• Favorite 50 Records

    24 May 2014, 01:12 by -GS-

    Self-explanatory. I was bored, so I made this list. It's kind of in order, but it all sort of blurs after the first ten. Tell me how fucking awesome this list is or whatever, if you feel like it.
  • Hurry Up Harry part 3

    26 Apr 2014, 04:50 by Hoxerijo


    The lossless version of Hurry Up Harry part 3 is available here:



  • New release: SUFFER

    29 Dec 2013, 09:25 by Hoxerijo


    New record feeding a cynic analysis about a difficult love matter, without romance or rethoric.

    The lossless version of Suffer is available here:



  • Key Albums in the Development of my Taste

    14 Jun 2013, 21:52 by fduniho

    In a journal article called Development of my Taste in Music, I am giving a long, meandering autobiographical account of how my taste in music developed. Here I'm going to just highlight the main albums that shaped my tastes, or where I'm not sure what the exact album was, are representative of the direction my taste was taking. To the best of my ability, I will list albums in the order that I first listened to them. For some classical music, I will list a different recording, because the original vinyl is not available on, or I just don't remember what it was. This is a work in progress, and gaps may be filled in as time goes on. It is fairly lengthy, but if you're short on time, you can just look over the album covers.

    This is not my first recording of Grieg's Peer Gynt Suite, but it is the one I later bought on CD. Both were sold in the supermarket as part of a classical music collection that featured a different composer each week. My parents bought a set of classical music records at the supermarket, and this set provided my first introduction to classical music. I was mainly into ballet music, and the Peer Gynt Suite was one of my favorite pieces.

    The first record I ever bought myself was a Mary Poppins soundtrack. It had an illustrated cover, and it had fewer songs than the CD linked to above. I'm not sure if it was the Julie Andrews version.

    I didn't own the soundtrack, but I did see the movie many times as a child. This movie featured cartoons set to classical music, including works of Bach, Beethoven, Tchaikovsky, Stravinsky, Dukas, and Mussorgsky.

    This album furthered my interest in Bach and began my interest in electronic music.

    This began my interest in instrumental film music. I subsequently got the soundtracks to The Empire Strikes Back, Superman, Close Encounters Of The Third Kind, The Phantom Menace, Batman, Chariots Of Fire, The Piano, and others. Like the ballet music I was already interested in, instrumental film music is normally composed to help tell a story. It has to express the feelings or temperament of various characters, capture the essence of certain situations, and pull together various themes.

    I wasn't that into the popular music of the day, but I did like the Carpenters a lot. This is one of the records I had of them. Karen Carpenter was one of the most emotionally expressive singers I have ever heard, and Richard Carpenter was a talented composer of pop music. They sometimes did excellent covers of The Beatles or of Burt Bacharach.

    Neil Diamond is the first singer/songwriter I began listening to with any regularity. I don't remember which is the first album I heard by him. This is one of the albums I remember having at home. What I like about him is that he combines emotional sensitivity with a very masculine voice. Among male singers, he's one of the best.

    This introduced me to Holst's Planets and to Tomita's synthesizer performances of classical music. Together, Wendy Carlos and Tomita instilled in me an interest in the genre and music in general, and they helped further my interest in music.

    The music from Carl Sagan's Cosmos introduced me to Vangelis, who was the first serious composer of contemporary electronic music I began listening to. My copy of the soundtrack included other music too. This one focuses on Vangelis.

    This is the album that jumpstarted my interest in both and . Thanks to researching the individual members, I got into Yes, The Buggles, UK, King Crimson, and Emerson, Lake & Palmer. Thanks to following members of Asia and of these other bands, I also got into GTR, 3, Emerson, Lake & Powell, and Gps.

    Of all the bands that Asia led me to, Yes was the most significant. It would later replace Asia as my favorite progressive rock group. The first Yes albums I listened to had no members of Asia on them. This one had none because it was out at the same time as Howe and Downes were involved with Asia. Another one I came across had the original members on it. But eventually, I came across their more classic music, and I bought almost every Yes album available. I got into the solo work of some members, especially Rick Wakeman and Steve Howe, and through following Yes members, I got into Jon & Vangelis, Anderson Bruford Wakeman Howe, Conspiracy, Art of Noise, Bill Bruford's Earthworks, and others. I have also followed the work of some of their children, especially jazz drummer Dylan Howe.

