The lyrics are typically cryptic, but the atmosphere is precise: "So you like trouble," Ms. Krauss lilts.
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Her rendition is slow and meandering, with lilts that lift the melody and then drop it again into quietness.
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In actuality, there are quite a few natural Irish lilts still in the Hollywood wild, if you know where to look.
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"I love when we get freaky on camera," she cheerfully lilts, but she's also mocking what passes for personal contact online.
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I love the way her voice lilts all over the verses, ever climbing upward while she gets all clipped on the chorus.
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He talks a lot, but not too much, with a wide, easy smile that lilts into a half-smirk when he's listening.
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With hints of Isaiah Rashad and the bubbling lilts of Thundercat, "Freeparking" tonally sits in the new school of progressive hip-hop.
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It's fascinating to see the subtle nuances of his sound shift across tracks, and those twists and lilts are only going to grow.
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Mr Smith is a good speaker: he lilts, alliterates, leans on his vowels and is visual (describing the prolix Mr Corbyn's "flapping lips").
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Her delivery, so unhurried and coarse, is an unexpected delight, while that piano line lilts up and down like you're being rocked towards a calm but happy ending.
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Despite this, Superorganism have assimilated sounds they may or may not have heard and weaved them into their own potpourri—a fever-dream of hyperactive lilts, slouching samples and references to prawns.
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Her imperfect voice is actually a strength here: It strains and crackles, lilts and soars, beautifully contrasting the glossy dance floor bait and making you believe every word of her righteous indignation.
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"Last night I dreamed that you'd murdered some kids / gone up towards the border where the freaks live / I couldn't tolerate it, yet somehow I did," Toledo lilts over a winding bassline.
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Above is the premiere of their lastest video for "Broke Me in Two" a warmly wrought, elastic pop song full of unexpected lilts and glitchy repetitions and just a pinch of R&B.
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It lilts, meanders, bobs and weaves through its own watery passageway—a song that follows nothing but its own instincts, sailing away on and on into the terrifying blankness of the endless blue sea.
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Few working pop stars are as capable of evoking pure love and light with just the jagged lilts of their own voice, but that's what she does on tracks like the standout "everytime" carving neon trails through negative space.
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Yet while the Nao we hear on her debut sounds quintessentially her – a fantastical mixture of 1990s R&B, golden-age funk artists, hallowed gospel music, and lilts of hip-hop – it took a while for her to find her true voice.
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He crams thousands upon thousands of Trump's agressive-yet-dismissive lilts into less than two minutes of video, culminating in a epileptic cacophony of red, white, and blue— exactly what we imagine a view of the American hellscape after four years of a Trump presidency might look like.
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Humeysha shot by Jordan Kenna Here's what we know about Humeysha: They're a quartet based in NYC (made up of Zain Alam, Dylan Bostick, Adrien DeFontaine, and John Snyder), they released their self-titled debut back in October, and their single is a marvelously mellow kind of psych-pop, but it's clean and sparkly like a diamond baguette, dappled with Bollywood-toned lilts, sung by Alam in both English and Hindi-Urdu (the project was initially conceived in India).
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Alice C. D. Riley. Several recent publications are for the use of public schools, written with an educational objective. These include Lilts and Lyrics, written in collaboration with Mrs. Riley, who authored the lyrics of most of Mrs.
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Through his systematic notation of folk songs as he heard them, Janáček developed an exceptional sensitivity to the melodies and rhythms of speech, from which he compiled a collection of distinctive segments he called "speech tunes". He used these "essences" of spoken language in his vocal and instrumental works. The roots of his style, marked by the lilts of human speech, emerge from the world of folk music.
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In 1975 Graham released his first album, a collaboration with his mentor Joe Holmes, Chaste Muses, Bards and Sages on Free Reed Records. In 1976 he released his first solo album, Wind and Water with Topic Records. This was followed by his second collaboration with Holmes in 1978: After Dawning: Traditional Songs, Ballads and Lilts from the North of Ireland Topic Records, which was also later released on the Ossian USA label. Graham continued to collaborate with other poets and seanchaithe and storytellers.
