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thesinglesjukebox · 6 months ago

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NEWJEANS - "HOW SWEET"

Breaking up: it's like sugar sometimes...

[6.69]

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Rachel Saywitz: NewJeans has found a comfortable home in the production of DJ and electro-trot producer 250, whose musical style has become so singular that I'd start putting him up there with some of the other K-pop producing greats like Brave Brothers, the late Shinsadong Tiger, or Sweetune. His method continues to work well on "How Sweet": adding a little shimmering twist to American club genres (Miami bass in this case), seamless transitions from section to section, and the light vocal touch of every girl's vocals. But, as with the greats, I sense a slight loss of luster with the constant repetition. How many underground genres is 250 going to fish out of the Western world's murky waters to can up and ship out with a shiny new label? The catches are going to dry up eventually. [7]

Kayla Beardslee: NewJeans’ early singles smashed, bringing them ridiculous and unprecedented success for a first-year K-pop rookie group, because they delivered masterfully crafted pop songs in deceptively simple packaging. "Hype Boy" plows through enough memorable hooks for an entire album in a minute and a half, yet sounds so breezy and youthfully optimistic that the music doesn’t feel like work at all. Beneath the soft swells and whispers of "Ditto" is an instrumental that has a beautifully subtle touch with intimacy and a topline that stays in constant motion even as it tantalizingly holds itself back. In comparison, “How Sweet” is more of an underachieving graduate of the Tortured Poets school of songwriting. In each section of the song, they pick one melody with a limited dynamic range, hammer it into the ground, then tick the box and move on. For a Coca-Cola ad, it’s pretty flat. [5]

Mark Sinker: Chirpy song about how breaking up with u is great and also v easy bcz u suck and I never liked u! Happily the real-world backdrop (MASSIVE INDUSTRY DRAMA pitting label against manager) cannot possibly ground this as a metaphor. The delivery turns the tale of the change from oops non-allegory into smilingly blank-faced stonewall. [7]

Iain Mew: They stretch simplicity as a virtue further than ever, relying almost entirely on immaculate floaty vibes. The almost is crucial, though; the "...now that I'm without you" kicker adds just enough bitterness to keep this from feeling completely blank. [8]

Joshua Minsoo Kim: "How Sweet" is one of the most powerful kiss-offs we've had in years because it treats the end of a relationship as something so effortless, so natural, "like biting an apple." Even when lines are acerbic ("toxic lover, you're no better"), they are delivered with the exact amount of lift needed to signal both disgust and nonchalance. NewJeans do not care about this ex anymore, and they wield their restraint with grace; this is living well as the best revenge, and the song is potent because it feels like mist on a hot summer day. Producer 250 has always known how to excavate the potential of a minimalist pop song, and he's found an especially strong avenue here with the skeleton of an Atlanta bass track. The regional style (and specifically the Ghost Town DJ's track "My Boo") has had a large impact on K-pop since "Body Party" got big, but 250 makes it a more congenial affair: the hi-hats are low in the mix, the handclaps have more pop than the kick, and it all feels muted so the bubbly synth melodies and percussion—the latter approximating the "Triggerman" sample used in bounce classics—can flutter about. "How Sweet" is the most everyday that NewJeans has sounded, and it's all the more biting for it. [7]

Ian Mathers: It's devastating enough to get a "I'm doing better without you" message delivered with such nonchalant cool, but to make it a bop too? Really drives the implied "I probably didn't care that much in the first place" home, ouch. [8]

Jacob Sujin Kuppermann: A very NewJeansian take on the break up-come down song; it's a harder feeling to make sound giddy, but they pull it off here. The fragments jutting out from the sing-talk ("like biting an apple"; "no drama, it's good karma"; "little demon in my storyline" most of all) are thrilling and deranged, the kind of phrases that become involuntary mantras and mutterings when you make your way out of something all-consuming and are faced with the shock of the new. Most of the writing about NewJeans centers on their musical trappings, but the Miami bass riffs here are more perfunctory than their prior dalliances with drum-n-bass and Jersey club. That's not to say that it's a bad song — that bassline itself, rubbery and grooving, is gorgeous — but that it shares less with the perfect grooves that "OMG" and "Ditto" than first appears. [9]

Oliver Maier: Unusual for NewJeans both in that it is kind of a retread (think "OMG" 2: Not As Good) and that the performances are really quite listless. The thing about girl groups from anywhere in the world is that their songs tend to implode the moment it sounds like they aren't having fun. [5]

Jonathan Bradley: There's not the great shock of the new provided by genre experiments like "Super Shy" or "Ditto," but the R&B-lite of "How Sweet" gets some extra mileage from burbling percussion runs and photon-light electro textures. Switching between English and Korean lines in the hook is smart songwriting as well as smart globalization; it adds variation to a melody that threatens to run out of ideas after a mere three-and-a-half minutes. [6]

Michael Hong: Initially put off by how weary the vocals sound -- NewJeans have always been low-key, but they've never sounded so spent. But it starts making sense when you consider that NewJeans are just as much about the experience of sharing these milestones as they are living them. Backed by a laser show of synths, "How Sweet" is about convincing yourself that you're okay after a heartbreak and proving it to your friends. This exhaustion makes the sharper moments more effective: the wistfulness of "it's like biting an apple" longs harder, and the snarky "I'll see you out" that closes the track is a truly satisfying line read. With every chorus, the bitter tartness lessens and the the sweetness pops brighter. [7]

Alfred Soto: The relaxed sensuality is what I wanted from this week's Tinashe track. The melodies are sticky and sweet. [7]

Nortey Dowuona: The drum programming is a bouncy, yet flimsy kick snare pattern full of glittery lasers and clinking closed hi-hats. At first, it overwhelms you, with the rising hit arriving every four bars and doubling during the post chorus, but once you pay attention to the looping, ghostly synth melody, you feel toward a handhold in the wind. [6]

Isabel Cole: I get so excited by the aliens-attacking space-laser sounds at the beginning, and then it all mellows out to make room for an uninspiring vocal line delivered uninspiringly. Things perk up a little in the chorus (I remain a sucker for handclaps!), but unfortunately the actual melody continues to be the worst part of the song, to the extent that I think I'd prefer an instrumental version. [5]

Katherine St. Asaph: The melody on the verses sounds like something off PinkPantheress's Heaven Knows, which is some real influencer-becomes-influenced ouroboros shit. But "How Sweet" settles into a chorus that's undeniably itself, frenetic but small: kind of like "Let the Music Play" recreated by one of those miniscule Helmacron ships from Animorphs in tiny zaps and little plinks. And I do mean "settles": there's less fizz in the pop than there could have been, and NewJeans' vocals range from effortless to affectless, unbothered to unengaging. [6]

TA Inskeep: I'm absolutely here for NewJeans giving us a little bit of ecstasy. If this kicks off a revival of second-wave freestyle, I'll be very happy. (Someone call Sabrina Carpenter to the white courtesy phone, stat!) [8]

Wayne Weizhen Zhang: “How Sweet” is the most subdued and pedestrian newjeans have sounded. The beeps and blorps and percussion taste sweet, but the vocals are bitter and dull. But when the production has so many dynamic flourishes, and the meta-narrative around the group is so interesting, the score floor is high. [6]

[Read, comment and vote on The Singles Jukebox]

#newjeans #music #k-pop #music writing #music reviews #music criticism #the singles jukebox #Youtube

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vintage-retro-queen · 1 year ago

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Get to Know Mary-Loukritia "Lucy" Corleone

Before we begin, I want you all to know that there will also be another character joining with Marinette in this crossover story. My original character, Mary-Loukritia Corleone. Lucy for short, or Lou. Call her what you will. Here is the information about Mary-Loukritia Corleone

Here is the image of who Mary-Loukritia "Lucy" "Lou" Corleone is, and what she looks like to those who want to know who she is and what she looks like.

Zodiac Sign: Virgo

Age: 15

Hair Color: Deep-Cocoa Brown

Eye Color(s): Deep-Cocoa Brown (Other Eye colors will be revealed soon)

Body Shape: Hourglass

Hair Shape: Long to her back

Hairstyle(s): Let down, straight, braids, ponytail(s), (other hairstyles, still thinking of)

Clothes: White long sleeved sweater with mid-opacity truffle beige plaid pattern, brown overall dress, high waist socks, brown boots (no heels), and a magnetic black diamond stud earring on the left ear (no piercing required), White designer crop tank-blouse, peachy pink open front cardigan sweater V neck vintage slim shirt, low rise flared leg boyfriend blue bottoms jeans, silver chain belt with silver butterflies, white slip-on platform shoes (not the higher ones, just an inch taller ones), Y2k hypoallergenic magnetic earrings-piercings (No actual piercing required), and a Y2k pink heart necklace with XOXO in it. Dove-white designer dress, white and pink designer dress (shorts underneath the dresses), monochrome and brown crop jackets, white flats, white heels, diamond earrings, necklace, anklet, bracelet, gold choker-necklace, and gold earrings. Casual outfit on the top left, nightwear on the top right, performance outfit on the bottom left, sports outfit in the middle, and swimwear on the bottom right. (Fact: The black diamond stud magnetic earring-no piercing required-is something that is precious to her, so just a reminder) (Other Clothes and accessories are coming soon)

Likes: Family, trustworthy friends, helping others, repaying others, the Meta Betas (Dance Group-Band), the Meta Alphas (Heroes from another realm), delicious pastries, cats and kittens.

