85 Results for : ebbs

  • Thumbnail
    Escondido
    Poor Weather Club was a Minneapolis industrial post-punk formed by Cody Bourdot, Christian Petty, and Matt Lily in 2008. Escondido was their only release before breaking up in 2010. For related martial, see The Blackthorns s/t 2006 CD also for sale on CDbaby. Poor Weather Club: Escondido (City Pages CD Review) By Loren Green Wednesday, May 5 2010 'Folk music is known for it's historic ties, it's constancy in changing times, and it's sense of time and place. Poor Weather Club is a three-piece hell-bent on changing this. Their gothic Americana draws a clear historic influence, but the addition of a drum machine and their ambivalence toward traditional song structures give them an eerie and ambient twist. 'Malpais' starts the record with a minute of spooky bass and repetitive drum before singer Christian Thaddeus Petty's wavering and haunting vocals begin. While Petty's voice is distinct and adds dramatic flair, it's the steady progressions from bassist Cody Bourdot that set the tone and drive their melodies forward throughout Escondido. Both Petty and Bourdot previously played in the Blackthorns, and Poor Weather Club share many similarities with their previous band. The biggest difference, however, is the electronic soundscape that, on paper, appears blasphemous to the type of music being played. Instead, Party Central's beats (ex-Woodcat) add a dreamy quality, as they are mixed so smoothly that the CD sounds like live instrumentation instead of a cold, heartless computer. The album, with it's sun-peeking-through-the-clouds cover, explores steady yet vulnerable emotion exemplified by the ebbs and flows of a daylong rainstorm. There are moments of clashing, loud explosions, and flickers of sunlight through the clouds, but mostly the band is content to bask in a calm, if troubled, state of minor keys. Every so often the songs reach an upbeat pinnacle, as in 'Dove Song' or 'Cinder,' which utilizes more energetic beats and more dramatic vocals. After the louder, more dynamic aforementioned song, the band turns back to 'It's Going to Be Alright,' which, fittingly, draws it's lyrical imagery from a rising storm. Instead of focusing on pop brevity and catchiness, the songs range from two to eleven minutes of methodical exploration, beginning with familiar musical tropes and turning them into something more contemporary and new.' -------------------- Show review by Devil's Basement, 10/30/09 'Now that we know we can be easily wiped out...let's mope for a moment. S.A.D. anyone? That stands for 'Seasonal Affective Disorder,' and if you're one of the losers that needs something to constantly be wrong with you so you can beg for attention then I hope the sun never shines in your world again. Ever. Pull the trigger. On that note, the boys in Poor Weather Club got together to see if they could remind us what it sounds like when thunderstorms and rainclouds sound more like a symphony than any sort of impending demise. Drum machines are pretty cool little devices if you know enough to make them do stuff...but they turn out to be violently AWESOME when you couple them with a guy like Matt Lily of PWC. I don't think anyone in the room expected to hear the sounds he made come out of that table of electronics. Simply magnificent, I tell you. Throw in the driving guitars and howling, haunting vocals of Christian Thaddeus Petty alongside a lock-step but spacious bass-captain named Cody Bourdot and you've got the innovation in music that Minneapolis should be known for on a National scale. Fuck the scenesters, fuck the hipsters, this is what emotion in music truly is. This is what I want to see when I get out to a show. Make me believe you when you sing. Make me believe you mean it. The Poor Weather Club made a believer out of me. I believe that when they step up in the club, they make it rain.'
    • Shop: odax
    • Price: 20.41 EUR excl. shipping
  • Thumbnail
    The Ultimate Guide to the Presidents
    Americas unique form of democracy separates power among three branches of government: The legislative, judicial and executive. The President of the United States, who heads the executive branch, holds the position that most embodies the aspirations of the American people. Join History for a fresh perspective on how the Oval Office has evolved over the past 200 years through stories about and learn about the 43 men who have served as Commander in Chief from George Washington to Barack Obama. This 8 hour miniseries concentrates on the ebbs and flows of presidential power and responsibilities as each of Americas leaders deal with the events, expectations and challenges of his time.
