Aftertaste is the taste intensity of a food or beverage that is perceived immediately after that food or beverage is removed from the mouth. The aftertastes of different foods and beverages can vary by intensity and over time, but the unifying feature of aftertaste is that it is perceived after a food or beverage is either swallowed or spat out. The neurobiological mechanisms of taste (and aftertaste) signal transduction from the taste receptors in the mouth to the brain have not yet been fully understood. However, the primary taste processing area located in the insula has been observed to be involved in aftertaste perception.
Characteristics of a food's aftertaste are quality, intensity, and duration. Quality describes the actual taste of a food and intensity conveys the magnitude of that taste. Duration describes how long a food's aftertaste sensation lasts. Foods that have lingering aftertastes typically have long sensation durations.
Because taste perception is unique to every person, descriptors for taste quality and intensity have been standardized, particularly for use in scientific studies. For taste quality, foods can be described by the commonly used terms "sweet", "sour", "salty", "bitter", "umami", or "no taste". Description of aftertaste perception relies heavily upon the use of these words to convey the taste that is being sensed after a food has been removed from the mouth.
Aftertaste may also refer to:
Aftertaste is the fourth album by Helmet, released in 1997 on Interscope. This proved to be Helmet's final album with original members John Stanier (drums) and Henry Bogdan (bass). Guitarist Rob Echeverria, who appeared on Helmet's previous outing, Betty, left the group to join Biohazard. Subsequently, the album was recorded as a three-piece, with Page Hamilton covering all the guitar parts. Guitarist Chris Traynor (formerly of Orange 9mm) came on board for the supporting tour.
Aftertaste harkens back to Helmet's earlier sound, omitting some of the experimental/jazz tendencies of Betty. The album met with a mixed critical reaction and poor commercial response and went out of print in 2006.
This album along with Meantime and Betty is considered a definitive text in post-metal.
Hamilton said his goal in writing the album was to create a greater mix between smarts and crunch.
"I don't want to say that I'm sick of the visceral animal response that we get - I'm not, But I need more than that. I need more than seeing a bunch of kids jumping around and breaking each other's noses. I feel like I really need to communicate with an audience who will listen. I'm painted into a corner. Whatever I write in a rock 'n' roll context will elicit a conditioned response, unless I quit rock and make a country record or something."
"Everyday" was the third and last single from Orchestral Manoeuvres in the Dark's 1993 album Liberator. Co-founder Paul Humphreys, who had left the band four years prior, is credited as a co-writer.
"Everyday" was the only single from Liberator to miss the UK Top 25, charting at #59. Its accompanying music video features Sara Cox, who would later be known as a BBC Radio DJ.
Everyday is the third studio album by the Athens, GA based band Widespread Panic. It was first released by Capricorn Records and Warner Bros. Records on March 3, 1993. It would later be re-released in 2001 by Zomba Music Group. On July 3, 2014 the band announced that Everyday would be reissued on Vinyl in August, 2014. The reissue will be distributed via ThinkIndie distribution and sold only at participating independent record stores.
Beginning on November 5, 1992, The band recorded the album at Muscle Shoals Sound Studio in Sheffield, AL. They were in the studio for roughly 5 weeks.
The album reached a peak position of #184 on the Billboard 200 chart and #10 on the Heatseekers chart.
The album was the group's first to feature bandmate, John Hermann.
All tracks written by Widespread Panic, except where noted.
"Everyday" is a ballad pop song by Phil Collins released as the second single of his fifth studio album, Both Sides. It was also been released as the seventh track on 2004 compilation album, Love Songs: A Compilation... Old and New. The single achieved success mostly in North America in the spring of 1994.
Due to the lackluster success of the first single of the album, "Both Sides of the Story", which only peaked at No. 25 on Billboard Hot 100, Collins' record label urged the release of the second single. The decision was right, the single peaked one place higher than the previous single at No. 24 on Billboard Hot 100. However, in the UK (Collins' native country), the single performed worse than the previous single, peaking at No. 15. This song was only performed live during Collins' 1994 concerts.