Dislikes: Fake people (ex. Fake Friends who use others as puppets), people who betray who, people who frame others for petty/tons of things, people using others various and personal reasons, bullies getting away with everything, victims being put to blame, her former friends back at her old school she prefers to have nameless, people who talk and look down on others to make themselves feel better, people treating others as slaves/servants, etc (more coming soon)

Sexuality: Pansexual + Demiromantic

Relationship Status: Single

Occupation: Model, artist, writer (Story, nonfic, and poet), animator, filmmaker, editor, voice actor, actress, dancer, singer, musician, and student. (In summary, she is a multi-tasker)

Hobbies: Sketching, drawing, writing, animating, film making, editing, voice acting, dancing, singing, playing various instruments, helping family around the house, playing video games, watching shows and movies with family and/or friends, playing sports and/or ocean sports, volunteering for helping out to community service, reading.

Favorite Music: Rock, soft rock, classical, classical rock, romance, gothic music, 1950s-early 2000s.

Personality: Sweet, kind, honest, generous, loyal, selfless, and caring, but in case anybody gets into her bad side or tries to, well, on a personal note, I'd be careful and sleep with one eye open if I were you, she is a ticking time bomb to those who hurt her family and/or friends.

Favorite Animals: Dogs, puppies, cats, kittens, birds, hamsters, guinea pigs, gerbils, lions, tigers, cheetahs, leopards, panthers, horses, foals. (Mostly cats and kittens)

Species: Human/???

Race: Italian-Britain/??? (Fluent in French, Chinese, Japanese, Korean, English, Hindi, Tarkatan, ???, etc=Polyglot)

IQ: 300

Status: Alive/????????????

More Information Coming Soon...

So, that's basically all you need to know for now.

And to those who are wondering what a polyglot is, it's a person who speaks and/or understands many languages.

Desc. Prologue. Chapt 1. Reactions Pt 1. Chapter 2. Reactions Pt 2. Chpt 3 Reactions Pt 3 Chpt 4 Reactions Pt 4 Chpt 5 Reactions Pt 5

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hazzabeeforlou · 5 years ago

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Quarantine Tag Game

Thank you @haztobegood for tagging me ily!

Are you staying home from work/school? Though i’m only ‘technically’ enrolled in an institution (for stipend purposes) our shared campus cancelled absolutely everything until at least mid-May. So I came home from NY two weeks ago because, epicenter, and haven’t seen a single solitary soul outside of my fam since LOL. We’re still technically doing ‘online seminars’ but like... ya can’t play in a virtual orchestra all that easily...

Who is at home with you? My parents and my bunny (she’s v cute and v demanding and shares Harry’s birthday and let me tell you, is SUCH an Aquarius)

Are you a homebody? 100%. I’m quite comfy, and I have no explanation for my anxiety being so fucking bad right now save that I’m picking up on world-wide vibes. Also though I guess there’s an underlying fear of catching the thing, I have terrible terrible lungs post op and asthma; I had lingering bronchitis for three fucking months last semester. Ug.

Any event you were looking forward to that got cancelled? My whole concert schedule LOL. My last (for the foreseeable future) Carnegie concert, and an upcoming audition (job prospects for me moving forwards are... not good. It’s not good for the arts right now and it’s gonna get worse. And that’s not even top priority, saving lives is obviously. I’m a non-essential luxury of a hegemonic oligarchical system and never is that more apparent than when the rich die off/stop funding).

What movies have you been watching recently? That Darn Cat, 20,000 Leagues Under the Sea (Oooof problematic and racist things I did NOT remember from my childhood but also, KIRK FUCKING DOUGLAS Lesbian Harpoon Sailor Icon!), Poirot movies, The Emperor’s New Groove, End Game (omg it was so bad ug), Star Wars ep 1 and ep 2 (MY BABIES! MY LOVES! THE BEST MOVIES OF MY LIFE I RELIVED FALLING IN LOVE WITH THEM!!!!! DO NOT SHIT ON THE PREQUELS IN MY PRESENCE!)

What are you doing for selfceare? Yoga, new skincare routine, water?, taking walks, bunny kisses, self-isolation away from my parents for at LEAST the late night hours lol, not opening my big mouth...

What shows are you watching? Westworld, all the old TV shows on my parents tv, Brooklyn 99, and I’m about to start that tiger king thingy that everyone’s talking about

What music have you been listening to? I’ve not been listening to much, but I just made a goal to get through some classical stuff, some Mozart, Wager, Beethoven type stuff (oddly I don’t really know much Mozart of Beethoven because my instrument isn’t in any of the major works so I’ve never had cause to listen to them and I am a lazy classical musician and usually can’t bring myself to care...) And a whole list of pop music on spotify I’ve compiled

What books are you reading? Trying to finish “Brief Interviews With Hideous Men” by DFW (it has taken me so long because the book equally ENRAGES and DELIGHTS me, no in-between), I have a whole slew of classics in the wings (I’m limited to what books I own obviously), but also am reading through PITS again now it’s printed out, and have like a LAUNDRY list of fics from all you lovelies I really wanna get to!

Anyone as starved for sharing things as me, please do this. Will also tag @evilovesyou @halfahundredcats @foreverkay @rahashirley @raisemybody @seasurfacefullofclouds1 @a-brighter-yellow @disgruntledkittenface @silverfoxlouis @sashinalash @metal-eye no pressure!

#tag games

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redroseredemption · 6 years ago

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My Top 15 Best Sentai Openings

I love sentai. I know, shocking. I’ll give you a moment to pick up your jaw. Super Sentai is filled with action, a surprising amount of drama and men and women in colorful spandex! But for all of that, there are things we as fans tend to sometimes overlook. One of them being music. Toei, the owners of the Super Sentai franchise, make some great music. For this post, I’ll be looking at the opening themes to Super Sentai The opening to a show isn’t there to just show the title card and credits. It’s to show what the series is about with its theme song and visuals hoping to get you hyped up for it. Sometimes, we tend to remember the opening to a show more than the actual show itself. I will say, most if not all Sentai openings are very memorable and catchy, even the truly terrible ones...unfortunately, but that’s for another list. Before I start, I just wanna let everyone know that if you hate or like any of these, more power to you. Just please don’t harass me over it is all. With that said let’s head on into...

MY TOP 15 BEST SENTAI OPENINGS! Why top 15? Because there were too many good sentai openings to leave out! --- #15: Hyakujuu Sentai Gaoranger (https://www.youtube.com/watch?v=s8x5ea9f3rs) This opening is definitely not everyone’s cup and I can see why. The person who sings it sounds like he smokes 3 packs of cigarettes a day, but for an opening about a team of animal rangers, I think it fits well. However, I will admit it does get kind of old after binge watching for more than two hours. #14: Kyukyu Sentai GogoV (https://www.youtube.com/watch?v=87BBbm5Q-KI) A sentai about a team of firefighters, a pilot, a policeman and an EMT ( all of whom are siblings) deserves an epic opening and that’s what this song brings. The song has a sense of urgency to it that I think fits well with the show, even in the lyrics “Save the Earth! Save the Life(?)” It just fits well with the theme of the show. #13: Tensou Sentai Goseiger (https://www.youtube.com/watch?v=0nUT9Lr39pA) Goseiger is the most disappointing sentai ever, but that rant is for a whole other thread. Here, I’m actually going to say something good about Goseigers. The theme song is great. I love the instrumental at the beginning, I love how after that it becomes quit somber and then cheerful, with children cheering “Tensou” during the chorus. It’s a good song. #12: Taiyo Sentai Sun Vulcan (https://www.youtube.com/watch?v=81ntnX6wEkg) The 70 sentai’s had very disco sounding openings. Even in Denjiman’s theme, you can hear the disco influence in the guitar riff, but starting with Sun Vulcan it seemed like there was a clear jump. I don’t know how to describe it since I’m not an expert on music, but you can clearly hear the difference. This opening to me signifies the change sentai would go through over the years. #11: Kagaku Sentai Dynaman (https://www.youtube.com/watch?v=fKcEvrOWhBc) Ah, Dynaman. The Michael Bay of Sentai. I swear, there are more explosions in the opening then some sentai’s have in their whole show! Anyways, its theme is extremely catchy. I mean almost all sentai themes are catchy but this one, in particular, will have you singing “Dy-dy-dy-dy-dynaman” ALL DAY. I also love the epic violin part at the beginning. It’s a solid 80′s sentai theme #10: Doubutsu Sentai Zyouhger (https://www.youtube.com/watch?v=nQa4P7b2NCA) Zyouhger is...meh. I only got 20 episodes in before dropping it. It wasn’t terrible, but it could be better. Maybe one day I’ll rewatch it and finish it, but for now, I’m putting on the back burner to watch other sentai seasons. It’s theme song, on the other hand, is fantastic. It has a very jungle feel to it which matches the theme of the show. My favorite part is when they do the call out to the rangers animals “EAGLE, SHARK, LION, ELEPHANT, TIGER” it honestly gives me goosebumps almost every time. #9: Chouriki Sentai Ohranger (https://www.youtube.com/watch?v=4iWRNAW6N1E)

