27 Results for : clanging
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Fire Underground: The Ongoing Tragedy Of The Centralia Mine Fire , Hörbuch, Digital, ungekürzt, 848min
How an underground fire turned a Pennsylvania community into a ghost town. On May 27, 1962, a fire set to clean up the town dump outside Centralia, Pennsylvania, spread by accident into abandoned coal mines beneath the small town. This spawned the environmental disaster known around the world today as the Centralia Mine Fire. Journalist David DeKok, the author of this book, reported on the mine fire from 1976-86, when the fire was at its peak. Clouds of steam rose from the earth and the ground could collapse without warning, as it did on Valentine's Day of 1981, nearly killing a 12-year-old boy, Todd Domboski. That the fire reached this critical mass was due to years of government incompetence. The early projects by the state of Pennsylvania in 1962-63 to stop the fire all ran out of money before the job could be done. The U.S. Bureau of Mines built an underground barrier in the late 1960s to keep the fire out of Centralia, but it began failing by the mid-1970s. A misguided decision by the federal government in 1978 to close a vent pit left open by the state in 1963 to pull the fire away from Centralia sealed the town's doom. As the fire worsened, Centralia's people - some of whose families had been there for five generations - struggled with the daily reality of clanging gas alarms and sick children. They began to fight among themselves over what to do. In 1983, as the world watched, they voted 2-1 to accept a federal government offer to relocate all of them. By 2000, all but a half dozen of the thousand who had lived there in 1980 were gone, along with their homes and churches. Centralia exists mainly in memory today. Nature is reclaiming the blocks where homes once stood. Tourists come from around the world to see the town with the underground fire and especially the wrecked highway, split open by that fire. It was a tragedy that did not have to happen. ungekürzt. Language: English. Narrator: Eddie Frierson. Audio sample: https://samples.audible.de/bk/acx0/072050/bk_acx0_072050_sample.mp3. Digital audiobook in aax.- Shop: Audible
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The American Way of Eating: Undercover at Walmart, Applebee's, Farm Fields and the Dinner Table , Hörbuch, Digital, ungekürzt, 655min
What if you can't afford nine-dollar tomatoes? That was the question award-winning journalist Tracie McMillan couldn't escape as she watched the debate about America's meals unfold, one that urges us to pay food's true cost-which is to say, pay more. So in 2009 McMillan embarked on a groundbreaking undercover journey to see what it takes to eat well in America. For nearly a year, she worked, ate, and lived alongside the working poor to examine how Americans eat when price matters.From the fields of California, a Walmart produce aisle outside of Detroit, and the kitchen of a New York City Applebee's, McMillan takes us into the heart of America's meals. With startling intimacy she portrays the lives and food of Mexican garlic crews, Midwestern produce managers, and Caribbean line cooks, while also chronicling her own attempts to live and eat on meager wages. Along the way, she asked the questions still facing America a decade after the declaration of an obesity epidemic: Why do we eat the way we do? And how can we change it? To find out, McMillan goes beyond the food on her plate to examine the national priorities that put it there. With her absorbing blend of riveting narrative and formidable investigative reporting, McMillan takes us from dusty fields to clanging restaurant kitchens, linking her work to the quality of our meals-and always placing her observations in the context of America's approach not just to farms and kitchens but to wages and work. The surprising answers that McMillan found on her journey have profound implications for our food and agriculture, and also for how we see ourselves as a nation. Through stunning reportage, Tracie McMillan makes the simple case that-city or country, rich or poor-everyone wants good food. Fearlessly reported and beautifully written, The American Way of Eating goes beyond statistics and culture wars to deliver a book that is fiercely intelligent and compulsively readable. Talking about dinner wil ungekürzt. Language: English. Narrator: Hillary Huber. Audio sample: https://samples.audible.de/bk/tant/002508/bk_tant_002508_sample.mp3. Digital audiobook in aax.- Shop: Audible
