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Embellishment69 Results for : embellishments
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Survivor's Guilt
(LP) Das Solo-Debut von Vinnie Caruana (The Movielife, I Am The Avalanche), tief verwurzelt im Punkrock, doch weit darüber hinausgehend.Das Solo-Debut von Vinnie Caruana (The Movielife, I Am The Avalanche), tief verwurzelt im Punkrock, doch weit darüber hinausgehend. Big Scary Monsters present Survivor's Guilt by Vinnie Caruana due for release on the 27th May 2016. Vinnie Caruana, long known and respected in the punk community for fronting The Movielife and I Am The Avalanche announced the release of his debut solo LP. Titled 'Survivor's Guilt', this album will be released via Big Scary Monsters in the UK & Europe and on Equal Vision Records in North America. While he may have been alone in writing these songs, however, 'Survivor's Guilt' is not a solo record in the same way as Caruana's largely acoustic 2013 EP, 'City By The Sea', was. On 'Survivor's Guilt', Caruana plays acoustic and electric guitars, and enlisted the talents of I Am The Avalanche's Kellen Robson and Brett 'The Ratt' Romnes on bass and drums as well. In addition, Rx Bandits' Steve Choi was brought in to add instrumentation and sonic embellishments to 'Survivor's Guilt'. The result is an album boasting ten incredibly compelling, multi-layered tracks that bear witness to the breadth of Caruana's all-encompassing musical vision. 'Survivor's Guilt' is truly the creative culmination of Caruana's career to date - something that's extremely evident from the very first listen. While there are some songs that lean towards Caruana's punk rock roots, much of what's heard here is fresh and new. TRACKS: 1. Burn It Down 2. We Don t Have To Die Alone 3. Angel Of The North 4. Heavy Weighs The Summer 5. Survivor s Guilt 6. Gem Street 7. Under My Side Of The Bed 8. I Don t Believe You 9. Roll Back To Me 10. Your Religion Is Killing Me- Shop: odax
- Price: 32.20 EUR excl. shipping
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All Bach
Ayaka Isono's informative approach to listening to Bach Stephen Smoliar, Classical Music Examiner ...the greatest virtue of this recording is that Isono allows the serious listener to appreciate Bach's pedagogical intentions without ever allowing her execution to lapse into pedantry. Thus, her performances of the inventions allow one to appreciate the broad diversity of approaches one can take to being inventive, even when each of the fifteen compositions is basically an exploration of imitative exchanges between two voices. On the other hand her approach to execution is deliberately attuned to the capabilities of the modern piano, allowing her to bring attention to Bach's inventiveness through well-considered (and often subtle) shifts in dynamics. These techniques serve her equally well in her performance of BWV 971, in which Bach captures all the give and take between soloist and ensemble in a Baroque ripieno concerto within the confines of a pair of keyboards with a single performer. BWV 816, on the other hand, is approached as music for show, where what is being displayed is the scope of execution skills of the performer. Each movement is a binary-form dance in which both the first and second parts are repeated. However, the convention of Bach's time was that the repeated version was not a mere echo but an opportunity to add embellishments beyond those indicated in the score. Isono took this approach, but there was nothing ad hoc about her added embellishments. Rather, she thought about embellishing the underlying melodic elements and maintaining her embellishing tropes to suit the repeated entries of those elements, making for a highly engaging listening experience. In a time when there is far from a shortage of Bach recordings, All Bach offers performances that are sure to engage and sustain the attention of the serious listener.- Shop: odax
- Price: 29.55 EUR excl. shipping
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Belle Boussole
Smooth, soulful vocals over funky, lounge grooves mark the arrival of the self-titled, debut release from electro-soul duo Belle Boussole. Delivering a beat-infused, melodic album capable of drawing you to the dancefloor, Belle Boussole will also make you dream of escape to some far away place. With adventurous chord progressions and jazzy inspiration, the songwriting keeps your ear interested and yet follows through with the pop hooks that even the most jaded listener's belle-y craves. The sleek production quality and synth embellishments add nighttime sparkle to the tone of the album, but at the same time allow the songs themselves to shine through. Tracks like "Native Island" and "Hearts Went Black" add a dash of euro-house to this album's savory home cooked serving of soul. Sweet and smoky vocals on "Free Tonight", "Walk With Me" and "Chocolate Cake" have a retro innocence reminiscent of old 60's soul dressed up for an evening out. Funky rhythm guitar and silky solo licks are laced throughout the collection of songs showcasing the musicality of the pair. The catchy hook driving "Second Time Around" is all out Fender Stratocaster funk guitar. While slide and overdrive add dimension to "Hard Rock"'s introspective gospel-tinged whimsy. The McGurn song-making duo combine a number of musical influences from Jamiroquai to Gladys Knight to The Brand New Heavies to generate a sound uniquely their own. Themes of second chances and starting over blend with a longing to be anywhere but here...while the infectious grooves keep luring you to be anywhere on the dance-floor. A yearning for direction toward a happier place seems to permeate the album, like the duo are in need of a spiritual compass of sorts. Since the word boussole means compass en francais, perhaps we'll all find the way together...just follow the music.- Shop: odax
- Price: 18.56 EUR excl. shipping
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Classical Concert
Like many another contemporary musician, Franko Richmond's artistry is deeply rooted in the classics. He got this, literally, with his pablum, the first piano teacher was his mother, a great lover of classical music. Unfortunately, very few of Franko's legions of admirers have ever heard him in the kind of repertoire offered here. We know him as a supremely gifted all-around musician and composer, blessed with an immense technique and an endless supply of melodic invention in the modern pop, Latin and jazz idioms. Moreover, he has taken elements from all of them and forged a personal keyboard style which he likes to call 'world fusion', something distinctly and recognizably his own. But prepare yourselves for a treat. Thirty years ago Franko presented a formal, all classical recital at Penn State University. Shortly thereafter the entire program was privately recorded, and now you have before you, that recording. It has been re-mastered and the sound brought up to state-of-the-art standards for your listening pleasure, but not one note has been altered. The selections included here are standard fare, familiar to all concert-goers. What may not be so familiar is the playing. In an age when we expect, and largely get, a level of technical performance perfection undreamed of by earlier generations, musical conceptions and interpretations are apt to be cautious. To be sure, pianism came a long way in the twentieth century. Few of the great piano headlines of the past could sustain themselves technically before a sophisticated modern audience. Radio, television and recordings have sharpened our ears past the point where they can be fooled. But the old-timers did have something that new-timers often lack, and that's imagination and daring. They put everything they had into a performance. So does Franko. While nothing on this disc can be considered lightweight, the cornerstones of the recital, of course, are Beethoven and Schumann. The last five piano sonatas of Beethoven are so knotty, posing such a challenge to the performer, that even Artur Rubenstein never played them in public. For this listener, the definitive recorded performance of the Sonata No. 32 belongs to Arturo Benedetti Michelangeli. While admittedly a choice not to everyone's taste, Michelangeli never the less brings a sweep and passion to this difficult music that is hard to withstand. Franko's version on this disc is an astonishing achievement, particularly by such a youthful interpreter, easily worthy to stand alongside that legendary performance. As for the Schumann, it is simply irresistible. Arguably one of the composers most popular concert works, it is a wonderful addition to any program and audiences love hearing it as much as pianists love to play it. There are those who insist that the music of Bach should not be played on the piano at all, but rather on the instrument which he himself knew, the harpsichord. Indeed, the music does gain a transparency and fluidity on the original instrument. It is also far easier to play on a harpsichord. Yet, who would quibble with the piano's majestic utterance of, say, the Goldberg Variations, as conceived by Glenn Gould? Indeed, all pianists after Gould have sounded different in Back. Here, Appropriately, Franko let's the composer do the talking and not the player. What can one say about Chopin that has not already been said? A mighty genius wrapped in silk, he turned the musical world of his time on it's head. Audiences to this day cannot get enough of him. This nocturne, one of the composer's most original, places unusual demands upon the performer. It is presented here in all it's glory, resplendent with it's cascade of octaves. That Franz Liszt was the greatest pianist of his time, and quite possibly all time, is generally agreed. As such