First volume appropriately launches
Watch Man of Steel Online : Sistrionix is only the first album by Deap Vally. Nonetheless, the Los Angeles duo have been courting the British music press for the best part of a year via a series of festival appearances, big-ticket support slots and noisy interviews. The band’s eagerness to put themselves out there in spite of the lack of recorded material is testament to the potency of their live show. By all accounts, Deap Vally make an almighty racket on stage, especially impressive given that they’re merely a White Stripes-style guitar-and-drums duo.
Watch Iron Man 3 Online : Now, on Sistrionix, Deap Vally (who consist of Lindsey Troy on vocals and guitar and Julie Edwards on drums) have a chance to prove that their sound works as well through headphones as it does blasting out of a stack of amps. So, then, do Deap Vally have the songs to match their burgeoning reputation as a live act? The answer is a heavily-qualified ‘yes’. In an interview back in September of last year, the band spoke of their plans for the then yet-to-be-recorded album: “It needs to sound raw rock ‘n’ roll, music that’s played by our hands… It’s about capturing a moment in times, it’s not about perfection.”
Watch White House Down Online : They’ve certainly achieved those aims on Sistrionix: freed from the burnishing effects of ProTools, the instrumentation is satisfyingly rough around the edges. To deploy the cliché beloved of hi-fi salesmen in the ’80s, it sounds as if the band are playing in the listener’s front room. Opener End Of The World begins with a huge, foundations-shaking throb of guitars – rather like the imminent arrival of the Tyrannosaurus Rex in Jurassic Park interpreted through music – and, from then on in, the album barely lets up until closer Six Feet Under’s strange, quiet coda 40 minutes later.
Watch The Way Way Back Online : Musically, Deap Vally’s most obvious antecedents are Led Zeppelin, Black Sabbath and The Stooges; on Woman Of Intention, the band sound like the Yeah Yeah Yeahs after an intensive period spent at Rock School. While Deap Vally are good at conjuring up riffs (the one on Baby I Call Hell is particularly infectious), they’re considerably less good at writing melodies that stick. Walk Of Shame ends with a cute little flurry of call-and-response vocals – perhaps the only occasion on the album when Troy and Edwards don’t seem desperate to showcase their rock chops and, perhaps not coincidentally, the record’s poppiest moment.
Watch After Earth Online : Much has been made of the fact that Deap Vally are an all-female band. This really shouldn’t be considered a novelty in the year 2013, but it’s nonetheless become the keynote of Deap Vally’s publicity trail: an article in Glamour magazine in which the band are said to be “inject[-ing] some real girl power back into the male-dominated world of gritty, blues-based rock ‘n’ roll” is fairly typical. It’s therefore probable that Deap Vally chose the album title simply because it’s a good pun.
Watch The Purge Online : That sense of unpretentious fun pervades throughout Sistrionix. It only becomes problematic when Deap Vally begin to flirt overtly with rock ‘n’ roll clichés, as on Bad For My Body, a declaration of hard living whose lack of specificity – “Doing things that are bad for my body / Doing things that are bad for my health… If our mothers only knew / The trouble that we get into” – renders the sentiment completely unthreatening, quaint even. Despite the record’s flaws, it’s hard to stay angry with Sistrionix for very long. It’s ferociously played, sensitively recorded and doesn’t take itself too seriously.
Watch Now You See Me Online : Now, if they only had slightly better tunes, the temptation to highlight the supposedly novel elements of their act might prove easier to resist. In a current New York Times profile on modern artist James Turrell, his contemporary Chuck Close describes Turrell as, “an orchestrator of experience, not a creator of cheap effects. And every artist knows how cheap an effect is, and how revolutionary an experience.” The same can be said of the enigmatic electronic musician Zomby, who has brazenly moved beyond the clever but tawdry sonic tricks that permeated his early work in favour of something richer and far more cerebral with his current offerings, as he continues to boldly push the electronic scene forward while also joyously celebrating its fitful past.
