A propos the Rolling Stones, after "before the Soft Machine" insert:
decadent vocalist Mick Jagger (who distorted soul crooning and turned it
into an animal instinct), guitarist Keith Richards (who took Chuck Berry's
riffs into a new dimension of fractured harmony),
multi-instrumentalist Brian Jones (who penned their baroque and psychedelic arrangements), and the phenomenal, funky rhythm section of
bassist Bill Wyman and drummer Charlie Watts.
Change "The Animals were probably" with "The Animals, led by white shouter Eric Burdon, were probably"
At the end of the paragraph on Texas, add
Euphoria's A Gift From Euphoria (Capitol, 1969), on the other hand, offered an odd combination of orchestral pop ballads, country-rock, distorted psychedelia and sound effects.
After Good Vibrations add the sentence:
Jean Jacques Perrey and Gershon Kingsley virtually invented electronic pop on The In Sound From Way Out (1966).
After the sentence on Silver Apples, add:
In Boston, Beacon Street Union's member Peter Ivers applied electronic "modulations" to the already wildly eccentric arrangements of his religious concept Knight Of The Blue Communion (Epic, 1969), A surreal parade of jazz, psychedelic, pop, classical and vaudeville numbers featuring an opera singer.
The section of Mark-Almond must be rewritten as:
Mark Almond (2), the duo of former John Mayall's sidemen Jon Mark (guitar) and Johnny Almond (reeds), specialized in suites of a different kind, mellow and laid-back, centered on simple folk-jazz tunes, skirting lounge-music and easy-listening muzak, such as The City (1971), on their first album, and Sausalito Bay Suite (1972), on their second album.
After Magna add:
Red Noise penned Sarcelles-Locheres (1971), featuring the 19-minute instrumental suite Sarcelles C'est L'Avenir, a ludicrous combination of Fugs' dementia, Frank Zappa's satirical noise-pop and Soft Machine's jazz-rock.
Add at the end:
Perhaps the oddest experiment of the time was
Zweistein, the project of German pop singer Suzanne Doucet (disguised under
the moniker Jacques Dorian) that released only the triple-LP album
Trip, Flipout, Meditation (1970), a post-psychedelic sound collage
that drowned naive melodies under a thick layer of studio effects.
Add after Crosby:
Protest folksinger Buffy Saint-Marie sang the hallucinated Illuminations (1969), arranged with electronic sounds by composer Michael Czajkowski.
The sentence on Bunyan should be:
Vashti Bunyan (1) composed Just Another Diamond Day (1970), a cycle of psalms drenched in eastern mysticism in the idyllic tone of early Donovan.
The sentence on Hammill should be:
Van Der Graaf Generator's vocalist Peter Hammill (2) expanded on that band's tense progressive-rock with his solo work. The nightmarish psychodramas of albums such as Chameleon in the Shadow of the Night (1973), that pioneered the fusion of chamber music and folk music, and especially Nadir's Big Chance (1975), that pioneered punk-rock, carry out morbid explorations of the subconscious.
In the eccentric section add:
Maryland's Mark Tucker (1) debuted with a limited-edition LP, Batstew (1975), that mixed poppy tunes and field recordings, sounding as demented as Wild Man Fischer against a backdrop of electronic sounds. After a long period of insanity, he crafted an avantgarde concept albums, In The Sack (1983), credited to T. Storm Hunter, highlighted by two psychedelic-jazz instrumentals, Shelly and Can't Make Love.
In the Brazilian section add:
Chico Buarque (1), an outspoken critic of the dictatorship, composed hit songs, starting with Morte e Vida Severina (1965) and A Banda (1966), and albums, notably Construcao (1971), that best represented the zeitgeist of the age. A writer and a playwright, he also composed Opera do Malandro (1978), based on John Gay's Three-Penny Opera.
The beginning of Aerosmith becomes:
Aerosmith (3) well represented the link
between heavy-metal and the wild and depraved brand of rhythm'n'blues
promoted by urban punks such as the Rolling Stones and the Stooges,
the reference points for vocalist Steve Tyler and guitarist Joe Perry.
The second half of the paragraph on AC/DC becomes:
Hoarse and feverish vocals (first Bon Scott and then Brian Johnson), and Angus Young's dirty, bluesy guitar licks (a combination
already tested by Free in Britain) propelled the anthemic
It's A Long Way To The Top (1975), Problem Child (1976),
Whole Lotta Rosie (1977), You Shook Me (1980)
all the way to the frenzied Heat Seeker (1988).