Ohranger has the best theme song out of all the 90′s sentai in my opinion. Other than GogoV, the other 90′s Sentai theme songs range from ok to god awful. This was the season Toei and Super Sentai was going to go all out and you can hear that in the theme. Every time I listen to it, it gets me pumped! The chorus is honestly me my favorite part of the song (starts at the 1:00 mark in the video) Not much else to say other than it’s a great song and the best 90′s sentai theme. #8: Tokusou Sentai Dekaranger (https://www.youtube.com/watch?v=4kqFVvyKr6Q) Dekaranger was the first sentai I ever watched so there’s bit more bias in this one than just the theme is good. Like with the others before the music matches the theme of Dekaranger well. It has a sense of urgency to it like GogoV’s. The rangers are raring to go without a moment's hesitation. My fav parts have to be the beginning and the countdown. It might be a bit Engirshy, but its fun. #7: Choushinsei Flashman (https://www.youtube.com/watch?v=vzKTRJsoyvo) When I first heard the beginning of this theme, I knew I’d love it. The trumpets combined with the guitar just work so well. It’s also the first sentai theme on the list that actually makes me want to dance! It’s a shame this season isn’t fully subbed yet. Maybe one day. #6: Tokumei Sentai Gobuster (1st theme) (https://www.youtube.com/watch?v=0V-u08pynXs&t=104s) BUSTERS READY GO! Why did they have to change this theme? Seriously it was fine! The 2nd theme is...ok I guess. I know it was an attempt to rebrand the show due to declining ratings and toy sales, but to me, the first theme has way more impact and emotion. #5: Ressha Sentai Toqger: (https://www.youtube.com/watch?v=YW9q06Z9O1M) Want to make Trains seem cool? Put it to an awesome pop/punk song about imagination, and that’s exactly what they did here. No other sentai theme makes me want to headbang to it like this one. Everything about this theme is just fun! I hope in the near future, Toei brings in more rock themes to Super Sentai #4: Kosoku Sentai Turboranger: (https://www.youtube.com/watch?v=qTj4Ho4dQJY) I feel like I love this theme more than I should, but I really don’t care. This theme to me is the best 80′s-90′s sentai theme. Everything just works. From the trumpets to the double pedal, every instrument and sound just adds to the song, nothing feels like filler and nothing feels like it shouldn’t be there. Also, I think I like songs with the word “dash” in them because this is the second theme with it.

#3: Juuken Sentai Gekiranger: (https://www.youtube.com/watch?v=cIuvq0-XrJg) Now we’re getting into the hard part of this list. Honestly, I wish I could give this and the next two theme’s the number one spot, but unfortunately, it wouldn’t be a top 10, or 15 in this case, list if I just put multiple songs in one spot. Right off the bat, Gekirangers theme hits you with the classic Japanese instruments and then hits with a sort of modernization of those instruments and it’s like a beautiful explosion of martial arts. Makes me want to punch and kick my TV screen! (I suggest you don’t that) #2: Samurai Sentai Shinkenger (https://www.youtube.com/watch?v=0vToLwIEuI8) This is probably cheating, but I’ve never watched Shinkenger. I know! I know! Blasphemy! It was never that high on my “must watch” list...but that might have changed since after hearing the opening theme, because oh my god. To say that I was floored would be an understatement. This theme captures everything I want in a children's theme song. Catchy, high energy, fits well with the themes of the show and actually makes me want to watch it. The ONLY complaint I have is that the part before the chorus is a little too slow for my liking. Other than that this is almost a perfect theme. Before I continue to my #1. Here are a few HONORABLE MENTIONS: Chojin Sentai Jetman: (https://www.youtube.com/watch?v=uvwKKYUCwQk) It’s a good theme and will get stuck in your head all day long as you sing “Jeto, Jeto-Jetoman!” over and over again! Also, the dance exercise video of the song is a thing of beauty and must be seen! Kaizoku Sentai Gokaiger: (https://www.youtube.com/watch?v=j6aDs8cvReI) It’s such a fun and happy theme. It makes me feel all bubbly inside. The only problem? This theme is for a sentai about thieving PIRATES! While it’s a great song on its own, it just doesn’t fit with Gokaiger in my opinion. Chikyu Sentai Fiveman: (https://www.youtube.com/watch?v=RmF6wqCtRug) Even though this was the series that almost killed super sentai, doesn’t mean it didn’t have a pretty good theme song. The first part is really good. The chorus, on the other hand, is a little weak, but it hangs in just enough to get on the honorable mentions list. Dengeki Sentai Changeman: (https://www.youtube.com/watch?v=d-7MzNRs4CY) I don’t think any theme song makes me want to shake my finger around like the swing dancers do like Changeman theme does. This and Jetman’s theme would be tied for the 16th spot. And now. My number 1 sentai theme song is!... #1: Uchuu Sentai Kyuranger: (https://www.youtube.com/watch?v=67dQUTP3Has) Is this a cop-out? Maybe, but I don’t care I love this song SO MUCH! Everything is nearly perfect about it. The vocals, instruments, the way it builds up, and the sense of hope it brings, that just because the universe is ruled by an evil tyrant doesn’t mean there isn’t someone out there fighting it. A tiny flickering light in the void of darkness. That’s what this song fills me with and it’s the reason it’s my favorite sentai theme! Thank you guys! I hope you enjoyed this list! Let me know what you think and what are your favorite sentai theme songs!

#super sentai #uchuu sentai kyuranger #tokusatsu #Toku #top 10 list #top 15

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hotteetrend · 4 years ago

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Go Where Bassoon Takes You Music Instrument Lovers T-shirt

Now, the interesting thing is how Go Where Bassoon Takes You Music Instrument Lovers T-shirt . The trend becomes self-referencing, with high-end designers changing their own logos to appear fake. Brands are always playing around with established or high-end fashion sports brand logos, but now designers like trendteeshirts are flipping through the script and production logos imitating the pieces found. on the market. Fashion is a strange game.Trendtee's inspiration is ubiquitous in today's fashion and it does not appear more blatant than the tee logo. Recently, mostly of your favorite streetwear brands have been applied by high-end fashion designers who raided the repository for old icons and icons that they could put big and bold in the center of the tee for everyone to see. Hoodie, long-sleeved shirt, female tee, men's shirt, 3-hole shirt, V-neck shirt.Go Where Bassoon Takes You Music Instrument Lovers T-shirt, hoodie, sweater, longsleeve and ladies t-shirtHere, we're talking about the ultimate Instagram-friendly brag, so choose someone who is more proud than the mundane typeface and opt to join the Kenzo game, ‘Dragon Tiger, or a classic Gucci logo Go Where Bassoon Takes You Music Instrument Lovers T-shirt . Branding talks here, so keep things neat and minimal elsewhere to really allow it to shine or pop it under a neat undergarment for ultimate smart upgrades. For every on-the-nose, literal take on a trend, an ironic satire won’t be too far behind. Read the full article

#GoWhereBassoonTakesYouMusicInstrumentLoversT-shirt

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kevindurkiin · 4 years ago

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Audax, Vish, & Truppel Release Rumbling New Single, “Keep House Alive” [Tiger Records]

After this first semester of 2020 full of great releases, the Brazilian electronic music trio Audax has started the second half of the year on fire, especially with their new release, “Keep House Alive”, out now on Tiger Records. Recent singles like “Be With You” and “Holy Sinner” have earned enormous success, like being played at Tomorrowland 2020 Around the World by EDX and were also featured on many recent radio shows from Thomas Gold, Promise Land, Ferry Corsten, Laidback Luke and Yves V.

“Keep House Alive” is a collaboration of the three brothers, Pedro, André and João, along with Vish and Truppel, who bring intense vocals, inspired by the nostalgia of House Music classics, to create something memorable. Already earning the support of Hardwell, the song has received world-wide attention and is on a remarkable path.

The music aims to show the greatness of this genre, but also wants to praise that a musical legacy is built in a concrete way and with a timeless sound. For the trio, House Music has reached its iconic level because the sound has been immortalized with songs that have become true hymns.

Here’s what they had to say about it:

“This legacy and its tones have been recovered more frequently nowadays in several productions. We wanted to give our input to this musical movement and the intention of the track’s lyrics is to reiterate this tribute to the genre as a true mantra.” – André

“’Keep House Alive’ had a slightly different process than what Audax is used to: The initial idea started with Vish, and Truppel brought a very cool instrumental part. We had the mission to compose the vocal and it was a different feeling to do it on top of an initial idea that didn’t start with us. It is always great to change a routine process to differentiate the sound, testing different creative structures.” – Pedro

Stream “Keep House Alive” below!

This article was first published on Your EDM. Source: Audax, Vish, & Truppel Release Rumbling New Single, “Keep House Alive” [Tiger Records]

Audax, Vish, & Truppel Release Rumbling New Single, “Keep House Alive” [Tiger Records] published first on https://soundwizreview.tumblr.com/

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musiiki · 7 years ago

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Woaaaahhhhhhh man it’s been stupidly long since my last post. Plenty to catch up on so this post will most likely be leNMGTHYYY so strap yourselves in for the ride or click ya little X icon now.