    After Asia awakened my interest in rock, I began to appreciate many other contemporary rock groups. I don't recall who I liked or listened to first. Among the groups I liked, The Go-Go's are a band I kept more of a sustained interest in. I bought each of their studio albums, and I took an interest in the solo work of Belinda Carlisle and Jane Wiedlin. The music of the Go-Go's had a stronger connection to punk rock than other bands I listened to, and this gave their music an edge that other bands didn't have. Other artists I was listening to around the same time included ABC, Big Country, The Cars, Duran Duran, Men at Work, and The Police.

    At this time, I had started to buy cassettes, but I was still buying records too. For example, I got Beauty and the Beat on cassette but Vacation on record.

    Nena is notable for being the first foreign language artist I enjoyed listening to. Half the songs on this album were in German, and the others were in English. The title song came in both German and English versions. (Note that is not listing the album version. It is listing a single with multiple versions of one song. But the title and cover match the album I had.)

    This is the first Rush album I ever heard. Rush was the best progressive rock group I was listening to that had no connection to Asia. Others included Genesis, Supertramp, and Saga.

    While in high school, I checked out a recording of La Mer and the three Nocturnes. It probably wasn't the one shown here. This instilled in me a love of , and La Mer became one of my favorite pieces.

    Thanks to my first college RA, who was also into progressive rock, I learned about Renaissance. This is the first album I bought by them. This was the first progressive rock group I heard with a female singer. Annie Haslam was operatically trained and may be the best singer in progressive rock. Also, the music was exceptionally good. What I had was a three-record set, not a remastered CD.

    Thanks to the same RA, I discovered the electronic band Tangerine Dream. Stratosfear is the first album I ever heard by them. I used to dance and exercise to Tangerine Dream before I knew anyone else danced to electronic music. Their music was a precursor to the genre, which I would get into in the 21st century.

    Through college radio, I was starting to get into . This didn't extend far beyond the Dead Kennedys. Their music was worthwhile for expressing anger over stupid things in society, but for the most part, I was more into music that was more musical and less angry.

    Though listening to CHOM-FM, I got into The Box, a band from Montreal. This album was mostly in English with some songs based on the Little Prince. One song had some French in it.

    Laurie Anderson is one of the most intellectual artists I have ever heard. Her work is experimental and avant garde. Her lyrics are strange and surreal, and her music is orderly without using standard rhythms. There is some passing similarity to early Genesis, and notably she has performed with Peter Gabriel. She also seems to anticipate Björk, but Björk's music is more emotional. Overall, her music is her own, and I cannot name anyone who sounds enough like her to give a clear idea what to expect.

    From the summer of 1986 onward, I was regularly listening to Music from the Hearts of Space, a radio program dedicated to slow music, usually in the and genres. This is one of the most impressive works of electronic space music I ever heard on that program. It was published on the Hearts Of Space label, and I later bought the CD. In general, this program played a large role in furthering my interest in new age, space music, and electronic music.

    I discovered when I heard Artie Shaw, a clarinetist and band leader from the swing era, on the radio. This first led to an interest in , then it expanded to include many genres of jazz. Pictured above is the Artie Shaw CD I ordered from BMG.

    Swing Out Sister is the first artist and also the first artist I got into. I discovered them through MTV rather than out of the interest in jazz triggered by Artie Shaw. Their music is sort of a downtempo blend of jazz and Burt Bacharach style pop. Corinne Drewery has a smooth, beautiful, laid-back voice, and she has often sported a beautiful Louise Brooks style pageboy bob. I have loved Swing-Out Sister from the beginning. Some related artists I listened to included Basia and Sade.

    This is my first album by Miles Davis, one of the most important and innovative jazz musicians of the 20th century.

    After I got my first CD player, I bought one new CD, then I decided my money would be better spent on used CDs. This was one of the first used CDs I picked up. I didn't know who Kim Angelis was before, but it looked like an interesting album, and I enjoyed it a lot. This is gypsy-inspired world music on the violin, and it was my first album of instrumental world music.

