The two spaces where Jablon's works are on view have contrasting ambiences.
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Vocal experimentation, pianos & treated ambiences collide, recalling Feels-era Animal Collective in places.
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The songs are contextualized among field recordings and background ambiences such as mobile-phone GSM interruptions.
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Vistas may open behind them, but less as settings than as airy or plunging ambiences in dreams.
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Tinashe sings about independence and connection amid gluey bass lines, echoey ambiences and twitchy synthetic percussion, asserting her free spirit with a blend of sensuality and sci-fi cool.
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Kito Fujio takes his photos during long strolls at night, in which he carries the lighting equipment required to create these chilling ambiences to capture the identity of his shots.
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Today, the Starship Luxurious trope has evolved to convey several themes and ambiences, some of which are directly counter to its origins as a standin for European exploitation of global resources.
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Here the grotesque ghost also hides in shadows With bewildering borders, too Gets sucked into the beautiful ambiences of life, And from the other faraway bank Even the high sounds of the bugle are thought to echo.
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If you are committed to the Brazilian pousada, or bed-and-breakfast, concept, your best bet is to stay not in Recife but in Olinda, about 20 minutes by car to the north, where colonial homes have been fixed up and splashed with bright colors, making for uniquely memorable ambiences.
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Yearning (1995) is a collaborative album by ambient musician Robert Rich and sarod player Lisa Moskow. It is based on the classical Indian musical form known as alap. Alap is the first and slowest section of a raga. The music on this album consists of Moskow’s sarod solos set against Rich’s classic droning ambiences.
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Bestias De Asalto is an industrial-electro band from Mexico. The group consists of Psycommander (vocals), Enfermo (drums) and Tripas (keyboards and sampling). BDA music is based on a military concept and a war ambience, with explicit lyrics about massacres, combats, punishment, assassinations and slaughters. Their style is a combination of electro-industrial-metal, taking different influences of each gender, mixing and creating different ambiences and atmospheres.
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The album also showcased Davis' avant-garde impulses and exploration of ambient sounds. According to Greg Tate, the septet created "a pan-ethnic web of avant-garde music", while Sputnikmusic's Hernan M. Campbell said they explored "progressive ambiences" particularly within the record's second half; Phil Alexander from Mojo characterized Agharta as "both ambient yet thrashing, melodic yet coruscating", and suggestive of Karlheinz Stockhausen's electronic experiments.; ; .
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In 2012 Brainvoyager became a musician himself. As an experienced listener for three and a half decades he learned the ropes. The name "Brainvoyager" represents the intention of his music: to enable the listener to make a 'voyage' within his or her own brain. The music of Brainvoyager is best described as a mixture of contemporary rhythms and hypnotic electronic ambiences, inspired by the model of retro Berlin School of electronic music.
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The ancient temple is highly revered and visited by thousands of devotees. It is also the family deity of the erstwhile raja (ruler) of Suket state which was merged in the state of Himachal Pradesh in April 1948. The village is situated at an elevation of about 1200m above the sea level and is surrounded by thick pine forest which really makes its ambiences scenic and worth of visiting. The view of Kamrunag and Shikari mountains is breath taking from here.
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Drifting in Silence is the name of a longstanding ambient and industrial musical project undertaken by multi-instrumentalist and composer Derrick Stembridge. Stembridge chose the name as "a description of the feeling evoked by the music," intended to create the sensation of movement through regions of light and shadow. Stembridge has described the music of Drifting in Silence as "post-ambient." The sound of Drifting in Silence is characterized by layered ambiences driven by groove rhythms, and punctuated by instrumental riffs and snatches of concrete sounds.
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These days, he works mostly in the field of computer game sound effects and voices rather than music. Although he does not compose much at present, he is still involved in the implementation of Music, Ambiences, Sound FX—and his admitted "forte"—Dialogue (hence, his current moniker: DialogueGuru). His most successful compositions appeared probably in Amiga games such as Shadow of the Beast, Obliterator, Beyond the Ice Palace, and Speedball. On the Commodore 64, his most popular compositions include for example Glider Rider, Storm, Street Surfer and Armageddon Man.