Albums such as
Dirty Deeds Done Dirty Cheap (1976),
Highway To Hell (1979) and
Back In Black (1980) were shots of unbridled hedonism.
The paragraph on Simply Saucer needs to be changed like this:
In Canada, Edgar Breau's Simply Saucer (1), that only released a single, played a mixture of free jazz, Pink Floyd, Stooges and the Velvet Underground. Cyborgs Revisited collects the unreleased material of 1974-75.
After Moraz, add:
And another milestone in orchestral progressive-rock was Jasun Martz's The Pillory (1978).
After Verdeaux, add:
Jean-Claude Vannier the arranger of Serge Gainsbourg's Historie De Melody Nelson (1971), composed another concept album, the all-instrumental L'Enfant Assassin des Mouches (1972), that ran the gamut from collages of found sounds to demented symphonic rock, from exuberantly old-fashioned fairground music to orchestral easy-listening music.
In the funk section, before George Clinton, insert:
War, one of the few multi-racial groups, were the most innovative of the commercial funk groups with their lengthy fantasies: a Cuban-tinged Fidel's Fantasy on War (1971), the infectious dance ditty The World Is A Ghetto and the proto-disco jam City Country City on The World Is A Ghetto (1972). They further promited the Latin-funk fusion with The Cisco Kid (1972) and especially Low Rider (1975).
After Cazazza insert:
The Los Angeles Free Music Society, formed around Tom Recchion in 1972, was a collective of underground artists loosely inspired by Frank Zappa and Captain Beefheart (but also all jazz and classical avantgarde movements). Le Forte Four, who released four lunatic electronic-folk albums starting with Bikini Tennis Shoes (1974), Doo-Dooettes (two albums), Smegma (one album) and Airway (one album) were some of the performers devoted to free improvisation, abstract cacophony and demented chanting.
The sentence on Wipers (Subchapter "Garage-rock") needs to be expanded and the rating is wrong:
The Wipers (1) in Oregon, led by Greg Sage,
poet of the agony and heroic guitarist,
revitalized garage-rock of the Pacific Northwest with anthems such as
Youth Of America (1981) and albums such as the excoriating
Is This Real (1979) and especially the existential
Over The Edge (1983).
Add to the paragraph on Einsturzende Neubaten:
Eventually, the old terrorists transformed into gentlemen philosophers, and their visceral ferocity turned into subtle grandeur, but pieces such as Perpetuum Mobile, off Perpetuum Mobile (2004), showed the fundamental continuity between the various stages of the group's militancy. The apocalypse had been postponed, but the burial was already underway.
Add to the Japanese bands:
No less terrible than the three more famous acts,
Juntaro Yamanouchi's Gerogerigegege released the devastated uber-punk scum-idolizing affronts of Senzuri Champion (1987), Showa (1989) and especially Tokyo Anal Dynamite (1990), containing 75 brief songs, emphasizing their passion for defecation and masturbation.
Add to Fear:
Fear's Record (1982), one of the most important punk albums of all times,
was a philosophical manifesto and, stylistically,
a hysterical revision of boogie and rock'n'roll dogmas
drenched into overdoses of sarcasm, topped by
the war anthem No More Nothing.
Add after Vrtacek:
The Electronic Art Ensemble, a quartet of multi-instrumentalists who played electronic keyboards, electric instruments and percussion, straddled the border between Morton Subotnick, free jazz and progressive-rock on the six improvised jams of Inquietude (1982).
Add to the paragraph on Cheer-Accident:
Later, Jones would revisit Yes, Frank Zappa and King Crimson in lengthy suites such as Salad Days, off Salad Days (2000), and The Autumn Wind is a Pirate, off Introducing Lemon (2003).
After Nuclear Assault, add:
The roots of grindcore can actually be found in two of Boston's hardcore outfits of the 1980s, that introduced the two key elements of grindcore: the frantic beat and the growling vocals. Deep Wound, featuring the young J Mascis (on drums) and Lou Barlow, played the micro-songs of the EP Deep Wound (1983) at supersonic speed (the precursor of death metal's "blast beat"). Siege, who recorded only a six-song demo tape and three tracks for a compilation in 1984, featured the growls of vocalist Kevin Mahoney.
