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Veronica Tangent - Tomorrow Never Knows (Lennon/McCartney)
3.15mb, 03:26, 125kbit, 323 downloads
Genre(s): Avant-Garde  Ambient  Alternative  

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Shared by fuse 3 years ago
fuse (3 years ago)
Tomorrow Never Knows Wonk'r! (...Even Worromot?)*
*A Palindrome by Dr. Fuse (©2002)

Here...finally!

It's a new 'live recording' from a Miss Veronica. Straight off the 'on' presses, she would like to reveal to you its unscrutable complexity, inner detail and structural make-up. Sexy!

[My note, please: palindromic retrograde; a song that is identical forwards and backwards]

Says Veronica Tangent: "This recording's like i-Math. After the beginning\end starts, the center ring ends the beginning [backwards and forwards, identical, is it? How wonderful! Truly! It's truly wonderful how it is identical forwards and backwards], beginning the end, centering the end, starts beginning the aftermath."

"I liked recording this tangent", Veronica says. "Backwards and forwards, identical! Is that song a retrograde palindrome? Ick! (Please note my sexy make-up, structure and detail.)"

In her complexity, inscrutable [it's yours to reveal, too]; like wood, she presses on. The oft-straight Veronica...amiss from recording evil anew...It's finally here!


2002©
Fuse Doctor, bye! Palindrome âAâ*
*(?Tommorow Never Knows Wonk'r!) ...Even Worromot?




The Crab Canon

This recording is the first known example of a strict 'crab canon' in rock music. A crab canon is a palindromic piece of music, most commonly practised during the Renaissance and Baroque eras. The form reached a zenith in the work of J.S. Bach, whose celebrated piece is identical whether the sheet music is played right side-up or upside-down. The influence of the crab canon can also be uncovered in the music of Schoenberg, Webern, Berg, Stravinsky, Bartok, Xennakis, and Stockhausen, not to mention Ray Davies and John Lennon. A crab canon sounds the same whether it is played forwards (from the beginning to the end), or backwards (from the end to the beginning). The famous 'Crab Canon' etching by M.C. Escher translates the form into the visual realm, and illustrates the essence of this technique brilliantly.


Crab Canon by J.S. Bach. Notice it is the same whether played forwards or backwards (the example on the right is upside down, yet sounds the same as the original).


If you have a computer with some sort of sound processing program which can play a '.wav' file in reverse (such as Microsoft's "Sound Recorder" program, which is included in most versions of Windows), put this disc in your CD-ROM drive and open the file "CRAB.WAV" in your program and play it backwards (in Sound Recorder, click the 'Effects' menu; then choose 'Reverse'). You will notice it is virtually identical to playing it normally (a few differences in mixing balances between the song and its retrograde version are detectable). Except for these minor subtleties of mixing, the song is identical both ways! Also included on the CD-ROM are the original live recording of "Tomorrow Never Knows" (TOMORROW.WAV), and this same original recording backwards (BARC.WAV). These two tracks are what were combined to mix the crab canon version.

In Veronica Tangent's cover of "Tomorrow Never Knows", rock'n'roll past, present and future meet and implode on themselves in a primordial and destructive act of anarchy. All aspects of music are distilled into their simplest, barest and most primitive forms; the tonal key never modulating; the relentless and hypnotic guitar riff remaining unapologetically implacable; the bass and drums unwavering; the entire experience inexorably sustaining a tension that is never released.

The intriguing phenomenon of the two dimensions of forward-track and backward-track converging on themselves at the climactic and mid-point arch (precisely 1 min., 43.352 sec. into the song) poses the following conundrum: is this convergence a portal to a dizzying dimension where time runs both ways at once, or are we there already?



Personnel:
Vocals: Veronica Tangent
Guitar and Violin: Dr. Fuse
Bass: Paul K.
Drums: James Hope
Cello: Alasdair Money
Didgeridoo: Marc Patsula
Sound Design: Simon Rishman

Recorded live at Steamer's Pub in Victoria, BC (Nov. 2002). Forward-time and retrograde versions produced, mixed and mastered by Veronica Tangent and Dr. Fuse. We would like to make a special mention and sincere shout-out to James for keeping such a rock-steady beat, without which this recording would not have been possible. Also, we would like to express deep gratitude and appreciation for the remarkable and insightful work of Douglas Hofstadter.







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