    This was my first album of traditional Irish music. I previously had albums by The Pogues, but they were more punk rock and drinking songs.

    The first album I ever heard that mixed jazz and classical. For a long time, I misremembered this as a Duke Ellington album. After being unable to find it, I checked the online catalog of the library I listened to it at, then ordered a copy of the record through ebay. Most of the pieces were composed by Jacques Loussier, whose name I had forgotten when I discovered his own performances years later. That set off an even greater interest in this kind of music, and I collected many jazz versions of classical music.

    The first album I ever heard by Enya. When listening to Enya, it felt like her music was reaching into my soul. Besides singing in English, she sang in Latin and Gaelic. My interest in Enya led to an interest in Clannad, which is her family, her sister Moya Brennan, and the similar Canadian artists Marcomé and Loreena McKennitt.

    This album gave me an appreciation of more introspective jazz. It also illustrated how something that wasn't jazz, such as a tune from a musical, could be turned into jazz.

    During my second year of grad school, I was listening to a local radio station that played and contemporary . It seemed that jazz was taking a new direction, and although I didn't have a name for it, this direction was represented by artists such as Special EFX, Michael Franks, the Yellowjackets, and Acoustic Alchemy. I eventually came to recognize this as the genre called , and it wasn't long before I lost interest in many of these artists, even getting rid of some of the albums I had bought. But I did retain my interest in Acoustic Alchemy, and this is an album that I kept and still enjoy.

    This is the last album by Miles Davis. After checking the release date, I realized it could not have been my first Miles Davis album, since I had Amandla before this was released. But Miles Davis was enough of an innovator that it still gets its own place in this list. This album was an attempt to combine rap with jazz, and it is the first album to give me any appreciation of .

    There is no album linked here. Besides listening to albums, I spent much of the 1990s downloading tracker music to play on my Amiga. This is electronic music that was composed and played back on the Amiga, or sometimes other computers, using sound samples or synthesized sounds for instruments and playing music in four tracks. Although the Amiga natively had four tracks, later formats could support 8 tracks by sharing a track with two instruments at the same time. There were covers of non-tracker music, as well as lots of original music. Much of it fit the genre, a genre of electronic dance music.

    This album dispelled any lingering stereotypes of electronic music as cold or machine-like, useful only for dancing, novelty, or weird, spacey music. With this album, Suzanne Ciani demonstrated the use of synthesizers for emotionally meaningful music, giving electronic music the same legitimacy as acoustic music.

    The first album I ever heard by Keiko Matsui, who quickly became my most beloved jazz artist. She plays some of the most beautiful and feminine music I have ever heard. Her music is routinely classified as , but it doesn't fit the description given for it. Her music is mainly a mix of , , , and music, and it might best be described as . My interest in her has led to an interest in other Asian women jazz pianists, such as Hiromi, Helen Sung, and Junko Onishi. It has also led to a general interest in Jazz Piano artists, such as Bob James, Jessica Williams, and Chick Corea.

    I should also mention that although she is not a singer, a song or two on some of her albums have lyrics, sung by a professional singer. This album includes the beautiful song Mover, which is one of my all-time favorite jazz songs. It is also my very favorite jazz song sung by a man.

    In the early 1990's, I was starting to get interested in , because I didn't yet know the term , and I understood that some of the artists I liked, such as Pat Metheny, were fusion artists. So I checked out a fusion anthology, probably Atlantic Jazz Fusion, and I was really impressed by Jean-Luc Ponty, who played fusion on the electric violin. I soon bought two albums by him, this being one of them. Unlike the smooth jazz artists I knew, Ponty's music had great energy to it. My interest in fusion would continue with Bill Bruford's Earthworks, Al Di Meola, Allan Holdsworth, Miles Davis, Chick Corea, Hiromi, and others. This album is notable for the track New Country, which makes music sound good. This may have led to my interest in the Dixie Dregs, a fusion group that incorporated elements of country music.