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Piteous Gate
Experimentelle deepe Elektronik, Cut-Up Rhythmen, Industrial des Barock und kaputtes Geklöppel vom Janus Kollektiv - Mitglied M.E.S.H.Experimentelle deepe Elektronik, Cut-Up Rhythmen, Industrial des Barock und kaputtes Geklöppel vom Janus Kollektiv - Mitglied M.E.S.H. Alongside fellow members of Berlin's Janus collective, recently behind nights at Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club dynamics and production. On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed improvisation, automated processes, and collage. Standard club syncopation is twisted by sliding tempos, cut and paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo- feudal moods offset by the recurrence of hydraulic hiss and flanger. A synthetic fuel injector revs opener 'Piteous Gate' to life. Drawing from action- scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into 'Optimate'-stately, spatial, and whiplash - luxurious, with meandering cybernetic drumming. 'Thorium' sends a slow-motion camera through a melting test reactor: all burnt VSTs and synthetic theorbo and loose drums. The Black Pill' smears high-end renaissance sample libraries through arcs of static. In 'Epithet,' temple sewer atmospheres are ruptured by 'Scythians'-style cut-up drums. 'Jester's Visage' indulges a minute-long baroque guitar improv, and territorial youths air their beef in 'Kritikal & X.' Closing out the album, 'Methy Imbiß' is a machinic rhythm track, and 'Azov Seepage' mingles birdlike granular noises with rusted steel clanging. The LP was recorded in Berlin in winter 2015, mastered and cut by Rashad Becker at D&M, and pressed on 140g LP and CD. TRACKS: 1. Piteous Gate (02:25) 2. Optimate (04:46) 3. Thorium (05:35) 4. The Black Pill (02:43) 5. Kritikal & X (01:54) 6. Epithet (05:16) 7. Jester's Visage (00:56) 8. Methy Imbiß (03:08) 9. Azov Seepage (04:31)- Shop: odax
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Xclassics
XClassics 'By inserting the variable 'X' into a classical music equation we can extend the music's traditional identity, and establish the very transformations that define it's character.' - Brian Slawson, composer and percussionist Liner notes for Brian Slawson's XClassics Slawson, a virtuoso percussionist, has a musical style evolved from the contemporary sounds of jazz, rhythm and blues, island, world and pop music. His compositions start with music written by great masters and he transforms them through the organic sounds of percussion and the high technology of the latest digital sounds. 1) Galactica Influence: Felix Mendelssohn's Fingal's Cave, also known as the Hibredes Overture. Arranged with space exploration in mind, Galactica could serve as the perfect musical 'wake up call' to NASA astronauts. 'My personal challenge was to create a clear, penetrating yet floating vibraphone tone that was capable of delivering a melody surrounded by sequenced electronics. I feel that Galactica, in and of itself, purely defines the whole of the XClassics concept.' 2) Once Upon A Time In America Influence: Allegretto from Beethoven's Symphony #7 After the tragedy of September 11 Brian felt the need to depict the events in his own 'words'. Once Upon A Time In America, based on the stunning Allegretto from Beethoven's Symphony #7, is intended to connote the surreal manifestations generated by my overwhelming feelings of disorientation. The top of the track gives a sense of free-falling in a spinning, echo-laden environment. 'To humanize the special effects I triggered a variety of moaning sounds, most of which are whale samples. Then, to sustain a level of discomfort and forward motion, I introduced a funky, unorthodox hi-hat loop. At this point, the dichotomy which defines this track is in place: the rhythmic comfort zone that we know as common time versus the unpredictable and disturbing tones that support the melody,' says Slawson. As the track builds, the tune is doubled on bagpipes while Scottish drums and Latin percussion instruments (ironically quoting Arabic rhythmic figures) are woven into the fabric -- reminiscent of a police officer's or fire fighter's funeral procession. In the final verse Beethoven's original string arrangement is preserved, while set in motion by powerful orchestral crash cymbals and an ear-splitting backbeat from the snare drum. After the final plea from the soaring strings reaches a climax, a repetitive outro ensues. 