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Osso Exótico is an experimental, drone music project from Portugal formed in 1989. Utilizing a range of mainly acoustic instruments (often modified) such as glass harmonica, piano strings, percussion, violin, the ensemble created drone, at times mystical and psychedelic ambiences that can be found in their extensive discography. With an always evolving line-up, brothers André and David Maranha have been, since the early times to the present day, the core of this band, that would later , incorporate Patrícia Machás and Francisco Tropa. Together with André and David Maranha they’re still the basic line-up.
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Phil D’Amato’s most recent appearance is in The Pixel Eye, published in 2003 by Tor Books. In this chilling post 9/11 tale set in New York City, D’Amato contends with squirrels and other critters whose brains are outfitted with microchips that transmit everything they see and hear. Holography figures prominently in the story. Although all of the D’Amato stories are set in New York, The Pixel Eye has the most extensive New York ambiences - from Central Park to the New York Public Library on Fifth Avenue to Grand Central Terminal.
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An album in a light was released on Deserted Village the same year. It was described as 'perfect ghost radio music'Mini Review: Phantom Dog Beneath the Moon - In a Light and as an 'introspective folk band sitting in a bed of electronic sighs, drones and ambiences'. After discovering there was American alternative country band called Snow Machine,Snow Machine they reverted to Phantom Dog Beneath the Moon. According to Aaron Hurley, the name came about "after watching the Jim Jarmusch film Ghost Dog with a full moon shining outside the window".
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Quakes music and sound design was done by Trent Reznor and Nine Inch Nails, using ambient soundscapes and synthesized drones to create atmospheric tracks. In an interview, Reznor remarked that the Quake soundtrack "is not music, it's textures and ambiences and whirling machine noises and stuff. We tried to make the most sinister, depressive, scary, frightening kind of thing... It's been fun". The game also includes an homage to Reznor in the form of ammo boxes for the "Nailgun" and "Super Nailgun" decorated with the Nine Inch Nails logo.
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Throughout development, sound editors often presented ideas, which would then be effortlessly achieved by the audio programmers. In the three main areas of the game world, there are unique ambiences; these are broken down into smaller sounds, such as bugs and animals, which are further refined to reflect the weather and time. The sound department was given specific instructions for the tone of game locations; for example, Thieves' Landing was to feel "creepy" and "off-putting". The sounds of the game's weapons were also intricately developed; in order to feel as realistic as possible, each weapon has a variety of similar firing sounds.
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"Lover I Don't Have to Love" is a song by Bright Eyes released as a single in 2002 and released on the album Lifted or The Story Is in the Soil, Keep Your Ear to the Ground. The music video is karaoke with sing-along lyrics and different ambiences in the background. It was covered by Bettie Serveert on their 2004 album Attagirl, and this cover was played extensively during the episode "The Undertow" of The O.C. The line "I asked your name, you asked the time" is a reference to the novel The Catcher in the Rye by J.D. Salinger. Single cover photograph by Casey Scott.
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Acropolis Museum Tschumi's critical understanding of architecture remains at the core of his practice today. By arguing that there is no space without event, he designs conditions for a reinvention of living, rather than repeating established aesthetic or symbolic conditions of design. Through these means architecture becomes a frame for "constructed situations," a notion informed by the theory, city mappings and urban designs of the Situationist International. Responding to the absence of ethical structure and the disjunction between use, form, and social values by which he characterizes the postmodern condition, Tschumi's design research encourages a wide range of narratives and ambiences to emerge and to self organize.
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Following the success of The Vancouver Soundscape, two members, Peter Huse and Bruce Davis, embarked on a tour across Canada in 1973, in an effort to document the changing soundscape and preserve dying sounds becoming obsolete due to new technology. The types of sounds recorded on this project included natural ambiences, signifiers such as bells, chimes and foghorns, as well as mechanical and industrial sounds. The recordings are typically long uninterrupted takes and do not attempt to mask the presence of the recordists. Much of the recordings consist of Huse and Davis asking for directions or interacting with the people they encounter in the sound environments they documented.
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It included a variety of sounds, from 'Magnet', a fully arranged piece performed by him and the Symphonic Orchestra of the Greek National Television, to "Shortcut", a collaboration with KBhta, to "Voyage" including the narration of French radio producer Louis Bozon. Cinematic ambiences, orchestral elements, deep rhythms and dreamy electric guitars produce a nu-jazz aroma with an electronic accent, that is the characteristic sound of Nikko Patrelakis. He has participated in several exhibitions as a visual artist and in 2008 he made his first personal photography exhibition in Athens under the title "Ec(h)o". Currently he is recording his new album, due to release 2010.