    This may be the first Sarah McLachlan album I ever heard. I borrowed her first two albums from a friend, and although this was her second, I think I listened to it first. Once I heard Sarah McLachlan, it felt like I was hearing real music for the first time. This is not to put down some of the music I have listed here already. It's just that there was something very powerful in her music that I hadn't heard before. Thanks to her Lilith Fair project, I later discovered Heather Nova, another favorite of mine.

    When I first heard Tori Amos, I thought she was Kate Bush. I think that was mainly because the volume was down low. It wasn't long before I realized that Tori Amos was much better. Both of them sang and played the piano. In the same vein, I later discovered Vienna Teng and Agnes Milewski, two other piano-playing singer/songwriters who have become favorites of mine.

    Although I had listened to other female singer/songwriters before Sarah McLachlan and Tori Amos, it was these two who really put the female singer/songwriter on the map. They poured themselves into their music in ways earlier female singer/songwriters I had heard hadn't. They weren't just putting prettier voices on the same kind of music men made. Since discovering these two, I have found many other female singer/songwriters of similar appeal, such as Björk, Emm Gryner, Skylar Grey, and Jann Arden, those mentioned above, and more.

    The first album I ever heard by Bel Canto, who played electronic dance music that was both accessible and exotic, featuring the beautiful singing voice of Anneli Drecker, who sang not only in English but also in German and French. I first heard Bel Canto on the radio, then bought this album.

    The first album by October Project. I first heard October Project on the radio, and both of their albums were out before I bought either. I'm not sure which one I listened to first. I loved their music and lyrics, which were emotionally rich. The lyrics were so important to October Project that the lyricist was considered a member of the band even though she didn't perform. Also, the lead singer, Mary Fahl, quickly became my favorite singer and remains so to this day.

    The first album I ever heard by Sarah Brightman, a very talented soprano who also sings opera and show tunes. This album was full of water-themed songs.

    The first album I ever heard of the music of Hildegard von Bingen, a nun from the 12th century. Hers is the earliest music I have ever listened to recordings of. It is very beautiful singing by women in Latin, and I have bought several other recordings of her music by other artists.

    When I first heard the song Silence, sung by Sarah McLachlan, I was floored. It combined a medieval sound with modern electronics, and it was one of the most incredible things I had ever heard.

    I first heard Capercaillie when I walked into a store with my father. I asked who was playing, and since the store was going out of business, they let me have the CD I heard for free. It was a Scottish band that played traditional and African-influenced Celtic music, sung in Gaelic or English by Karen Matheson.

    This collection of Yes covers got me interested in artists on the Magna Carta label, as well as in other collections of covers of progressive rock artists. Years later, when Magna Carta was on Audio Lunchbox, I bought several albums on the label.

    This album turned me on to the fun, whimsical jazz of Raymond Scott.

    In the late 1990's, I started getting into music sung by women, and I think it was the Dixie Chicks who started this interest. This led to an interest in Faith Hill, Sara Evans, and Martina McBride. More recently, I've started to listen to Jewel, whom I was already into as a singer/songwriter, as a country singer. Although I enjoy women singing country, I have not gotten interested in men singing country.

    Evanescence is the first new band I liked in the 21st century. It's also the first metal band I ever liked. Until then, the metal I had heard had horrible vocals. But Amy Lee was a talented singer who brought emotional sensitivity to her work.

    The first solo album by my favorite singer. This album is notable for instilling in me an interest in operatic music. She sang one opera song on this album, and it was wonderful. This led to an interest in The Opera Babes, Charlotte Church, the Aria series of Paul Schwartz, and singers such as Kathleen Battle. It also renewed my interest in Sarah Brightman.

    I was already into some of Beethoven's symphonies, but I hadn't listened to them all. So I went through this boxed set, which I once got for joining the Musical Heritage Society, and listened to every one of Beethoven's symphonies. This deepened my interest in Beethoven, and as MP3s were then cheap on emusic, I bought other symphony cycles (including Liszt's piano versions), Wagner's piano and choral version of the 9th, the piano quintet, as well as all of his string quartets, piano concertos, and piano sonatas. In general, the early 21st century was a time when inexpensive MP3s were available from multiple services. Using emusic, Audio Lunchbox, and Amie Street, I built up my classical music collection. Among other things, I bought symphony cycles of Arnold Bax, Jean Sibelius, and Gustav Mahler, several symphonies by Kalevi Aho, a lot of Johannes Brahms, Sergie Rachmaninoff, Antonio Vivaldi, Johann Sebastian Bach, and Wolfgang Amadeus Mozart. I also bought and listened to Brilliant boxed sets of the complete works of Mozart and Bach.