In the paragraph "Turning decade", after John Trudell, add the sentence:
In Los Angeles, Michael Penn penned the catchy folk-pop ditties of March (1989).
Add to Nick Cave:
Then suddenly a rejuvinated bard adopted the stance of the demonic pervert on
Grinderman (2007) and seemed to have found a new mission in life.
Necks: Add Hanging Gardens (1999) and change rating to (2)
Add the end of the "Nashville, 1982-89" paragraph add:
Washington-based Mary Chapin Carpenter emerged as the ultimate crossover singer-songwriter, blending country, folk, pop, rock and feminism on Hometown (1987) and contributing to the renewal of the Nashville sound with Come On Come On (1992) before turning philosophical on Time Sex Love (2001).
After Distorted Pony:
San Francisco-based Oxbow, fronted by nightmarish vocalist Eugene Robinson, concocted an insane free-form collage of atonal instruments, vocal rants, noise, punk energy and sheer nonsense on Fuckfest (1991) and especially King of the Jews (1992).
Add to Solos:
Blind Idiot God's guitarist Andy Hawkins (1)
penned the four abstract extended improvisations of Azonic Halo (1994)
at the border between free jazz, heavy metal and droning music.
Add to the Flying Luttenbachers:
while Walter alone penned the delirious Rise Of The Iridescent Behemoth, off Systems Emerge From Complete Disorder (2003).
At the end of the chapter, insert:
Florida's Big Swifty (1) crafted the austere compositions of Akroasis (1997) around drones a` la LaMonte Young, minimalist repetition a` la Terry Riley and microtonal techniques.
Add to the Noise-punk-jazz
Boston's Debris were a punk-jazz outfit featuring horn players next to a power-rock trio and improvising chaotic jams in the vein of Frank Zappa and Henry Cow on Terre Haute (1993).
Rewrite of Acid Mothers:
The most prolific of this prolific school of space-rockers was, by far,
Kawabata Makoto, the (demented) brain and the (logorrheic) guitar behind
Acid Mothers Temple & The Melting Paraiso U.F.O. (4).
Synthesizer-heavy progressive jams in the vein of freaks such as Magma and Gong
filled their early albums,
Acid Mothers Temple & The Melting Paraiso Ufo (1997) and
Pataphysical Freak Out Mu (1999),
but subsequent collections, such as La Novia (2000), became more chaotic and orgiastic.
The mini-album 41st Century Splendid Man (2002), featuring
Tatsuya Yoshida of the Ruins, adopted instead a
celestial trance bordering on ambient and cosmic music,
and Univers Zen Ou De Zero A Zero (2002) found perhaps the middle path
between the two extremes.
This natural evolution towards a synthesis of styles led to Nam Myo Ho Ren Ge Kyo (2007) and
Electric Psilocybin Flashback, off
Crystal Rainbow Pyramid Under The Stars (2007),
colossal jams built around the ancient Buddhist mantra of the title.
Ethereal soprano Cotton Casino was to Kawabata in AMT what Gilli Smyth was to Daevid Allen in Gong.
After the section on Smith and Donaldson add:
Six Organs of Admittance (1), the project of acoustic guitarist Ben Chasny, coined a psychedelic form of Sandy Bull's and John Fahey's western ragas with east-west meditations such as Sum of All Heaven, off Six Organs of Admittance (1998), and VIII, off For Octavio Paz (2003).
Change Ghost's rating to (12) and add:
while the four-part title-track of Hypnotic Underworld (2004)
was the crowning formal achievement of a group of visionary jazz-rock musicians,
equally adept at pop songwriting and bizarre avantgarde.
Add to the Japanese bands:
Yamazaki Maso's Masonna represented the link with the previous generation of noise-makers on albums devoted to lengthy free-form jams such as Shinsen Na Clitoris (1990) and Noisextra (1995).
Expand Home:
Florida's Home (1) stood out from the crowd, thanks to a broad stylistic range (from cinematic prog-rock instrumentals to spastic pop songs) and to a focus on mundane events of the American youth (like a more serious Frank Zappa). Works such as IX (1995), containing the operetta ConcepcionX (1996), arranged by the Devil's Isle Orchestra (horns, strings and choir), Netherregions (1998), their most deranged excursion, XIV (2000), a set of richly-arranged madrigals of abstract, psychedelic music, and Sexteen (2006), a concept on sex, called the bluff on rock music, both lyrically and musically.