'As the track fades, electronic 'frying' sounds and haunting tuned gongs deliver the final death motif engulfed in a disturbing concrete block reverb. A symbolic dogfight persists in the deserted war zone that is forever...' says Slawson. 3) Vibe Island Influence: Mozart's Symphony #40 One listen to Vibe Island and Mozart's impact on popular music becomes clear. After Slawson heard one too many cell phone rings, Vibe Island was born. The opening melody to Mozart's Symphony #40 is a phone call waiting to be answered, but who says it can't be a one-way ticket to the islands? 'Mozart's tune is brilliant and simple,' says Slawson. 'But I also needed to honor the development, which he typically seems to travel through effortlessly. The development crescendos to a stop time, pipe organ climax ... (dramatic pause) ... followed by a playful 'pseudo jazz' vibe solo?!! If musical jokes were a crime I would've been locked up a long time ago, not to mention Mozart,' says Slawson. 4) Symphony in Blue Influence: Adagio from Tchaikovsky's Symphony #4 A Miles Davis approach transform a 'legit' tune into a Real Book favorite. 'The Adagio from Tchaikovsky's Symphony #4 seemed a suitable choice to try out this approach, and a nice tune to blow (improvise) on,' says Slawson. 'After attempting a multitude of juxtapositions, I settled on subtle rhythmic changes only to the melody. Sometimes the slightest alterations have the greatest overall impact.' 5) New Worlds Influence: The Finale from Tchaikovsky's Symphony #4 and excerpts from Dvorak's New World Symphony Two completely different works and original material, connected by good old fashioned backwards guitar and smash mouth percussion. The Finale from Tchaikovsky's Symphony #4 and excerpts from Dvorak's New World Symphony provided plenty of options for exploration. 'I created a shout chorus and some release material that helped to connect the source excerpts. The rest is good old fashioned backwards guitar and smash mouth percussion,' says Slawson. 6) Tales of the New Frontier Influence: Bach's Polonaise from Orchestral Suite #2 'I wonder if Bach ever considered that his music might one day be suitable for planetariums?' Tales of the New Frontier is a simple study of depth through mixing and mastering and movement through space. 'The more preoccupied I became with sound and effects placement, the further I strayed from Bach's original work,' says Slawson, who broke out his bag of percussive tricks. 'I placed cymbals bell side down on top of a timpani and softly rolled on the outer edges with felt mallets while operating the tuning pedal, all the while changing the depth of field between the microphone and the instruments.' 7) Rockbox Influence: Bach's 2-Part Invention in F Major 'Lay down some Bach-style counterpoint on marimba and vibes, add some 50's retro chord changes, a cheesy Casio and a dash of disco drums, and you've got Rockbox,' says Slawson. Slawson's recordings have often been used to introduce young people to classical music. The linear, often rhythmic structure of Baroque counterpoint, performed on playful mallet instruments, is evocative of a massive music box. 8) Flydog Influence: C.P.E. Bach's Solfeggietto Slawson says, 'Just before I began tracking Flydog, I was hired to produce a boy band in Miami. Suffice it to say, I had never been accused of being a consumer of such music! In order to prepare for the sessions, I purchased a couple of recordings that best represented the target demographic. One happened to be an Eminem CD produced by Dr. Dre. What would a tune inspired by C.P.E. Bach's Solfeggietto sound like, arranged and produced by Brian Slawson in the style of Dr.Dre?' C.P.E. Bach is one of the many musical sons of Johann Sebastian Bach. 9) Requiem For An Industrial Age Influence: Mozart Requiem As the twentieth century came to a close, a new dawn was on the horizon. 'Years ago I toured through Pittsburgh, which had been hit hard by layoffs in the steel industry. The city stood still, desolate, and crippled by a ravaged economy. The sounds and smells of a truly depressed metropolis had a remarkable feel to it,' recalls Slawson. The Industrial Age had given way to technology. 'I wanted to create a somber tone, one that took me back to those days in Pittsburgh,' says Slawson. 