Dinosaur Jr.'s You're Living All Over Me (33 1/3 Series) by Nick Attfield

By Nick Attfield

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Dinosaur Jr, the stereotypical slackers. Mascis, Barlow, Murph (just Murph): 3 early-twentysomethings nonetheless overburdened through a lethargic formative years and a disastrous gown feel. With battered guitar, bass, and gear, they create round a list of songs that betrays identities half-formed at top, schizoid at worst.

But pay attention. 1987, a brand new album, a picture of a second whilst a livid musical depth swung upwards and driven their lyrics and Mascis’s vocal whine some distance into the margins. Searing riffs, mountainous solos, and the tightest of fills – underpinned through stream-of-consciousness constructions and a palette of crazed results – scouse borrow the express. those 3 construct a one-off sound that stirred up the hardening replacement mainstream and drove it to distraction. You’re dwelling in every single place Me: supposedly Mascis’s indictment of what it was once prefer to journey in a van with those different misfits, but additionally testimony to the obsession – an itch, a sickness – that the band’s disengagement from their global had produced. This checklist cares so little it cares much

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Extra info for Dinosaur Jr.'s You're Living All Over Me (33 1/3 Series)

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E. , Velikorusskiia piesni, vol. 2, St. Petersburg, 19II. THOUGHTS AND METHODS 31 satisfaction. No musical script can ever be a faithful mirror of music, just as no spelling, phonetic or otherwise, can give an adequate idea of the sound of English, French, or any one language to those who do not master it. Even for western music our western notation is quite unsatisfactory from many viewpoints. Leaving this latter problem to the many untiring reformers around us, we might, for our present concern, take heart in the rapid growth of phonography, which makes a good deal of our writing symbols superlluous by restoring music to the ear where it belongs.

C' has 264 vibr. diff. : 33 vibr. d" has 594 vibr. c" has 528 vibr. diff. : 66 vibr. In frequency numbers, the distance is in the upper octave twice as wide; but to the musical ear and to the cent system it is exactly the same. The only way out is to shrink the spaces from line to line in the same ratio in which the vibration numbers grow wider apart; in our example: the space between c" and d" is on the music rule just half as wide as the space between c' and d'. (The d" is actuaIly not on the rule).

31St. 1958) see ]aap Kunst, Ethnomusicology 3rd. , The Hague 1959, and its Supplement, ibid. v. talking drums. 76 EFw FE 4465 (P 465) I 4. - Cf. , p. 64. 77 Helen H. Roberts, Ancient Hawaiian music, no. 29 of the Bernice P. Biskop Museum Bulletin, Honolulu, 1926, pp. 18 ff. - Edwin G. Burrows, Polynesian music and dancing, in The Journal 01 the Polynesian Society, vol. 49 (1940), pp. 334 ff. " 78 There are counterexamples, to be sure. " 79 And modem Chinese music can be so diametrically opposed to spoken language and so little concemed with the tones of speech that theaters distribute the texts of their operas which otherwise wou1d be incomprehensible in their melodie disguise.

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