The Flying Dutchman AKA Neo SA)đ:02ġ3."Doos Dronk" (ft. Most tracks are pretty enough, but the best moments come when a bit of fire and soul are added to the mix, as on Carolina Rua with Imelda May and (especially) Pretty Little Girl with the Carolina Chocolate Drops.7."My Best Friend" (skit ft. Like much of their recent work, Voice of Ages is built around collaboration, this time with country and indie stars – including Bon Iver, the Decembrists, Civil Wars and Pistol Annies – who weren't even born when the band debuted. That the Chieftains have been at it for half a century now is a milestone made all the more impressive by their insistence on continually adding fresh twists to traditional Irish music. This program will be performed at the CD launch concert, 8 p.m. Superb soloists grace the two wind quintets: Jeremy Berkman, who turns phrases into characters with eloquent tone and smooth line in Underhill's stunning Trombone Quintet, and clarinetist François Houle, whose cultivation of unorthodox techniques – liquid quartertones and multiphonics like fine sandpaper – heightens the sense of a music in which the detail is almost tactile, and none of it is expendable. The Bozzini Quartet provides haunting interpretations of Underhill's third and fourth string quartets, which sneak up on the heart via the head. Owen Underhill's music is a sea of fluid contrasts: the busy clockwork time of action and dance and the suspended time of contemplation bold gestures that cut across static, glassy textures counterpoint one can see through, like a forest of bare trees, yet folded into consonances. And "crush" is used as an oppressive verb as well as a romantic noun. Miller, the lyricist, has fond memories of the well-off Catholic-school girls of his past: "With your hair in braids, your mother tips the maid, blindfolded nun." There's also mention of shotgun sprays. (If that isn't enough, the liner-note photos of militaristic paraphernalia run the mullet-headed conceit into the ground.)Ĭrush is one of a couple of tracks that rely on cheerleader shouts and claps. must like that – and the guitar-as-an-assault-weapon-metaphor is crudely made. There's mention of an M-16 –Sleigh Bells fan M.I.A. "Push it, push it!" urges Krauss, a big fat beat at her back. True Shred Guitar is the album's buzz-saw greeting, opening with a sweaty live snippet, crowd a-roaring. Miller plays noisily, but not bigly – and certainly not expertly. Cheezy, simplistic, metal barre chords are attractive to Miller – Poison is his poison. There's an admiration for girl groups such as the Go-Go's and the Shangri-Las. Treats, is marked by programmed drums, the cutesy vocals of Alexis Krauss and the overdriven guitar belonging to Derek Miller. Reign of Terror, which is poppier but less interesting than its more assaulting and abrasive debut, Sleigh Bells relies on volume, style and shtick.
0 kommentar(er)
