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This article requires a working understanding of the vultology code.SeFiVEDAERSpoiler:
This is the first thread of the Gamma quadrant’s vultology!
It is also thread #10 of 16, as we begin to close in on a full series.
As there currently are no other Gamma type threads to compare against, please refer to the SeTi and NeFi threads for contrast.
A quick note, there are a lot more SeFi than the ones listed here, but many are concentrated under the same developments so they are omitted to reduce redundancy. But they will appear very soon in an update to the Database spreadsheet. I hope this thread provides clarification and new insights into the SeFi type!
1) The annotations (l—, ll–, lll-, llll, l–l, l-l-, l-ll, ll-l) signify function consciousness, with “l” being fully conscious and “-” being subconscious or unconscious.
- This topic was modified 1 year, 1 month ago by Auburn.
- Type: FiSe
- Development: ll--
- Attitude: Unseelie
Hi! Not really sure if we’re supposed to comment on these threads, but I have a potential unseelie SeFi ll– male sample here in Kevin Shields of the seminal shoegaze band My Bloody Valentine. Thought he was an Ne user at first because of his eyebrows, but upon multiple watches of these old interviews with him, I’ve kind of figured him as an Se user. LOTS of Fi in him as well, so I was honestly unsure if he was a Pe lead or not, but he’s so loose and obviously eye-centric that I figure him as an SeFi ll– with lots of Fi.
^(A possible good juxtaposition of a Pe lead with heavy Fi vs an actual Fi lead in Kevin and his guitarist Bilinda here)
Shields in an interesting character, something of a legend in his music circles. He is rumored to be exceptionally perfectionistic and reclusive, having spent something like 3 years pretty much living out of a music studio while recording his magnum opus Loveless in the late 80s. He fired over a dozen sound engineers, eventually settling on one who would just do whatever Shields would tell him to do, and he wrote and recorded each instrumental part of that record on his own, not letting his band mates preform even one take on the record. He forced Bilinda, the other singer in the band, to record dozens and dozens of takes for her vocals, eventually becoming frustrated and just layering them all on top of eachother, accidentally creating a signature sound that other bands would attempt to emulate for decades after.
He had a vision for how this music would sound before he even recorded it, and he went through an absolutely uncompromising process to get the final result. He effectively put himself and multiple record labels tens of thousands of dollars in debt in order to achieve this vision, and the result is a wash of sound and texture unlike anything anyone had ever heard before. He explored and attempted to capture themes of ecstasy, androgyny, sensuality, and sex in his recordings. 30 years later, the band’s legacy lives on. Cited as one of the loudest live preformances of music you can see on Earth, they preform at least 10 minutes of pure feedback sounds for their audiences every show. They crank their amps all the way up, turn all of their sound monitors toward the audience, and just make a wall of pure and impossibly loud sound that audience members have nicknamed “the holocaust.” It often reaches 130 decibels (eardrums rupture at 150).
Shields is a sonic explorer, always trying to delve deeper into what makes sound, sound. He influenced an entire subgenre of music, and changed the course of alternative rock music and sound production forever.
listen with headphones at maximum volume:
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