Classical

Kick Some Shit - DJ Weirdo - Heroes Of Hardcore (CD)

So different than the feeling when you are on the hilltop next tothe wind harp with panoramic vistas of surrounding forested hills, vales and mountains. That experience for myself and apparently the thousands who somehow found it, was quite the opposite of scary When I complete the Nikko Wind Harp, I will think twice before permitting a recording as I still feel hiking a small mountain and viewing the harp is really part of my wind harp idea, not simply hearing its "sound.

However, I have sporadically received requests from persons in the last few years who have been unable to find the original double album UA recording and asked for a CD from me. As the harp itself has long since been disassembled and moved from the hilltop in Vermont to other East Coast locations, and rebuilt at least twice but, according to those who heard the Chelsea wind harp, reconstructions paled in comparison.

McCain for both his creative work and his approach to life, and many thanks to him for getting in touch. For those of you interested in the wind harp concept, his website feautures some fascinating photographs and technical details of the Vermont harp. Labels: announcementsThe Wind Harp. I even had a ticket. Damn birthday parties! Most of the time I hate 21st century po-mo hipster-media culture by default, but maybe, just maybe, there are occasions to stand and salute the moments of righteousness it can bring us.

F stands for. But at least they have the good grace to be close together in the alphabet, so that they follow each other in my album round-up. Anyway, No Age are ostensibly two guys from LA who play guitar and drums and used to be in a hardcore band, and I did a review of this record by them for Freq back in April. These meetings prove to be Kick Some Shit - DJ Weirdo - Heroes Of Hardcore (CD) most interesting bits, and it is the tension between the two approaches that helps make Weirdo Rippers such an attention-grabbing singularity.

All things considered, No Age's 'noise' tracks are exceptionally good, betraying a level of forethought and imagination that eludes many. Here, No Age wisely reject the post-Lightning Bolt consensus of testosterone-fuelled sensory overload, instead playing up their relative technical inadequacies, thrashing sloppily at some distant horizon, strangulated geek yelping expressing mockery and self-belief in equal measure, eventually rallying around some semblance of a melody and coalescing into outbursts of refreshingly straightforward surf-riffin' guitar pop, imbuing No Age's noise-trash hardcore approach with a Kick Some Shit - DJ Weirdo - Heroes Of Hardcore (CD) strain of humanity and humour […] One of the most exciting thing I've heard from the American underground this year, No Age's positivist approach makes Weirdo Rippers a shot across the bows of the increasingly complacent noise scene, and suggests that, given some studio time and a crate of new toys, these boys are likely to return with something truly special.

Quiet music somehow hewn from lead weights, dumbbells and monolithic boulders. Old Testament. Avert your eyes from the majesty of The Riff, lest ye be smote. Or smitten. Or whatever; you get the point. For the uninitiated, what Noah Lennox, aka Panda Bear, has essentially done here is to loop some particularly ecstatic moments from his record collection and other found sound sources, warp them beyond recognition with pitch-shifting, delay and vast, oceanic reverb, and craft them into palaces of dense, hypnotic, dub-pop over which he harmonises with himself in his distinctive high-pitched croon, applying the logic of song and instinctively pulling beautifully formal, cyclical, endlessly comforting melodies out of what in lesser hands could have simply emerged as a big mess.

The documentary about him I Kick Some Shit - DJ Weirdo - Heroes Of Hardcore (CD) off BBC2 a few years ago has seen many viewings, and each time, I am awed by what a basically amazing bloke Wyatt is.

Summarised in terms such as those above it sounds like an almost ludicrously earnest, over-reaching, self-righteous undertaking, and in the hands of any other aging British musician it probably would be. Erik Friedlander is best known to me for his sterling work providing strings on the last few Mountain Goats records, and here he presents an album of solo cello pieces inspired by memories of epic childhood journeys across the USA.

And much like an epic childhood journey, the results are at times rather lugubrious, but also on occasion extremely dramatic, and are eventually guaranteed to prove good, wholesome listening to anyone who enjoys cellos and epic American landscapes and such like. Friedlander is a musician of prodigious inventive skill, and the improvised passages here howl, soar, shriek and moan in the manner of the more adventurous free improv bassists, occasionally sounding like he is attempting to channel a Slayer solo, whilst the more conventional, composed segments are beautifully lyrical, at their best recalling what might have transpired had John Fahey taken up the cello.

This is still, in a profound sense, an Electric Wizard album, and there are times in life when nothing else will do. They always stay on time, they're always perfect, she says dismissively. She doesn't like keyboards much either. Too much sucky, not enough fucky, she concludes. Clearly Ms Sharp and I have much to discuss. Maybe next time they can bring a microphone and a four-track and really kick some ass.

Then there's the roll-call: take no prisoners cow to death of an essay, so hold on. The same rock Liar machine gun style. The music industry isn't just worried about piracy — it's not like it's hard to "steal" music — the issue is these games contain something far more powerful and rare than the music: The stems.

When a rhythm game uses a song it can't just use a copy of the song; to break out each playable instrument and separate it the developer has to have access to the original recording material. That means, for instance, that's it's likely Harmonix had access to the masters of the Beatles songs used in the game.

For a music fan that's close to touching the holy grail. Those stems have immense worth, and could be used for all sorts of things; including unauthorized remixes or sampling. It's very likely that those stems are what the music industry is protecting, and why so much security has to be put on these games.

Security that doesn't exist on the PC. For reference, the list of albums with stems available to the public is tiny. Without those safeguards in place it would be trivial for someone to remove the stems, and then suddenly you have beautiful, high quality Kick Some Shit - DJ Weirdo - Heroes Of Hardcore (CD) of each separate track from huge artists; and that sort of access to the music is something the labels defend voraciously.

Companies like Harmonix and Activision have every reason to protect those stems as much as they can; the more secure they are the more likely they'll retain access to the biggest artists in music. Creators of music games have to deal with all the issues of game development with all the issues of the music industry, and that's a hard line to walk. Hopefully Rock Band 4 will one day come to the PC, but for now? I'm happy enjoying my copy of the DJ Hero soundtrack.

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Gaming PlayStation Xbox Nintendo. Condemned To Slaughter feat. Arno Strobl. I'm Marching Now feat. Warriors Of The Badlands feat. Ludo Faraill. Julien Cassarino. Thrasher's Delight. Harmonic Mayhem. Undead And Kicking. The Evil Zombies Do feat. Don't Bite My Butt feat. Sab Elvenia. Run For Your Lives instrumental. Crush instrumental.

Rust Kick Some Shit - DJ Weirdo - Heroes Of Hardcore (CD) The Wind instrumental. Die Untoten instrumental. Condemned To Slaughter instrumental. I'm Marching Now instrumental. The Evil Zombies Do instrumental. Don't Bite My Butt instrumental.

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