
