I haven’t updated since August! Well I guess to tie in from my last post a little, performing Shostakovich 11 was INCREDIBLE and my darling Bella is still lighting up my life with her beautiful Aries fire. I played Trauermusik and the F minor sonata (Brahms) for my recital and was pretty chuffed with my result - I can even listen to the recording without cringing! No, in all seriousness, since John lent me his viola my musicality has improved in leaps and bounds because finally, I have an instrument that lets me create the sounds I want without a battle.

Things have been pretty quiet on the Old Semeil front as Gav has been touring madly with the Mouldy Lovers. I’ve been following all their posts with slight jealousy, the band touring life is definitely something I’ve been dreaming of. What was really cool is they asked me to jump on their newest single Boondock, which was super fun and something I’m extremely grateful for. It’s a banger of a track too - I’ll link it at the bottom of this post.

The Tin Foil Co has had a couple of performances which have been fun. It’s been great to meet up with the boys and have a wicked improv sesh. I haven’t found anyone still at the Con that gives me the same sort of musical fulfilment that they do. It’s really great when you find a group of people that are confident in themselves as musicians and aren’t afraid to experiment in some pretty ridiculous ways, but also listen and are sensitive to the rest of the ensemble. I always come out of our jam sessions feeling refreshed.

In September we had the chamber showcase. I performed pieces 1, 5 and 6 from Bruch’s eight pieces for clarinet, viola and piano with two wonderful friends Jarrad and Hannah. I absolutely loved working with these two. They are such incredible musicians full of wonderful ideas, and they pushed me really hard to match their ability. I definitely feel that they helped me grow exponentially as a chamber musician. They’re pretty kick ass buds too.

I feel like I should probably mention the Wagner concert we did at the end of November at the Con. I was involved in a symphony orchestra concert performing a work by Brophy, Tchaikovsky Piano Concerto No. 1 and selections from Wagner’s The Ring Without Words. It was basically a rush job crammed into 6 hours of daily rehearsals for a week and it was stupidly exhausting - classic Con and their bullshit organisation skills with no concern whatsoever about the health and welfare of the students - but it was wicked to play Wagner as that sort of music isn’t played often, and of course working with Johannes Fritzsch was absolutely incredible.

I guess the biggest thing I want to talk about in this post is the QYS International Tour! I arrived back on the 18th (December) and am still pretty exhausted but it was such an incredible experience. Not gonna lie, China was pretty foul. Not sure if it’s because my phobia had me either having an anxiety attack or on the edge of one for an entire week or what. If I wasn’t with all my friends, I don’t know how I would have coped. Germany was indescribably amazing though. The food - especially the sausages and bread - and the beer was to die for, especially after living off basically one bowl of plain rice per day in China, and the beer was ... let’s just say I’m going to be disappointed by every beer I drink in Australia. Getting to explore so many little towns was really great and we even had snow!!! So many 100-piece-orchestra snowball fights were had. Performing 12 concerts in 3 weeks was pretty great too. Somehow I managed to survive physically with a pot of tiger balm and regular stretching. Because I never made myself practice, I found myself fanging for a play so I absolutely loved every single concert. I even enjoyed playing scales and warming up beforehand! John had his 85th birthday while we were over there too, and managed to conduct every single concert unphased - he told me he was in pretty horrendous pain but as soon as he got to the concert the adrenaline and endorphins took the pain away. Bless. The whole experience made me so excited for the future, especially because I’m hoping to end up in Germany in the next couple of years. I better start working a bit harder if I want to get there though.

Finally, I’ll chuck in a bit about my social life. I’ve had to let go of a few people in the last few months. Some of which I never thought I would have to. It’s been extremely painful, but it has made me realise who my strongest, truest friends are. I’ve made some dumb decisions, most of the time completely and utterly aware of them, but I’ve come through the other side. Life has its rebirthing processes I guess. However, since the tour, some really beautiful people have come into my life. New relationships have been formed and strengthened and I’m really excited about the new year. To my friends that have stuck by me through everything - I want to extend special thanks to you. You know who you are.

I’ll probably update again in a couple of months. You all know what I’m like.

Boodock: https://www.youtube.com/watch?v=lrA5IL0DkiM

#studentblog #music #musician #student #orchestra #tour #university #travel #viola

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anpocarbuile · 8 years ago

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Ten Songs Ten Mutuals

Yo I was tagged by @mandarinehinata for this (thanks my dude <3). Rules: shuffle your music and share the first ten songs that play

1. Starman by David Bowie - this man is incredible, if you don’t listen to Bowie do yourself a goddam favor and look up his stuff (I particularly love Oh You Pretty Thins)

2. No Mercy by Living Tombstone - lol so this song is overwatch satire. it’s v fun and catchy

3.Tango Joulaise by Jacob Gade, performed by Yo-Yo Ma - if you like classical music then check this baby out. It gets real fun with the main theme

4. The Diary of Horace Wimp by ELO - in general ELO has awesome instrumentation, and great vocals. This song is a lil wacky (apparently theres only 6 days in the week???) but in a good way

5. La Vie en Rose performed by Louis Armstrong - HNGGHHH I LOVE THIS. Classic jazz piece, so goddam beautiful

6. Age of Innocence (feat. Dave Liang) by The Shanghai Restoration Project - this group has some rly cool electronic stuff, and touches a rly wide range of genres. This is from a jazzier album of theirs

7. Days Like These by The Cat Empire - if their name isn’t enough to convince you of their awesomeness, go listen to their music!!! THEYRE ONE OF MY FAVES (esp the first two albums)

8. Tiger Phone Card by Dengue Fever - GOOD SONG. go fuckin listen to it on this handy link im providing x

9. Waltz in A Minor (Op. posth.) by Chopin - good ol’ chopin

10. Soul Love by David Bowie - again, bowie rocks.

And thus, the tagging begins...! @sryaroc @goosterrooster @fortheloveofhanyu @paradoxate @finding-apricity and anyone who wants to do it

#music #ray talks

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gigsoupmusic · 5 years ago

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Soumik Datta celebrates Earth Day with new single 'Tiger Tiger'

Sarod maestro Soumik Datta returns with the release of his dynamic new single, Tiger Tiger, out now via Soumik Datta Arts. Combining Indian classical melodies with colourful, urban beats, Soumik is able to create an eclectic mix of sounds that are both transcendent and innovative. Playing the nineteen stringed, fretless sarod, Soumik’s impassioned energy simmers endlessly. His tremendous range provides enough complex rhythms and glissando notes to augment music in any genre. Talking about the single, Soumik elaborates, “Tiger Tiger is the continuation of my previous EP Jangal. Themed around deforestation and the climate change crisis, the compositions in Jangal used my sarod woven in with instruments and musical styles from forests that are being cleared at alarming rates. Drums from the Amazon region blended with tribal woodwinds from North East India and tuned metal percussion from Indonesia to create an uproar of sound. Tiger Tiger is a response to man’s continual destruction of nature. This track imagines the roar of animals as they speed through the forest watching their homes on fire. We invade tropical forests with road building, mining and logging. We cut trees, we kill animals, we disrupt ecosystems, and we shake viruses loose from their natural habitats. Today, we are seeing the hidden cost of human economic development. And now more than ever, it is time to change our relationship with the Earth.” Soumik will be taking part in PRS Presents LCKDWN which begins Friday, 24 April at midday (BST). The one-off live event is being hosted in aid of the PRS Emergency Relief Fund, which was created expressly to support songwriters and composers facing significant financial hardship as a result of the coronavirus outbreak. https://www.youtube.com/watch?v=GNfnk5KhmUI&feature=youtu.be Read the full article

#SoumikDatta

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batexamin · 7 years ago

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GK: Different Dance Forms Of India With States PDF Download

List of Folk Dance Form in India - State Wise For Bank Exam

Different Dance forms of India with States PDF covers the list of States and their important dance forms of Classical, Folk and Tribal dances. Previously questions were asked on the Indian Classical & Folk Dances in IBPS Clerk exams.

As you know that questions from Folk dances of different states are usually asked in almost every competitive exam like SSC, Railways etc. So keeping the importance of topic in mind, below is the list of all important Famous Dances in India which will be helpful to cover 1-2 marks in Competitive Exams. There are almost 24 types of Dance in India. India has a vast cultural heritage Every state has its own dance other thing such as bhangra dance is associated to Punjab state, Karma dance associated to Madhya Pradesh etc. Most Famous Traditional Folk Dances of Indian States. There are some gk quiz for Indian Dance which are very important for veracious Exams. We can broadly classify the dances of India into three categories, viz. classical dances of India, folk dances of India and tribal dances of India. All these dance forms have their own style and cultural values associated with them. Here we present you Classical and Folk Dances of India that is practiced from different parts of India.