'The opening to the Mozart Requiem offered a perfect bed on which to adorn isolated, disturbing sounds of clanging pipes and anvils.' The music soon offers hopeful glimpses interspersed with industrial sounds until, finally, a raucous chorus and a triumphant coda disperse the waste and leads us into the new day.' 10) Gypsy Train Influence: Brahms' Hungarian Dance #5 Dvorak's Slovakian Dance #7 Bach's E Minor Bouree Bach's Goldberg Variations A schizophrenic assemblage of four different tunes by three different composers ... After a Santana-like intro, Brahms's famous Hungarian Dance #5 kicks off it's shoes. The tune that appears between the verses is Dvorak's Slovakian Dance #7. After the Hungarian Dance chorus, in steps Bach's E Minor Bouree, which is a French dance?! The cadenza (breakdown) features a melodic quote from Bach's Goldberg Variations until... you guessed it ... back to the Slovakian dance. 'This ain't no Macarena!,' says Slawson. 11) Abyss Influence: 16th Century Chant Abyss is based on a sixteenth century French chant that later resurfaced in an arrangement by Gustav Holst. 'Many have said that recording media are primarily about capturing moments in time,' says Slawson.- Shop: odax
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Pope of Fools
Clay Berkes Presents Pope Of Fools The First Album From His New Band Medicine Park Pope Of Fools displays Berkes' Inventive Blend of Country, Soul, Folk, Rock And Pop Just to name a few, some of the players and special guests Include J.J. Johnson // John Mayer, Joshua Zarbo // Spoon, Chris Masterson // Son Volt, Bobby Bare JR., The Tosca String Quartet, and legendary Austin guitarist Jon Dee Graham. Clay Berkes has the voice of a crooner, the heart of a rocker and the soul of a poet. On Pope of Fools, the debut of his new band Medicine Park, the Oklahoma born and Austin, Texas based singer/songwriter and guitarist demonstrates his mastery of pop with a stylistic range that's hard to pin down. He draws on country, R&B, Americana, rock and pop, with a trace of Lone Star psychedelia thrown in for good measure. The result is a collection of tunes that sound as natural as his singing voice, a smooth tenor that delivers quiet passion and telling insight, with the touch of a master wordsmith. Medicine Park was really born after producer, George Reiff (Ray Wylie Hubbard), and Berkes decided to put a band together to record a few of his songs. Pulling from some of the best musicians around. Berkes describes, ' It was really interesting gathering players from all different worlds and musical backgrounds and getting them together. The players came from great acts ranging from John Mayer and Rocky Erickson to David Byrne and Keith Urban. Most of us lived in the same neighborhood and the studio was just a mile or so away. So family and friends stopped by to hang and contribute to the recording." The core band for Pope of Fools includes Berkes' long time friend and collaborator Brent "Mr. Shoes" Pendleton on keyboards, drummer J. J. Johnson, Joshua Zarbo on bass, and Jon Sanchez on lead electric guitar. The album was recorded live to two-inch analogue tape at Bruce Robison's Premium Recording in Austin in three marathon sessions. The music on Pope of Fools moves from quiet, singer/songwriter moments to flat out rockers, with Berkes' subtle soulful vocals holding things together. Most of the songs deal with memories of loves lost or unattainable, with his voice sliding up to a poignant falsetto to intensify his bittersweet lyrics. "Daphne Wilkerson," a hybrid of pop, country and soul, features dreamy marimba, chiming clavinet, slide guitar and playful baritone sax. Berkes delivers a quiet vocal full of longing and nostalgia. The guitar hook that opens "I Don't Mind" is tinged with a reminisently familiar hook party taken from The Rockford Files theme song, the 70s James Garner TV show. It's a sultry R&B tune, highlighted by Berkes' pleading vocal, Chris Masterson's tough guitar and Johnson's solid timekeeping. Berkes introduces "Who's Fooling You," a sweet pop/soul hybrid, with one of his warmest, most insistent vocals. Chiming guitars and the subtle colors of oboe and brass horn give the tune a hint of Beatlesque psychedelia. Berkes shows his range with "It's the Right Way," which blends quiet folk with clanging guitars and kaleidoscopic lyrics, the Memphis meets do-wop ballad "Dirty Fingernails," with it's lush female backing vocals and a sharp tremolo baritone guitar solo by brad rice. The slow seductive boogie of "Love County Line," 'It was a happy mistake, clay says, ' but this song has a JJ Cale vibe mixed with the impromptu dueling electric guitar's of jon sanchez and whit williams. It's a natural stand out ' "Pope of Fools," the quiet ballad that gives the album