Craig Benedict Valentine Badynee
مُعجَب واحد
cbvbismy.name
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translate into French: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, ci-après parfois) a eu son premier enregistreur 4 pistes et son microphone à l'âge de quatorze ans après avoir rassemblé les fonds de la vente de radios de voitures volées. Remarque : Bien que ces bénéfices illégaux aient été partagés à parts égales, CBVB n'était que le guetteur. Avant même de pouvoir jouer d'un instrument, il est tombé amoureux de la capture de tout son qu'il pouvait rassembler, que ce soit des coups de table semblables à des tambours, des bribes de la télévision ou de la radio, ou en expérimentant avec l'échantillonneur primitif SK-1, transformant le bourdonnement d'un câble défectueux en une ligne de basse similaire à un 808. Rassembler toutes ces bizarreries audio disparates sur la multipiste était là où le jeune CBVB a vraiment été époustouflé.
Alors que ses années d'adolescence s'envolaient, Badynee s'est associé à quelques personnes partageant les mêmes idées, plus intéressées à faire un certain type de bruit magnifique qu'à écrire des chansons appropriées. Ensemble, ils ont formé Asha Vida, un groupe imprégné d'improvisation et d'exploration sonore, qui était au cœur de la scène Space Rock radieuse des années 90 à Détroit, aux côtés de compatriotes souterrains comme Windy & Carl, Majesty Crush et Füxa.
CBVB plaisantait autrefois en disant qu'en 1999, il arrêterait de faire de la musique bizarre et créerait un groupe pop appelé 1999, un clin d'œil à son bien-aimé Prince. Cela s'est un peu passé, mais c'était plutôt en 2002 et il a appelé le groupe PAS/CAL. Ce groupe était, par conception, l'opposé absolu de l'approche insouciante de la musique de Asha Vida. Le diable dans chaque petit détail était tout ce qui comptait dans les arrangements élaborés que Badynee et ses architectes de la pop ont construits. Pitchfork a décrit PAS/CAL via un tourbillon absolu de références musicales, affirmant que le groupe possédait une "baroquitude d'Electric Light Orchestra" et une "schizophrénie d'Of Montreal". Les chansons avaient parfois un "tintement Byrdsien", étaient "sombres à la manière de XTC" ou puisaient dans l'ère 'His 'n' Hers' de Pulp, et parvenaient à combler "Stereolab et les Zombies" avec des "arrangements rivalisant avec Jellyfish ou Jon Brion". Après de nombreux singles, EP et un album complet souvent retardé qui approchait dangereusement le territoire de "Chinese Democracy", le groupe a décidé de se séparer lorsque Craig a déménagé à Chicago pour renforcer sa retraite et fonder une famille.
Passons rapidement aux emplois gagnés et perdus, aux naissances, aux décès, aux diplômes, aux premiers chagrins d'amour, aux appareils dentaires posés et retirés, aux intimidateurs et aux meilleurs amis, à la location, à la propriété, aux saisies et à la propriété à nouveau. Pendant toutes ces choses de la vie, CBVB a discrètement continué comme le Wallace Stevens du rock 'n roll, glissant l'écriture de chansons quand il le pouvait pendant les pauses déjeuner, avant que sa femme ne se réveille et après que les enfants soient couchés pour la nuit.
Comme tant d'autres attachés aux sols de leur maison pendant la pandémie, il a trouvé que c'était une excellente opportunité non seulement pour terminer des projets qui n'avaient jamais eu assez de temps, mais aussi pour enfin s'attaquer à de nouveaux projets. Il a collaboré avec sa fille Viv, une jeune auteure-compositrice-interprète en herbe de vingt ans, alias "bimbo intellectuelle" pour ceux qui savent, ce qui a abouti à un EP excentrique d'alt-R&B électro-pop sorti en décembre 2023. Il a également mis la touche finale à une collection de dix nouvelles chansons solo, où il joue la plupart des instruments ainsi que s'occupe de l'enregistrement et de la production. Appelez cela nostalgique, mais au cours des dernières années, il s'est retrouvé à chercher et à canaliser les sons qu'il entendait lorsque ses petites oreilles se sont dressées pour la première fois sur la radio et les disques que ses frères et sœurs plus âgés tournaient. Pour cette collection de morceaux, Badynee a été particulièrement attiré par la musique de la fin des années 70, en particulier les albums solo souvent négligés par des artistes qui faisaient autrefois partie de groupes populaires ou qui avaient connu un plus grand succès dans la décennie précédente, tels qu'Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. De plus, il a développé un nouvel intérêt pour les chanteurs de jazz qui interprètent des compositions originales, plutôt que des standards ennuyeux, en favorisant des artistes comme Michael Franks, Steve Kuhn et Carla Bley.
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translate into japanese: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
クレイグ・ベネディクト・ヴァレンタイン・バディニー（CBVB、以下時々）は、14歳の時に盗んだ車のラジオを売って資金を集めた後、最初の4トラックとマイクを手に入れました。 注：これらの不正な利益は50/50で分割されましたが、CBVBは見張り役に過ぎませんでした。 彼が楽器を演奏する前に、彼はどんな音でも捕らえることに恋をしました。それがテーブルをたたくようなドラムのようなものであったり、テレビやラジオから断片を引き出したり、または原始的なSK-1サンプラーで実験したりして、不良ケーブルのブーンを808風のベースラインに変えたりしました。 これらの異なる音の奇妙さをマルチトラックで一緒にすることが、若いCBVBが本当に驚いたところでした。
10代の後半が過ぎ去ると、バディニーは正しい曲を書くよりも美しいノイズを作ることに興味を持ついくつかの志を同じくするタイプとチームを組みました。 彼らは一緒に、即興と音響探求に浸ったグループであるアシャ・ヴィダを形成しました。これは、デトロイトの放射状の90年代のスペースロックシーンの中心にあり、Windy & Carl、Majesty Crush、およびFüxaといった同じく地下の有名人と共にありました。
CBVBは以前、1999年までには変わり者の音楽をやめて、彼の愛するプリンスに敬意を表して1999というポップグループを始めるつもりだと冗談を言っていました。 これはある種のことが起こりましたが、代わりに2002年で、彼はバンドをPAS/CALと呼びました。 このバンドは、設計上、アシャ・ヴィダの音楽制作への悪魔の気にしないアプローチの絶対的な反対でした。 Badyneeと彼のポップの建築家が構築した緻密なアレンジメントでは、すべての細部に悪魔がかかっていました。 PitchforkはPAS/CALを完全なる音楽的参照の魔法のようなものを通して記述し、バンドが「エレクトリック・ライト・オーケストラのバロックさ」と「モントリオールの分裂病」を持っていると主張しました。 これらの曲は時折「バーズ風のジャングル」であり、「暗いXTCのような」ものであり、「彼の 'n' Hers時代のPulp」に触れ、そして「ステレオラブとゾンビ」を繋ぐことに成功しました。 'ジェリーフィッシュやジョン・ブリオンと競争するアレンジメント」という。 数々のシングル、EP、そしてしばしば遅延された中国の民主主義地域にほぼ近づいたフルレングスのアルバムの後、バンドはクレイグがシカゴに移り、401kを強化し、家族を育てるために解散しました。
仕事の獲得と喪失、出産、死亡、卒業、初恋の失恋、装具の装着と着脱、いじめっ子と親友、賃貸、所有、差し押さえ、再所有、などを超えて、急速に進んでください。 この生活の中で、CBVBは、ロックンロールのウォレス・スティーブンスのように、昼休み中にできる限り曲を作曲し、妻が目を覚まさないうちに、子供たちが夜に寝る前にそれを収めるように静かに続けました。
パンデミック中に自宅の床に縛り付けられた多くの他の人々と同様に、彼はそれが十分な時間を持っていなかったプロジェクトを完成させるだけでなく、新しいプロジェクトに取り組む絶好の機会であると感じました。 彼は娘のヴィヴと協力しました。これは、知っている人々には「知的なビンボ」として知られる20代前半のソングライターであり、2023年12月にリリースされた奇妙でずれたオルタナティブR＆BエレクトロポップのEPにつながりました。 彼はまた、彼がほとんどの楽器を演奏し、録音と制作の責任を担当する10の新しいソロ曲のコレクションに最後の仕上げを施しました。 それをノスタ
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translate into Chinese: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