Current Affairs - List of Indian Folk Dances

Following is the list of dance forms in India: State Dance Form Andhra Pradesh Kuchipudi Kottam Assam Ojapali Bihu Ankia Na Arunachal Pradesh Lion and Peacock dance Chalo Popir Bardo Chham Aji Lamu Bihar Jata Jatin Faguna or Fag Purbi,Bidesia Chhatisgarh Panthi Raut Nacha Gujarat Dandya Ras Garba Lasya Nritya Bhavai Garba Rasila Trippan Goa Fugdi Dekhnni Tarangamel Dhalo Haryana Swang Khoria Gugga dance Loor Sang Dhama Himachal Pradesh Luddi Dance Munzra Kanayala Giddha Parhaun Hikat Jammu and Kashmir Rouf Chakri Jharkhand Karma Karnataka Yakshagana Bayalata Simha Nutrya Dollu Kunitha Veeragase Kerala Chakiarkoothu Kathakali Mohiniattam Ottam Thullal Chavittu Natakam Kaikotti Kalai Koodiyattam Krishnavattam Mudiyettu Tappatri Kai Tappatri Kai Theyyam Lakshadweep Lava Madhya Pradesh Macha Lota Pandvan Tertali Charkula Jawara Matki dance Phulpatti dance Grida dance Maanch Gaur maria dance Mizoram Chiraw (Bamboo Dance) Manipur Thang ta Dhol cholom Manipuri Maharashtra Tamasha Dahi Kala Lavani Lezim Odisha Odissi Savari Ghumara Paik Chhau Gotipua Sambalpur Puducherry Garadi Punjab Bhangra Giddha Daff Dhaman Malwai Jhumar Karthi Kikli Sammi Dandass Ludi Jindua Rajasthan Ghumar Chakri Gangaur Jhulan Leela Jhuma Suisini Ghapal Kalbelia Sikkim Singhi chham Yak Chaam Maruni Rechungma Tamil Nadu Bharatnatyam Kumi Kolattam Kavadi Karagattam Theru koothu Bommal attam Puliyaattam Oyilattam Telangana Perini Thandavam Dappu Lambadi Tripura Hojagiri Goria Lebang Boomani Uttarakhand Chholiya Jagars Thali-Jadda Jhainta Barada Nat Uttar Pradesh Nautanki Raslila Kajri Jhora Chhapeli Jaita West Bengal Jatra Chau Kathi

Classical Dances in India :

Indian classical dance, or Shastriya Nritya, is an umbrella term for various performance arts rooted in religious Hindu musical theatre styles, whose theory and practice can be traced to the Sanskrit text Natya Shastra. Dance State Bharatanatyam Tamil Nadu Bihu Assam Bhangra Punjab Chhau Bihar, Orissa, W. Bengal and Jharkhand Garhwali Uttaranchal Garba Gujarat Hattari Karnataka Kathak North India Kathakali Kerala Kutchipudi Andhra Pradesh Khantumm Mizoram Karma Madhya Pradesh Laho Meghalaya Mohiniattam Kerala Mando Goa Manipuri Manipur Nati Himachal Pradesh Nat-Natin Bihar Odissi Orissa Rauf Jammu &Kashmir Yakshagan Karnataka Some Interesting Facts of Classical Dances: International Dance Day was introduced in 1982 by the International Dance Council (CID, Conseil International de la Danse), a UNESCO partner NGO, and is celebrated yearly, on April 29. Bharatanatyam is unique to the Dravidian culture of South India. Devdasis or temple dancers who were dedicated in service to the presiding deities used to perform Bharatanatyam in temples. Mridangam, Veena, Flute, Violin and Talam are some of the instruments used in Bharatanatyam performance. Kathak is intermingled with the culture of North India. This classical dance form is associated with the recital art of storytelling. Kathak has been patronized in Banaras, Lucknow and Jaipur. The story of Radha and Krishna is the predominant theme of Kathak. Such instruments as Tabla, Pakwaj, Harmonium, Sarengi and Talam are used in Kathak performances. Heavy makeup and colourful costume are the most amazing facets of Kathakali. As it is a group performance, each dancer wears a different makeup as per the role or character. The dancer playing a noble hero or god wears green makeup on the face, while the dance playing a demon smears his face in green with red marks on the cheeks. Chenda, Cymbals, and Maddalam are the instruments used in Kathakali shows. Kuchipudi has evolved from the Bhagavatmela tradition and differed from other Indian classical dance forms by the use of speech. This classical dance of India owes its origin to the Telugu Brahmins in Kuchelapuram Village, who were known for their expertise in staging the mythological legends through dance, drama and music. The Kuchipudi dance moves are faster than those of any other classical dance. It is performed to both the Carnatic music and the Hindustani Music. The Sattriya dance form can be placed under 2 categories; Paurashik Bhangi, which is the masculine style and ‘Stri Bhangi’, which is the feminine style. Pat Silk saree is the most popular kind of saree used in this dance, which represents the locality through its various colourful motifs and designs. There are various musical instruments used in this Sattriya dance, some of which include Khol (drum), Bahi (flute), Violin, Tanpura, Harmonium and Shankha (Conch Shell). Odissi is the cultural pride of the state Orissa or Odisha. Nritya and Abhinaya are two most interesting highlights of Odissi. In Nritya, the dancers make delicate body movements to create ornamental moves. Get the list Of Different Types Of Dances In India PDF. In Abhinaya, the dancers make myriad facial expressions to interpret a religious story or mythical legend. Odissi is performed in a multiple different styles including tribhangi. Manipuri, a distinguished classical dance heritage of northeast India, since the time when the gods, as it is believed, dried a lake in the countryside of Manipur to make space for dance; this classical dance has been part of the socio-religious culture of the state. Ras Leela and Sankirtana are the devotional themes of Manipuri dance. The Manipuri dancers wear colourfully embroidered skirts with transparent embellished veil. The word “Mohiniyattam” literally means “dance of the enchantress“. There are two stories of the Lord Vishnu disguised as a Mohini. In one, he appears as Mohini to lure the asuras away from the amrita (nectar of immortality) obtained during the churning of the palazhi (ocean of milk and salt water). In the second story Vishnu appears as Mohini to save Lord Shiva from the demon Bhasmasura. The costume includes white sari embroidered with bright golden brocade (known as kasavu) at the edges. The Mohiniyattam dance follows the classical text of Hastha Lakshanadeepika, which has elaborate description of mudras (gestural expressions by the hand palm and fingers). The vocal music of Mohiniyattam involves variations in rhythmic structure known as chollu. The lyrics are in Manipravalam, a mixture of Sanskrit and Malayalam. GK Notes on Different States and their Folk Dances - Questions and Answers Q: Changuis the dance of which state (a) Uttarkahnd and Andhra Pradesh (b) Punjab and Goa (c) Odissa and Andhra Pradesh (d) Mizoram and Tamil Nadu Ans: Odissa and Andhra Pradesh Q: Bharatnatyam is a famous dance form from: (a) Goa (b) Punjab (c) Tamil Nadu (d) Mizoram Ans: Tamil Nadu Q: Bhangra is a popular dance of: (a) Uttarkhand (b) Punjab (c) Assam (d) Manipur Ans: Punjab Q: Name the ancient theatre originated in Kerala? (a) Sung (b) Sattriya (c) Kuttiyatam (d) Cultural Ans: Kuttiyatam

GK Quiz Related to Indian Folk Dance - Questions and Answers

Q: With which musical instrument is Pandit Ravi Shankar associated? (a) Dhole (b) Tabla (c) Bansuri (d) Sitar Ans: Sitar Q: Mando is a popular dance of Indian State (a) Rajasthan (b) Goa (c) Manipur (d) None of these Ans: Goa Q: Gair and Ghoomar are popular dance of Indian State (a) jammu and kashmir (b) Karnataka (c) Rajasthan (d) None of These Ans: Rajasthan

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Read the full article

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drippeddaily · 7 years ago

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Album Of The Year 2017 #19: Death Grips - Steroids EP

Artist: Death Grips

Album: Steroids (Crouching Tiger Hidden Gabber Megamix)

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Background by /u/vulcan24

I originally had this background written as a thousand-plus word epic detailing the release and sound for each of Death Grips’ projects. Then immediately after finishing I realised anyone who cares enough about them to read that probably already knew most of it anyways, so I’ll try keep it brief. Saying that, if you’re interested in the band and want a concise recap then shoot us a PM. But enough self-promo, let’s get to the good stuff.

Death Grips burst onto the underground music scene in early 2011, with the release of a self titled EP. They then followed this up with a mixtape, Exmilitary, later that year. The group's sound was raw, but far from amateurish, showcasing a unique style of all-out violent aggression, both sonically and lyrically.

Drummer Zach Hill, the only named member at this point, provided explosive backing rhythms reminiscent of classic hip-hop like Public Enemy, as well as his math-rock days in Hella. Atop this cacophony was Stefan Burnett, better known as MC Ride, whose cryptic passages were delivered with the force of a punk singer and the impact of N.W.A. Finally there’s recording engineer Andy Morin, whose role in the band is still largely unknown.

Despite appearing practically out of nowhere, Death Grips were producing some of the most forward thinking hip-hop and Exmilitary is still an enthralling listen going on 6 years after its’ release. In the time since then, the band have continued to showcase seemingly endless amounts of creativity coupled with a penchant for wild experimentation. They’d go on to release album after album of boundary pushing experimental hip-hop, constantly evolving their already unique sound and style along the way.

Drawing influences from all over the musical map, highlights include The Money Store’s futuristic urban soundscapes, and the cyberpunk rock territory covered on Jenny Death. It seemed that no matter where they went, Death Grips were constantly covering new ground, diving head first into these concept and ideas with striking results. It’s no wonder many of these releases are already considered modern classics, whose influence can be felt on the current state of hip-hop in the short time since their release. But more on that later.

