I've been collecting a lot of images of water lately. This is the outgrowth of a post I made on Ennui Vagaries about repurposing weather camera photos. There are a lot of weather cameras that are on the shores of lakes, rivers, or at the docks and launches. Collecting these photos has been made exceptionally easy by the Fediverse having many feeds of these images.

While collecting a bunch of the sunset images tonight, I thought of the song Downstream by Supertramp. It's a gorgeous solo piece by Rick Davies with just a simple piano accompaniment. The lyrics are a tribute to his spouse at the time. Basically a simple love song, sung in a very simple manner.

This, in turn, started me thinking about another water themed love song. That would be To Be Over by Yes. Not a lot of people know the story of this song. It was a song that Steve Howe brought to the group. He had written it based on a boat ride he and his wife had taken on a Sunday. Of course, bringing in the start of the song, the rest of the band expanded it into a true Yes ballad. Possibly one of their most underrated works ever.

And then I was thinking, what else kind of matches this mood? Basically slow, gentle water themed songs. And there was one that popped into my mind immediately: Ruby Pool by Vola. The wonder of this song is the piano arpeggios by Martin Werner that lead off the song, followed by the pairing with Adam Janzi's drum pattern is just magical. I could almost listen to a whole song just built off this pairing, but fortunately the lyrics of the song are just a gorgeous as the arrangement, and as always Asger Mygind's vocals are stunning.

So, there you have it. Three, gentle, water-themed songs for a peaceful Sunday.

Categories: #Music Tags: #songs, #yes, #supertramp, #vola, #pop, #rock, #progressive License: Copyright Unattributed. Licensed under Creative Commons BY-NC-SA 4.0.

Listening to Harry Partch is like going on a surreal archaeological dig through history. Only this is history reinterpreted by someone who has been taking shrooms for two decades. Yet, with the emergence of microtonality in the music of King Gizzard and the Lizard Wizard and Angine de Poitrine his works are more relevant today than ever.

Harry Who?

Harry Partch was born on June 24th, 1901 to Virgil Franklin Partch, and his wife Jennie. They were missionaries to China who fled the Boxer Rebellion. His parents settled in Benson, Arizona. He was encouraged by his mother to learn music, and she taught him to read music. He was exposed to music from different cultures including Chinese (via his mother), the Yaqui people, and Spanish songs.

He began studying piano serious in 1913 after his family relocated to Albuquerque, New Mexico. He also began composing his earliest piano works (which he later destroyed). In 1919 He relocated with his mother to Los Angeles after the death of his father. In 1920 his mother was killed in a trolley accident. Partch studied music at the University of Southern California's School of Music in 1920, but left two years later being dissatisfied with the teachers.

Rejection of Equal Temperament

Sometime during the 18th Century, western music settled on the tuning system known as twelve-tone equal temperament. After reading Hermann von Helmholtz's [Sensations of Tone](https://en.wikipedia.org/wiki/SensationsofTone “Sensations of Tone”) in 1923, Partch began to feel that equal temperament had forced music to become more abstract. This abstraction was stifling the true possibilities for expression in music, so he rejected equal temperament in favor of just intonation.

This marked Partch's first step in finding a different direction for musical expression that remains the inspiration for many avant-garde and experimental musicians to this day.

Partch's Journey

Per Wikipedia's entry on Harry Partch, his career can be divided into several periods: Early Work (1919-1947), Academic Period (1947-1962), and his Late Period (1962-1974). These periods roughly correspond with the types of Partch's compositions, and his exploration of tonality.

During the first period, Partch came to reject the system of equal temperament, favoring just intonation instead. His first experiments involved creating paper coverings that indicated just intonation fingerings for violins. In 1930, he decided to break from the equal temperament tradition completely and burned all his previous 12TET (12 tone equal temperament) based compositions. He then devised a 29 tone scale, and had a viola constructed with which to perform works using this scale (the Adapted Viola).

In 1932, he gave several performances of his works in San Francisco, and won the support of a private group of individuals which allowed him to relocate to New York. The Carnegie Corporation of New York granted him the money he needed to continue his studies in England, where he met Kathleen Schlesinger. Schlesinger had been studying ancient Greek music theory, and had recreated a Kithara from an image on a Greek vase. Upon his return to the United States during the great depression, Partch would spend nine years as a transient / hobo. In 1938 constructed his own Kithara approximately twice the size of Schlesinger's and devised a new 43 tone scale. While in Chicago, Partch would design and build a 43 tone reed organ (aka the Chromelodeon).