克雷格·本尼迪克特·瓦伦泰因·巴迪尼（CBVB，以下简称）在十四岁时通过出售盗窃的汽车收音机筹集资金，获得了他的第一个四轨录音机和麦克风。备注：尽管这些非法利润被平均分配，但CBVB只是个守望者。甚至在他能够弹奏乐器之前，他就已经爱上了捕捉任何声音，无论是类似鼓声的桌子敲击，从电视或收音机上抓取片段，还是试验原始的SK-1采样器，将有故障的电缆嗡嗡声变成类似808的低音线。将所有这些不同的音频奇异点放在多轨录音上是年轻的CBVB真正令人惊叹的地方。
随着他的青少年岁月的逝去，巴迪尼与一些志同道合的人合作，他们更感兴趣的是制造一些美妙的噪音，而不是写出合适的歌曲。他们一起组成了Asha Vida，这是一个沉浸在即兴和声音探索中的团体，与风靡底特律的90年代太空摇滚场景的其他地下明星如Windy & Carl，Majesty Crush和Füxa一样重要。
CBVB过去常常开玩笑说，到了1999年，他将停止制作怪异的音乐，并成立一个名为1999的流行乐团，这是对他心爱的王子的一种致敬。这种情况有点发生了，但实际上是在2002年，他成立了PAS/CAL乐队。这支乐队的设计完全与Asha Vida对音乐制作的鬼马态度相反。每一个小细节中的恶魔都是巴迪尼和他的流行建筑师精心设计的复杂安排中最重要的。Pitchfork通过绝对的音乐参考奇术来描述PAS/CAL，声称该乐队拥有“电灯管管弦乐团的巴洛克风格”和“蒙特利尔的精神分裂症”。这些歌曲有时候具有“Byrdsian的颤音”，“暗黑XTC般的风格”或者涉及“His 'n' Hers时代的Pulp”，并且设法连接了“Stereolab和Zombies”与“能够与Jellyfish或Jon Brion媲美的编曲”。在发布了大量单曲、EP和一张经常延迟的完整专辑之后，当巴迪搬到芝加哥增强自己的401k并养家糊口时，乐队宣布解散。
跳过了赢得和失去的工作，出生，死亡，毕业，初恋的心碎，戴上和脱下牙套，霸凌和挚友，租房，拥有，被强制执行和再次拥有等情况。在所有这些生活中，CBVB像摇滚乐界的华莱士·史蒂文斯一样默默地坚持下来，在午休时、妻子醒来前和孩子们晚上睡觉后把写歌塞进去。
像许多其他在疫情期间被束缚在家里的人一样，他发现这不仅是完成从未有过足够时间的项目的绝佳机会，而且最终也可以解决一些新的问题。他与他的女儿维夫合作，她是一个20多岁的新兴的歌曲创作者，对于那些知道的人来说，她是一个“知识分子傻瓜”，最终导致了一张奇怪的离经叛道的EP，于2023年12月发布，是另类R&B电子流行音乐。他还为一套包含十首新个人曲目的专辑做了最后的润色，其中他演奏了大部分乐器，并负责录音和制作工作。称之为怀旧，但在过去的几年中，他发现自己正在寻找和传达他听到的声音，当他还是个小孩时，他的耳朵第一次对收音机和他的大一些的兄弟姐妹旋转的唱片感兴趣。对于这组曲目，巴迪尼特别倾心于70年代末期的音乐，特别是以前曾是流行乐团的一部分或在前一个十年取得更大成功的艺术家的被经常忽视的个人专辑，如艾伦·赫尔，谢尔·甘斯堡和简·伯金，迪昂，凯文·埃尔斯，罗伯特·怀特，斯科特·沃克，唐纳文，比利·莱尔，卢·里德，卡耐托·韦洛索，琼尼·米切尔，麦卡特尼，列侬，迪伦，扬等
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translate to Portuguese: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, doravante) conseguiu seu primeiro gravador de 4 pistas e microfone aos catorze anos, depois de levantar fundos com a venda de rádios de carro roubados. Nota: Embora esses lucros ilegais tenham sido divididos meio a meio, CBVB era apenas o vigia. Antes mesmo de poder tocar um instrumento, ele se apaixonou por capturar qualquer som que pudesse, seja batendo na mesa como um tambor, pegando trechos da TV ou rádio, ou experimentando com o sampler primitivo SK-1, transformando o zumbido de um cabo defeituoso em uma linha de baixo semelhante a um 808. Reunir todas essas estranhezas sonoras díspares no multitrack foi onde o jovem CBVB realmente explodiu sua mente.
Conforme seus anos de adolescência passavam, Badynee se juntou a alguns tipos semelhantes interessados mais em fazer algum tipo de belo barulho do que escrever músicas adequadas. Juntos, eles formaram Asha Vida, um grupo imerso em improvisação e exploração sonora, que estava no cerne da radiante cena de Space Rock dos anos 90 em Detroit, junto com luminárias underground como Windy & Carl, Majesty Crush e Füxa.
CBVB costumava brincar que, até 1999, ele ia parar de fazer música esquisita e começar um grupo pop chamado 1999, uma homenagem ao seu amado Prince. Isso até aconteceu, mas em vez disso, foi em 2002 e ele chamou a banda de PAS/CAL. Essa banda foi, por design, o oposto absoluto da abordagem descontraída de Asha Vida para a produção musical. O diabo em cada pequeno detalhe era tudo o que importava nos arranjos elaborados que Badynee e seus arquitetos pop construíram. A Pitchfork descreveu o PAS/CAL através de uma verdadeira rodopio de referências musicais, afirmando que a banda possuía uma 'barroquidade da Electric Light Orchestra' e 'esquizofrenia de Montreal'. As músicas às vezes tinham um 'tinido Byrdsiano', eram 'escurecidamente parecidas com XTC' ou se inspiravam na 'era His 'n' Hers do Pulp', e conseguiam unir 'Stereolab e os Zombies' com 'arranjos para rivalizar com Jellyfish ou Jon Brion'. Após inúmeros singles, EPs e um álbum completo frequentemente adiado que quase chegou ao território da Democracia Chinesa, a banda se separou quando Craig se mudou para Chicago para reforçar seu 401k e criar uma família.
Avançando rápido por empregos ganhos e perdidos, nascimentos, mortes, formaturas, primeiros amores e desgostos, aparelhos nos dentes, amigos e inimigos, aluguel, propriedade, execução hipotecária e novamente propriedade. Durante toda essa vida, CBVB continuou quietamente como o Wallace Stevens do rock 'n roll, encaixando a composição de músicas quando podia durante os intervalos para o almoço, antes de sua esposa acordar e depois que as crianças foram dormir.
Como tantos outros ligados aos pisos de suas casas durante a pandemia, ele achou que era uma ótima oportunidade não apenas para terminar projetos que nunca tiveram tempo suficiente, mas também para finalmente abordar alguns novos. Ele colaborou com sua filha Viv, uma compositora iniciante de vinte e poucos anos, também conhecida como "pateta intelectual" para os iniciados, que culminou em um EP excêntrico de alt-R&B electro-pop lançado em dezembro de 2023. Ele também deu os retoques finais em uma coleção de dez novas músicas solo, onde ele toca a maioria dos instrumentos, além de cuidar das gravações e produção. Chame isso de nostálgico, mas nos últimos anos, ele se viu cavando e canalizando os sons que ouviu quando seus ouvidos pequeninos primeiro se animaram com o rádio e os discos que seus irmãos mais velhos estavam tocando. Para esta coleção de músicas, Badynee se sentiu particularmente atraído pela música do final dos anos 70, especialmente os álbuns solo frequentemente negligenciados por artistas que antes faziam parte de grupos populares ou alcançaram maior sucesso na década anterior, como Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Além disso, ele desenvolveu um novo interesse pelos vocalistas de jazz que executam composições originais, em vez de padrões cansativos, favorecendo artistas como Michael Franks, Steve Kuhn e Carla Bley.
User
translate into danish: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, herefter til tider) fik sin første 4-spors og mikrofon som fjortenårig, efter at have rejst midler fra salget af stjålne bileradioer. Bemærk: Selvom disse ulovlige overskud blev delt 50/50, var CBVB kun udkigspost. Før han overhovedet kunne spille et instrument, forelskede han sig i at fange enhver lyd, han kunne frembringe, uanset om det var tromme-lignende bordbanken, fangebidder fra tv eller radio eller eksperimenter med den primitive SK-1 sampler, der omdannede summen af et defekt kabel til en basslinje, der lignede en 808. At bringe alle disse forskelligartede lydskabninger sammen på flerspor var, hvor den unge CBVB virkelig sprængte sin egen hjerne.
Mens hans teenageår svandt, dannede Badynee et hold med nogle ligesindede typer, der var mere interesserede i at lave en slags smuk støj i stedet for at skrive ordentlige sange. Sammen dannede de Asha Vida, en gruppe dybt forankret i improvisation og sonisk udforskning, der var på kernen af Detroit's strålende 90'ers Space Rock scene sammen med andre underjordiske lysende som Windy & Carl, Majesty Crush og Füxa.
