When did the highly experimental musical style on the album Quixotic originate?
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Quixotic (album) Quixotic is the debut album by English singer-songwriter Martina Topley-Bird. The album spans several musical styles including trip-hop, electronic and rock. It was co-written and produced by Topley-Bird and received positive reviews from music critics upon its release and was shortlisted for the 2003 Mercury Music Prize. "Quixotic" also includes a collaboration with musician Tricky, with whom Topley-Bird collaborated prior to her solo work.
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Trip hop Trip hop (sometimes called "downtempo") is a musical genre that originated in the early 1990s in the United Kingdom, especially Bristol. It has been described as "a fusion of hip hop and electronica until neither genre is recognizable," and may incorporate a variety of styles, including funk, dub, soul, psychedelia, R&B, and house, as well as other forms of electronic music. Trip hop can be highly experimental.
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Punk blues Punk blues (or blues punk) is a fusion genre of punk rock and blues. Punk blues musicians and bands usually incorporate elements of related styles, such as protopunk and blues rock. Its origins lie strongly within the garage rock sound of the 1960s and 1970s.
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The Young Punx The Young Punx are an English-based electronic dance music group whose eclectic and energetic style encompasses french house, breakbeat and drum and bass, mashed up with elements as diverse as 1980s pop music, hard rock, disco and glam rock.
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Winter Equinox Winter Equinox were a post-rock/experimental band hailing from Dundas & Waterloo, Ontario, Canada, formed in May 2004.
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Celtic fusion Celtic fusion is any modern music which incorporates influences considered "Celtic," or Celtic music which incorporates modern music. It is a syncretic musical tradition which borrows freely from the perceived "Celtic" musical traditions of all the Celtic nations, as well as from all styles of popular music, it is thus sometimes associated with the Pan-Celtic movement. Celtic fusion may or may not include authentic traditional music from any one tradition under the Celtic umbrella, but its common characteristic is the inspiration by Celtic identity.
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Cool jazz Cool jazz is a style of modern jazz music that arose in the United States after World War II. It is characterized by relaxed tempos and lighter tone, in contrast to the fast and complex bebop style. Cool jazz often employs formal arrangements and incorporates elements of classical music. Broadly, the genre refers to a number of post-war jazz styles employing a more subdued approach than that found in other contemporaneous jazz idioms. As Paul Tanner, Maurice Gerow, and David Megill suggest "the tonal sonorities of these conservative players could be compared to pastel colors, while the solos of [Dizzy] Gillespie and his followers could be compared to fiery red colors."
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Electronicore Electronicore (also known as synthcore or trancecore) describes a stylistic fusion of metalcore with elements of various electronic music genres, such as trance, electronica, dubstep, or others. The term electronicore is a portmanteau of "electronic" and "metalcore". Notable artists of this genre have originated from the United Kingdom, the United States, Australia, Canada, France, Hong Kong and Japan.
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D-beat D-beat (also known as "discore", "kängpunk" (Swedish for "boot-punk"), and "discrust") is a style of hardcore punk, developed in the early 1980s by imitators of Discharge, after whom the genre is named, as well as a drum beat characteristic of this subgenre. D-beat is known for its "grinding, distorted and brutally political" sound. Discharge may have themselves inherited the beat from Motörhead and the Buzzcocks. D-beat is closely associated with crust punk, which is a heavier, more complex variation. The style was particularly popular in Sweden, and developed there by groups such as Crude SS, Anti Cimex, Mob 47 and Driller Killer. Other D-beat groups include Doom and the Varukers from the UK; Disclose from Japan; Crucifix and Final Conflict from the U.S.; Ratos de Porão, from Brazil; and MG15, from Spain. While the style initially developed in the early 1980s, a number of new groups working within the subgenre emerged in the mid-1990s. These include the Swedish groups Wolfbrigade, Totalitär, Avskum, Skitsystem and Disfear.
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Canadian hardcore punk Canadian hardcore punk originated in the early 1980s. It was harder, faster, and heavier than the Canadian punk rock that preceded it. Hardcore punk (usually referred to simply as hardcore) is a punk rock music genre and subculture that originated in the late 1970s. The origin of the term "hardcore punk" is uncertain. The Vancouver-based band D.O.A. may have helped to popularize the term with the title of their 1981 album, "Hardcore '81". Hardcore historian Steven Blush said that the term "hardcore" is also a reference to the sense of being "fed up" with the existing punk and new wave music. Blush also states that the term refers to "an extreme: the absolute most Punk." One definition of the genre is "a form of exceptionally harsh punk rock."
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MX-80 MX-80 (also known as MX-80 Sound) is an American eclectic art-rock band founded in 1974 in Bloomington, Indiana by guitarist Bruce Anderson. Considered “one of the most out of step but prescient bands of its time," MX-80’s signature sound consisted of breakneck metallic guitar combined with atonal chord structure, cross-rhythmic percussion and dispassionate vocals. Notoriously difficult to categorize—the band has been labeled noise rock, post-punk, acid punk, and heavy-metal—MX-80’s sonic melange set the stage for bands such as Swans, Sonic Youth, Codeine, and Shellac.
