[Too much book lernin'] What happens when academics deconstruct early Pink Floyd.
"Broadly, I argue that the 1968 studio single of "Careful with That Axe, Eugene" represents the successful convergence of particular improvisational idioms and conceptual strategies the group had begun to develop in their first two albums. More to the point, the studio track manifests a vital structural-textural rhythm, perception of which suggests a multidimensional sonic-experiential macrocosm: on one plane, a kind of heterophonic textural "infrastructure," while on the other, a kind of stereophonic space of affective depth."
Personally, I've always maintained that 'Axe's' (as it's known in these quarters) heterophonicity was contextually integral (if not obviously so), but to cite "affective depth" in this idiomatic space? OUTLANDISH! I challenge you sir, to a rock-off!
"Broadly, I argue that the 1968 studio single of "Careful with That Axe, Eugene" represents the successful convergence of particular improvisational idioms and conceptual strategies the group had begun to develop in their first two albums. More to the point, the studio track manifests a vital structural-textural rhythm, perception of which suggests a multidimensional sonic-experiential macrocosm: on one plane, a kind of heterophonic textural "infrastructure," while on the other, a kind of stereophonic space of affective depth."
Personally, I've always maintained that 'Axe's' (as it's known in these quarters) heterophonicity was contextually integral (if not obviously so), but to cite "affective depth" in this idiomatic space? OUTLANDISH! I challenge you sir,