CBVB plejede at joke med, at han ville stoppe med at lave sær musik i 1999 og starte en popgruppe kaldet 1999, som en hyldest til sin elskede Prince. Dette skete på en måde, men i stedet var det i 2002, og han kaldte bandet PAS/CAL. Dette band var, efter design, det absolutte modsætning til Asha Vidas djævl-sigende tilgang til musikproduktion. Djævlen i hver lille detalje var alt, hvad der betød noget i de udførlige arrangementer, Badynee og hans poparkitekter konstruerede. Pitchfork beskrev PAS/CAL via en absolut roterende musikalsk referencemagi og hævdede, at bandet besad en 'Electric Light Orchestra barokhed' og 'Of Montreal skizofreni'. Sangene havde til tider en 'Byrdsian jangle', var 'mørkt XTC-agtige' eller trak på 'His 'n' Hers-æraen Pulp' og formåede at bygge bro mellem 'Stereolab og Zombies' med 'arrangementer der kunne måle sig med Jellyfish eller Jon Brion.' Efter adskillige singler, EP'er og et ofte forsinket fuldlængdealbum, der nærmede sig territoriet for den kinesiske demokrati, lagde bandet det på hylden, da Craig flyttede til Chicago for at styrke sin pensionsopsparing og stifte familie.
Hurtig fremad forbi vundne og tabte jobs, fødsler, dødsfald, eksamener, første kærlighedssorg, bøjler af og på, plageånder og bedste venner, leje, ejendom, tvangsauktion og ejendom igen. Under alt dette livsstads fortsatte CBVB stille med det som Wallace Stevens inden for rock 'n roll, hvor han skrev sange, når han kunne i løbet af frokostpauserne, inden hans kone vågnede op og efter at børnene var puttet om aftenen.
Ligesom så mange andre bundet til gulvene i deres hjem under pandemien, fandt han det som en fantastisk mulighed ikke kun at færdiggøre projekter, der aldrig havde haft nok tid, men også endelig at tackle nogle nye. Han samarbejdede med sin datter Viv, en knap 20-årig sangskriver, også kendt som "intellektuel bimbo" for dem, der ved det, hvilket kulminerede i en excentrisk skæv EP af alternativ R&B electro-pop udgivet i december 2023. Han satte også de sidste finish på en samling af ti nye solo sange, hvor han spiller de fleste instrumenter samt håndterer indspilning og produktion. Kald det nostalgisk, men i løbet af de sidste par år fandt han sig selv gravende efter og kanaliserende lyde, han hørte, da hans små ører først reagerede på radioen og de plader, hans ældre søskende drejede. Til denne samling af toner har Badynee været særligt tiltrukket af musikken fra slutningen af 70'erne, især de ofte oversete soloplader af kunstnere, der tidligere var en del af populære grupper eller opnåede større succes i det foregående årti, såsom Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, osv. Derudover udviklede han en nyfundet interesse for jazzvokalister, der opfører originale kompositioner i stedet for trætte standarder, og favoriserede kunstnere som Michael Franks, Steve Kuhn og Carla Bley.
User
translate to german: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, nachfolgend gelegentlich) bekam im Alter von vierzehn Jahren seine erste 4-Spur und ein Mikrofon, nachdem er die Gelder aus dem Verkauf gestohlener Autoradios beschafft hatte. Anmerkung: Obwohl diese illegalen Gewinne zu gleichen Teilen aufgeteilt wurden, war CBVB nur der Beobachter. Bevor er überhaupt ein Instrument spielen konnte, verliebte er sich darin, jeden Klang einzufangen, den er erzeugen konnte, sei es das trommelnde Stampfen auf dem Tisch, das Aufschnappen von Ausschnitten aus dem Fernsehen oder Radio oder das Experimentieren mit dem primitiven SK-1-Sampler, der das Summen eines defekten Kabels in eine Basslinie ähnlich der 808 verwandelte. Das Zusammenführen all dieser unterschiedlichen Audio-Kuriositäten auf der Mehrspur war es, wo der junge CBVB wirklich seinen Verstand sprengte.
Als seine Teenagerjahre verstrichen, schloss sich Badynee mit einigen gleichgesinnten Personen zusammen, die mehr daran interessiert waren, eine Art schönen Lärm zu erzeugen, anstatt ordentliche Lieder zu schreiben. Zusammen gründeten sie Asha Vida, eine Gruppe, die tief in Improvisation und klanglicher Erkundung verwurzelt war und die den Kern der strahlenden Space-Rock-Szene der 90er Jahre in Detroit bildete, zusammen mit anderen unterirdischen Größen wie Windy & Carl, Majesty Crush und Füxa.
CBVB pflegte zu scherzen, dass er bis 1999 aufhören würde, seltsame Musik zu machen, und stattdessen eine Popgruppe namens 1999 gründen würde, als Hommage an seinen geliebten Prince. Das geschah in gewisser Weise, aber stattdessen war es 2002, und er nannte die Band PAS/CAL. Diese Band war, vom Design her, das absolute Gegenteil von Asha Vidas sorglosem Ansatz zur Musikproduktion. Der Teufel in jedem kleinen Detail war alles, worauf es in den ausgearbeiteten Arrangements ankam, die Badynee und seine Pop-Architekten konstruierten. Pitchfork beschrieb PAS/CAL als ein absolut drehendes musikalisches Referenz-Wirrwarr und behauptete, dass die Band eine "Electric Light Orchestra-Barockheit" und eine "Of Montreal-Schizophrenie" besaß. Die Songs hatten zuweilen einen "Byrdsianischen Klang", waren "dunkel XTC-ähnlich" oder griffen auf "Sein 'n' Ihrs-Ära Pulp" zurück und schafften es, "Stereolab und die Zombies" mit "Arrangements, die mit Jellyfish oder Jon Brion konkurrieren können", zu verbinden. Nach zahlreichen Singles, EPs und einem oft verzögerten Full-Length-Album, das verdammt nahe an das Territorium von Chinese Democracy heranreichte, löste sich die Band auf, als Craig nach Chicago zog, um sein 401k zu stärken und eine Familie zu gründen.
Schnell vorwärts vorbei an gewonnenen und verlorenen Jobs, Geburten, Todesfällen, Abschlüssen, erstmaligen Liebeskummer, Zahnspangen an und aus, Tyrannen und besten Freunden, Mieten, Besitz, Zwangsversteigerung und erneutem Besitz. Während all dieser Lebensdinge blieb CBVB leise dabei, wie der Wallace Stevens des Rock 'n Roll, und passte das Songwriting an, wenn er konnte, während der Mittagspausen, bevor seine Frau aufwachte und nachdem die Kinder für die Nacht ins Bett gebracht waren.
Wie so viele andere, die während der Pandemie an den Böden ihrer Häuser gefesselt waren, fand er es nicht nur als eine großartige Gelegenheit, Projekte abzuschließen, für die nie genug Zeit war, sondern auch endlich einige neue in Angriff zu nehmen. Er arbeitete mit seiner Tochter Viv zusammen, einer aufstrebenden Songwriterin in den Zwanzigern, auch bekannt als "intellektuelle Blondine" für diejenigen, die es wissen, was in einer schrulligen EP von Alternativ-R&B Electro-Pop gipfelte, die im Dezember 2023 veröffentlicht wurde. Er gab auch den letzten Schliff an einer Sammlung von zehn neuen Solo-Songs, in denen er die meisten Instrumente spielte und sich um Aufnahme- und Produktionsaufgaben kümmerte. Nennen Sie es nostalgisch, aber in den letzten Jahren fand er sich dabei, wie er nach den Klängen suchte und sie kanalisierte, die er hörte, als seine kleinen Ohren zum ersten Mal auf das Radio und die Platten stießen, die seine älteren Geschwister auflegten. Für diese Sammlung von Melodien fühlte sich Badynee besonders zur Musik der späten 70er Jahre hingezogen, insbesondere zu den oft übersehenen Solo-Alben von Künstlern, die früher Teil populärer Gruppen waren oder im vorherigen Jahrzehnt größeren Erfolg hatten, wie Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, usw. Darüber hinaus entwickelte er ein neu gefundenes Interesse an Jazz-Sängern, die originale Kompositionen aufführen, anstatt abgenutzte Standards, und bevorzugte Künstler wie Michael Franks, Steve Kuhn und Carla Bley.
User
translate to spanish: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, en adelante) obtuvo su primera grabadora de 4 pistas y micrófono a los catorce años después de recaudar fondos con la venta de radios de coche robados. Nota: Aunque estas ganancias ilegales se dividieron al 50/50, CBVB solo estaba de guardia. Antes de poder tocar un instrumento, se enamoró de capturar cualquier sonido que pudiera reunir, ya fuera golpear la mesa como un tambor, recoger fragmentos de la televisión o la radio, o experimentar con el primitivo sampler SK-1, convirtiendo el zumbido de un cable defectuoso en una línea de bajo similar a la 808. Unir todas estas extrañas curiosidades de audio en la grabadora multipista fue donde el joven CBVB realmente quedó impresionado.