Add after Modest Mouse:
Texas' Spoon, the vehicle for Britt Daniel, evolved from the alt-pop influenced Girls Can Tell (2001) towards a power-pop style that boasted memorable hooks but also a minimal approach to arranging, the opposite of Phil Spector's "wall of sound", as demonstrated on Gimme Fiction (2005).
Add at the end:
The prolific San Diego-based singer-songwriter and guitarist Rob Crow launched a number of parallel projects, starting with the progressive hardcore of Heavy Vegetable, documented on The Amazing Undersea Adventures Of Aqua Kitty And Friends (1994). He built a bizarre sound around vintage keyboards as Optiganally Yours on Spotlight On Optiganally Yours (1997) and Presents Exclusively Talentmaker (2000). An acoustic quartet named Thingy penned the avant-melancholia of To The Innocent (1999). Then he found a compromise of sort in Pinback's twisted songs at the border between post-rock, psychedelic-rock and folk-rock, first on This Is Pinback (1999) and especially with the EP Offcell (2003).
Right before Lauryn Hill insert:
Female rhythm'n'blues artists also contributed to the artistic explosion, led by Erykah Badu's Baduizm (1997).
Increase Rufus Wainwright's rating to (2) and add:
Wainwright had already progressed from vaudeville to opera with Poses (2001), when he envisioned a double album to display his orchestral maturity and versatility, Want One (2003) and Want Two (2004).
Add to Vic Chesnutt:
Later his art became not only more pensive but also more austere via longer compositions and a penchant for sound that sometimes obscured the singing: Silver Lake (2003), with a full-fledged roots-rock band; Ghetto Bells (2005), with VanDyke Parks on accordion and Bill Frisell on guitar; North Star Deserter (2007), with a small orchestra of post-rock soundsculptors.
At the end of the "Neo-folk" paragraph add:
At the end of the decade, Indiana's isolated Dave Fischoff (1) virtually invented a new form of folk music, barely audible and mostly indecipherable, with Winston Park (1998).
At the end of the paragraph on British songwriters add:
The surreal songs of Swedish singer-songwriter Nicolai Dunger (2) were influenced by the holy triad of Robert Wyatt, Tim Buckley and Van Morrison, especially on Eventide (1997), boasting neoclassical arrangements. After the trilogy of Blind Blemished Blues (2000), A Dress Book (2001) and Sweat Her Kiss (2002), Dunger perfected his fusion of soul, jazz and rock with the lavish arrangements of strings, horns, piano and percussion on Soul Rush (2001).
Add to Built to Spill:
When Built To Spill finally returned to the science of abstract jamming, on You In Reverse (2006), its blend of pensive transcendence and manic
depression sounded like the perfect soundtrack for the zeitgeist of the new century.
Martsch's guitar had a unique way to penetrate the inner core of a song's
melody and transform it into a cathartic experience.
Marstch's tormented solos were the antidote to an era that increasingly
strived for simplicity and superficiality.
After Leftfield add:
Spaceheads (1), i.e. the duo of trumpeter Andy Diagram and percussionist Richard Harrison, alumni of Pop Group-style avant-jazz-funk-rock outfits such as the Honkies during the "Madchester" era, wed the collage techniques of the avantgarde, jazz improvisation and the angular rhythms of the post-techno dancefloor (a mixture of hip hop, drum'n'bass and acid jazz) on Spaceheads (1995), enhancing the textures of their "prepared" instruments with loops and overdubs.
After "While not as successful as Air," insert
April March (Elinore Blake) in Los Angeles, with the eclectic and campy And Los Cincos (1998) and Chrominance Decoder (1999),
In the line "England's contingent...", remove Fudge Tunnel and add after Bush:
and Fudge Tunnel, the most devastating with Hate Songs In E Minor (1991).
After Terminal Cheesecake add:
Skullflower, a loose group of musicians affiliated with guitarist Matthew Bower, performed heavy, droning psychedelic music on Obsidian Shaking Codex (1993) and Argon (1995), a symphony in four movements,
Another Matthew Bower project was Sunroof, devoted to a psychotic version of cosmic music on the double-disc Delicate Autobahns Under Construction (2000).