The second period saw Partch settling into the University of Wisconsin from 1944-1947, during which he lectured, built more instruments, and finished his book Genesis of a Music. He left in 1947 due to not being able to join the permanent staff of the university, and there being a lack of space for his instruments. In 1949, he was offered the opportunity to convert a smithy into a studio by Gunnar Johansen to continue his work. During his work in the smithy, he recorded Eleven Intrusions and several other works. In 1951, he moved to Oakland, CA for health reasons, and put on a performance of his piece King Oedipus, but was unable to make a recording of it due to objections from the Yeats estate. Partch set up his studio / record label Gate 5 in 1953, and would release records via mail order. During this period Partch also started working with the University of Illinois, and was introduced to Danlee Mitchel, who would later become Partch's heir. Partch produced several performances of his works with the University's support. Partch also began what would a six film collaboration with Madeline Tourtelot. Partch left the University due hostility from the music department, despite having support from other departments and organizations.

Partch's final period saw him returning to California, and setting up studio in Petaluma. He composed And on the Seventh Day, Petals Fell in Petaluma. And, in 1969, Columbia Records released The World of Harry Partch, his first major label release. Partch's final theater was The Delusions of the Fury, produced in 1969. His final work was the soundtrack to the Betty Freeman film The Dreamer That Remains. In 1973 Partch retired. He died of a heart attack on September 3rd, 1974.

Partch's Influence

As is, hopefully apparent, Partch's work was both influential and controversial. During his life he was supported by numerous artists, such as Henry Cowell, Otto Leuning, Roy Harris, and Aaron Copeland. He also had the support of numerous foundations, including the Carnegie Corporation of New York, the League of Composers, the Fromm Foundation, John Simon Guggenheim Memorial Foundation.

Towards the end of his life, The Harry Partch Foundation was established to handle his expenses, and administer his work. His instruments. Danlee Mitchel served as the Executive Director of The Harry Partch Foundation until his death. Dean Drummond's group Newband undertook the handling of Partch's instruments and performs with them. The Sousa Archives and Center for American Music holds the Harry Partch Archive 1918-1991.

Partch was inducted into the Percussive Arts Society Hall of Fame in 1974. In 2004 U.S. Highball was selected by the Library of Congress's National Recording Preservation Board.

Closing

While the work of Harry Partch has not seen wide acknowledgment throughout Europe or Eastern Countries, there is growing interest in his work. Partch's work has established a culture where the exploration of alternate tunings for instruments has become something that is more common.

Groups like Angine de Poitrine, and King Gizzard and the Lizard Wizard haven't rejected the concept of equal temperament in their instrument selection. But, they are using the concept of adding more tones to the scale in ways that are substantive, just as Partch developed whole new scales and made large scale compositions with them.

This is the way forward for music. There is an entire world of sound out there waiting to be discovered, or in some cases, rediscovered. Twelve tone equal temperament has been the primary focus of music for centuries. With the advances in synthesizers and sampling over the past several decades, artists have started exploring all sorts of new grounds.

Hopefully, we will see more substantial work done in the field of using just intonation, and other tuning systems.

If you would like to explore the music of Harry Partch, I highly recommend the four volume set: The Harry Partch Collection Vol 1, Vol 2, Vol 3, and Vol 4, along with other recordings of Partch's work on New World Records.

There is also an excellent film of Harry Partch's Studio from around 1950 available on YouTube. This lets you see all of his instruments and provides a deeper understanding of how they were designed. Partch also plays each of the instruments.

Categories: #Music Tags: #experimetnal, #microtonal, #american, #influential License: Copyright Unattributed. Licensed under Creative Commons BY-NC-SA 4.0.

This morning I installed a music player that I am unfamiliar with, and decided that the first thing I should listen to is Angine de Poitrine Vol. 1 and Vol. II since I hadn't listened to them in a while. And then I found, by coincidence that they played the Montreal Jazz Festival last Saturday (June 27th, 2026) and broke the attendance record set by Stevie Wonder in 2009. I cannot imagine what the guys behind Khn and Klek are thinking right now. Just a year ago they were relatively unknown, and now they're playing for 200,000 fans in their hometown at the second-largest music festivals in the world.