As of this year, the band have put out 7 studio albums (including Exmilitary) and 2 instrumental releases. That isn’t even counting their experimental rock side project The I.L.Y’s, or the excessive amount of touring and visual art in between. In just 6 short years, Death Grips have traversed more musical ground than most bands could in an entire career. With this also came a constant barrage of confusing social media gambits, sending dedicated fans scouring the darkest corners of the internet with the promise of hidden information. It’s something the band (and their fans) have become notorious for, and falls in line with the themes of digital paranoia which repeatedly pop up in their music.

In one of their rare interviews Stefan mentions they aren’t into 'lateral movement', a phrase which only becomes more applicable as their career unravels. It’s incredibly rare to find a group which is so prolific yet so sonically hyperactive, bouncing between sounds and styles to reinvent themselves on each successive release. I’ll apologise if it sounds like I’m gushing in this recap, but I honestly believe it would be foolish not to place Death Grips among the most important acts of the 21st century given their accomplishments thus far. They’ve proven themselves musical explorers, gently prodding at the boundaries of not just hip-hop, but experimental music as a whole.

Review by /u/vulcan24

Which brings us to the current year. May 22nd marked the surprise release of Steroids (Crouching Tiger Hidden Gabber Megamix), a 22 minute long sound collage-no wait it’s a mix, or maybe an EP? Whatever you want to call it, fans were greeted with dense passages of distorted sounds, twisted tunnels deftly forded by Ride’s verses. On first listen it’s the sound of pure chaos, the feeling of being pelted with a volley of musical ideas from close range. None of the seven (or is it eight?) tracks were named, leading fans to refer to them by refrain alone.

I’ll follow that trend in this review, beginning with "My Whole Life"; Stefan’s guttural screams seem to dodge the beat left and right, a siren raises in the background as if signalling an air raid. Once the skies clear there comes a rare moment of respite, taking the form of a near-spoken word passage atop ghostly ambience. The peace doesn’t long before we’re thrust into a wall of erratically contorted sub-bass. The following twenty or so minutes sees the trio work their way across swathes of musical ground, circumnavigating through digital hardcore, punk, trap, and EDM in the form of gabber.

Yet it feels almost arbitrary to hurl these genre tags at Death Grips, as the finished product feels so unique to them. Yes comparisons can be made here and there, but all in all these influences are funnelled and condensed into something far greater than the sum of their parts. This is especially true for Steroids, which is by far the bands’ most stylistically hyperactive work, undergoing complete transformations often from bar-to-bar, rarely providing anything to serve as a transition. I’d also go so far to say that it’s their most challenging listen to date. Much of the 22 minute runtime is spent working to maintain a level of gripping mania hell bent on overwhelming the listener.

Though fans have split this release into separate tracks, I feel it would be a disservice not to listen as a whole given its’ nomenclature as a 'megamix'. What’s more, these brief sonic barrages are arranged to flow together, building up a sense of uncertain momentum which explodes towards the end. I mentioned earlier the short spoken interlude between the first two segments. It's practically the only time in the whole mix where you’re not being constantly assaulted by flurries of wild ideas. After this piece Steroids doesn’t let up, constantly building, destroying, then reforming glitched-out soundscapes at breakneck pace.

Perhaps the most tangible point of reference to hip-hop comes with the track sandwiched right in the middle, "Come and Go Whenever". Cued in by some mumbly grunge rock, the track breaks into a menacing sample with what can only be described as ‘rattling hi-hats’ twittering away in the background. A bell sample signals the drop and Ride earns his title as an MC, punctuating complex flows to the banger beat. It’s where Steroids comes closest to ‘normal’, and even then it’s enough to scare off most traditional rap fans. Not letting up energy, a distant ‘Hi!’ ushers in a rapid onslaught of math-rock drumming. Electronics morph in the background and Stefan’s pitch-shifted yelps almost merge into the off kilter beat. It feels insulting to call this an interlude because it’s as manic and fleshed out as any other moment in the mix. It also works as a spotlight for Zach’s frenzied live drum work.

Next comes "Black Body", which delves further than ever before into the cyberpunk aesthetic explored on releases such as Jenny Death. Alternating between an understated flute sample and passages of schizophrenic rage, the tension continues to ramp up and escalate the descent into madness. I’ll use the word cyberpunk again to describe this moment, which might come off as corny but in my mind there’s nothing more apt. Stefan's manic vocals are layered over themselves and filtered repeatedly to create a musical grotesque only capable of existing in the digital age. It’s utterly chilling, making it hard to resist being pulled further into this misanthropic world.

Closing things out is a track which effectively releases all the built up energy into an explosive finish. The trio continue to delve deeper into futurism with an array of eclectic electronic samples ricocheting around in the background to form a beat. For all of Steroids' variety, it sustains a remarkably affecting atmosphere the entire way through, building upon pre-existing themes of paranoia and mayhem. Ride screams and it’s echoed to infinity atop the warping sample, scattershot synthesisers fire arrays of sound into the ether and it slowly fades out. It seems underwhelming to end such a chaotic collage with a fade-out but really anything else would feel too abrupt.

The gabber influence is something I’ve neglected to mention thus far, and that’s for a reason. High tempo BPMs and thumping kick drums litter this mix, yet the third section, "Bald Headed Girl", is the only time they stick out as an obvious weak point. It feels to me like Death Grips lean too far into their influences here, creating something unintentionally grounded in reality. There are still redeeming qualities like Stefan’s glass-eyed delivery of the hook, or the rapid v-drumming, but overall the track comes off as decisively less impactful than its’ surroundings. Perhaps it would function better as a standalone piece, but when placed into context this batshit insane the sound comes off as just slightly too tangible.

Overall however, this project is an incredibly strong release, easily standing up to any of their full lengths in terms of experimentation and creativity. It feels like Death Grips fill the 20 minute runtime by constantly jumping from strength to strength with no attention span for anything in between. This seems a fitting time to return to my comment on them influencing modern hip-hop, something this mix feels incredibly removed from.

Consider artists like Denzel Curry or XXXTENTACION (bless his soul), who are only recently starting to experiment with the same industrial sound palettes Death Grips exhorted mastery over nearly 5 years ago. It only makes sense that the band’s current work sounds incredibly futuristic and far from the same styles they helped influence, because where else would they be? When you’re this far ahead of the competition there comes a point where you have to stop being an arbiter for the future, and start going where no one else will.

So that’s what this mix really exemplifies to me, free sonic exploration completely unrestrained by boundaries of genre or style. Death Grips are smashing together their menagerie of influences in ways which no one else has and pulling it off with complete aplomb. This EP sounds like nothing else I’ve ever heard before and yet I love it, which is a phrase I find myself repeatedly returning to with this band’s music. It’s a terribly entry point to their extensive catalogue, but a rewarding one to be sure. I’d class it as their brightest moment thus far since their faux-breakup a few years back, above double album epic The Powers That B. It feels odd writing this for a hip-hop subreddit as even that box seems too small to confine what the band are doing at this point.

Believe it or not, this is the first time I’ve ever written about Death Grips’ music despite being an avid listener for years. I don’t really have a reason for this, but maybe it’s because breaking apart their art in this way makes it lose some magic. It’s remarkably impressive how consistently the group have been able to envision and execute a unique artistic concept with great success. I truly believe there’s something special in every one of their albums, and they’re all worth a listen if you’re a fan of interesting music.

So if you’ve made it this far into the review and are still unfamiliar with Death Grips’ catalogue then here’s my advice; ignore this review, ignore the background, ignore their social media, and please, for the love of god, ignore the fans. Despite the rich context surrounding it, Death Grips’ music stands on its’ own, it stands up to scrutiny and rewards repeated listens. Start chronologically and listen through the band’s catalogue, everything you need to know to enjoy it is already contained within.

Favourite Lyrics

There haven’t been any official lyrics released at this point and MC Ride’s scattershot delivery makes it hard to discern individual lines but I’ve done my best.

"Your innocence save your hopes I just roll the dice and I’ve been like this for my whole fucking life my whole fucking life’s your whole fucking life"

-My Whole Life

"Ghoulishly I fear, paralysis my souvenir"

-Shit Like This

"At the time didn’t recognise myself ‘till I was petrified but half the time I’m not myself so most of the time I don’t question why will need to testify but best I can do is buy some time spend my time folding time even met myself one time"

-Black Body

Discussion Questions

The band have said they are working on a new album, do you think the sound will be influenced by Steroids, or something else entirely? Where would you like them to go?

Am I right about the band’s influence on modern hip-hop or was it going to head this direction anyways? Why?

What do you believe mainstream rap can learn from experimental releases such as this one?

How do you rate the band’s progression thus far, pre and post breakup?

Do you prefer this release as a whole or split into individual tracks, why?