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Neo-psychedelia Neo-psychedelia (also called "acid punk") is a diverse style of music that originated in the 1970s as an outgrowth of the British post-punk scene. Its practitioners drew from the unusual sounds of 1960s psychedelic music, either updating or copying the approaches from that era. After post-punk, neo-psychedelia flourished into a more widespread and international movement of artists who applied the spirit of psychedelic rock to new sounds and techniques. Neo-psychedelia may also include forays into psychedelic pop, jangly guitar rock, heavily distorted free-form jams, or recording experiments. A wave of British alternative rock in the early 1990s spawned the subgenres dream pop and shoegazing.
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Nasekomix Nasekomix ("Насекомикс") are a Bulgarian musical group from Sofia. Their style could be described as an avantgarde minimalistic mixture of electronic music, jazz-rock, punk, indie, fusion' and trip-hop. The group themselves define it as 'melodramatic pop' with drum and bass and electronica influences.
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Queercore Queercore (or homocore) is a cultural and social movement that began in the mid-1980s as an offshoot of punk. It is distinguished by its discontent with society in general, and specifically society's disapproval of the gay, bisexual, lesbian and transgender communities. Queercore expresses itself in a DIY style through zines, music, writing, art and film.
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Outsider music Outsider music is created by musicians who are not part of the commercial music industry and who write music that ignores standard musical or lyrical conventions, either because they have no formal training or because they disagree with conventional rules. This type of music, which often lacks typical structure and may incorporate (what is then perceived as) bizarre lyrics and/or melodies, has few outlets; performers or recordings are often promoted by word of mouth or through fan chat sites, usually among communities of music collectors and music connoisseurs. Outsider musicians usually have much "greater individual control over the final creative" product either because of a low budget or because of their "inability or unwillingness to cooperate" with modifications by a record label or producer.
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Celtic punk Celtic punk is punk rock mixed with traditional Celtic music. The genre was popularized in the 1980s by The Pogues, a band of London Irish punk musicians in London who celebrated their Irish heritage. Celtic punk bands often play covers of traditional Irish, Welsh or Scottish folk and political songs, as well as original compositions. Common themes in Celtic punk music include politics, culture, religion, drinking and working class pride.
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Punctualism Punctualism (commonly also called "pointillism" or "point music") is a style of musical composition prevalent in Europe between 1949 and 1955 "whose structures are predominantly effected from tone to tone, without superordinate formal conceptions coming to bear" . In simpler terms: "music that consists of separately formed particles—however complexly these may be composed—[is called] punctual music, as opposed to linear, or group-formed, or mass-formed music" (, bolding in the source). This was accomplished by assigning to each note in a composition values drawn from scales of pitch, duration, dynamics, and attack characteristics, resulting in a "stronger individualizing of separate tones" . Another important factor was maintaining discrete values in all parameters of the music. Punctual dynamics, for example mean that all dynamic degrees are fixed; one point will be linked directly to another on the chosen scale, without any intervening transition or gesture. Line-dynamics, on the other hand, involve the transitions from one given amplitude to another: crescendo, decrescendo and their combinations. This second category can be defined as a dynamic glissando, comparable to glissandi of pitch and of tempi (accelerando, ritardando).
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Punk rock Punk rock (or "punk") is a rock music genre that developed in the early to mid-1970s in the United States, United Kingdom, and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock. Punk bands typically produced short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic; many bands self-produce recordings and distribute them through informal channels.
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Experimental Music Catalogue The Experimental Music Catalogue (commonly known as the EMC) was founded in 1968 by Christopher Hobbs in order to provide an outlet for new music by composers of the English experimental movement, Publications appeared mainly as generic anthologies, such as the "Verbal Anthology","String Anthology", "Rhythmic Anthology" and the "Scratch Anthology of Compositions". These anthologies featured music by British composers such as Cornelius Cardew, Hugh Shrapnel, Howard Skempton, Gavin Bryars, John White, and other experimental composers, including those in the Scratch Orchestra, but also others, including Robert Ashley and Terry Jennings.
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Arena rock Arena rock (known additionally by various names such as "AOR" or "album-oriented rock", "anthem rock", "corporate rock", "dad rock", "melodic rock", "pomp rock", and "stadium rock" ) is a style of rock music that originated in the mid-1970s. As hard rock bands and those playing a softer yet strident kind of pop rock became increasingly popular, groups creating material inherently designed for large audiences, arena rock developed from their use of more commercially oriented and radio-friendly sounds. The often highly-produced music, including both upbeat, dramatic songs and slower power ballads, features strong emphasis on melody and frequently employs anthemic choruses. Other major characteristics include prominent guitar effects and the use of keyboard instruments.
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Electro-industrial Electro-industrial is a music genre drawing on EBM and post-industrial that developed in the mid-1980s. While EBM has a minimal structure and clean production, electro-industrial has a deep, complex and layered sound. The style was pioneered by Skinny Puppy, Front Line Assembly, and other groups, either from Canada or the Benelux. In the early 1990s, the style spawned the "dark electro" genre, and in the mid-/late-1990s, the "aggrotech" offshoot. The fan base for the style is linked to the rivethead subculture.
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EAR (band) Experimental Audio Research (commonly shortened to E.A.R. or EAR) is a loose collective of experimental musicians formed around Peter Kember (a.k.a. Sonic Boom), formerly of Spacemen 3. While Spacemen 3 were a relatively traditional rock and roll band with strong experimental leanings, E.A.R. is essentially a free improvisation project, creating instrumental music characterized by lengthy, droning textures and slowly evolving structures.