Watch Star Trek into Darkness Online : Throughout Zomby’s intoxicating new record, With Love, there is both a measured serenity and a restless creative spirit pulsing within the dark, imaginative shadows of each song on the expansive two-volume set. Despite his recent move from London to New York City, the venerable contours of the English capitol still beats within the heart of these entrancing numbers, which continue the absorbing, bass-driven nature of Zomby’s previous albums, while still adding adventurous new layers upon his ever-expanding sonic palette. Zomby, much like Jack White, continually places confining parameters on himself and his creative process, tirelessly trying to coax the most imaginative, unlikely sounds out of his comparatively archaic equipment, which gives his fresh, textured sound both a weathered naturalism as well as a wistful elegance. While the 33-song set might appear dense at first glance (and even upon first listen), the taut but tension-filled tracks all breeze by in a cohesive, ethereal churn, with the first volume taking on more of an ominous, dynamic ambience, while the second half has a more serene vibe and tempo. But the collection doesn’t have any superfluous noise at all, with Zomby crafting each tune meticulously, with every nuance and texture adding to the tracks relentless vitality.
The first volume appropriately launches with the moody, futuristic alarms of ‘As Darkness Falls,’ which has the listener enveloped in Zomby’s mercurial spirit straight from the start. The slight, Burial-like detour of ‘Ascension’ serves as a fluid intro to the far more extensive ‘Horrid,’ which certainly bristles with a simmering menace that never fully alights. That slow-burning tension is eventually released on the decidedly old-school swing of ‘It’s Time,’ with the threatening vocal hook demanding that “It’s time to get fucking mental,” as the insistent beat and video game-like sound effects come at you from all directions. The rest of the first volume only builds on that momentum, as the nostalgic clatter of ‘Memories’ and the drum ‘n’ bass urgency of ‘Overdose’ flows smoothly into more reflective sonic excursions like ‘Pray For Me’ and ‘Rendezvous.’ But even with all of the styles and techniques that Zomby burns through from one track to the next, the whole work maintains a hazy harmony that only grows stronger as the record plays on. After the ghostly tones of ‘Vanishment,’ the first volume ends with a series of Roman numeral-named tracks and the divinely-titled ’777,’ with ‘VI-XI’ setting the end of the opening section ablaze while the pensive but propulsive ‘VxV’ suggests that you just get comfortable while watching everything burn. Zomby quickly does away with the saintly undertones of ’777′ by drilling the track’s hostile beats home before the album makes a somber stylistic shift on its second half.
Watch Man of Steel Online : Sistrionix is only the first album by Deap Vally. Nonetheless, the Los Angeles duo have been courting the British music press for the best part of a year via a series of festival appearances, big-ticket support slots and noisy interviews. The band’s eagerness to put themselves out there in spite of the lack of recorded material is testament to the potency of their live show. By all accounts, Deap Vally make an almighty racket on stage, especially impressive given that they’re merely a White Stripes-style guitar-and-drums duo.
Watch Iron Man 3 Online : Now, on Sistrionix, Deap Vally (who consist of Lindsey Troy on vocals and guitar and Julie Edwards on drums) have a chance to prove that their sound works as well through headphones as it does blasting out of a stack of amps. So, then, do Deap Vally have the songs to match their burgeoning reputation as a live act? The answer is a heavily-qualified ‘yes’. In an interview back in September of last year, the band spoke of their plans for the then yet-to-be-recorded album: “It needs to sound raw rock ‘n’ roll, music that’s played by our hands… It’s about capturing a moment in times, it’s not about perfection.”
Watch White House Down Online : They’ve certainly achieved those aims on Sistrionix: freed from the burnishing effects of ProTools, the instrumentation is satisfyingly rough around the edges. To deploy the cliché beloved of hi-fi salesmen in the ’80s, it sounds as if the band are playing in the listener’s front room. Opener End Of The World begins with a huge, foundations-shaking throb of guitars – rather like the imminent arrival of the Tyrannosaurus Rex in Jurassic Park interpreted through music – and, from then on in, the album barely lets up until closer Six Feet Under’s strange, quiet coda 40 minutes later.
Watch The Way Way Back Online : Musically, Deap Vally’s most obvious antecedents are Led Zeppelin, Black Sabbath and The Stooges; on Woman Of Intention, the band sound like the Yeah Yeah Yeahs after an intensive period spent at Rock School. While Deap Vally are good at conjuring up riffs (the one on Baby I Call Hell is particularly infectious), they’re considerably less good at writing melodies that stick. Walk Of Shame ends with a cute little flurry of call-and-response vocals – perhaps the only occasion on the album when Troy and Edwards don’t seem desperate to showcase their rock chops and, perhaps not coincidentally, the record’s poppiest moment.