A medida que sus años de adolescencia pasaban, Badynee se unió con algunos tipos afines más interesados en hacer algún tipo de hermoso ruido que en escribir canciones adecuadas. Juntos formaron Asha Vida, un grupo empapado en improvisación y exploración sónica, que estaba en el centro de la radiante escena de Space Rock de los años 90 en Detroit junto con otros iluminados subterráneos como Windy & Carl, Majesty Crush y Füxa.
CBVB solía bromear que para 1999 iba a dejar de hacer música rara y comenzar un grupo pop llamado 1999, un guiño a su amado Prince. Esto sucedió más o menos, pero en lugar de eso, fue en 2002 y llamó a la banda PAS/CAL. Esta banda era, por diseño, el absoluto opuesto al enfoque despreocupado de Asha Vida para hacer música. El diablo en cada pequeño detalle era todo lo que importaba en los elaborados arreglos que Badynee y sus arquitectos pop construyeron. Pitchfork describió a PAS/CAL a través de un verdadero torbellino de referencias musicales, afirmando que la banda poseía una "barroquedad de Electric Light Orchestra" y una "esquizofrenia de Montreal". Las canciones a veces tenían un "sonido tipo Byrds", eran "oscuramente parecidas a XTC" o se sumergían en la "era de Pulp de Ella y Él", y lograban unir "Stereolab y los Zombies" con "arreglos que rivalizaban con Jellyfish o Jon Brion". Después de numerosos sencillos, EPs y un álbum completo a menudo retrasado que casi alcanzó el territorio de la Democracia China, la banda se disolvió cuando Craig se mudó a Chicago para fortalecer su plan de pensiones y formar una familia.
Avanzando rápidamente más allá de trabajos ganados y perdidos, nacimientos, muertes, graduaciones, amores y desamores, frenillos puestos y quitados, matones y mejores amigos, alquiler, posesión, embargo hipotecario y posesión nuevamente. Durante todas estas cosas de la vida, CBVB siguió adelante como el Wallace Stevens del rock 'n roll, encajando la composición de canciones cuando podía, durante los descansos para almorzar, antes de que su esposa se despertara y después de que los niños estuvieran acostados por la noche.
Como tantos otros atados a los pisos de sus hogares durante la pandemia, encontró que era una gran oportunidad no solo para terminar proyectos que nunca tuvieron suficiente tiempo, sino también para finalmente abordar algunos nuevos. Colaboró con su hija Viv, una prometedora cantautora de veinte años, también conocida como "rubia intelectual" para aquellos que saben, que culminó en un EP excéntrico de alt-R&B electro-pop lanzado en diciembre de 2023. También dio los toques finales a una colección de diez nuevas canciones en solitario, donde él toca la mayoría de los instrumentos y se encarga de las tareas de grabación y producción. Llámenlo nostálgico, pero en los últimos años, se encontró cavando y canalizando los sonidos que escuchó cuando sus pequeñas orejitas se levantaron por primera vez hacia la radio y los discos que sus hermanos mayores estaban tocando. Para esta colección de melodías, Badynee se sintió particularmente atraído por la música de finales de los años 70, especialmente los álbumes en solitario a menudo pasados por alto de artistas que antes formaban parte de grupos populares o que lograron un mayor éxito en la década anterior, como Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Además, desarrolló un nuevo interés en cantantes de jazz que interpretan composiciones originales, en lugar de estándares agotados, favoreciendo a artistas como Michael Franks, Steve Kuhn y Carla Bley.
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translate to Polish: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, odtąd zwanym) otrzymał swój pierwszy 4-śladowy rejestrator i mikrofon w wieku czternastu lat po zebraniu środków ze sprzedaży skradzionych radioodbiorników samochodowych. Uwaga: Chociaż te nielegalne zyski zostały podzielone na pół, CBVB był tylko na dyżurze. Zanim nawet nauczył się grać na instrumencie, zakochał się w rejestrowaniu każdego dźwięku, który mógł uchwycić, czy to było uderzanie w stół jak w bęben, łapanie fragmentów z telewizji lub radia, czy eksperymentowanie z prymitywnym samplowaniem SK-1, przekształcając szum wadliwego kabla w bas 808. Łączenie wszystkich tych różnorodnych dziwnych dźwięków na wielu ścieżkach było tym, gdzie młody CBVB naprawdę zachwiał swoim umysłem.
Kiedy jego nastoletnie lata mijały, Badynee połączył się z kilkoma podobnie myślącymi osobami, które bardziej interesowały się tworzeniem jakiegoś pięknego hałasu niż pisaniem właściwych piosenek. Razem stworzyli Asha Vida, zespół zanurzony w improwizacji i eksploracji dźwiękowej, który był u szczytu jaskrawej sceny Space Rock lat 90. w Detroit, obok takich podziemnych luminarzy jak Windy & Carl, Majesty Crush i Füxa.
CBVB kiedyś żartował, że do 1999 roku zamierza przestać robić dziwaczną muzykę i założyć zespół pop o nazwie 1999, hołdując swojemu ukochanemu księciu. W pewnym sensie tak się stało, ale zamiast tego było to w 2002 roku, a on nazwał zespół PAS/CAL. Ten zespół był, z założenia, zupełnym przeciwieństwem beztroskiego podejścia Asha Vida do tworzenia muzyki. Diabeł tkwił w każdym małym szczególe w rozbudowanych aranżacjach, jakie Badynee i jego architekci popu skonstruowali. Pitchfork opisał PAS/CAL poprzez absolutny wir muzycznych odniesień, twierdząc, że zespół posiada "barokowy charakter Electric Light Orchestra" i "schizofrenię Of Montreal". Piosenki czasami miały "janglujący dźwięk typu Byrds", były "mrocznie podobne do XTC" lub wpadały w "erę Pulp His 'n' Hers", i udawały się "Stereolabowi i Zombiesom" z "aranżacjami, które dorównywały Jellyfishowi lub Jonowi Brionowi". Po licznych singlach, EP-ach i często opóźnionym pełnym albumie, który prawie dorównał chińskiej demokracji, zespół zakończył działalność, gdy Craig przeprowadził się do Chicago, by wzmocnić swoje 401k i założyć rodzinę.
Przeskakując przez wygrane i przegrane prace, narodziny, śmierci, ukończone szkoły, pierwsze miłosne rozczarowania, aparaty ortodontyczne na i zęby, łobuziaki i najlepsi przyjaciele, wynajmowanie, posiadanie, upadłość i ponowne posiadanie. Podczas wszystkich tych życiowych spraw, CBVB cicho pracował jak Wallace Stevens rock 'n roll, wpasowując pisanie piosenek, kiedy tylk
translate into French: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, ci-après parfois) a eu son premier enregistreur 4 pistes et son microphone à l'âge de quatorze ans après avoir rassemblé les fonds de la vente de radios de voitures volées. Remarque : Bien que ces bénéfices illégaux aient été partagés à parts égales, CBVB n'était que le guetteur. Avant même de pouvoir jouer d'un instrument, il est tombé amoureux de la capture de tout son qu'il pouvait rassembler, que ce soit des coups de table semblables à des tambours, des bribes de la télévision ou de la radio, ou en expérimentant avec l'échantillonneur primitif SK-1, transformant le bourdonnement d'un câble défectueux en une ligne de basse similaire à un 808. Rassembler toutes ces bizarreries audio disparates sur la multipiste était là où le jeune CBVB a vraiment été époustouflé.
Alors que ses années d'adolescence s'envolaient, Badynee s'est associé à quelques personnes partageant les mêmes idées, plus intéressées à faire un certain type de bruit magnifique qu'à écrire des chansons appropriées. Ensemble, ils ont formé Asha Vida, un groupe imprégné d'improvisation et d'exploration sonore, qui était au cœur de la scène Space Rock radieuse des années 90 à Détroit, aux côtés de compatriotes souterrains comme Windy & Carl, Majesty Crush et Füxa.
