วันศุกร์ที่ 4 พฤศจิกายน พ.ศ. 2554

David Lynch and ZZ Top's Billy Gibbons dream about machines

The beauty and power of the industry have always fascinated David Lynch, like ZZ Top, Billy Gibbons. They met to discuss the forces that drive plants, rock and roll - and we

over a phone line clear and smooth on the other side of the Atlantic, Billy Gibbons talks about noise, while David Lynch and I listen. "You remember the turn of events disappointing race boat seaplane, when they discovered that the engine jet aircraft could be disposed of was a song," says a wealthy Texan accent, a sea salt to a soft voice. ZZ Top guitarist may have overestimated the knowledge of the hydroplane racing boat, but he pressed independently. "Yes, you could go faster, but the thunderboats was silent, as they are affectionately called -. This is the old Rolls Royce [Merlin] engine World War II, and, brother, you've heard 'em from a mile away. And suddenly you have this complain quietly humming a modern jet engine. And yes, that is faster, but where's the excitement? "

Gibbons and Lynch - but especially Gibbons, with the occasional "Doggone Right" and "Right right, Billy" Lynch - we speak of the beauty and power industry. Above the noise of factories The roar of the engines, how the thunder and Clank talk about something in us. We're supposed to talk about the tackle pulley system, but it is quite clear from the outset that none of us can have a conversation on this subject, so that the hoist is the key that starts the motor which in turn leads to the discussion on the road.

for Lynch, in any case, the hoist as a metaphor seems to be the unit literal. Pulley system is designed to allow a person to lift more weight than they could bare. The pulley was invented about 2400 years by the Greek philosopher Archytas, a scientist at the School of Pythagoras (who also believed to be the first person to invent a flying machine bright child,. Your mother must have been proud). Then, Archimedes realized single block could be expanded into something even greater power - the power input and the system he designed to help sailors lift increases, according to Plutarch. Thousands of years later, the base system is the same: the block - the more you put blocks in the block, the less force needed to apply - and foreground is the rest of the device

"I heard on the hoist and I've seen it work and it looks so magical," said Lynch of its fascination. "You are connected in my mind with the American car" - a common use is to lift the engine block of the body of a vehicle - "and is a sort of ideal speaker Billy Billy had reached a kind of Guitar Power -. I always liked the idea that the guitar is the essence. "It's not quite the only reason that Gibbons will be joining us today. When originally asked Lynch on Article hoist in the film and music this week, noting that the article deals with film and music, instead of physics and mechanics. Lynch, however, was insistent. OK, I said, if n is what if you have a movie or a music angle, then you can talk about ZZ Top and address block. And we are here.

course, ZZ Top are also more closely related to engineering - with a private car - most of the other bands. The car was a 1933 Ford Eliminator Gibbons, a Hot Rod enthusiast, became a new race car with a V8 engine in the 80's. Then appeared on the cover of the album Eliminator 1983 break the tape, and videos - Gimme All Your Lovin ', Sharp Dressed Man, and legs - which made stars of MTV ZZ Top

Gibbons Lynch and share a strange combination to honor the past and progress. Gibbons growls musicians who refuse to digital technology (Eliminator he pioneered the use of recording techniques). "There is a false sense of romanticism," he says, "nostalgic when it comes to reject things that are useful. Any aid measure is now in a position to fall senseless to be discarded, we should return to antiquity. It's almost as if he were punished if they later become involved in any kind of faster. To add the element of absurdity in this nostaglic Fantasy Romance tries to incorporate the word "real''Oh no analog digital equipment we use because we want a real sound. ". -. OK Let me see if I can buy what you say you do not want to play on a digital machine, you want to play on an analog machine, but you have a Fender Esquire into one. Fender Champ amplifier. Indeed, we have to use cables to connect the two, so we have a microphone in front of the amp, and then again and again and again. What is real is it? "Take a concrete example.?" Do you play an acoustic Muddy Waters Well, of course, he did, but it does not turn its back on the ability to plug and play harder No, plugged in and turned and miles and miles ahead of the game in a fatal act of connecting only "

Gibbons, who locates the sense of power, mechanization in the work of Lynch. "I remember that Eraserhead was in Austin, Texas, in an art theater. It was a sign of the performance, and got into the car and went to Houston because the movie theater was torn out and led to Houston and had to go see him again, I realized it was highlighting what appeared to be completely erosion and evaporation just seeing guys make a pencil eraser machine, and stacks and the train to -.. ask a young and may not relate to the sound that you can immediately call up memories of the garden for five years and listening to the sound of power lines buzzing as A. old twin-engine DC-3 flew beyond. The sounds are not heard more. So, all around us and points of relationship have changed. "

course, rock and pop has always been an inseparable relationship with the environment that produced them. It is thought the Fordist model of Motown, reproducing the production lines of Detroit automakers. West Midlands or heavy metal music bands that sounded like plants have worked or lived near. Maybe that's why many musicians today who grew up in a world of call centers and clicking keyboards instead of beating hammers and foundries, music based on clicks and glitches - the sound of today's industries. Gibbons is not so sure. "There are things that resonate with neurological Certan this framework," he believes. "This, I believe, will not change very dramatically."

To prove his point, Gibbons provides a series of field work around the work of Fred Below, the session drummer for Chess Records, which launched the rhythmic beat of rock and roll , with accents of percussion in the second and fourth beats of the bar. We all want to go to South America and then went into the most remote areas of Amazonia forces. It's a good image: Gibbons in his beard and sunglasses, Lynch in a black suit, a journalist ginger overweight panting behind, complaining about the heat. "What effect would field a team in the most primitive tribe could be located and invited to come and be prepared to listen to the volunteers, rather than the sounds of birds and the Brazilian rainforest, a powerful sound system plays nothing but the beating of the drum based on two and four, the backbone of rock and roll "reflects Gibbons. "I think it goes back to the wiring of our skin color can vary, but what's up -... There are things that we all share Freddie then met with him, and I'm digging"

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