There have been a couple of things that I keep hearing and reading about Angine de Poitrine that bother me. The first is they are the “Answer to AI” or “AI could never come up with this music”. The second is they are just a fad and won't survive. And, of course, I have some thoughts on both of these topics.

Are They The Answer to AI?

I both agree and disagree with people who say this. There are two ways to look at it. The first way, and this is what most people mean, is that Artificial Intelligence could not create microtonal music based on building loops. The premise is that we don't normally listen to microtonal music, so there is no way an AI could come up with it on it's own.

But, what if I were to say that we do listen to microtonal music, just not nearly as much or as often as we do equal temperament music? We've had groups like King Gizzard and the Lizard Wizard that have incorporated microtonality into their music for over a decade. True, they haven't risen to the same level of popularity of Angine de Poitrine, but they have proven popular enough to have produced twenty-five albums worth of music.

However, there are other things to consider. For some reason there are a lot of people that seem to assume that “microtonal” means using 24 EDO (Equal Divisions of the Octave), instead of the typical western style of 12 EDO instruments. But that isn't completely the truth. We have had composers and musicians going back as far as the 1940s that used (and often built) instruments with different tuning systems. The most notable was Harry Partch, who came up with his on 43-tone non-EDO tuning system.

But also, we should consider that instruments from other cultures do not adhere to the typical 12 EDO tuning systems. Possibly the most notable being the Sitar, which uses a tuning system that is unlike western tuning systems. Of course Indian Raja's have been reasonably known in the west, especially after George Harrison introduced the instrument on several Beatles songs.

Given that all of these types and styles of music are likely known to AI's, which have been fed vast catalogs of music, it's quite possible for one to come up with a form of microtonal music. The reason an AI hadn't come up with something that incorporated microtonality isn't because of the AI itself.

The reason that I agree with this statement is that Angine de Poitrine is more than just their microtonal music. They have an absurdist aesthetic combined with dadaism. They invented some lore for themselves as aliens that have come to earth and love rock music. Their music is more about making fun or parodying pop-rock music.

All of this is a complete package that would require someone with the imagination and artistic knowledge to have come up with. And, that's why there is no AI equivalent of Angine de Poitrine. The majority of the people prompting AI agents to create music don't have the level of knowledge and imagination.

Are They A Fad?

This is a more difficult question to figure out. There is one side of me that thinks the “gimmick” is likely to get old after a while. But, how long will that be? I don't know, and I don't think anyone really knows. If someone thinks they know they are likely just guessing. I mean, after all, how long did KISS go with their makeup and outfits? How long did Angus Young wear his schoolboy outfit in AC/DC?

In Japan, it's not at all unusual for music groups to adopt some form of aesthetic. Band Maid has been going for over ten years now wearing maid costumes. And I won't even get into the Visual Kei artists and their adoption of varying types of costumes. There is a whole culture in Japan which links visual aesthetic and artistry in a way that isn't a gimmick, it's expected and accepted.

What could be a bit trickier is where they go musically. Right now it seems that a lot of people see 24 EDO based sound as a novelty, instead of being a serious form of music. But I don't think that is an issue. There is still a lot of ground for them to explore musically with microtonality.

But I do think they will need to find some way to change up their format. Right now they have a uniquely identifiable music style. They will need to find a way to iterate on this style. They will need to find a way of keeping it fresh, while not alienating their current fans. I could speculate on several ways they could do this, but I am not them. I don't have the same thought process they do. After all, they've been playing together since they were thirteen years old. It's only for them to figure out where they want to go next.

So, in the end, are they a fad? Who knows, and who really cares? Just ride along with them. If they fail, they fail. If they succeed, then they succeed. I'll keep listening and decide when and if I want to stop listening. That's all you can do.

[Edit: 2026-07-03: fix mistakenly calling Montreal the hometown of Angine de Poitrine. It's actually Saguenay, Quebec.]

Categories: #Music Tags: #microtonal, #antiai, #rockmusic, #parody, #dada License: Copyright Unattributed. Licensed under Creative Commons BY-NC-SA 4.0.

The other day I found a clip of a VTuber talking about expanding beyond their typical music taste. In this case they had heard a small snippet of a song by Frank Sinatra somewhere, and decided to check it out. The song? It's Nice To Go Trav'ling from the Come Fly With Album. The clip took a turn that I found a bit surprising.

The VTuber stated that they really liked the song… It was basically a silly piece of music, one they even had a thought of covering. Until they heard one verse, a verse that changed everything. Why? Well, as they stated, Frank said a slur word. And he didn't just say it once, he said it three times!