CBVB plaisantait autrefois en disant qu'en 1999, il arrêterait de faire de la musique bizarre et créerait un groupe pop appelé 1999, un clin d'œil à son bien-aimé Prince. Cela s'est un peu passé, mais c'était plutôt en 2002 et il a appelé le groupe PAS/CAL. Ce groupe était, par conception, l'opposé absolu de l'approche insouciante de la musique de Asha Vida. Le diable dans chaque petit détail était tout ce qui comptait dans les arrangements élaborés que Badynee et ses architectes de la pop ont construits. Pitchfork a décrit PAS/CAL via un tourbillon absolu de références musicales, affirmant que le groupe possédait une "baroquitude d'Electric Light Orchestra" et une "schizophrénie d'Of Montreal". Les chansons avaient parfois un "tintement Byrdsien", étaient "sombres à la manière de XTC" ou puisaient dans l'ère 'His 'n' Hers' de Pulp, et parvenaient à combler "Stereolab et les Zombies" avec des "arrangements rivalisant avec Jellyfish ou Jon Brion". Après de nombreux singles, EP et un album complet souvent retardé qui approchait dangereusement le territoire de "Chinese Democracy", le groupe a décidé de se séparer lorsque Craig a déménagé à Chicago pour renforcer sa retraite et fonder une famille.
Passons rapidement aux emplois gagnés et perdus, aux naissances, aux décès, aux diplômes, aux premiers chagrins d'amour, aux appareils dentaires posés et retirés, aux intimidateurs et aux meilleurs amis, à la location, à la propriété, aux saisies et à la propriété à nouveau. Pendant toutes ces choses de la vie, CBVB a discrètement continué comme le Wallace Stevens du rock 'n roll, glissant l'écriture de chansons quand il le pouvait pendant les pauses déjeuner, avant que sa femme ne se réveille et après que les enfants soient couchés pour la nuit.
Comme tant d'autres attachés aux sols de leur maison pendant la pandémie, il a trouvé que c'était une excellente opportunité non seulement pour terminer des projets qui n'avaient jamais eu assez de temps, mais aussi pour enfin s'attaquer à de nouveaux projets. Il a collaboré avec sa fille Viv, une jeune auteure-compositrice-interprète en herbe de vingt ans, alias "bimbo intellectuelle" pour ceux qui savent, ce qui a abouti à un EP excentrique d'alt-R&B électro-pop sorti en décembre 2023. Il a également mis la touche finale à une collection de dix nouvelles chansons solo, où il joue la plupart des instruments ainsi que s'occupe de l'enregistrement et de la production. Appelez cela nostalgique, mais au cours des dernières années, il s'est retrouvé à chercher et à canaliser les sons qu'il entendait lorsque ses petites oreilles se sont dressées pour la première fois sur la radio et les disques que ses frères et sœurs plus âgés tournaient. Pour cette collection de morceaux, Badynee a été particulièrement attiré par la musique de la fin des années 70, en particulier les albums solo souvent négligés par des artistes qui faisaient autrefois partie de groupes populaires ou qui avaient connu un plus grand succès dans la décennie précédente, tels qu'Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. De plus, il a développé un nouvel intérêt pour les chanteurs de jazz qui interprètent des compositions originales, plutôt que des standards ennuyeux, en favorisant des artistes comme Michael Franks, Steve Kuhn et Carla Bley.
User
translate into japanese: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
クレイグ・ベネディクト・ヴァレンタイン・バディニー（CBVB、以下時々）は、14歳の時に盗んだ車のラジオを売って資金を集めた後、最初の4トラックとマイクを手に入れました。 注：これらの不正な利益は50/50で分割されましたが、CBVBは見張り役に過ぎませんでした。 彼が楽器を演奏する前に、彼はどんな音でも捕らえることに恋をしました。それがテーブルをたたくようなドラムのようなものであったり、テレビやラジオから断片を引き出したり、または原始的なSK-1サンプラーで実験したりして、不良ケーブルのブーンを808風のベースラインに変えたりしました。 これらの異なる音の奇妙さをマルチトラックで一緒にすることが、若いCBVBが本当に驚いたところでした。
10代の後半が過ぎ去ると、バディニーは正しい曲を書くよりも美しいノイズを作ることに興味を持ついくつかの志を同じくするタイプとチームを組みました。 彼らは一緒に、即興と音響探求に浸ったグループであるアシャ・ヴィダを形成しました。これは、デトロイトの放射状の90年代のスペースロックシーンの中心にあり、Windy & Carl、Majesty Crush、およびFüxaといった同じく地下の有名人と共にありました。
CBVBは以前、1999年までには変わり者の音楽をやめて、彼の愛するプリンスに敬意を表して1999というポップグループを始めるつもりだと冗談を言っていました。 これはある種のことが起こりましたが、代わりに2002年で、彼はバンドをPAS/CALと呼びました。 このバンドは、設計上、アシャ・ヴィダの音楽制作への悪魔の気にしないアプローチの絶対的な反対でした。 Badyneeと彼のポップの建築家が構築した緻密なアレンジメントでは、すべての細部に悪魔がかかっていました。 PitchforkはPAS/CALを完全なる音楽的参照の魔法のようなものを通して記述し、バンドが「エレクトリック・ライト・オーケストラのバロックさ」と「モントリオールの分裂病」を持っていると主張しました。 これらの曲は時折「バーズ風のジャングル」であり、「暗いXTCのような」ものであり、「彼の 'n' Hers時代のPulp」に触れ、そして「ステレオラブとゾンビ」を繋ぐことに成功しました。 'ジェリーフィッシュやジョン・ブリオンと競争するアレンジメント」という。 数々のシングル、EP、そしてしばしば遅延された中国の民主主義地域にほぼ近づいたフルレングスのアルバムの後、バンドはクレイグがシカゴに移り、401kを強化し、家族を育てるために解散しました。
仕事の獲得と喪失、出産、死亡、卒業、初恋の失恋、装具の装着と着脱、いじめっ子と親友、賃貸、所有、差し押さえ、再所有、などを超えて、急速に進んでください。 この生活の中で、CBVBは、ロックンロールのウォレス・スティーブンスのように、昼休み中にできる限り曲を作曲し、妻が目を覚まさないうちに、子供たちが夜に寝る前にそれを収めるように静かに続けました。
パンデミック中に自宅の床に縛り付けられた多くの他の人々と同様に、彼はそれが十分な時間を持っていなかったプロジェクトを完成させるだけでなく、新しいプロジェクトに取り組む絶好の機会であると感じました。 彼は娘のヴィヴと協力しました。これは、知っている人々には「知的なビンボ」として知られる20代前半のソングライターであり、2023年12月にリリースされた奇妙でずれたオルタナティブR＆BエレクトロポップのEPにつながりました。 彼はまた、彼がほとんどの楽器を演奏し、録音と制作の責任を担当する10の新しいソロ曲のコレクションに最後の仕上げを施しました。 それをノスタ
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translate into Chinese: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
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克雷格·本尼迪克特·瓦伦泰因·巴迪尼（CBVB，以下简称）在十四岁时通过出售盗窃的汽车收音机筹集资金，获得了他的第一个四轨录音机和麦克风。备注：尽管这些非法利润被平均分配，但CBVB只是个守望者。甚至在他能够弹奏乐器之前，他就已经爱上了捕捉任何声音，无论是类似鼓声的桌子敲击，从电视或收音机上抓取片段，还是试验原始的SK-1采样器，将有故障的电缆嗡嗡声变成类似808的低音线。将所有这些不同的音频奇异点放在多轨录音上是年轻的CBVB真正令人惊叹的地方。
随着他的青少年岁月的逝去，巴迪尼与一些志同道合的人合作，他们更感兴趣的是制造一些美妙的噪音，而不是写出合适的歌曲。他们一起组成了Asha Vida，这是一个沉浸在即兴和声音探索中的团体，与风靡底特律的90年代太空摇滚场景的其他地下明星如Windy & Carl，Majesty Crush和Füxa一样重要。
CBVB过去常常开玩笑说，到了1999年，他将停止制作怪异的音乐，并成立一个名为1999的流行乐团，这是对他心爱的王子的一种致敬。这种情况有点发生了，但实际上是在2002年，他成立了PAS/CAL乐队。这支乐队的设计完全与Asha Vida对音乐制作的鬼马态度相反。每一个小细节中的恶魔都是巴迪尼和他的流行建筑师精心设计的复杂安排中最重要的。Pitchfork通过绝对的音乐参考奇术来描述PAS/CAL，声称该乐队拥有“电灯管管弦乐团的巴洛克风格”和“蒙特利尔的精神分裂症”。这些歌曲有时候具有“Byrdsian的颤音”，“暗黑XTC般的风格”或者涉及“His 'n' Hers时代的Pulp”，并且设法连接了“Stereolab和Zombies”与“能够与Jellyfish或Jon Brion媲美的编曲”。在发布了大量单曲、EP和一张经常延迟的完整专辑之后，当巴迪搬到芝加哥增强自己的401k并养家糊口时，乐队宣布解散。
跳过了赢得和失去的工作，出生，死亡，毕业，初恋的心碎，戴上和脱下牙套，霸凌和挚友，租房，拥有，被强制执行和再次拥有等情况。在所有这些生活中，CBVB像摇滚乐界的华莱士·史蒂文斯一样默默地坚持下来，在午休时、妻子醒来前和孩子们晚上睡觉后把写歌塞进去。
像许多其他在疫情期间被束缚在家里的人一样，他发现这不仅是完成从未有过足够时间的项目的绝佳机会，而且最终也可以解决一些新的问题。他与他的女儿维夫合作，她是一个20多岁的新兴的歌曲创作者，对于那些知道的人来说，她是一个“知识分子傻瓜”，最终导致了一张奇怪的离经叛道的EP，于2023年12月发布，是另类R&B电子流行音乐。他还为一套包含十首新个人曲目的专辑做了最后的润色，其中他演奏了大部分乐器，并负责录音和制作工作。称之为怀旧，但在过去的几年中，他发现自己正在寻找和传达他听到的声音，当他还是个小孩时，他的耳朵第一次对收音机和他的大一些的兄弟姐妹旋转的唱片感兴趣。对于这组曲目，巴迪尼特别倾心于70年代末期的音乐，特别是以前曾是流行乐团的一部分或在前一个十年取得更大成功的艺术家的被经常忽视的个人专辑，如艾伦·赫尔，谢尔·甘斯堡和简·伯金，迪昂，凯文·埃尔斯，罗伯特·怀特，斯科特·沃克，唐纳文，比利·莱尔，卢·里德，卡耐托·韦洛索，琼尼·米切尔，麦卡特尼，列侬，迪伦，扬等
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translate to Portuguese: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, doravante) conseguiu seu primeiro gravador de 4 pistas e microfone aos catorze anos, depois de levantar fundos com a venda de rádios de carro roubados. Nota: Embora esses lucros ilegais tenham sido divididos meio a meio, CBVB era apenas o vigia. Antes mesmo de poder tocar um instrumento, ele se apaixonou por capturar qualquer som que pudesse, seja batendo na mesa como um tambor, pegando trechos da TV ou rádio, ou experimentando com o sampler primitivo SK-1, transformando o zumbido de um cabo defeituoso em uma linha de baixo semelhante a um 808. Reunir todas essas estranhezas sonoras díspares no multitrack foi onde o jovem CBVB realmente explodiu sua mente.