    One of the first albums I got from emusic. This effectively combined Bach with swing, which sounded a lot different than Pierre Gossez or Jacques Loussier. I subsequently collected several albums featuring jazz versions of classical music.

    Some excellent covers of the music from Kind of Blue. This inspired me to make playlists of other covers of the same music. This turned out to be a good way to discover jazz artists.

    Electric Universe was the first artist I began listening to. This is a genre of electronic dance music that normally has a lot of activity going on in it. It's complexity helps keep me from being bored while its rhythm helps me exercise. Since starting with this band, I have bought many psychedelic trance albums, and it has become the main genre I listen to while exercising.

    I discovered Linkin Park on July 7, 2007 while watching the Live Earth concert on TV. I enjoyed their blending of rap and metal. This was my first time hearing music like this. Even the string quartet covers of Linkin Park sound awesome, which demonstrates how good their music is.

    I got into Björk after some of her live albums became available as MP3s on emusic and Audio Lunchbox. This is the live version of her first album. At one time, she was my most scrobbled artist, and she is still up there.

    Jorane is a great singer/songwriter. This album is mainly in English, but it has some French songs, and most of her other music is in French. Being from Quebec, she has the gutteral French accent I prefer. It is mainly in her role as a cellist that she has influenced my taste in music. She plays rock music with the cello, and this led me to want more. Because of her, I started to listen to Vitamin String Quartet, The Piano Guys, violinist Lindsey Stirling, cellist Tina Guo, 2cellos, and a string quartet called The Muses. This also renewed my interest in classical crossover artists, such as Bond, a string quartet doing pop versions of classical music, leading to related artists such as Escala and violinist Vanessa-Mae. There is also violinist Lucia Micarelli, who does both pop versions of classical and classical versions of pop music.

    I listened to a recording of these three symphonies that came in a boxed set of classical music I once got cheap. I liked them so much, I began collecting the music of Hadyn on Audio Lunchbox, because it was cheaper there than on emusic. But Audio Lunchbox went out of business before I could complete my collection, and emusic raised its prices around the same time. So I left both services and bought Brilliant's Haydn Edition, a boxed set of 150 CDs. Unlike my other Brilliant boxed sets, I haven't finished this one, because I've been using Spotify on my tablet instead of playing CDs.

    I came across this album while browsing the Bis catalog. It gave me an interest in percussion music, and after I left emusic and joined Napster, I streamed a variety of old percussion albums by Enoch Light and others.

    After leaving emusic, I began using YouTube more to discover artists. Kina Grannis is one of the first singer/songwriters I began listening to on YouTube. I first noticed her through covers she did. Then I listened to her own music. The same pattern repeated with Marié Digby and Clara C. I have listened to albums by each of them.

    소녀시대, known in English as Girl's Generation, is the group that got me into through their music videos on YouTube. This is an album I bought of their music. I am mainly into girl groups, such as 2NE1, 4minute, 5dolls, After School, f(x), Girl's Day, Kara, Miss A, Secret, SISTAR, and Wonder Girls. I'm also into some solo artists, particularly Boa, G.NA, and IU. And I occasionally enjoy boy bands, such as B2ST and Super Junior.

    In the past, I had seen old record albums with beautiful women on the cover. Looking for this sort of album, I came across the works of Martin Denny, Les Baxter, and other artists in the genre. This is the album that gave the genre its name. This genre combines exotic sounds, such as those associated with the South Pacific or Africa, with mid-20th century pop sensibilites. It is faux world music that doesn't sound like any traditional folk music, but it does sound exotic and appealing.