    • Shop: odax
    • Price: 21.89 EUR excl. shipping
  • Thumbnail
    20th Anniversay Celebration
    20th ANNIVERSARY CELEBRATION OF AUSTRALIAN COMPOSERS JADCD 1119 An anthology of works by Australian composers in a wide range of styles and musical groupings ranging from saxophone quartet, mandolin ensemble through, a trio for piccolo, guitar & cello to works for solo mandolin and solo piano. Tracks 1, 2, 3, 4, 5 & 6 - ERIC GROSS (b.1926) SUITE LATIN AMERICAN op.302 (2008) for multi-instrumentalist Saxophone Quartet. The TANGO CONCERTANTE, completed in 2007 received a very enthusiastic reception by the members of the Fo(u)r Fans - Saxophone Quartet to whom this Suite is dedicated. It was therefore decided to create a suite of movements in a Latin American style. The title of each movement indicates the style, mood and rhythmic provenance of the musical content, with the BALADA providing a calm and gentle contrast to the other, livelier movements. Because of the versatility of the instrumentalists for whom the suite has been composed, the composer succumbed to the temptation to provide additional variety of timbre by utilising also instruments other than the various saxophones, which the members of this ensemble play so expertly. Track 1 - Tango Concertante Track 2 - Rumbaphonics Track 3 - Balada Track 4 - Samba This Suite was recorded privately in Weimar, Germany in 2008 and the fifth movement, "Hatdance" will be recorded in due course. The members of the Fo(u)r Fans- Saxophone Quartet are: • Ruediger Trosits-Sopr.Sax/Flute/Bb Clt. • Berndt Klinke-Alto Sax/Sopr.Sax/Flt/Picc./Bb Clt./B'Clt. • Holger Arndt-Ten.Sax/Eb Clt./ B'Clt. • Jens Kaiser-Baritone Sax/Bb Clt. Track 5 - PIANGO CONCERTANTE op.302/A (2008) This is an arrangement and adaption for solo piano of the Tango Concertante op.302/1. Because of the enthusiastic reception given to the tango the composer decided to create this idiomatic arrangement for that great supporter of Australian music, the Australian pianist Sally Mays, utilising her great musicianship and technical prowess to the fullest. This private recording was made in London in August 2008. Sound Engineer Bas Kelleher. Track 6 - PREMARCH AND POSTWAR (VORMÅRZ UND NACHKRIEG) op.307 A brief tone-poem for piano, based upon the poem of the same title by the German poet MICHAEL KIRMES-SEITZ, and gives expression to the disasters and havoc created in Germany by the political events of that period. The music pictures and contrasts the exaggerated and false hopes raised and the inevitable horrendous consequences by the end of World War II. This composition was written especially for the outstanding pianist and pedagogue, Idil Ugur who resides in Weimar where this private recording was made in August 2008. E.G. Track 7 - PETER SCULTHORPE (b.1929) A SUN SONG FOR ERIC (1991) This short piece of music was written by the composer to be included in a GARLAND of pieces written by various composers for Eric Gross on his retirement from Sydney University in 1991. The music is one of Peter Sculthorpe's miniature masterpieces and contains a sunny aspect throughout. Peter Sculthorpe is Australia's most celebrated composer. Track 8 - ANN CARR-BOYD (b.1938) FANDANGO (1982) FANDANGO, written in 1982 for Adrian Hooper and the Sydney Mandolins, is a lyrical bluesy type of work and has proved to be this composer's most popular piece of music along with her MUSIC FOR AN IMAGINARY ITALIAN FILM, also written for Adrian Hooper and the Sydney Mandolins. Track 9 - BETTY BEATH (b.1942) contrasts (1983) This is one of the many miniature masterpieces of Betty Beath's composed in 1983. Played by the composer at the piano. Tracks 10, 11 & 12 - ROBERT ALLWORTH (b.1943) Track 10 - NIGHTFALL ON SYDNEY HARBOUR (2006) This composition describes an impressionistic landscape of Sydney Harbour at dusk. The music ebbs and flows, creating a moody scene. Track 11 - TWILIGHT THOUGHTS (2008) Twilight Thoughts depicts feelings at twilight and is contemplative in character. Track 12 - PRELUDE AMETHYST AND JADE (2008) Prelude Amethyst and Jade describes in harmony and melody the characteristics of these gems. Tracks 10, 11 and 12 recorded 12/9/2008 by Kerry Joyner at 2MBSFM Studio C. Track 13 - RAY LEMOND (b.1956) NORDLAND (2008) The upper part of Norway is known as Nordland and is home to the spectacular Norwegian fjords. The music tries to capture a slice of the majesty and tranquility of this natural wonder. Recorded on Arcadia 24/8/2008 by Matt James. Track 14 - ROBERT ALLWORTH (b.1943) FALLING LEAVES OF RED AND GOLD (2008) FALLING LEAVES OF RED AND GOLD was written for mandolinist MICHAEL HOOPER in July 2008. The music is in three movements and is lyrical and autumnal in character. Michael Hooper graduated as Doctor of Philosophy (Musicology) from York University in July 2008 and recorded this composition at the Rymer Auditorium of the Music Research Centre at the University of York.The