it's name, is a sad uncompromising reflection taken from the Victor Hugo novel, The Hunchback of Notre Dame. "I can't say enough about the players who were part of this album," Berkes says. "George kept the grand scope in mind, but he also let us trust our instincts, we'd start recording each take and he'd either pull us one way or the other most times it came very naturally. Joshua coming from the band spoon had a unique and interesting bass approach but also brought a jazz prowess to the tunes. Brent's hooks are brilliant and always compliment my style, John's a master of guitar effects, but can slip into just about any skin. And J. J.'s beats never fail. The complex pattern that sounds like a drum loop on 'Perfect Time' is J. J. playing live. In fact, most of the album was cut live with the band adding an extra dimension of feeling to the songs." The lush sounds on Pope of Fools will win you over from the first note, while repeated listening reveals the depth of the arrangements and the subtle skill of the players. Clay Berkes was born in Ardmore Oklahoma, the son of free thinking parents who encouraged his creative endeavors. ' at an early age i would mimic the singers i heard," Berkes says. "In first grade, my mother got me piano lessons and I played sax until junior high." Berkes hocked his sax to get the money to buy his first guitar and, after learning the basics from an Uncle, he taught himself to play. "My parents were only 17 and 18 yrs old when I was born," Berkes recalls. "My father had just finished high school when they married. After they split, I stayed with my mother. She always encouraged my creative endeavors. There was always music being heard from our house....Old classic rock records, funk, soul, as well as country and whatever was popular on Oklahoma radio. Our family didn't really fit the mold, we were quite unusual in that Oklahoma setting. We lived all over the city of Lawton and the artillery base at Ft. Sill which were connected. I went to Geronimo Elementary on Ft. Sill a couple times. The windows constantly rattled day and night from artillery explosions. You get used to it quickly. The military base brought in a very diverse group of people from all over the world. Which i think was a good thing to be exposed too. ' "My stepfather introduced us to funk and soul. We had a reel to reel tape deck when we lived in Germany, and I used to put on headphones and listen to James Brown, Steely Dan, Elton John and Wild Cherry. That had a lasting influence on me. By third grade, I was banging on pots and using wire clothes hangers as cymbals and recording my songs on a little tape deck." After his mother took him to see Cheap Trick at the Lawton Coliseum, Berkes knew he was going to become a musician. Berkes honed his guitar and songwriting skills in high school, but didn't start playing in bands until his first year at Oklahoma University. He was in cover bands during college and, after graduation, moved to Austin. "I didn't like the thought of being one more musician searching for a dream or whatever, so I sold my gear, except for my mandolin." After lying low for a few years and working as a bartender, landscaper and part time furniture mover, the itch to make music returned. Berkes put together Love County with singer/guitarist Russell Roberson. The band's blend of pop, roots rock, country and soul got rave reviews right out of the box. Critics praised Berkes' moving lead vocals, the smooth harmonies of Berkes and Roberson and their repertoire of rockers and romantic ballads. "We played around Texas and back home in Oklahoma. I pretty much did everything in that band, wrote the songs, put up the posters, did publicity, sold merch at shows and booked and managed us. I also arranged some live recordings of the band at The Saxon Pub in Austin which we put on CD to sell at shows." Eventually bass player George Reiff, who has toured with Jakob Dylan and The Dixie Chicks and produced Ray Wylie Hubbard, offered his services. Love County went into the studio to work out a few tunes. During the demo sessions, the bands flame blew out but Berkes and Reiff kept in touch. "I told George I wanted to record a few of my new tunes. With his help, we put together a stellar ensemble. We went into the studio with engineer Steve Christensen, who just won a Grammy for Steve Earle's Townes Van Zandt record, and cut three tunes. Everything clicked. We had such a good time that, at the end, everyo- Shop: odax
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