    Although I have maintained a strong interest in Swing Out Sister and have listened to other jazz vocalists, my general interest in didn't come close to my interest in instrumental jazz until I heard Karrin Allyson. I guess most of the vocal jazz I heard before didn't have the right singer, or it focused too much on the singer at the expense of the music. Karrin Allyson has a powerful, commanding voice that easily handles different styles of jazz, and she also plays the piano and doesn't skimp on the instrumental part. My interest in her has led to leads on other jazz singers I enjoy, such as Eliane Elias, Astrud Gilberto, Lizzy Parks, and Erin Boheme.

    t.A.T.u. is the Russian duo of Julia Volkova and Lena Katina. Both are very talented singers who play off of each other instead of singing in unison, creating an exciting polyphony of voices. I loved them as soon as I heard them, and t.A.T.u. quickly rose to become my most scrobbled artist. They have some of the same appeal as k-pop. Like Korean, Russian is a guttural language, which is something that holds a strong appeal for me. While I have tried listening to other Russian artists, I have not yet found any with the same appeal as t.A.T.u., nor have I found any English-language duos or groups with the same appeal.
  • Analysis of my Taste in Music

    10 Jun 2013, 21:34 by fduniho

    The sidebar in my profile gives a brief synopsis of my taste in music, but it doesn't explain anything in detail. First, I usually listen to music to accompany other activities rather than setting aside periods of time to just listen to music. So, one of the most important factors affecting what I listen to is what I'm doing. I commonly listen to music while writing, reading, working, and exercising. For reading, I like to listen to music that helps me focus. For focusing, I often prefer instrumental music, though music with lyrics is fine as long as my attention isn't drawn to them too much. A steady rhythm, such as found in or , often helps me focus, but when I'm already focused and just need to avoid distractions, ambient music can be best. For writing, working, and exercising, I often enjoy something that helps me move. In general, much of the music I listen to has to be good for focusing and moving. Other factors that are important to me are intellectual interest, emotional appeal, strength, aesthetics, and spirituality.

    My need for intellectual interest shows itself in my interest in music, , , and various kinds of music. Some of my favorite classical composers include Johann Sebastian Bach, Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig von Beethoven, Claude Debussy, Aaron Copland, Arnold Bax, and John Williams. Some of my favorite jazz artists include Miles Davis, Thelonious Monk, Chick Corea, Jean-Luc Ponty, Pat Metheny, Bill Bruford's Earthworks, Keiko Matsui, and Hiromi. Some of my favorite progressive rock groups include Yes, Renaissance, Rush, Emerson, Lake & Palmer, Genesis, and Gps.

    I often grow bored with simplistic pop music, but I do enjoy pop music with polyphony or complex rhythms. I enjoy many groups with multiple singers, and I enjoy the Russian pop duo t.A.T.u., because their music is complex enough to keep my interest. In general, I like music that can hold my interest through repeat listening. So I tend to favor music that is too complicated to memorize. I tend to favor for exercise, because it is complicated enough to engage my intellect while also being rhythmic enough to exercise to. I also enjoy music that mixes the unusual or exotic with pop sensibilities, such as the genre known as .

    One of my complaints about some of the progressive rock and classical music I listen to is that it is lacking in emotional content. These can be very intellectual, which does appeal to me, but one of the pitfalls of this is less emphasis on emotional content. So I'll balance these by listening to music that has stronger emotional appeal. Singer/songwriters account for much of this. Singer/songwriters tend to put more of their heart into their music than other musicians do, and they tend to express their emotions more in their songs. Some of the singer/songwriters I like best for their emotional appeal include Björk, Vienna Teng, Tori Amos, Heather Nova, Agnes Milewski, and Skylar Grey. Some of the bands I like for their emotional appeal include The Beatles, The Carpenters, U2, October Project, and Coldplay. Besides songs with lyrics, lots of instrumental music has strong emotional content. This includes music, versions of music, and some of the more emotional music.

    While emotional appeal is important to me, I dislike mushy-gushy emotionality, such as in the music of Barry Manilow. I'm also not so much into very angry music. Anger is stiff and hard, tending to mask more vulnerable emotions. I prefer emotional expression with some degree of tenderness and vulnerability. Linkin Park is a good example of a band that mixes anger with a degree of vulnerability, making it more appealing to me than bands that just express raw anger.