recording was produced by Ellen Winhall and remastering was supervised by Adrian Hooper. Track 15 - DEREK STRAHAN (b.1935) AT BONDI-SURF & RIPS (1963) Rondo for Piccolo, Guitar & 'Cello (1963, revised 2008) - Trio Nuovo Musicale New Music Group Players. My home in 1963 was a flat in a crumbling block at the south end of Bondi Beach renting at $8 per week which had a millionaire's view looking north along the surf, and which has since been replaced by expensive apartments. I body-surfed every day, rediscovering a beach life last experienced at age 10 in 1945 in Perth, WA, before being relocated to the UK by my family, from whence I fled in 1962 returning to Australia. This Rondo is one of a dozen or so music works I wrote in that year, and seems to have been a visceral and combative depiction of swimming in the surf in rough conditions, with conflicting currents above and below amid the constant excitement of waves rolling in. I have changed little of the structure and themes of the original score but have added detail to enhance texture, maintain motivic impulse and provide a more climactic Coda. This is the first of three pieces making up a Suite "At Bondi". 'Surf & Rips' heard here, then "Millpond" and "Perfect Day" which follow with the flute taking the woodwind role. Recording, Revolve Pty. Ltd., 28/01/08 This compact disc celebrates the 20th Anniversary of the first compact disc issued on the JADE label through BROAD MUSIC. This compilation represents 20 years of production of Australian music on JADE RECORDS. A special tribute is made to Dr. Eric Gross AM for his encouragement of Australian music during his tenure as Associate professor of Music at the University of Sydney and also as a supporter throughout the 20 years of the JADE series of Australian music. Some of his most engaging music is heard on this disc. The 20th year of production and also the 103rd disc in this series. Compilation mastered by Steve Smart Studios 301. Photo: ARCADIA NSW by Lorraine Cain of Newport Beach NSW Australia.
    • Shop: odax
    • Price: 22.06 EUR excl. shipping
  • Thumbnail
    Like This Forever
    Anyone remotely familiar with aQ knows we've long had a soft spot for earthy, psych-tinged music that weaves it's way along beautiful shadowy paths through the dewy glimmers and murky sludge. Well, here's something new that fits the bill and has been pleasing many an ear around here! We actually put a call out to these Portland, OR folks back in October to send some of their music down the coast. A few months have passed and here we are finally with cds in hand, and we think it was worth the wait! Heck, in the short time we've had Like This Forever in stock, in-store play has already been stirring up many many queries with at least one purchased each time it's spun. Stormy waves of electric guitar distortion and reedy woodwinds crash upon one another, then melt into clear smooth bell chimes. Horns and piano also enter the fray that ebbs and flows around mainman Eric Crespo's emotive vocals... As you listen you get a sense that Crespo and co. May have been raised on a balanced diet of Pink Floyd and Fleetwood Mac as well as Pavement and Slint. Yes, all the most nutritious and tastiest food groups! Recommended. -Aquarius Records (speaking of 'like this forever') __________________________________________________________ __________________________________________________________ Review of 'like this forever' from Belgian blog Derives: I've been very impressed by the debut release of Ghost to Falco, the solo project of Eric Crespo. I was then very curious to discover his first full length and a little bit anxious about the fact he recorded it with a full set of guest musicians. Turning a solo project into a full band can corrode a sensitivity completely. There are differences, this album is less intimate and more intense, there is less space for layers of sounds from synths, organ or guitars and more attention towards a more rock-oriented approach. But while I'm talking about that he doesn't lose a single part of his authenticity as other artists like Unwound, Slint, Kickball, Three Mile Pilot, Victory at Sea, Bellafea, Lowercase or For Carnation easily come to mind when i listen to his new songs and band instrumentation. There is more room for tension ot this record, and for harsher sounds, even if it never falls into complete noisy explorations. He makes also a step towards a more conventional songwriting, following the archetypes of usual indie rock formula inherited from post-hardcore sources. I do like this new record quite a lot, even if I miss the unity once featured on the debut release. Eric Crespo is a true and clever songwriter and a brilliant interpreter of his own songs. There is no place for circus, you will taste the dust but ask for more of this. This is not a recommended record, this is a necessary one. I don't like it as much as I am obsessed by it. If once