Frank Sinatra uttering a slur? In a song? A song on a record from a major recording label? A recording from 1958? I couldn't believe what I was hearing, and I had to understand what has going on. So I looked up the song lyrics, and what I encountered was quite a bit more complicated than I would have initially thought.

The lyric in question is:

It's quite the life to play gypsy And roam as gypsies will roam It's quite the life to play gypsy But your heart starts singin' when your homeward wingin' 'cross the foam

This wasn't my first time encountering the interpretation of this term for the Romani people as a slur. But, as with many situations there is more to this than one might expect, or at least I expected from the context.

On The Surface

If you search the web for the phrase “is [redacted] word a slur”, you will likely find articles like Why It’s Time to Stop Saying “Gypsy”, which claim:

To answer your question about this frequently Googled term, the short answer is yes, absolutely. The word is as a racial slur against the Roma people, the PC term for gypsy.

Reading this article, I was immediately put on alert. Anytime someone decides to take an absolute position, it seems more likely they will have reached a conclusion that is, at best, dismissive of part of the information that is available.

The Etymology

This was where I took a look at the word from an etymological standpoint. Why? Because our language has history. Contextual use of language based in history is frequently ignored when people take a stand, especially an absolute stand.

Enter Grammarphobia with the article: Is ‘Gypsy’ a slur?. This article very clearly documents that the origins of the word were used in a pejorative manner:

The earliest form of the word in English, which the Oxford English Dictionary dates to the 1530s, was “Gipcyan,” an abbreviated version of “Egyptian.” […] And many early appearances of “Gypsy” in English were highly pejorative because, as OED citations show, these itinerant foreigners were often viewed with contempt and mistrust, suspected of crimes, and driven away.

But, then there are some turns and twists in the story:

In later use, Oxford adds, “gypsy” (by this time lowercased) was used playfully rather than contemptuously for a woman, “and applied esp. to a brunette.” All those uses have died out.

But since then “gypsy” (also spelled “gipsy”) has acquired several more meanings, none of them pejorative. Most date from around the mid-20th century, [...]

And it's these meanings that many of us are more familiar, and are likely the origin of the verse in the Frank Sinatra song:

1) Someone who’s free-spirited or doesn’t live in one place for long.

2) A person with a career or way of life that’s itinerant or unconventional, especially a part-time or temporary college faculty member or a performer in the chorus line of a theatrical production.

So, there it is, the likely reason the song contains (the Sammy Cahn penned) lyric that is interpreted as containing slurs. These definitions are the likely reason Frank Sinatra sang them: they were understood as meaning carefree and free-spirited.

I think it's safe to say the conclusion that Grammarphobia states, was likely the prevailing thought in the 1950s-1960s:

Our conclusions are that that “Gypsy” (with a capital “G”) is offensive to some people, and should be used with caution if at all. It should be avoided entirely if any ethnic connection is implied; instead, the words “Roma” or “Romani” should be used. Meanwhile, the non-ethnic uses of “gypsy” (with a lowercase “g”) should not be condemned.

Final Twist

So, if I were to take Grammarphobia's conclusion that should be the end of the discussion, right? Not exactly, there was still another piece of context to consider. And, it's the context that the VTuber was most likely having the strongest reaction to when they condemned Frank for using a slur.

The VTuber in question is British, and their understanding of the Romani people is likely very different from the majority of people in North America. We have long prided ourselves on being open and welcoming to immigrants and itinerant peoples (despite what our current government would have you believe).

This is not to say that we are in any way perfect. There are plenty of examples of distressing things that have happened to immigrants in this country (no example is louder than the imprisonment of Japanese Americans during World War II). There is no debate on this topic. However, on the whole, we have a better track record compared to many countries.

The Romani in Europe, however, have had to endure what appears to have been a ceaseless stream of racism, and distrust. One of the worst cases was the Romani Holocaust (aka Porajmos) by Germany in World War II. But, there are systemic biases and racism that remain throughout Europe to this day.

While there are efforts underway to try to establish the Romani in Europe, there is a very long path ahead for tensions to be reduced. I would likely say that it is going to take several more generations.

Which is where this VTuber comes back in to the picture. They are part of a generation that is being more sensitive to these issues. And for that they are to be applauded. Seeing that this particular song would likely be seen as being incredibly insensitive to the Romani, they are right to take a pass on it.