Conforme seus anos de adolescência passavam, Badynee se juntou a alguns tipos semelhantes interessados mais em fazer algum tipo de belo barulho do que escrever músicas adequadas. Juntos, eles formaram Asha Vida, um grupo imerso em improvisação e exploração sonora, que estava no cerne da radiante cena de Space Rock dos anos 90 em Detroit, junto com luminárias underground como Windy & Carl, Majesty Crush e Füxa.
CBVB costumava brincar que, até 1999, ele ia parar de fazer música esquisita e começar um grupo pop chamado 1999, uma homenagem ao seu amado Prince. Isso até aconteceu, mas em vez disso, foi em 2002 e ele chamou a banda de PAS/CAL. Essa banda foi, por design, o oposto absoluto da abordagem descontraída de Asha Vida para a produção musical. O diabo em cada pequeno detalhe era tudo o que importava nos arranjos elaborados que Badynee e seus arquitetos pop construíram. A Pitchfork descreveu o PAS/CAL através de uma verdadeira rodopio de referências musicais, afirmando que a banda possuía uma 'barroquidade da Electric Light Orchestra' e 'esquizofrenia de Montreal'. As músicas às vezes tinham um 'tinido Byrdsiano', eram 'escurecidamente parecidas com XTC' ou se inspiravam na 'era His 'n' Hers do Pulp', e conseguiam unir 'Stereolab e os Zombies' com 'arranjos para rivalizar com Jellyfish ou Jon Brion'. Após inúmeros singles, EPs e um álbum completo frequentemente adiado que quase chegou ao território da Democracia Chinesa, a banda se separou quando Craig se mudou para Chicago para reforçar seu 401k e criar uma família.
Avançando rápido por empregos ganhos e perdidos, nascimentos, mortes, formaturas, primeiros amores e desgostos, aparelhos nos dentes, amigos e inimigos, aluguel, propriedade, execução hipotecária e novamente propriedade. Durante toda essa vida, CBVB continuou quietamente como o Wallace Stevens do rock 'n roll, encaixando a composição de músicas quando podia durante os intervalos para o almoço, antes de sua esposa acordar e depois que as crianças foram dormir.
Como tantos outros ligados aos pisos de suas casas durante a pandemia, ele achou que era uma ótima oportunidade não apenas para terminar projetos que nunca tiveram tempo suficiente, mas também para finalmente abordar alguns novos. Ele colaborou com sua filha Viv, uma compositora iniciante de vinte e poucos anos, também conhecida como "pateta intelectual" para os iniciados, que culminou em um EP excêntrico de alt-R&B electro-pop lançado em dezembro de 2023. Ele também deu os retoques finais em uma coleção de dez novas músicas solo, onde ele toca a maioria dos instrumentos, além de cuidar das gravações e produção. Chame isso de nostálgico, mas nos últimos anos, ele se viu cavando e canalizando os sons que ouviu quando seus ouvidos pequeninos primeiro se animaram com o rádio e os discos que seus irmãos mais velhos estavam tocando. Para esta coleção de músicas, Badynee se sentiu particularmente atraído pela música do final dos anos 70, especialmente os álbuns solo frequentemente negligenciados por artistas que antes faziam parte de grupos populares ou alcançaram maior sucesso na década anterior, como Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Além disso, ele desenvolveu um novo interesse pelos vocalistas de jazz que executam composições originais, em vez de padrões cansativos, favorecendo artistas como Michael Franks, Steve Kuhn e Carla Bley.
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translate into danish: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, herefter til tider) fik sin første 4-spors og mikrofon som fjortenårig, efter at have rejst midler fra salget af stjålne bileradioer. Bemærk: Selvom disse ulovlige overskud blev delt 50/50, var CBVB kun udkigspost. Før han overhovedet kunne spille et instrument, forelskede han sig i at fange enhver lyd, han kunne frembringe, uanset om det var tromme-lignende bordbanken, fangebidder fra tv eller radio eller eksperimenter med den primitive SK-1 sampler, der omdannede summen af et defekt kabel til en basslinje, der lignede en 808. At bringe alle disse forskelligartede lydskabninger sammen på flerspor var, hvor den unge CBVB virkelig sprængte sin egen hjerne.
Mens hans teenageår svandt, dannede Badynee et hold med nogle ligesindede typer, der var mere interesserede i at lave en slags smuk støj i stedet for at skrive ordentlige sange. Sammen dannede de Asha Vida, en gruppe dybt forankret i improvisation og sonisk udforskning, der var på kernen af Detroit's strålende 90'ers Space Rock scene sammen med andre underjordiske lysende som Windy & Carl, Majesty Crush og Füxa.
CBVB plejede at joke med, at han ville stoppe med at lave sær musik i 1999 og starte en popgruppe kaldet 1999, som en hyldest til sin elskede Prince. Dette skete på en måde, men i stedet var det i 2002, og han kaldte bandet PAS/CAL. Dette band var, efter design, det absolutte modsætning til Asha Vidas djævl-sigende tilgang til musikproduktion. Djævlen i hver lille detalje var alt, hvad der betød noget i de udførlige arrangementer, Badynee og hans poparkitekter konstruerede. Pitchfork beskrev PAS/CAL via en absolut roterende musikalsk referencemagi og hævdede, at bandet besad en 'Electric Light Orchestra barokhed' og 'Of Montreal skizofreni'. Sangene havde til tider en 'Byrdsian jangle', var 'mørkt XTC-agtige' eller trak på 'His 'n' Hers-æraen Pulp' og formåede at bygge bro mellem 'Stereolab og Zombies' med 'arrangementer der kunne måle sig med Jellyfish eller Jon Brion.' Efter adskillige singler, EP'er og et ofte forsinket fuldlængdealbum, der nærmede sig territoriet for den kinesiske demokrati, lagde bandet det på hylden, da Craig flyttede til Chicago for at styrke sin pensionsopsparing og stifte familie.
Hurtig fremad forbi vundne og tabte jobs, fødsler, dødsfald, eksamener, første kærlighedssorg, bøjler af og på, plageånder og bedste venner, leje, ejendom, tvangsauktion og ejendom igen. Under alt dette livsstads fortsatte CBVB stille med det som Wallace Stevens inden for rock 'n roll, hvor han skrev sange, når han kunne i løbet af frokostpauserne, inden hans kone vågnede op og efter at børnene var puttet om aftenen.
