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You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Both pieces are lifted by irresistibly light and springy rock rhythms. From the second session come Five For England and Fanfare, heavier and more dissonant, with the emphasis on the lower brass instruments, and the remarkable Canticle, 12 minutes of total abstraction, first performed at Canterbury Cathedral and utterly mesmerising in its strangeness.
For every raga there is a time. Traditionally, the Indian classical form is composed with a specific time of day in mind, and only then is each raga meant to reveal the height of its melodic beauty to the listener. Indian American composer Arushi Jain weaves her diasporic identity into this notion of timely ragas in her debut album, Under Sugar (Talking Vocal Alt) - Kittie - Into The Darkness (CD) Lilac Sky. Unlike the sufi lineage of Indian classical music, which places vocal melodies as the focal point of compositions, Jain uses her voice as a harmonic texture that interacts with her looping and layered synth patches.
Opening track Richer Than Blood gently builds falsetto vocal harmonies over a rumbling electronic bass drone, as if heralding the first dip of the sun from the sky, and replicating the traditional root note of Sugar (Talking Vocal Alt) - Kittie - Into The Darkness (CD) tanpura. As the drone intensifies to a guttural buzz and the darkness builds on Look How Far We Have Come, Jain disassembles the melody on her synth and brings it to a harmonic resolution through her vocals, releasing the tension.
It is an anchoring point in the otherwise ever-changing tessellation of drones and keys. Releasing her debut album as India reckons with a horrendous outbreak of Covid, Jain explains in her press materials that she would like her work to foster empathy and awareness for the lives lost. In her repurposing of the evening raga, Jain invokes home while creating her own language of expression.
It is one that provides solace during such an uncertain and painful time — a reminder that the beauty of sunset always gives way to night, and that daybreak will come again. There was a lot going on outside — protests after the murder of George Floydthe presidential election, and fires burning across the US — but his thoughts turned to some of the deeper issues underpinning it all, from class and inequality to the climate crisis. He insists that Quietly Blowing It is more personal reflection than state-of-the-world address, but its gentle power lies in the way Taylor beautifully observes the impact on the ordinary human being.
However, the tunes are stirring and uplifting and the overall spirit is optimistic. Roots is the debut solo disc from the young American violinist Randall Goosby. It takes a brief but affirmative glance at black US classical music, turning up a few slender but worthwhile gems. But Goosby otherwise spotlights music by black composers, starting with Shelter Island, a piquant and bluesy duet for violin and double bass by Xavier Dubois Foley, who gives an arrestingly virtuosic performance on bass.
On the cover of his superb debut, Cola Boyy sits strumming a guitar surrounded by various cartoon versions of himself, a jukebox in the corner of the room and his prosthetic leg on a table, next to a gun.
Song for the Mister, dedicated to struggling single fathers, channels late-night minicab pop and pulls off the tricky balance of being irresistibly catchy and yet wonderfully moving. The giddy ride ends with Kid Born in Spacereferencing people who have mocked him, though Cola Boyy is having the last laugh: Prosthetic Boombox is a slick pop rocket firing off towards exciting new dimensions.
Feted as a folk prodigy as a teenager, Katherine Priddy has wisely taken several years to reach this debut, an accomplished set of original songs delivered in a breathtaking voice and launched on a reputation as a great live act. Her nimble guitar-picking helps. Not that this is a strictly solo album; producer Simon Weaver has supplied a rhythm section and a parade of accordion, fiddle and string quartet, but in judicious measure.
A classy arrival. The rise of Griff feels like a silver lining around the thundercloud that was While all around the year-old pop powerhouse careers stalled, tours evaporated and sound engineers peed in bottles while driving delivery vans, this singer went from buzzy obscurity in Kings Langley, Hertfordshire, locked down with her family and foster siblings, to a Top 20 hit and a Brits rising star award.
On Brits night itself, Griff stole the show; it was only her second-ever gig. In interviews, Griffiths has spoken out about the continuing dearth of female producersnever mind female producers of colour her own heritage is Chinese-Jamaican. That loop pedal is now a competition prize. One Foot in Front of the Other is, though, an odd release. A debut album in all but name, this mixtape comes with the caveat that it was written and recorded during lockdown.
Griff and her label feel that her debut album proper is still ahead of her. Sober themes abound. One track, self-written and self-produced, ponders the age-defying, cancer-busting properties of Earl Grey tea. Similarly, Shade of Yellow finds Griff finding solace in the quality of lamplight. Maybe too vivid: the perky bittersweetness of the production finds room for a distant, groaning undertow.
Dead strings just sound darker and more toneful to me. In fact, I just don't understand why some people have a religious obsession with changing strings every "x" gig or every "y" weeks. To me, new strings are tone killers. So to take the long road in answering the question - buy a good set of phosphor bronze strings D'Addario or John Pearse, etc.
Avoid coated strings as they sound bad the day you buy them and 6 months later. I recommend medium. Leave them on and play them in for a couple weeks. They will sound dark and mr. Then you really don't need to change them until you either break a string, or hear really dead thud response. Of course this will vary from player to player but try it, you might find it does the trick. Another good point brought up by the last post, use a heavier string gauge as well.
I use. John Phillips Member. Messages 13, I totally agree with starfish. Keep your strings clean and 'old' doesn't have to mean crusty and nasty BTW, I have no idea why anyone hears Elixirs as dark, I think they're some of the thinnest, weakest-sounding strings I've ever played.
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