Audio Collection
Embed
sounds and silence
the 3rd
Mix one part Massive Attack, one part the Doors, sprinkle liberally with noise and orchestrals, and serve with whiskey. The second album from Hollywood industrial project THE 3RD intuitively navigates across electronic genres.
Collection Contents
| # | Title | Length | ||
|---|---|---|---|---|
| 1 |
|
Ewww | 5:21 | Play |
| 2 |
|
Flakebus | 5:57 | Play |
| 3 |
|
Fuckstick | 7:06 | Play |
| 4 |
|
Five to One | 4:56 | Play |
| 5 |
|
Thinking | 5:06 | Play |
| 6 |
|
Ali | 6:00 | Play |
| 7 |
|
Thermo | 8:54 | Play |
| 8 |
|
Indie | 4:16 | Play |
| 9 |
|
Happy | 3:41 | Play |
| 10 |
|
End | 2:04 | Play |
| 11 |
|
Immortal | 4:22 | Play |
| 12 |
|
Dumb | 5:13 | Play |
Items may be purchased individually.
Contributors
Details
Royalties
See the payment distribution when this media is bought.
| Description | Amount |
|---|---|
| Bitmunk Marketplace Service | USD $0.98 |
| CD Baby Artist Royalty | USD $5.97 |
| CD Baby 9% Digital Distribution Cost | USD $0.54 |
| Bitmunk Download Service | USD $0.67 |
| Bitmunk MicroPayment Service | USD $0.01 |
| Total | USD $8.14 |
Bitmunk uses a micropayment system that is accurate to
7 monetary digits.
Mouse over an individual amount to see its exact value.
Description
Jonathan Liber (the 3rd) has been a professional musician for years, and has played with various national and world touring acts as well as having experience in movie scores.
In February 2004, 'the 3rd' offers us "sounds and silence" (2004, Fraction Records); an allegorical exploration of abandoned truths, duplicity, and regeneration. Intuitively navigating a labyrinth of genres- from the unrelenting brutality of 'Fuckstick' to the rollicking, immense beats of 'Flakebus'- "sounds and silence" bridges the waters of post-industrial electronica. Jonathan; no mere 'button-pusher', becomes the architect of Babel, generating a pandemonium of aural strains. Not always transparent, he postulates on the deconstruction and rebirth of the self- the destruction of the ego- and demonstrates the trancendent ability to personify one's art. This is readily apparent to those fortunate enough to have experienced any of his numerous live performances; more ritual than showcase, that feature a revolving roster of guest musicians, dancers and performance artists.
Whatever the embodiment, Jonathan's purpose is clear. As a musical medium, he holds up a mirror into which we might see the true reflection of our selves; he flips that 'light switch' that we all might drag our skeletons out of the closet to dance with us.