This record follows up last year's RELAXIN' with Lolina EP, which prominently featured the UK-based artist's vocals over her delicate and arhythmic pop constructions.
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I wrote some stuttering, staccato vocal parts recorded in several layers which are then joined by a more traditional choir sound, though still singing in a relatively arhythmic staccato which establishes the harmonic pattern.
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Sink's six tracks are built on skeletal, often arhythmic frameworks of plucked violin loops and hip-hop beats, around which the self-taught musician pours her vocals and harmonies to bridge the electronic and the organic.
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Others, like the band's deconstructed 1978 rendition of The Rolling Stone's "(I Can't Get No) Satisfaction," would be more overtly confrontational—less a cover than a "correction," as the band described it, bewildering Mick Jagger and television audiences alike with its clanking, mechanical samples and Mothersbaugh's arhythmic yelps.
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Moreover, rhythmic strains of cyanobacteria will out-compete arhythmic strains in 24-h light/dark cycles, but in continuous light, arhythmic strains are able to co-exist with wild-type cells in mixed cultures.
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And the best lines of another great poem were later set to Joseph Woods' arhythmic and unbefittingly mediocre tune to comprise our National Anthem.
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Clinton was positioning P-Funk as a "radical response to the American police state" and "the antithesis of everything that was sterile, one-dimensional, monochromatic, arhythmic and otherwise against freedom of bodily expression in the known universe." In its simplest iteration, Clinton posited that "funk" was equivalent with the "truth".Friedman, Ted. "Making It Funky: The Signifyin(G) Politics Of George Clinton's Parliafunkadelicment Thang ". 1993.
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Though it frequently crosses genres, Yass music can be broadly described as a frequently arrhythmic and highly improvised style of Jazz. The most seminal period for Yass was in the 1990s, with many active groups performing and releasing albums, including Miłość, Łoskot, Trytony, and Mazzoll & Arhythmic Perfection. A good overview of the Yass scene exists on the compilation album Cały ten Yass! released by Jazz Forum magazine shortly after the genre's heyday.
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The oldest and best-known form of Galician music is the alalá, a form of chanting that has been associated with Galician nationalism. They share characteristics with those of Castile as well as the Celtic nations. Their origin is shrouded in mystery, with some scholars asserting Gregorian chants as a major source, while others fancily point to Greek or Phoenician rowing songs called alelohuías. Alalás are arhythmic, and based on a single, short theme that repeats the melody, separated by instrumental bagpipes or a cappella interludes.
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The director's reaction was said to be, "My wife is being raped and you write celesta music?" Feldman's music "changed radically" in 1970, moving away from graphic and arhythmic notation systems and toward rhythmic precision. The first piece of this new period was a short, 55-measure work, "Madame Press Died Last Week at Ninety", dedicated to his childhood piano teacher, Vera Maurina Press. In 1973, at the age of 47, Feldman became the Edgard Varèse Professor (a title of his own devising) at the University at Buffalo.
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Blast beats became popular in extreme music from the mid to late 1980s . The blast beat evolved into its modern form as it was developed in the American death metal and grindcore scene of the late 1980s and early 1990s. Pete Sandoval, drummer of Terrorizer (1986–1989) and later Morbid Angel (1984–2013), purportedly was the first to use blast beats in metronomic time (and not as arhythmic or non-metric white noise) and thus gave it a more useful musical characteristic for timekeeping. Blast beats eventually appeared in commercially successful metal music, beginning with Fear Factory's album Demanufacture (1995) and Slipknot's album Iowa (2001).
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Other lofts included Rashied Ali's Studio 77, which became Ali's Alley, Studio Infinity, run by Stanley Crouch and David Murray, Environ, run by John Fischer, the Ladies' Fort, Studio WIS, Firehouse Theater, and Sunrise Studios. Musically, loft jazz was in many ways a continuation of the free jazz and avant-garde jazz traditions inaugurated by John Coltrane, Ornette Coleman, Albert Ayler, Pharoah Sanders, Archie Shepp, and Sun Ra. However, it didn't follow any one particular style or idiom. According to Scott Deveaux and Gary Giddins, "A critical byword of the Loft Era was 'eclecticism,' used to signal an enlightened approach to all styles of music." Few loft jazz musicians played continuously atonal or arhythmic music in the style of Coltrane's legendary albums Ascension and Om. They often combined conventional melodic elements with free jazz; used instruments less familiar to jazz, such as the bass saxophone, oboe and cello; and combined instruments in nontraditional formats, like the World Saxophone Quartet, whose changing members used a variety of saxophones and flutes, usually without any rhythm section.
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