Although, maybe there's a way to change the verse to remove the stigma? Perhaps this would work?

It's quite the life to play carefree And roam as nomads will roam It's quite the life to be at ease But your heart starts singin' when your homeward wingin' 'cross the foam

Category: #Essay Tags: #music, #vtuber, #history, #romani, #sinatra,

Introduction

Shellsharks has a weekly blogging challenge, consisting of a quiz with a list of questions for writer's to answer. This week's writing challenge involves music, and since I have long been very interested in music I thought it worthwhile for me to answer the questions. Here's the list:

1. What are five of your favorite albums?
2. What are five of your favorite songs?
3. Favorite Instrument(s)?
4. What song or album are you current listening to?
5. Do you listen to the radio? If so, how often?
6. How often do you listen to music?
7. How often do you discover music? And how do you discover music?
8. What’s a song or album that you enjoy that you wish had more recognition?
9. What’s your favorite song of all time?
10. Has your taste in music evolved over the years?

I'm going to answer these questions and try to add some context, or a story as needed for these answers. Let's get started

What are five of your favorite albums?

Yikes, I dislike questions like this. There are generally too many albums to select a limited number of “favorites”. As it is, there isn't any space for me to really select any jazz, classical, folk, ambient, experimental/weird, outsider, etc. albums.

So, I am choosing five albums that have persisted in my memories for a long time. Albums that will still find their way into play lists, or on my computer, etc. But, by no means, is this a good representation of my complete musical range. It's a small window into some of the music I like, and it's some of the music that people who know me have likely heard when they are around me.

Yes: Relayer

I discovered Yes when I was in high school. I used to listen to a local radio station that would do blocks of music by artists. Yes were one of the groups that appeared on the station all the time... Especially when the DJ wanted a long break, as many of their songs were 9–10 minutes long, playing two or three of them in a row would allow the DJ to go to the bathroom, grab a smoke or whatever. (At least that's my vision of what's going on, based on watching WKRP In Cincinnati, and stories from a friend who was a DJ.)

Relayer, however, wasn't an album that would get airplay on the radio. It didn't have the popularity of the other Yes albums. I discovered this album when I went digging into their catalog more on my own.

After Hours: Miles Away

This was when I started getting into more producer trip-hop music. It's a compilation (and one that is difficult to find, at that) that features a lot of classic jazz samples that have been transformed into really smooth and bouncy tunes.

It's one of those accidental finds that still just feels amazing to listen to.

Crowded House: Crowded House

I could choose almost any Crowded House album, but their first album holds a special place for me as it was a total surprise. I was browsing the stacks in a record store when I heard a song (Mean To Me) over the in-house audio system. Likewise, I could swear that the vocalist was Neil Finn, but they weren't popular enough to get played in a store like this. (At the time I didn't know Split Enz weren't together.)

I went to the counter to find out what they were playing, and the guy behind the counter showed me the CD case for the first Crowded House album. I looked it over, and found that I was right: it was Neil Finn with a couple of people that were involved with Split Enz. I bought the CD immediately.

Klaus Schulze: Audentity

Probably a more controversial pick from Klaus's five decades of albums (over 150 releases, of which over 100 releases were albums). This was a real turning point in Klaus's work, it was early in his adoption of digital synthesis as part of his keyboard arsenal.

Also, this album includes work from Michael Shrieve, who was mostly known for his drum / percussion work with Santana. Klaus once said of Michael that he was the only person that actually taught him something about percussion and time...which Schulze thought was remarkable as he was a drummer himself.

Rush: Permanent Waves

I've been re-visiting a lot of Rush lately. Permanent Waves really marks the transition point of Rush condensing their progressive style into more accessible song structures. Songs like The Spirit of Radio and Freewill are generally the best known songs on the album, I also really love Entre Nous and Different Strings.

What are five of your favorite songs?

God, this is an almost worse question. Yes, there are songs that I like, however many of the pieces I like are long-form works. Let me list five that don't have any overlap with the five albums above.

Vola: Straight Lines (from Witness)

This is one of the most interesting bands I've heard over the past five years. Mixing progressive, industrial, and straight rock elements they are pushing things in interesting directions. The first time I heard this song my jaw was nearly in my lap, and the whole Witness album is amazing.

How To Disappear Completely: Lucid Void (from Absentia)

This is just one of those deeply mesmerizing and haunting tracks. I only learned of HTDC a few years ago, and they have been one of the best discoveries I've made in the last ten years.