Tomorrow’s writeup is for Jidenna - The Chief, done by /u/dropthehammer11

Artist: Death GripsAlbum: Steroids (Crouching Tiger Hidden Gabber Megamix)ListenYoutubeSoundcloudSpotifyBackground by /u/vulcan24I originally had this background written as a thousand-plus word epic detailing the release and sound for each of Death Grips’ projects. Then immediately after finishing I realised anyone who cares enough about them to read that probably already knew most of it anyways, so I’ll try keep it brief. Saying that, if you’re interested in the band and want a concise recap then shoot us a PM. But enough self-promo, let’s get to the good stuff.Death Grips burst onto the underground music scene in early 2011, with the release of a self titled EP. They then followed this up with a mixtape, Exmilitary, later that year. The group's sound was raw, but far from amateurish, showcasing a unique style of all-out violent aggression, both sonically and lyrically.Drummer Zach Hill, the only named member at this point, provided explosive backing rhythms reminiscent of classic hip-hop like Public Enemy, as well as his math-rock days in Hella. Atop this cacophony was Stefan Burnett, better known as MC Ride, whose cryptic passages were delivered with the force of a punk singer and the impact of N.W.A. Finally there’s recording engineer Andy Morin, whose role in the band is still largely unknown.Despite appearing practically out of nowhere, Death Grips were producing some of the most forward thinking hip-hop and Exmilitary is still an enthralling listen going on 6 years after its’ release. In the time since then, the band have continued to showcase seemingly endless amounts of creativity coupled with a penchant for wild experimentation. They’d go on to release album after album of boundary pushing experimental hip-hop, constantly evolving their already unique sound and style along the way.Drawing influences from all over the musical map, highlights include The Money Store’s futuristic urban soundscapes, and the cyberpunk rock territory covered on Jenny Death. It seemed that no matter where they went, Death Grips were constantly covering new ground, diving head first into these concept and ideas with striking results. It’s no wonder many of these releases are already considered modern classics, whose influence can be felt on the current state of hip-hop in the short time since their release. But more on that later.As of this year, the band have put out 7 studio albums (including Exmilitary) and 2 instrumental releases. That isn’t even counting their experimental rock side project The I.L.Y’s, or the excessive amount of touring and visual art in between. In just 6 short years, Death Grips have traversed more musical ground than most bands could in an entire career. With this also came a constant barrage of confusing social media gambits, sending dedicated fans scouring the darkest corners of the internet with the promise of hidden information. It’s something the band (and their fans) have become notorious for, and falls in line with the themes of digital paranoia which repeatedly pop up in their music.In one of their rare interviews Stefan mentions they aren’t into 'lateral movement', a phrase which only becomes more applicable as their career unravels. It’s incredibly rare to find a group which is so prolific yet so sonically hyperactive, bouncing between sounds and styles to reinvent themselves on each successive release. I’ll apologise if it sounds like I’m gushing in this recap, but I honestly believe it would be foolish not to place Death Grips among the most important acts of the 21st century given their accomplishments thus far. They’ve proven themselves musical explorers, gently prodding at the boundaries of not just hip-hop, but experimental music as a whole.Review by /u/vulcan24Which brings us to the current year. May 22nd marked the surprise release of Steroids (Crouching Tiger Hidden Gabber Megamix), a 22 minute long sound collage-no wait it’s a mix, or maybe an EP? Whatever you want to call it, fans were greeted with dense passages of distorted sounds, twisted tunnels deftly forded by Ride’s verses. On first listen it’s the sound of pure chaos, the feeling of being pelted with a volley of musical ideas from close range. None of the seven (or is it eight?) tracks were named, leading fans to refer to them by refrain alone.I’ll follow that trend in this review, beginning with "My Whole Life"; Stefan’s guttural screams seem to dodge the beat left and right, a siren raises in the background as if signalling an air raid. Once the skies clear there comes a rare moment of respite, taking the form of a near-spoken word passage atop ghostly ambience. The peace doesn’t long before we’re thrust into a wall of erratically contorted sub-bass. The following twenty or so minutes sees the trio work their way across swathes of musical ground, circumnavigating through digital hardcore, punk, trap, and EDM in the form of gabber.Yet it feels almost arbitrary to hurl these genre tags at Death Grips, as the finished product feels so unique to them. Yes comparisons can be made here and there, but all in all these influences are funnelled and condensed into something far greater than the sum of their parts. This is especially true for Steroids, which is by far the bands’ most stylistically hyperactive work, undergoing complete transformations often from bar-to-bar, rarely providing anything to serve as a transition. I’d also go so far to say that it’s their most challenging listen to date. Much of the 22 minute runtime is spent working to maintain a level of gripping mania hell bent on overwhelming the listener.Though fans have split this release into separate tracks, I feel it would be a disservice not to listen as a whole given its’ nomenclature as a 'megamix'. What’s more, these brief sonic barrages are arranged to flow together, building up a sense of uncertain momentum which explodes towards the end. I mentioned earlier the short spoken interlude between the first two segments. It's practically the only time in the whole mix where you’re not being constantly assaulted by flurries of wild ideas. After this piece Steroids doesn’t let up, constantly building, destroying, then reforming glitched-out soundscapes at breakneck pace.Perhaps the most tangible point of reference to hip-hop comes with the track sandwiched right in the middle, "Come and Go Whenever". Cued in by some mumbly grunge rock, the track breaks into a menacing sample with what can only be described as ‘rattling hi-hats’ twittering away in the background. A bell sample signals the drop and Ride earns his title as an MC, punctuating complex flows to the banger beat. It’s where Steroids comes closest to ‘normal’, and even then it’s enough to scare off most traditional rap fans. Not letting up energy, a distant ‘Hi!’ ushers in a rapid onslaught of math-rock drumming. Electronics morph in the background and Stefan’s pitch-shifted yelps almost merge into the off kilter beat. It feels insulting to call this an interlude because it’s as manic and fleshed out as any other moment in the mix. It also works as a spotlight for Zach’s frenzied live drum work.Next comes "Black Body", which delves further than ever before into the cyberpunk aesthetic explored on releases such as Jenny Death. Alternating between an understated flute sample and passages of schizophrenic rage, the tension continues to ramp up and escalate the descent into madness. I’ll use the word cyberpunk again to describe this moment, which might come off as corny but in my mind there’s nothing more apt. Stefan's manic vocals are layered over themselves and filtered repeatedly to create a musical grotesque only capable of existing in the digital age. It’s utterly chilling, making it hard to resist being pulled further into this misanthropic world.Closing things out is a track which effectively releases all the built up energy into an explosive finish. The trio continue to delve deeper into futurism with an array of eclectic electronic samples ricocheting around in the background to form a beat. For all of Steroids' variety, it sustains a remarkably affecting atmosphere the entire way through, building upon pre-existing themes of paranoia and mayhem. Ride screams and it’s echoed to infinity atop the warping sample, scattershot synthesisers fire arrays of sound into the ether and it slowly fades out. It seems underwhelming to end such a chaotic collage with a fade-out but really anything else would feel too abrupt.The gabber influence is something I’ve neglected to mention thus far, and that’s for a reason. High tempo BPMs and thumping kick drums litter this mix, yet the third section, "Bald Headed Girl", is the only time they stick out as an obvious weak point. It feels to me like Death Grips lean too far into their influences here, creating something unintentionally grounded in reality. There are still redeeming qualities like Stefan’s glass-eyed delivery of the hook, or the rapid v-drumming, but overall the track comes off as decisively less impactful than its’ surroundings. Perhaps it would function better as a standalone piece, but when placed into context this batshit insane the sound comes off as just slightly too tangible.Overall however, this project is an incredibly strong release, easily standing up to any of their full lengths in terms of experimentation and creativity. It feels like Death Grips fill the 20 minute runtime by constantly jumping from strength to strength with no attention span for anything in between. This seems a fitting time to return to my comment on them influencing modern hip-hop, something this mix feels incredibly removed from.Consider artists like Denzel Curry or XXXTENTACION (bless his soul), who are only recently starting to experiment with the same industrial sound palettes Death Grips exhorted mastery over nearly 5 years ago. It only makes sense that the band’s current work sounds incredibly futuristic and far from the same styles they helped influence, because where else would they be? When you’re this far ahead of the competition there comes a point where you have to stop being an arbiter for the future, and start going where no one else will.So that’s what this mix really exemplifies to me, free sonic exploration completely unrestrained by boundaries of genre or style. Death Grips are smashing together their menagerie of influences in ways which no one else has and pulling it off with complete aplomb. This EP sounds like nothing else I’ve ever heard before and yet I love it, which is a phrase I find myself repeatedly returning to with this band’s music. It’s a terribly entry point to their extensive catalogue, but a rewarding one to be sure. I’d class it as their brightest moment thus far since their faux-breakup a few years back, above double album epic The Powers That B. It feels odd writing this for a hip-hop subreddit as even that box seems too small to confine what the band are doing at this point.Believe it or not, this is the first time I’ve ever written about Death Grips’ music despite being an avid listener for years. I don’t really have a reason for this, but maybe it’s because breaking apart their art in this way makes it lose some magic. It’s remarkably impressive how consistently the group have been able to envision and execute a unique artistic concept with great success. I truly believe there’s something special in every one of their albums, and they’re all worth a listen if you’re a fan of interesting music.So if you’ve made it this far into the review and are still unfamiliar with Death Grips’ catalogue then here’s my advice; ignore this review, ignore the background, ignore their social media, and please, for the love of god, ignore the fans. Despite the rich context surrounding it, Death Grips’ music stands on its’ own, it stands up to scrutiny and rewards repeated listens. Start chronologically and listen through the band’s catalogue, everything you need to know to enjoy it is already contained within.Favourite LyricsThere haven’t been any official lyrics released at this point and MC Ride’s scattershot delivery makes it hard to discern individual lines but I’ve done my best."Your innocence save your hopes I just roll the dice and I’ve been like this for my whole fucking life my whole fucking life’s your whole fucking life"-My Whole Life"Ghoulishly I fear, paralysis my souvenir"-Shit Like This"At the time didn’t recognise myself ‘till I was petrified but half the time I’m not myself so most of the time I don’t question why will need to testify but best I can do is buy some time spend my time folding time even met myself one time"-Black BodyDiscussion QuestionsThe band have said they are working on a new album, do you think the sound will be influenced by Steroids, or something else entirely? Where would you like them to go?Am I right about the band’s influence on modern hip-hop or was it going to head this direction anyways? Why?What do you believe mainstream rap can learn from experimental releases such as this one?How do you rate the band’s progression thus far, pre and post breakup?Do you prefer this release as a whole or split into individual tracks, why?Tomorrow’s writeup is for Jidenna - The Chief, done by /u/dropthehammer11

#IFTTT #reddit

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snackpointcharlie · 7 years ago

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The November installment of SNACKPOINT CHARLIE is now archived for your time-shifting convenience -- click the “audio” link to stream or download all archived episodes.