    While vulnerability in emotional expression is important to me, strength is also important to me. I enjoy bands that express strong, masculine energy, such as U2, Muse, and 30 Seconds to Mars. Many of the female artists I listen to also convey strength, though more in the sense of remaining firm than in the sense of exuding strength. Some of the stronger female artists I listen to include the k-pop groups 2NE1 and After School, the latter mainly when Bekah was a member. I also enjoy the strength of Blondie.

    My sense of aesthetics tends to favor female singers, especially in a mid to low range. In terms of just aesthetics, my favorite female singer is Mary Fahl, formerly of the band October Project. Her voice tends to be lower, deeper, and fuller than other female singers I listen to. I don't like a female voice to be too high, too rough, or too jagged. I normally prefer a smooth, talented, beautiful voice. Some of my favorite singers for their voice include Marié Digby, Sheila Chandra, Mariee Sioux, and Karan Casey. Although I prefer female singers, I also listen to good male vocalists. Some of my favorite male vocalists include Sting, Neil Diamond, Boyce Avenue, Sully Erna, and John Payne.

    Besides the aesthetic preference, there is another reason I prefer female singers. There are two ways of listening to music, and they are not mutually exclusive. One is to listen to music for the enjoyment of it as music. The other is to listen to music to feel closer to someone. There are many examples of how this works, such as a couple having their song, people singing hymns in church, or the audience feeling closer to the performer. When I listen to a song, I usually feel closer to the singer if she is female. This is especially the case for more intimate singers, such as Heather Nova or Amy Grant. When male singers try to convey intimacy, Barry White being the example that comes to mind, it turns me off. Neil Diamond may be an exception here, because his voice conveys the intimacy of a loving father or friend, which is very different than what Barry White is trying to convey.

    In general, the appeal of a male voice depends mainly on musical qualities, and the appeal of a female voice can also stem from my sexual attraction to the voice. This gives the female voice a decided advantage, and a good female singer can get me to listen to genres I would normally have no interest in, such as , , , and Indian chanting.

    Some of my favorite acoustic instruments include the piano, the cello, and the violin. I listen to lots of piano music and lots of string quartet music. I also enjoy electronic sounds a lot and listen to a lot of electronic music. I enjoy a lot of beautiful music. Keiko Matsui, a Japanese jazz pianist, plays some of the most beautiful music I have ever heard.

    I enjoy some degree of pop sensibility in the music I listen to. I understand that pop music includes features that help make it more appealing to a larger audience, and I recognize that these catchy features of pop music also help it appeal to me more. Although I also enjoy the avant garde and unusual in my music, I usually prefer some mix of pop and avant garde over music that goes too far to either extreme. A good example of this is the songwriting team of John Lennon and Paul McCartney from The Beatles. They did better music together than they did apart, because Lennon's avant garde sensibilities and McCartney's pop sensibilities helped balance each other. Another example is Asia, the band that got me into progressive rock. John Wetton, despite his experience with King Crimson, was very pop-oriented, and Geoff Downes, despite his brief membership in Yes, had recently been in the new wave group The Buggles, whereas Steve Howe and Carl Palmer had deeper roots in progressive rock. Their first album, Asia, was excellent, because it mixed their pop and progressive sensibilities well, but on the second album, Alpha, Wetton and Downes wrote all the songs, and it was disappointing compared to the first album. One more example is Björk. At least for my favorite of her albums, Debut Live, Post Live, Vespertine Live, Homogenic Live and their studio precursors, she tends to be both avant garde and pop in a manner that other artists find hard to pull off. Some of her later work gets too avant garde for me, but these earlier albums pull off the right balance of avant garde with pop.

    Another factor that matters to me is spirituality. For me, this is not something specifically religious. Music that feels spiritual to me includes lots of slow music, Hindu chanting by Deva Premal or Sheila Chandra, and the music of Hildegard von Bingen, the soundtrack to Godspell, and the music of Amy Grant. You may notice that this covers a spectrum of religious persuasions. I tend to form my beliefs on the basis of reason and evidence instead of on the basis of what songs I like. Qualities of spiritual music include being peaceful and meditative, or being joyous, or being introspective and meaningful. I don't go for showy religious music, such as a lot of Gospel music, since those are more about group identification with religion. Particular songs that feel spiritual to me include

    One last thing to note is that I'm not a purist. I'm not devoted to one style of music with the wish to keep it uncontaminated by other styles. I often enjoy mixed styles of music, such as , , and . Some good examples include Jacques Loussier and Opera Swing Quartet (OS4), who play jazz versions of classical music, Wendy Carlos and Isao Tomita, who play electronic versions of classical music, Afro Celt Sound System, which mixes African and Celtic styles of music, and Vitamin String Quartet, which plays string quartet covers of popular music.

