they were conceived as being part musical, part filmic. Quite key to Kodax Strophes is its filmic orientation - all the pieces were written and developed to вЂmess-aesthetic filmвЂ™ images of Bates' own devising - i.e. Among the first things that he made for public consumption was the music he made in 1979/80 under the Migraine Inducers aegis. Kodax Strophes is in a way where Martyn Bates originally began. Music for emptying dreams, music to free-associate by. It turned out to be an often sparse canvas, with lots of raw, ambient, found sounds вЂ¦ something quite different from вЂњsongвЂќ, and yet still lyrical/pastoral. It is shown that males singing long strophes also obtain postpairing benefits in terms of reproductive success, and that females paired with these males obtain direct benefits because these males provide greater feeding effort in the second half of the nestling period, supporting the hypothesis that in the Hoopoe, strophe-length is a sexually selected cue under direct selection. Kodax Strophes is all about him wanting to make something wide-screen and filmic, kind of unhinged, and yet painterly вЂ“ aleatoric, yet not absolutely, definitively so. From 1992 onwards, Bates has run a parallel career recording and performing with a re-vitalised Eyeless In Gaza вЂ“ with Eyeless deftly blending song with collaged soundscaping - while Bates otherwise continues to develop his own intense and possibly autobiographical solo work. The duo became known for their unconventional instrumentation and arrangements, and for BatesвЂ™s passionate vocals. After releasing tapes of experimental, industrial music as Migraine Inducers he formed Eyeless In Gaza with Peter Becker in January 1980. Strophes tend to be longer in strophic songs than in AABA songs. Martyn Bates is an English singer, musician and songwriter. In AABA songs, strophe function often involves the prolongation of tonic harmony.

Different strophes is