After a hiatus of seven years, Bower resurrected Skullflower erect the impressive walls of noise of Exquisite Fucking Boredom (2003), containing the four-part super-doom suite Celestial Highway, Orange Canyon Mind (2004) and Tribulation (2006), slowly drifting towards the idea of music as one long modulated massive distortion.
Halfway into Alt-country (after etc) add infos about Whiskeytown:
North Carolina's Whiskeytown (1), a punkier Uncle Tupelo (or a countryfied Replacements) that relied on the combined talents of Vocalist Ryan Adams, violinist Caitlin Cary and guitarist Mike Daly, penned perhaps the best of the batch, Strangers Almanac (1997),
At the end of Folk-rock insert:
and Ohio's Appalachian Death Ride (1), with Appalachian Death Ride (1996) and especially the visceral, anthemic Hobo's Codebook (2003).
For Lambchop add:
If sometimes Lambchop's albums sacrificed substance for elegance and occasionally veered into a bland hybrid of country and soul balladry, ever more formidable ensembles helped to craft the rock opera Nixon (2000) and collections such as Damaged (2006) that were poetic but formulaic, austere but diluted, gentle but superficial, transcendental but mundane: this intermediate state became the metaphysical location of Wagner's art. As Wagner's skills as an arranger matured, the most effective instrument on his crowded songs became his rough voice, simply because it was the ultimate antithetic sound to the gentle symphony that lay underneath.
Remove the line "New Jersey's Wrens, with Silver (1994);"
At the end of the paragraph on Emocore, after Rainer Maria, add
New Jersey's Wrens invented a form of "emo-pop" with Secaucus (1996) and perfected it to a manic degree on Meadowlands (2003).
Before "In the meantime, Chisel..." insert
Avail, instead, went straight for the hearts with Over the James (1998).
After " Kansas' Appleseed Cast" insert
Buffalo's Snapcase, with Designs for Automotion (2000);
Chicago's Alkaline Trio, with Goddamnit (1998);
and the Get Up Kids, with Four Minute Mile (1998);
After Calvin Krime insert:
New Jersey's Rye Coalition fused emocore and hard-rock, Fugazi and AC/DC, starting with Hee Saw Dhuh Kaet (1997).
Increase the rating of Sunny Day Real Estate to (2) and add "and How It Feels To Be Something On (1998);"
After Candy Machine insert:
Sweden's Refused (1), featuring vocalist Dennis Lyzxen, gave their spiritual and artistic testament with their third album The Shape of Punk to Come (1998), whose title paraphrased Ornette Coleman's jazz masterpiece. Their militant jazzcore bridged the generation of the 1980s and the generation of post-rock.
Add to metalcore:
Hatebreed, from Connecticut, established metalcore as a major genre with
Satisfaction Is the Death of Desire (1997) and The Rise of Brutality (2003).
Add to death metal:
At the turn of the century, the scene was further destabilized by the arrival of South Carolina's Nile (1), the new champions of highly technical and innovative death-metal. Their experiments with keyboards, percussion and ethnic instruments peaked with lengthy pieces such as The Dream Of Ur, off Black Seeds Of Vengeance (2000), and Unas Slayer of Gods, off their supreme In Their Darkened Shrines (2002) that also includes the 18-minute four-movement juggernaut In Their Darkened Shrines, one of the masterpieces of death-metal.
Add (1) to System of a Down and add "and Toxicity (Sony, 2001)".
Add a few words for Dillinger Escape Plan: "with the unstable metal-jazz compounds of Calculating Infinity (1999)". Then add:
Sweden's Meshuggah (1) reinvented prog-metal as a subgenre of avant-jazz and post-rock with the angular and intricate compositions of Destroy Erase Improve (1995) and Chaosphere (1998), indulging in off-kilter time signatures and polyrhythmic aggression.
Before "Super-doom" insert:
and especially
Beyond Dawn (1), with Revelry (1998),
offered other variants on the stereotype.
Expand the sentence on Sunn O))):
Earth's main followers were Sunn O))) (2), the new project of Engine Kid's guitarist Greg Anderson and Khanate's bassist Stephen O'Malley, particularly on the four monumental concerts for bass and guitar only of Zero Zero Void (2000), even heavier and slower than Earth. By the time they perfected their formula with Black One (2005), via the super-heavy drones and sinister monoliths of Flight Of The Behemoth (2002) and White2 (2004), it sounded like the duo of Greg Anderson and Stephen O'Malley was remixing the history of black metal for the digital generation.