Transmission 008 - 2017.11.01

PLAYLIST

1) Wimeanacas Cambodian Band - "The End of Love” from WIMEANACAS CAMBODIAN BAND https://littleaxerecords.bandcamp.com/album/wimeanacas-cambodian-band

2) Dengue Fever - "Tiger Phone Card” from VENUS ON EARTH https://denguefever.bandcamp.com/album/venus-on-earth

3) Teoy Salap Pamaa - "Angkanang Kunchai” from SOUND OF SIAM VOLUME 2 - MOLAM & LUK THUNG FROM NORTH EAST THAILAND 1970-1982 https://soundwayrecords.bandcamp.com/album/sound-of-siam-volume-2-molam-luk-thung-from-north-east-thailand-1970-1982

4) Banteay Ampil Band - "My Last Words” from CAMBODIAN LIBERATION SONGS https://akuphone.com/catalog/GltK4UZ http://spectrumculture.com/2017/03/02/banteay-ampil-band-cambodian-liberation-songs-cambodian-liberation-songs/

5) Les Filles de Illighadad - “Imigradan” from EGHASS MALAN https://lesfillesdeillighadad.bandcamp.com/ http://sahelsounds.com/tag/les-filles-de-illighadad/

6) Omar Khorshid and His Group - "Sidi Mansour (Tunisian Folklore)" from LIVE IN AUSTRALIA 1981 http://www.sublimefrequencies.com/products/576385-omar-khorshid-and-his-group-live-in-australia-1981 http://amzn.to/2AcB53B

7) Rani Mhayer - “Wary” from GNAWA DANCE https://soundcloud.com/cheb-gero/wary-rani-mhayer

8) Tom & Dito - "Obrigado Corcovado” from OBRIGADO CORCOVADO https://www.discogs.com/Tom-Dito-Obrigado-Corcovado/release/2854475

9) The Science Fiction Corporation - "Death Rays Out Of The Universe from SCIENCE FICTION DANCE PARTY https://finderskeepersrecords.bandcamp.com/album/science-fiction-dance-party

10) Plearn Promdan - "Koy Yung Mai Por (I Still Don't Have Enough)" from LUK THUNG! (THE ROOTS OF THAI FUNK) https://www.discogs.com/Various-Luk-Thung-The-Roots-Of-Thai-Funk/release/2404298

11) Ofo The Black Company - "Allah Wakbarr" from WORLD PSYCHEDELIC CLASSICS, VOL. 3: LOVE'S A REAL THING - THE FUNKY FUZZY SOUNDS OF WEST AFRICA http://amzn.to/2gXs85C

12) Sharhabeel Ahmed - "Argos Farfish” from HABIBI FUNK: AN ECLECTIC MIX OF MUSIC FROM THE ARAB WORLD https://habibifunkrecords.bandcamp.com/album/habibi-funk-007-an-eclectic-selection-of-music-from-the-arab-world

"Sharhabeel Ahmed, born 1935, is one of the living legends in Sudan’s arts scene. He created the Sudanese Jazz, a local genre inspired by jazz and funk icons such as Louis Armstrong, Harry Belafonte and James Brown. Sharha- beel moved from his hometown Elobeid in South Kordofan to Khartoum to study at the College of Fine Arts at Sudan University. Being trained as a graphic designer, he became a prominent cartoon artist and worked as an illustrator for the Ministry of Education. Near his office was the Rumbek school which was relocated from South Sudan to Khar- toum after the civil war broke out. Every morning he passed by the compound encountering some of the students playing guitar outside the gates. Fascinated by the foreign instrument for a while, he approached them. He had bought a guitar from a garage sale of a foreigner who left Khartoum but didn‘t know how to tune it and therefore was unable to transfer his skills on the Oud and other local string instruments to playing the guitar. He offered the students to teach them how to play the mandolin in exchange of learning how to tune and play the acoustic guitar he owned. Trained by the church in different guitar techniques, the students agreed on the exchange and Sharhabeel finally was enabled to play the instrument that interested him for a long time. Influenced by the international jazz bands he saw in the bars and clubs in Jumhuriya street in Downtown Khartoum, he started fusing jazz with local elements of different genres, singing in English and Arabic. He gave his first concert at the opening of the Omdurman National Theater where he performed with his band under the name „Sharhabeel Ahmed and Band“. The band was joined by his wife Zakiyah who was the first woman on stage playing base and guitar. Revolutionising the Sudanese music scene for the coming decades, they toured in Africa and Europe, performing songs in Arabic, English and Kiswahili. Playing in Asmara for Independence Day, at the Beethoven- Halle in Bonn, the Roman Theater in Alexandria and the Institut du Monde Arab in Paris, Sharhabeel Ahmed and Band spread the Sudanese musical genre they created internationally until today. “El Bomba” and Sharhabeel’s forthcoming solo release on Habibi Funk was licensed from the artist himself."

13) Mohammed Rafi - "Jaan Pehechaan Ho” from GUMNAAM https://www.youtube.com/watch?v=XnBbjc5hmho

14) Ayo Manuel - "Song of Love” from LOVE CANDIDATE https://www.discogs.com/Ayo-Manuel-Love-Candidate/release/5006478

15) Dur-Dur Band - "Garsore Waa Ilaah” from VOLUME 5 https://dur-durband.bandcamp.com/album/volume-5

16) Rex Khoury - “Mid-Day in Bombay”

17) Verckys et l´Orchestre Vévé - "Cheka Sana” from CONGOLESE FUNK, AFROBEAT & PSYCHEDELIC RUMBA 1969-1978 https://analogafrica.bandcamp.com/album/congolese-funk-afrobeat-psychedelic-rumba-1969-1978

18) Lynn Taitt & The Jets - "I Spy” from GET ON UP! (JOE GIBBS ROCKSTEADY 1967-1968) https://www.discogs.com/Various-Get-On-Up-Joe-Gibbs-Rocksteady-1967-1968/release/3099848

19) Sothy - "ลำเซิ้งบั้งไฟ Lam Seung Bang Fai (Original Version)” from CHANSONS LAOTIENNES https://akuphone.bandcamp.com/track/lam-seung-bang-fai-original-version

20) Meas Samon - "Jol Dondeung Kone Key (Going to Get Engaged)" from CAMBODIAN ROCKS http://blog.wfmu.org/freeform/2007/12/cambodian-rocks.html

21) Menelik Wossenachew - "Belew Bedubaye” from BELEW BEDUBAYE / TEZETA https://www.discogs.com/Menelik-Wossenatchew-Belew-Bedubaye-Tezeta/release/1892844

22) N’Kouri - "The Warras Beat” from PERCUSSIONS http://label.superflyrecords.com/release/n-kouri-percussions-same/118860106/

23) Muhal Richard Abrams - “Peace On You" from AFRISONG http://amzn.to/2Ack5dV

24) Shams Asma - "Comme promis je t'écris une lettre en Arab” http://www.generationbass.com/2014/10/07/%D8%B4%D9%85%D8%B3-%D8%A3%D8%B3%D9%85%D9%89-shams-asma-experimental-arabia/

25) Mike Majkowski - "Carnival of Decay” (excerpt) from NEIGHBOURING OBJECTS https://www.discogs.com/Mike-Majkowski-Neighbouring-Objects/release/6914251 w/The Investigator (excerpt) https://en.wikipedia.org/wiki/The_Investigator

26) "In The Marketplace” from THE TRAVELLING ARCHIVE - FOLK MUSIC FROM BENGAL: FIELD RECORDINGS FROM BANGLADESH, INDIA AND THE BENGALI DIASPORA http://amzn.to/2AeazHh

27) Kamilya Jubran & Werner Hasler - "Al-Hubb Assa’b”

28) Mohamed Ould Nana avec L'Orchestre National Mauritanien - "Adji Kar Teri Miri / Koulou Guamil” from AHL NANA https://www.discogs.com/Mohamed-Ould-Nana-Avec-LOrchestre-National-Mauritanien-Ahl-Nana/release/10366976

#wgxc #wgxcradio #snackpointcharliie #snackpointcharlieradio #hellsdonuthouse

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