    Lastly, I don't require everything I mentioned to be together in equal amounts or in full measure. The music I listen to often depends on my mood and energy levels. Sometimes I want to listen to something strong and powerful, and sometimes I want to listen to something calm and relaxing. I sometimes prefer fast music and sometimes prefer slow music. Accordingly, my tastes cover a wide range of styles and artists. I don't expect to get everything from one artist, and I listen to a wide variety to get everything I need from music. Still, some mix is usually preferable to music with only one of the qualities I like.
  • The Carnival of Animals and Maslow's Hierarchy of Needs, new Hox Vox releases.

    8 Dec 2012, 10:26 by Hoxerijo


    It's a re-arrangement of "The Carnival of the Animals" by Camille Saint-Saëns, in Hox Vox style.





    Maslow’s hierarchy of needs is a theory in psychology, proposed by Abraham Maslow in his 1943 paper “A Theory of Human Motivation.” Maslow subsequently extended the idea to include his observations of humans’ innate curiosity. His theories parallel many other theories of human developmental psychology, all of which focus on describing the stages of growth in humans. Maslow use the terms Physiological, Safety, Belongingness and Love, Esteem, and Self-Actualization needs to describe the pattern that human motivations generally move through.



  • Harry Up Harry part II - New step in a druggy saga

    15 Feb 2012, 23:39 by Hoxerijo

    It's the second episode in Hurry Up Harry trilogy, where it’s depicted Harry’s slow decline on a bad use of his bright mind, and the slow passage from being creative to self-harming.

    As stated on cover it's a breakbeat / progressive project, this time is more biased towards the progressive rock, plus elements of world music (mostly far east), post-rock, contemporary and reggae/dub.

    Hurry Up Harry is in memory of Marco Bianchi, drummer of Death in Venice.



  • The Wreck Up (prog/psych/fusion) - Wreck UP EP

    17 Nov 2011, 09:08 by Hoxerijo

    TAGS: jam rock, progressive rock, art rock, psychedelia, funky, fusion

    The Wreck Up is a duo whose members are David Preston (guitar in Res Band) and Hox (vocals, bass and keys player in Hox Vox, Turbogrind Terrorizers, The Blasted Muffins).

    First effort is Wreck Up EP, a 5 tracks EP floating among progressive rock, psychedelia, jam rock and fusion, released on 17th november 2011.


  • Turbogrind Terrorizers - industrial/cybergrind - first album

    3 Jul 2011, 00:06 by Hoxerijo

    TAGS: cybergrind, grindcore, avantgrind, industrial, experimental

    Turbogrind Terrorizers are a cybergrind political/satirical band from Venice, Italy. Formed in 2011, they started as a side project by Gianluca Missero a.k.a. Hox of Hox Vox, then right after first single Turbogrind Terrorizers entered the band Jason Kavanagh (also in awaycaboose and Cavity Pitch), Vince Gauthier (a.k.a. Corroded Master) and Neil Morrison.
    They release records in cooperation with itsu jitsu netlabel.

    The Album is first full-lenght, released on 28th august 2011.



  • New Hox Vox album: Il Cavallo Spaiato

    27 Apr 2011, 23:54 by Hoxerijo

    Il Cavallo Spaiato is about schizophrenia, music is quite lunatic and moves continuously from avant-prog to glitch/jungle/hardtek, like two clashing identities in same body.

    Song Flipback is inspired by italian showgirl (and icon) Raffaella Carrà and her far above-the-mainstream songs, particularly "Ma Che Musica Maestro". Of course results are less commercial.
    I also made a bebop/avant rework on Jeux d'Eau by Maurice Ravel.