Band Maid: Play (from World Domination)

Band Maid was a complete surprise to me. I wasn't really into much (of any) of the music coming out of Japan until I found some of the live videos that they released just as the Covid Pandemic was shutting down the world.

Discovering Band Maid lead me to discovering tons of other music from Japan, including bands like Gacharic Spin, Polkadot Stingray, Trident, Tricot, Doll$Boxx, Suspended 4th, Super Beaver, LiSA (not the one from Black Pink), and many others.

Cousin Silas: The Sky Road (from The Sky Road)

Just a long, gorgeous piece of ambient music. Cousin Silas has literally tons of albums that he's recorded, and yet he doesn't seek recognition beyond the people that find his works and enjoy them. He's not on a campaign to become some big artist.

Jon & Vangelis: And When The Night Comes (from Private Collection)

Jon Anderson from Yes with Vangelis? Absolute must. This one is possibly one of the most sensual (and dare I say sexy) songs that Jon has ever recorded... Of all the works of his that I have heard (I admit, there is still a lot that I haven't heard from him).

Favorite Instrument(s)?

This is just as bad as the first two questions. There are probably at least fifty instruments that I would say that I like. A lot of what I like depends on the context and use of the instrument in the piece of music.

But, just to condense a few things down:

• Keyboards: piano, organ, harpsichord, synthesizers, etc.
• Guitars of all types: electric, acoustic, bass, six string, twelve string, seven and eight string, etc.
• Percussion: wide range from trap-kits, timpani, congas, vibraphone, etc.
• Strings: bass, cello, viola, violin, and a wide range of variants on these instruments.
• Brass instruments of all sorts
• Woodwind instruments of all sorts
• And things that you don't think are instruments, like drinking glasses, kazoos, random clacks and ticks from an engine, etc.

There's just a wide range of sounds out there, and any of them can be used in a musical context.

What song or album are you current listening to?

Nujabes – Spiritual State. New artist to me... A continuation of my exploration of Japanese music.

Do you listen to the radio? If so, how often?

I haven't really listened to the radio in the last 25 years... Except for a little while ago when I had a trial period of satellite radio in my car, but I didn't sign up for it.

Personally, I found that radio was a bad way to discover music that I liked. There was a lot that I didn't care for, and I spent too much time waiting for the music that I did like. And all the advertising was annoying.

How often do you listen to music?

Daily. I can't imagine going for a day without listening to something.

How often do you discover music? And how do you discover music?

Kinda randomly now. I “follow” some random music channels on YouTube that have introduced me to some new music (like HTDC), I sometimes hear references to music from other people, or I hear things randomly in a store or somewhere.

I also read a lot. Recently I've been reading several books that deal with the history of pop music... That's turned up quite a few interesting artists that have been forgotten that I need to check out.

What’s a song or album that you enjoy that you wish had more recognition?

When you have a collection the size of mine, it's difficult to pick just one. But I'd start with the Cousin Silas release I mentioned above: The Sky Road. It's a gorgeous album. And then there are literally over 200 more albums of music from him to explore.

What’s your favorite song of all time?

The song that had the biggest impact on me is Sound Chaser by Yes. It's from the Relayer album. It was just such a different sound from the band, and it has so much texture and incredibly different performances from the whole band.

Has your taste in music evolved over the years?

Yes, it definitely has. In grade school I was listening to folk and bubble-gum pop music. By high school I'd found rock, jazz, big band, classical and started to discover progressive rock.

In college everything was turned on its ear. I discovered all sorts of experimental and electronic music, as well as fully realizing what progressive rock was about.

After college, I found myself getting disgusted with the music industry, and turning to largely independent, self-produced musicians, which lead me into a lot of ambient music. I also discovered a lot of trip-hop and producer based music. I also started to listen to a little bit of rap.

And, as I mentioned above, the Covid shutdown led me to discover a lot of music from Japan. Not only pop, rock, and tri-hop, but also some of the classical and folk-style music from Japan.

I'm basically down to listen to almost anything. I haven't even talked about being into music from India or other middle-eastern countries that I started to discover during college, and continued to listen to after college.

So, yeah, my tastes have evolved and expanded over the years.

Categories: #Arts, #Music Tags: #albums, #blogchallenge, #electronic, #instruments, #jazz, #music, #progressive, #quiz, #triphop