Ligesom så mange andre bundet til gulvene i deres hjem under pandemien, fandt han det som en fantastisk mulighed ikke kun at færdiggøre projekter, der aldrig havde haft nok tid, men også endelig at tackle nogle nye. Han samarbejdede med sin datter Viv, en knap 20-årig sangskriver, også kendt som "intellektuel bimbo" for dem, der ved det, hvilket kulminerede i en excentrisk skæv EP af alternativ R&B electro-pop udgivet i december 2023. Han satte også de sidste finish på en samling af ti nye solo sange, hvor han spiller de fleste instrumenter samt håndterer indspilning og produktion. Kald det nostalgisk, men i løbet af de sidste par år fandt han sig selv gravende efter og kanaliserende lyde, han hørte, da hans små ører først reagerede på radioen og de plader, hans ældre søskende drejede. Til denne samling af toner har Badynee været særligt tiltrukket af musikken fra slutningen af 70'erne, især de ofte oversete soloplader af kunstnere, der tidligere var en del af populære grupper eller opnåede større succes i det foregående årti, såsom Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, osv. Derudover udviklede han en nyfundet interesse for jazzvokalister, der opfører originale kompositioner i stedet for trætte standarder, og favoriserede kunstnere som Michael Franks, Steve Kuhn og Carla Bley.
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translate to german: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, nachfolgend gelegentlich) bekam im Alter von vierzehn Jahren seine erste 4-Spur und ein Mikrofon, nachdem er die Gelder aus dem Verkauf gestohlener Autoradios beschafft hatte. Anmerkung: Obwohl diese illegalen Gewinne zu gleichen Teilen aufgeteilt wurden, war CBVB nur der Beobachter. Bevor er überhaupt ein Instrument spielen konnte, verliebte er sich darin, jeden Klang einzufangen, den er erzeugen konnte, sei es das trommelnde Stampfen auf dem Tisch, das Aufschnappen von Ausschnitten aus dem Fernsehen oder Radio oder das Experimentieren mit dem primitiven SK-1-Sampler, der das Summen eines defekten Kabels in eine Basslinie ähnlich der 808 verwandelte. Das Zusammenführen all dieser unterschiedlichen Audio-Kuriositäten auf der Mehrspur war es, wo der junge CBVB wirklich seinen Verstand sprengte.
Als seine Teenagerjahre verstrichen, schloss sich Badynee mit einigen gleichgesinnten Personen zusammen, die mehr daran interessiert waren, eine Art schönen Lärm zu erzeugen, anstatt ordentliche Lieder zu schreiben. Zusammen gründeten sie Asha Vida, eine Gruppe, die tief in Improvisation und klanglicher Erkundung verwurzelt war und die den Kern der strahlenden Space-Rock-Szene der 90er Jahre in Detroit bildete, zusammen mit anderen unterirdischen Größen wie Windy & Carl, Majesty Crush und Füxa.
CBVB pflegte zu scherzen, dass er bis 1999 aufhören würde, seltsame Musik zu machen, und stattdessen eine Popgruppe namens 1999 gründen würde, als Hommage an seinen geliebten Prince. Das geschah in gewisser Weise, aber stattdessen war es 2002, und er nannte die Band PAS/CAL. Diese Band war, vom Design her, das absolute Gegenteil von Asha Vidas sorglosem Ansatz zur Musikproduktion. Der Teufel in jedem kleinen Detail war alles, worauf es in den ausgearbeiteten Arrangements ankam, die Badynee und seine Pop-Architekten konstruierten. Pitchfork beschrieb PAS/CAL als ein absolut drehendes musikalisches Referenz-Wirrwarr und behauptete, dass die Band eine "Electric Light Orchestra-Barockheit" und eine "Of Montreal-Schizophrenie" besaß. Die Songs hatten zuweilen einen "Byrdsianischen Klang", waren "dunkel XTC-ähnlich" oder griffen auf "Sein 'n' Ihrs-Ära Pulp" zurück und schafften es, "Stereolab und die Zombies" mit "Arrangements, die mit Jellyfish oder Jon Brion konkurrieren können", zu verbinden. Nach zahlreichen Singles, EPs und einem oft verzögerten Full-Length-Album, das verdammt nahe an das Territorium von Chinese Democracy heranreichte, löste sich die Band auf, als Craig nach Chicago zog, um sein 401k zu stärken und eine Familie zu gründen.
Schnell vorwärts vorbei an gewonnenen und verlorenen Jobs, Geburten, Todesfällen, Abschlüssen, erstmaligen Liebeskummer, Zahnspangen an und aus, Tyrannen und besten Freunden, Mieten, Besitz, Zwangsversteigerung und erneutem Besitz. Während all dieser Lebensdinge blieb CBVB leise dabei, wie der Wallace Stevens des Rock 'n Roll, und passte das Songwriting an, wenn er konnte, während der Mittagspausen, bevor seine Frau aufwachte und nachdem die Kinder für die Nacht ins Bett gebracht waren.
Wie so viele andere, die während der Pandemie an den Böden ihrer Häuser gefesselt waren, fand er es nicht nur als eine großartige Gelegenheit, Projekte abzuschließen, für die nie genug Zeit war, sondern auch endlich einige neue in Angriff zu nehmen. Er arbeitete mit seiner Tochter Viv zusammen, einer aufstrebenden Songwriterin in den Zwanzigern, auch bekannt als "intellektuelle Blondine" für diejenigen, die es wissen, was in einer schrulligen EP von Alternativ-R&B Electro-Pop gipfelte, die im Dezember 2023 veröffentlicht wurde. Er gab auch den letzten Schliff an einer Sammlung von zehn neuen Solo-Songs, in denen er die meisten Instrumente spielte und sich um Aufnahme- und Produktionsaufgaben kümmerte. Nennen Sie es nostalgisch, aber in den letzten Jahren fand er sich dabei, wie er nach den Klängen suchte und sie kanalisierte, die er hörte, als seine kleinen Ohren zum ersten Mal auf das Radio und die Platten stießen, die seine älteren Geschwister auflegten. Für diese Sammlung von Melodien fühlte sich Badynee besonders zur Musik der späten 70er Jahre hingezogen, insbesondere zu den oft übersehenen Solo-Alben von Künstlern, die früher Teil populärer Gruppen waren oder im vorherigen Jahrzehnt größeren Erfolg hatten, wie Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, usw. Darüber hinaus entwickelte er ein neu gefundenes Interesse an Jazz-Sängern, die originale Kompositionen aufführen, anstatt abgenutzte Standards, und bevorzugte Künstler wie Michael Franks, Steve Kuhn und Carla Bley.
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translate to spanish: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, en adelante) obtuvo su primera grabadora de 4 pistas y micrófono a los catorce años después de recaudar fondos con la venta de radios de coche robados. Nota: Aunque estas ganancias ilegales se dividieron al 50/50, CBVB solo estaba de guardia. Antes de poder tocar un instrumento, se enamoró de capturar cualquier sonido que pudiera reunir, ya fuera golpear la mesa como un tambor, recoger fragmentos de la televisión o la radio, o experimentar con el primitivo sampler SK-1, convirtiendo el zumbido de un cable defectuoso en una línea de bajo similar a la 808. Unir todas estas extrañas curiosidades de audio en la grabadora multipista fue donde el joven CBVB realmente quedó impresionado.
A medida que sus años de adolescencia pasaban, Badynee se unió con algunos tipos afines más interesados en hacer algún tipo de hermoso ruido que en escribir canciones adecuadas. Juntos formaron Asha Vida, un grupo empapado en improvisación y exploración sónica, que estaba en el centro de la radiante escena de Space Rock de los años 90 en Detroit junto con otros iluminados subterráneos como Windy & Carl, Majesty Crush y Füxa.
CBVB solía bromear que para 1999 iba a dejar de hacer música rara y comenzar un grupo pop llamado 1999, un guiño a su amado Prince. Esto sucedió más o menos, pero en lugar de eso, fue en 2002 y llamó a la banda PAS/CAL. Esta banda era, por diseño, el absoluto opuesto al enfoque despreocupado de Asha Vida para hacer música. El diablo en cada pequeño detalle era todo lo que importaba en los elaborados arreglos que Badynee y sus arquitectos pop construyeron. Pitchfork describió a PAS/CAL a través de un verdadero torbellino de referencias musicales, afirmando que la banda poseía una "barroquedad de Electric Light Orchestra" y una "esquizofrenia de Montreal". Las canciones a veces tenían un "sonido tipo Byrds", eran "oscuramente parecidas a XTC" o se sumergían en la "era de Pulp de Ella y Él", y lograban unir "Stereolab y los Zombies" con "arreglos que rivalizaban con Jellyfish o Jon Brion". Después de numerosos sencillos, EPs y un álbum completo a menudo retrasado que casi alcanzó el territorio de la Democracia China, la banda se disolvió cuando Craig se mudó a Chicago para fortalecer su plan de pensiones y formar una familia.