in your life records such as Spiderland, Repetition, The Dark is Just the Night, The Going-Away Present or Another Desert Another Sea have meant something for you, it is the next one on the list. --DERIVES.NET __________________________________________________________ __________________________________________________________ '...Have you heard how good Eric Crespo's lyrics are? Have you heard their newish art-noise-gone-pop songs?' -The Portland Mercury __________________________________________________________ __________________________________________________________ 'Swooping bass lines, feedback at odd intervals, slo-mo percussive riffs when the drums are playing, and the rare touch of horns--put like that, you might think it sounds like a bunch of gibbons loose in the studio, but Portland-based troubadour Eric Crespo manages to blend it all into a batch of sludge folk that alternately soothes and rattles the ears.' -Boise Weekly (from an album review of 'like this forever') __________________________________________________________ __________________________________________________________ 'Eric Crespo is the constant member of Ghost to Falco, a Portland band-a trio on this tour -specializing in morose beauty and curious emotion. From lush analog synth sounds to looped and minimal drones, the sounds on the new disc 'Like This Forever' complement Crespo's pointed lyrics well.' -The Flagpole (Athens, GA)(Dec. 6, 2006 issue) __________________________________________________________ __________________________________________________________ 'If the rock and indie camps have been increasingly segregated as of late, then this album could be the much needed catalyst to bring the two back together. Ghost to Falco singer/songwriter Eric Crespo seems comfortable in the role of composer of introspective lyrics, but also knows that heavy, cathartic rock 'n' roll is an important part of the emotional dynamic. Crespo's rock is Neil Young circa After The Gold Rush, with huge choruses and guitar chords that transition into textured and delicate sections with layers of organ, xylophone, brass and wind instruments. It's a recipe that is continuously intriguing throughout. The first songs on the album, "Light in the Wind" and "Maupin," gently ease the listener into Crespo's world, giving a false sense that it will be a quiet, introverted album in the vein of Pinback or The Shins. Subtly, cymbal crashes build into a fit of noise joined by staccato acoustic guitar and human wailing that sounds like a painful exorcism. The song ends with Crespo's bitter, scorned singing, "If there's an escape then it begins with beliefs," and a frustrated punk beat over open chords. The strongest track is "The End," which begins with a riff constructed of what sounds like a guitar being played backwards and punctuated with a stirring Young-esque harmonica lead. The drums are hard-hitting and aggressive and the cooing background vocals of the chorus make the lyrics, "When light will you come here," all the more haunting and beautiful. The ghostly chorus appears louder over military drums on the next track, "Feared and Known." The seventeen guest musicians that appear throughout add much depth and spontaneity to Crespo's powerful folk-influenced compositions.' -Jake Rose -West Coast Performer Magazine (Album review for 'like this forever') __________________________________________________________ __________________________________________________________ Though Eric Crespo is, as he says, the one constant in Ghost to Falco, he's webbed in quite a cast these past few years, including Nick Delffs of Shaky Hands and Mike McKinnon of Wet Confetti. Not surprisingly, GTF's sound is just as expansive as it's collection of band members. Expect a night of noisy art rock, clatters of nu jazz, and tangents into trancy and symphonically stormy experiments, all wrapped around grounded but ghostly whispers that catch Crespo in moments of peace and bitterness.-ANIKA SABIN --The Willamette Week __________________________________________________________ __________________________________________________________ Portland's Ghost to Falco incorporates some lo-fi electronics into his unpredictable mix of post-folk and loopy experimentalism. -The Seattle Stranger.
    • Shop: odax
    • Price: 13.52 EUR excl. shipping
  • Thumbnail
    Beaches
    When the irrepressible C.C. Bloom (Bette Midler) and the shy and proper Hillary Whitney (Barbara Hershey) first meet under the Boardwalk at the beach, all the 11-year-olds have in common is the need for a best friend. Worlds apart in lifestyle and location, their friendship ebbs and flows through a lifetime of highs and lows, career changes, marriages, jealousy, and more. From the Boardwalk in Atlantic City to the beach house on the Pacific, BEACHES will remind you of what being a true friend means.
    • Shop: odax
    • Price: 18.73 EUR excl. shipping

Similar searches: