Animal Pictures And Sounds BiographyThe coyote appears often in the tales and traditions of Native Americans—usually as a very savvy and clever beast. Modern coyotes have displayed their cleverness by adapting to the changing American landscape. These members of the dog family once lived primarily in open prairies and deserts, but now roam the continent's forests and mountains. They have even colonized cities like Los Angeles, and are now found over most of North America. Coyote populations are likely at an all-time high.
These adaptable animals will eat almost anything. They hunt rabbits, rodents, fish, frogs, and even deer. They also happily dine on insects, snakes, fruit, grass, and carrion. Because they sometimes kill lambs, calves, or other livestock, as well as pets, many ranchers and farmers regard them as destructive pests.
Coyotes are formidable in the field where they enjoy keen vision and a strong sense of smell. They can run up to 40 miles (64 kilometers) an hour. In the fall and winter, they form packs for more effective hunting.
Coyotes form strong family groups. In spring, females den and give birth to litters of three to twelve pups. Both parents feed and protect their young and their territory. The pups are able to hunt on their own by the following fall.
Coyotes are smaller than wolves and are sometimes called prairie wolves or brush wolves. They communicate with a distinctive call, which at night often develops into a raucous canine chorus.
Conquering Animal Sound is a Glasgow-based two piece, Anneke (loops/vocals) and James (loops/guitars), who make flowing sounds and abstract electrical noises.
Conquering Animal Sound released a mixtape, titled “Your Friends, Conquering Animal Sound, on cassette in May 2009, and their debut single “Giant” on Gerry Loves Records on the 5th of April 2010, a split 7” vinyl release with Debutant. Their debut album, Kammerspiel, is out now on Gizeh/mini50 Records.
Edited by martin_moog on 28 Jul 2011, 09:18
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The Sound of Animals Fighting are an experimental/prog rock band that incorporated many members, including members from bands such as Finch, RX Bandits, Circa Survive and Chiodos. The group was brought together by Rich Balling.
All parts of the album Tiger and the Duke were recorded individually and each member was only able to hear the part they contributed to the album. The only member who heard the whole album during its recording process was Balling. The group released their next album Lover, the Lord Has Left Us… on May 30th, 2006.
Keith Goodwin was announced as one of the vocalists for the next album, taking on the pseudonym of ‘The Penguin’.
The Sound of Animals Fighting have only performed live four times, all of which were released on a DVD, entitled “We Must Become The Change We Want To See”. Three of their four shows took place in California (Anaheim, L.A., and San Diego), USA, and one in Las Vegas, Nevada, USA.
With the release of The Ocean And The Sun, the band issued a series of 400 masks, 100 of each of 4 designs, paired with a 7” for a limited preorder of the album. This was the first and only vinyl release and novelty item sold by the band.
Original Lineup(Tiger And The Duke):
The Nightingale - Rich Balling (Vocals), formerly of the RX Bandits.
The Walrus - Matt Embree (Lead Guitar), Lead Vocals/Guitar for RX Bandits.
The Lynx - Chris Tsagakis (Drums), Drums for RX Bandits.
The Tiger - Randy “R2K” Strohmeyer (Guitar), Guitar for Finch.
Crass, experimental and haunting, the sound of animals fighting is the collective, concerted efforts of musicians across the gamut of independent music. These artists have cast themselves together to build a new sort of album, one that is simultaneously homage and reinvention to and of the genres that these artists adore. Tiger & the Duke, built with a distinctly operatic structure, fuses elements of electronic, hardcore and progressive music into a cohesive, alternate sound void of broader qualifying characteristics that would anchor it in any one style of music.
The artists themselves remain anonymous, for reasons of legality (and mystery) and have taken on animal pseudonyms; the walrus, the bear, the ferret, the hyena, the skunk, the swan, the raven, the tiger, the tortoise, the dog, the llama, the octopus, the armadillo, the nightingale and the lynx, each of whom lent their hands to the work in its final form.
The lyricism of The Sound of Animals Fighting, though immediately ambiguous, contains in its cyclical referencing and re-referencing a separate narrative, a story of what has become of the animals, the tiger and the duke. This coupling earns for itself status as a true opera, as the story and the sound are inseparable.
In the summer of 1997, the US National Oceanic and Atmospheric Administration picked up a sound from deep beneath the Pacific. The sound seemed to come from an animal far larger than any we've ever seen. This was the Bloop.
The Bloop is one of about a half-dozen unexplained sounds that the NOAA's Acoustic Monitoring Project has picked up in its more than twenty years listening to the noises of the Pacific. While some of these sounds seem to have relatively obvious explanations, a few really are baffling, and they represent one of science's great unanswered mysteries. Let's now take a closer listen to the Bloop and five other strange underwater sounds.
Back in the Cold War, the US Navy set up a series of massive arrays of microphones throughout the world's oceans. these, unsurprisingly enough, meant as a way to listen in on Soviet submarines, and they took advantage of a phenomenon known as the deep sound channel, an ocean layer where the speed of sound becomes virtually nothing and low-frequency soundwaves that enter the channel can become trapped, bouncing around in this layer for thousands of miles.
This phenomenon allowed the arrays of the Sound Surveillance System, or SOSUS, to be able to detect even relatively weak sounds from hundreds of miles away. With the end of the Cold War around 1990, the arrays' original 30-year mission came to an end and was replaced with a new civilian function of just generally monitoring the sounds the ocean. For the last twenty years, the NOAA and its Equatorial Pacific Ocean autonomous hydrophone array have been doing just that.
For the most part, it's not hard to identify the sounds that are emitted. Whales are a frequent source of low frequency noises, as are volcanic activity and iceberg movement, plus all the human-made devices still at work under the sea. These all have their own distinctive soundprint, so that there's rarely any question of where a sound came from. But every so often, the Acoustic Monitoring Project picks up a sound that defies explanation. Here are the six sounds that the NOAA officially considers unexplained. All of these have been sped up between 16 and 20 times their real speed so that we actually hear them.