the temptation to do battle with him in his own court is overpowering. Has the Mephisto Waltz ever been performed exactly as written? One doubts it. Pianists seem constitutionally unable to do so. There have always been embellishments, octaves, glissandi, and whatnot, not to mention that explosive finale. Franko is no exception. But all this is permissive in Liszt's music. He himself was forever tinkering with the music of others, and the Romantic performance practice demanded, or at least allowed much more originality on the part of the performer than we allow today. The idea of fidelity to the printed note is something relatively recent in the musical development. Franko's virtuoso rendering is perfectly in keeping with this music, done with dash and style. The old wizard of Weimar would have smiled. Noes by Carl Richards.- Shop: odax
- Price: 23.74 EUR excl. shipping
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Lead Burns Red
"Lead Burns Red...and makes you dead..." Southern. California. Metal. Lead Burns Red is a five piece southern metal band hailing from San Diego, CA. No smoke and mirrors. Simply put, a no frills all out assault on the senses. Lead Burns Red's sound can be described as a smoldering pot of groove metal with a heap of southern rock/metal for added kick. Toss in a pinch of soulful bluesy embellishments for good measure and there you have it. LBR is a culmination of seasoned musicians all stemming from various successful acts that have collaborated to form a fresh and unique outlook on southern metal. Having collectively played hundreds of shows throughout the Southwestern United States region, LBR continue to extend their following through their self-sufficient approach. This foundation is based upon their relentless touring, promotions, target marketing, and a genuine appreciation for their fans and endorsed supporters. LBR's debut self titled EP co-produced and engineered by Grammy recipient producer Steve Russell (POD, As I Lay Dying, Finch) is now available and has been quickly gaining the attention of various labels.- Shop: odax
- Price: 16.64 EUR excl. shipping
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Survivor's Guilt
Das Solo-Debut von Vinnie Caruana (The Movielife, I Am The Avalanche), tief verwurzelt im Punkrock, doch weit darüber hinausgehend. Big Scary Monsters present Survivor's Guilt by Vinnie Caruana due for release on the 27th May 2016. Vinnie Caruana, long known and respected in the punk community for fronting The Movielife and I Am The Avalanche announced the release of his debut solo LP. Titled 'Survivor's Guilt', this album will be released via Big Scary Monsters in the UK &, Europe and on Equal Vision Records in North America. While he may have been alone in writing these songs, however, 'Survivor's Guilt' is not a solo record in the same way as Caruana's largely acoustic 2013 EP, 'City By The Sea', was. On 'Survivor's Guilt', Caruana plays acoustic and electric guitars, and enlisted the talents of I Am The Avalanche's Kellen Robson and Brett 'The Ratt' Romnes on bass and drums as well. In addition, Rx Bandits' Steve Choi was brought in to add instrumentation and sonic embellishments to 'Survivor's Guilt'. The result is an album boasting ten incredibly compelling, multi-layered tracks that bear witness to the breadth of Caruana's all-encompassing musical vision. 'Survivor's Guilt' is truly the creative culmination of Caruana's career to date - something that's extremely evident from the very first listen. While there are some songs that lean towards Caruana's punk rock roots, much of what's heard here is fresh and new.- Shop: odax
- Price: 13.44 EUR excl. shipping
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Miserere/missa Papae Marcelli
Deborah Roberts (Sopran) - Sally Dunkley (Sopran) - Caroline Trevor (Alt) - Donald Greig (Bariton) - Andrew Carwood (Tenor) // Music written for the Sistine Chapel, including two new recordings of Allegri's Miserere - one with the familiar top Cs, and one with additional embellishments developed by Deborah Roberts during hundreds of concert performances by The Tallis Scholars since their landmark first recording of this work in 1980.- Shop: odax
- Price: 16.26 EUR excl. shipping
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Alice's Adventures in Whiskerland Bookish Cats 100 Piece Puzzle
Alice's Adventures in Whiskerland Bookish Cats 100 Piece Puzzle from Mudpuppy features an adorable cat portrait of Alice, clever kitty-inspired title and author name. Part of Mudpuppy's Bookish Cats series, this premium puzzle is packaged in a book-style box with magnetic closure and has gold foil embellishments on both puzzle and box.- 100 pc puzzle: 10.75 x 13.5", 27 x 34 cm- Book-style box with magnetic closure- Foil embellishments on puzzle and box- Box: 5.5 x 6.75 x 2", 14 x 17 x 5 cm- Ages 6+- Shop: odax
- Price: 15.00 EUR excl. shipping