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2, 2005, Violette erected a life-sized recreation of a burned-out church on a black stage, inspired by an image from the cover of a black metal record and surrounded by a 5.1 surround score composed by Thorns Ltd consisting of a varied backdrop of ambiences ( www.thornsltd.no ). According to Violette, the inspiration of the piece was a series of instances of arson committed by rival metal enthusiasts in Norway, which culminated in the 1993 knife murder of Øystein Aarseth, guitarist of the black metal band Mayhem by Varg Vikernes of the band Burzum.Artnet Magazine Violette continues to make work, frequently using collaboration as a springboard for his new installations.
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More licensed liquor outlets began to appear, including retail "bottle shops" (over-the-counter bottle sales were previously only available at pubs and were strictly controlled). Particularly in Sydney, a new class of licensed premises, the wine bar, appeared; there alcohol could be served on the proviso that it was provided in tandem with a meal. These venues became very popular in the late 1960s and early 1970s and many offered free entertainment, becoming an important facet of the Sydney music scene in that period. In the major Australian cities today there is a large and diverse bar scene with a range of ambiences, modes and styles catering for every echelon of cosmopolitan society.
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" Loudwire's Joe DiVita states that "the ever-consistent Enslaved have churned out another album to cement their legendary status in a style they continue to call their own". Thom Jurek's review for AllMusic described the album as "a continuum of the sonic approach they began exploring on 2001's Monumension, mixing black metal with "progressive elements, sonic ambiences, and even psychedelic explorations", and summarises the review by calling the album "vital, bracing music". In her review for Exclaim!, Natalie Zina Walschots states that "Enslaved have hit a sweet spot with In Times, experimenting just enough to keep everything interesting while also offering up pure aggressive pleasure so decadent it seems almost indulgent".
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The audio team spent a great deal of time on immersing the player in their role of a Big Daddy through the audio—everything from the sound of the footsteps to the sounds for impacts and water drips on the player's armor was used to sell the player on who their character was. Audio programmer Guy Somberg created a background sound system that allowed the team to layer stereo sounds together depending on the player's location, combined with mono sound effects for certain areas. "This allowed us to quickly iterate on our ambiences and implement them into the levels with ease, and helped create the randomness I was looking for in the background effects", Kamper recalled. Multiplayer sounds were handled by Digital Extremes, who along with Kamper's team had to make sure their sounds cohered not only with each other's work, but with the sounds of the first game.
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For the tribal theme, they experimented with bows on piano wire and resonator guitars (with layered tracks of harmonicas on top of the latter) and playing cellos with plectrums or the back of a bow to convey how contemporary instruments would be played by someone to whom the instruments were unknown; de Man also used a contrabass flute and made synth pads from blowing on a Thai bamboo flute, noting "distant pads and ambiences, and wide, spread out chords seemed to work well". Circuit-bent synthesizers and percussive loops, run through impulse responses of metal and iron being beaten, were devoted to making a thematic identifier for the machines based on technology and metal. Van Tol required that the music be supplied in stems so that different pieces could be combined. The positive response to the first E3 trailer's main theme led it to be included in the main menu.
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Sendelica is a psychedelic rock group from West Wales composed of core members Pete Bingham (guitars and electronics), Glenda Pescado (bass guitar) and Lee Relfe (saxophones). The band have regularly collaborated with many musicians, artists, film makers and performers over the years and, although primarily an instrumental group, with a variety of vocalists as well. Sendelica conspicuously wear their influences on their sleeves and their music has been described as blending "the hypnotic pulse of Can, the impressionistic atmospherics of Pink Floyd, the motorized proto-punk of Neu, the space patrolling guitar pyrotechnics of Jimi Hendrix and the otherworldly ambiences of The Orb."Charles Van de Kree, Aural Innovations, USA, 2007 They are also known for drawing inspiration from the local landscapes of Cardigan Bay and the Preseli Mountains and the rich, ancient heritage of the region. The group’s first EP, TheOwlsHaveEyes, was released in July 2006 on their own FRG Records, with additional vocals by Chris Gibbs and keyboards by Roger Morgan.
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