After Phylr add:
Laddio Bolocko (Drew StIvany on guitar, Ben Armstrong on bass, Marcus DeGrazia on saxophone, and ex Dazzling Killmen's drummer Blake Fleming) mixed the neurotic introspection of post-rock and the psychotic attack of hardcore on Strange Warmings (1997), whose jams also referenced free-jazz and acid-rock. As structures exploded and imploded, the listener was taken on a rollercoaster of stylistic mirages. The soundscape got blurred on the EPs In Real Time (1998) and As If By Remote (1999), that abandoned the frenzy of the debut album to concentrate on textural explorations.
In the paragraph on Solex, change "ware" with "were" (typo)
After Jackie-O Motherfucker insert:
The recordings of the No-Neck Blues Band (2), a loose New York-based collective of improvisers, are mainly devoted to long chaotic instrumental jams that draw inspiration from the Art Ensemble Of Chicago, Captain Beefheart, Amon Duul II and Pink Floyd. Letters From The Earth (1998) and Sticks And Stones May Break My Bones But Names Will Never Hurt Me (2001) run the gamut from an anthropological recapitulation of primal shamanic music to free-jazz improvisation.
After the paragraph on Vampire Rodents add:
In New York, M'lumbo (1) bridged dissonant avantgarde, free-jazz and dance music with the free-form collages of Spinning Tourists in a City of Ghosts (1999), that applied the collage technique to the most diverse sources.
After Ubzub insert:
Deerhoof (2) was an avant-pop concept that balanced cacophony and melody, abstraction and organization, and evolved from the blissful Captain Beefheart-esque anarchy of The Man The King The Girl (1997) to the prog-garage ingenuity of Reveille (2002).
After To Rococo add:
Laub (1), the duo of vocalist Antye Greie-Fuchs and keyboardist Juergen "Jotka" Kuehn, explored alien soundscapes on Kopflastig (1997) and especially Unter anderen Bedingungen als Liebe (1999).
In the paragraph on Boxhead Ensemble, increase the rating to (3) and after Two Brothers (2001) add:
and the seven transcendent Quartets (2003).
In the paragraph on Tarentel add:
The four-volume series of Ghetto Beats On The Surface Of The Sun (2006) zeroed on skeletal rhythms piercing through a jelly of glitchy ambience. Their "ghetto" was a psycho-musical ghetto, a mythological "place" of the mind that manifested itself in a plethora of disorienting soundscapes.
For Richard Youngs:
Since the late 1980s he had also been collaborating with British avantgarde composer Simon Wickham-Smith, creating lengthy free-form noise collages/jams such as Ceaucescu (1992), The Proof Of The Point, off Kretinmuzak (1994), Diabetes for more than 20 instruments, off Asthma And Diabetes (1994), More Urban Music for the Middle Of Nowhere, off Enedkeg (1996), Angels From CT with sampler, rhythm machine and synthesizer, off Veil (1997).
Replace the paragraph on Matthew Herbert:
The dance music of British dj Matthew Herbert replaced drum-machines and synthesizers with beats and melodies manufactured out of random noises of everyday life,
an idea pioneered on Around The House (1998), that employed the sounds
of household objects, and transferred to the song format
with the electronic jazz ballads of Bodily Functions (2001) and
Scale (2006).
Herbert refrained from simply sampling instruments. Each melody and
rhythm was meticulously constructed in studio.
Herbert shared with Matmos the honor of having pioneered the use of "organic" samples (noises, not instruments) to compose dance music.
The sound of everyday life was not only the source but also the meaning
of his art.
Add in "Further Developments":
Troum, the brainchild of Maeror Tri's Stefan Knappe, created a pagan/shamanic ambient music on a trilogy dedicated to the aboriginal "dreamtime", Tjukurppa - Harmonies (2000), Tjukurppa - Drones (2001) and Tjukurppa - Rhythms And Pulsations (2003), while the "circular" suites of Autopoiesis (2004) and the 51-minute piece of Shutun (2007) in collaboration with All Sides (Nina Kernicke) were studies on the organization of sound that transposd into music the combination of biological metabolism, Freudian stream of consciousness, and sci-fi cinematic vision.