Avanzando rápidamente más allá de trabajos ganados y perdidos, nacimientos, muertes, graduaciones, amores y desamores, frenillos puestos y quitados, matones y mejores amigos, alquiler, posesión, embargo hipotecario y posesión nuevamente. Durante todas estas cosas de la vida, CBVB siguió adelante como el Wallace Stevens del rock 'n roll, encajando la composición de canciones cuando podía, durante los descansos para almorzar, antes de que su esposa se despertara y después de que los niños estuvieran acostados por la noche.
Como tantos otros atados a los pisos de sus hogares durante la pandemia, encontró que era una gran oportunidad no solo para terminar proyectos que nunca tuvieron suficiente tiempo, sino también para finalmente abordar algunos nuevos. Colaboró con su hija Viv, una prometedora cantautora de veinte años, también conocida como "rubia intelectual" para aquellos que saben, que culminó en un EP excéntrico de alt-R&B electro-pop lanzado en diciembre de 2023. También dio los toques finales a una colección de diez nuevas canciones en solitario, donde él toca la mayoría de los instrumentos y se encarga de las tareas de grabación y producción. Llámenlo nostálgico, pero en los últimos años, se encontró cavando y canalizando los sonidos que escuchó cuando sus pequeñas orejitas se levantaron por primera vez hacia la radio y los discos que sus hermanos mayores estaban tocando. Para esta colección de melodías, Badynee se sintió particularmente atraído por la música de finales de los años 70, especialmente los álbumes en solitario a menudo pasados por alto de artistas que antes formaban parte de grupos populares o que lograron un mayor éxito en la década anterior, como Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Además, desarrolló un nuevo interés en cantantes de jazz que interpretan composiciones originales, en lugar de estándares agotados, favoreciendo a artistas como Michael Franks, Steve Kuhn y Carla Bley.
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translate to Polish: Craig Benedict Valentine Badynee (CBVB, at times hereafter) got his first 4-track and microphone at fourteen after raising the funds from the sale of stolen car radios. Note: Although these illegal profits were split 50/50, CBVB was only the lookout. Before he could even play an instrument, he fell in love with capturing any sound he could muster, whether it was drum-like table thumping, snagging snippets off the TV or radio, or experimenting with the primitive SK-1 sampler, turning the buzz of a faulty cable into an 808-like bass line. Bringing all these disparate audio oddities together on the multitrack was where young CBVB really blew his mind.
As his teenage years flitted away, Badynee teamed up with a few like-minded types interested more in making some sort of beautiful noise rather than writing proper songs. Together, they formed Asha Vida, a group steeped in improvisation and sonic exploration, that was at the crux of Detroit's radiant 90s Space Rock scene along with fellow underground luminaries like Windy & Carl, Majesty Crush, and Füxa.
CBVB used to joke that by 1999, he was going to stop making weirdo music and start up a pop group called 1999, a nod to his beloved Prince. This sort of happened, but instead, it was 2002 and he called the band PAS/CAL. This band was, by design, the absolute opposite of Asha Vida's devil-may-care approach to music-making. The devil in every little detail was all that mattered in the elaborate arrangements Badynee and his pop architects constructed. Pitchfork described PAS/CAL via an absolutely whirligig of musical reference wizardry, asserting the band possessed an 'Electric Light Orchestra baroqueness' and 'Of Montreal schizophrenia'. The songs at times had a 'Byrdsian jangle', were 'darkly XTC-like' or tapped into 'His 'n' Hers-era Pulp', and managed to bridge 'Stereolab and the Zombies' with, ‘arrangements to rival Jellyfish or Jon Brion.’ After numerous singles, EPs, and an oft-delayed full-length that damn-neared Chinese Democracy territory, the band called it quits as Craig moved to Chicago to bolster his 401k and raise a family.
Fast forward past jobs won & lost, births, deaths, graduations, first-love heartbreaks, braces on & off, bullies & besties, renting, owning, foreclosure, and owning again. During all this life stuff, CBVB quietly kept at it like the Wallace Stevens of rock ‘n roll, fitting songwriting in when he could during lunch breaks, before his wife woke up and after the kids were tucked in for the night.
Like so many others tethered to the floors of their homes during the pandemic, he found it to be a great opportunity not only to finish projects that never had enough time but also to finally tackle some new ones. He collaborated with his daughter Viv, a budding 20-something songwriter, aka “intellectual bimbo” to those in the know, that culminated in a quirky off-kilter EP of alt-R&B electro-pop released in December of 2023. He also put the finishing touches on a collection of ten new solo songs, where he plays most of the instruments as well as handling recording and production duties. Call it nostalgic, but over the last few years, he found himself digging for and channeling the sounds he heard when his wee lil' ears first pricked up to the radio and the records his older sibs were spinning. For this collection of tunes, Badynee has been particularly drawn to the music of the late '70s, especially the often overlooked solo albums by artists who were formerly part of popular groups or achieved greater success in the preceding decade, such as Alan Hull, Serge Gainsbourg & Jane Birkin, Dion, Kevin Ayers, Robert Wyatt, Scott Walker, Donovan, Billy Lyall, Lou Reed, Caetano Veloso, Joni Mitchell, McCartney, Lennon, Dylan, Young, etc. Additionally, he developed a newfound interest in jazz vocalists who perform original compositions, rather than tired standards, favoring artists like Michael Franks, Steve Kuhn, and Carla Bley.
ChatGPT
Craig Benedict Valentine Badynee (CBVB, odtąd zwanym) otrzymał swój pierwszy 4-śladowy rejestrator i mikrofon w wieku czternastu lat po zebraniu środków ze sprzedaży skradzionych radioodbiorników samochodowych. Uwaga: Chociaż te nielegalne zyski zostały podzielone na pół, CBVB był tylko na dyżurze. Zanim nawet nauczył się grać na instrumencie, zakochał się w rejestrowaniu każdego dźwięku, który mógł uchwycić, czy to było uderzanie w stół jak w bęben, łapanie fragmentów z telewizji lub radia, czy eksperymentowanie z prymitywnym samplowaniem SK-1, przekształcając szum wadliwego kabla w bas 808. Łączenie wszystkich tych różnorodnych dziwnych dźwięków na wielu ścieżkach było tym, gdzie młody CBVB naprawdę zachwiał swoim umysłem.
Kiedy jego nastoletnie lata mijały, Badynee połączył się z kilkoma podobnie myślącymi osobami, które bardziej interesowały się tworzeniem jakiegoś pięknego hałasu niż pisaniem właściwych piosenek. Razem stworzyli Asha Vida, zespół zanurzony w improwizacji i eksploracji dźwiękowej, który był u szczytu jaskrawej sceny Space Rock lat 90. w Detroit, obok takich podziemnych luminarzy jak Windy & Carl, Majesty Crush i Füxa.
CBVB kiedyś żartował, że do 1999 roku zamierza przestać robić dziwaczną muzykę i założyć zespół pop o nazwie 1999, hołdując swojemu ukochanemu księciu. W pewnym sensie tak się stało, ale zamiast tego było to w 2002 roku, a on nazwał zespół PAS/CAL. Ten zespół był, z założenia, zupełnym przeciwieństwem beztroskiego podejścia Asha Vida do tworzenia muzyki. Diabeł tkwił w każdym małym szczególe w rozbudowanych aranżacjach, jakie Badynee i jego architekci popu skonstruowali. Pitchfork opisał PAS/CAL poprzez absolutny wir muzycznych odniesień, twierdząc, że zespół posiada "barokowy charakter Electric Light Orchestra" i "schizofrenię Of Montreal". Piosenki czasami miały "janglujący dźwięk typu Byrds", były "mrocznie podobne do XTC" lub wpadały w "erę Pulp His 'n' Hers", i udawały się "Stereolabowi i Zombiesom" z "aranżacjami, które dorównywały Jellyfishowi lub Jonowi Brionowi". Po licznych singlach, EP-ach i często opóźnionym pełnym albumie, który prawie dorównał chińskiej demokracji, zespół zakończył działalność, gdy Craig przeprowadził się do Chicago, by wzmocnić swoje 401k i założyć rodzinę.
Przeskakując przez wygrane i przegrane prace, narodziny, śmierci, ukończone szkoły, pierwsze miłosne rozczarowania, aparaty ortodontyczne na i zęby, łobuziaki i najlepsi przyjaciele, wynajmowanie, posiadanie, upadłość i ponowne posiadanie. Podczas wszystkich tych życiowych spraw, CBVB cicho pracował jak Wallace Stevens rock 'n roll, wpasowując pisanie piosenek, kiedy tylk
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