Watch After Earth Online : Much has been made of the fact that Deap Vally are an all-female band. This really shouldn’t be considered a novelty in the year 2013, but it’s nonetheless become the keynote of Deap Vally’s publicity trail: an article in Glamour magazine in which the band are said to be “inject[-ing] some real girl power back into the male-dominated world of gritty, blues-based rock ‘n’ roll” is fairly typical. It’s therefore probable that Deap Vally chose the album title simply because it’s a good pun.
Watch The Purge Online : That sense of unpretentious fun pervades throughout Sistrionix. It only becomes problematic when Deap Vally begin to flirt overtly with rock ‘n’ roll clichés, as on Bad For My Body, a declaration of hard living whose lack of specificity – “Doing things that are bad for my body / Doing things that are bad for my health… If our mothers only knew / The trouble that we get into” – renders the sentiment completely unthreatening, quaint even. Despite the record’s flaws, it’s hard to stay angry with Sistrionix for very long. It’s ferociously played, sensitively recorded and doesn’t take itself too seriously.
Watch Now You See Me Online : Now, if they only had slightly better tunes, the temptation to highlight the supposedly novel elements of their act might prove easier to resist. In a current New York Times profile on modern artist James Turrell, his contemporary Chuck Close describes Turrell as, “an orchestrator of experience, not a creator of cheap effects. And every artist knows how cheap an effect is, and how revolutionary an experience.” The same can be said of the enigmatic electronic musician Zomby, who has brazenly moved beyond the clever but tawdry sonic tricks that permeated his early work in favour of something richer and far more cerebral with his current offerings, as he continues to boldly push the electronic scene forward while also joyously celebrating its fitful past.
Watch Star Trek into Darkness Online : Throughout Zomby’s intoxicating new record, With Love, there is both a measured serenity and a restless creative spirit pulsing within the dark, imaginative shadows of each song on the expansive two-volume set. Despite his recent move from London to New York City, the venerable contours of the English capitol still beats within the heart of these entrancing numbers, which continue the absorbing, bass-driven nature of Zomby’s previous albums, while still adding adventurous new layers upon his ever-expanding sonic palette. Zomby, much like Jack White, continually places confining parameters on himself and his creative process, tirelessly trying to coax the most imaginative, unlikely sounds out of his comparatively archaic equipment, which gives his fresh, textured sound both a weathered naturalism as well as a wistful elegance. While the 33-song set might appear dense at first glance (and even upon first listen), the taut but tension-filled tracks all breeze by in a cohesive, ethereal churn, with the first volume taking on more of an ominous, dynamic ambience, while the second half has a more serene vibe and tempo. But the collection doesn’t have any superfluous noise at all, with Zomby crafting each tune meticulously, with every nuance and texture adding to the tracks relentless vitality.
The first volume appropriately launches with the moody, futuristic alarms of ‘As Darkness Falls,’ which has the listener enveloped in Zomby’s mercurial spirit straight from the start. The slight, Burial-like detour of ‘Ascension’ serves as a fluid intro to the far more extensive ‘Horrid,’ which certainly bristles with a simmering menace that never fully alights. That slow-burning tension is eventually released on the decidedly old-school swing of ‘It’s Time,’ with the threatening vocal hook demanding that “It’s time to get fucking mental,” as the insistent beat and video game-like sound effects come at you from all directions. The rest of the first volume only builds on that momentum, as the nostalgic clatter of ‘Memories’ and the drum ‘n’ bass urgency of ‘Overdose’ flows smoothly into more reflective sonic excursions like ‘Pray For Me’ and ‘Rendezvous.’ But even with all of the styles and techniques that Zomby burns through from one track to the next, the whole work maintains a hazy harmony that only grows stronger as the record plays on. After the ghostly tones of ‘Vanishment,’ the first volume ends with a series of Roman numeral-named tracks and the divinely-titled ’777,’ with ‘VI-XI’ setting the end of the opening section ablaze while the pensive but propulsive ‘VxV’ suggests that you just get comfortable while watching everything burn. Zomby quickly does away with the saintly undertones of ’777′ by drilling the track’s hostile beats home before the album makes a somber stylistic shift on its second half.
via Recipe Secrets Forum - Copycat Restaurant Recipes http://www.recipesecrets.net/forums/general-chat/51474-first-volume-appropriately-launches.html
Aucun commentaire:
Enregistrer un commentaire