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Booklist wrote "Although the rhyme at times limps rather than lilts, there's a warmth to this that makes the whole more than the sum of its parts. Of course, one of the important parts is the art.." and the School Library Journal wrote "Charming illustrations and comfortable rhymes characterize this appealing bedtime book." It has also been reviewed by Kirkus Reviews, Publishers Weekly, and Common Sense Media. It appears on The Daily Telegraph's 100 best children's books of all-time list.
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Chóngbài, known in English as "J'adore" Torque Magazine - Dec 2007 "J'ADORE Fish Leong (Rock) Her strong suit is ballads, and songs like The First Thing Everyday, 101 and Knowing How Much all bear her trademark lilts and are swimmingly easy on the ears. Even though all the songs barely breach the mid- tempo mark, you'll find you won't get bored of them even after repeated listening."() is Malaysian Chinese Mandopop artist Fish Leong's () ninth Mandarin studio album. It was released by Rock Records on 9 November 2007.
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She won first prize in the 1996 Housman Society Competition for her poetry and was writer in residence at Dumfries and Galloway Royal Infirmary (1997-1998). Her collections of poetry for adults include Making Blue (Peterloo, 1995), Borderers (Peterloo, 2001) and Twelve Lilts: Psalms & Responses (Mariscat Press, 2003) and Late Love: And Other Whodunnits (2008).Scottish Poetry Library profile Her book The Seeing, inspired by her childhood memories of the war, was shortlisted for the Scottish Children's Book Award (2013).Scottish Book Trust, video (5mins) She tutors at the Arvon FoundationRandom House profile and writes for the Spectator.
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Wired magazine had an article by Questlove titled "How to Listen Now" in March 2014 in which Questlove described Project Moonbase as an "oddly specific podcast specialising in sitar-driven psychedelia, 8-bit and other trips". BBC Radio 6 presenter Tom Robinson in his Pick of the Pods podcast in 2011 described Project Moonbase as an "exotic and wonderful musical world". Mark Barton, editor of Losing Today indie music magazine described the show as "sumptuously populated by all manner of strange sounds, library take outs, lounge lilts and sonic curios". Musician John Flansburgh of They Might Be Giants recommended Project Moonbase as a "highly entertaining detour into the world of electronic music old, older and sometimes more recent".
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Her best known published works are: Songs of the Child World, Lilts and Lyrics, and The Lost Princess Bo-Peep, in collaboration with the composer, Jessie Gaynor (1863–1921). Her best-known lyrics are probably the words to the lullaby entitled "The Slumber Boat" (later also known as "The American Cradle Song"), published in 1898, which she wrote for her own children: > Baby's boat the silver moon/Sailing in the sky, > Sailing o'er the sea of sleep,/While the clouds go by. [Refrain:] Sail > baby, sail,/Out upon that sea Only don't forget to sail/Back again to me. > Baby's fishing for a dream,/Fishing near and far, > His line a silver moonbeam is,/His bait a silver star.
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John Peacock (c. 1756 in Morpeth - 1817 in Newcastle) was one of the finest Northumbrian smallpipers of his age, and probably a fiddler also, and the last of the Newcastle Waits. He studied the smallpipes with Old William Lamshaw, of Morpeth, and later with Joseph Turnbull, of Alnwick. His playing was highly regarded in his lifetime: Thomas Bewick, the engraver, who also lived and worked in Newcastle, wrote Some time before the American War broke out, there had been a lack of musical performers upon our streets, and in this interval, I used to engage John Peacock, our inimitable performer, to play on the Northumberland or Small-pipes; and with his old tunes, his lilts, his pauses, and his variations, I was always excessively pleased.
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The horn lilts inferiorly towards its lateral edge. As a continuation of the interior side of the ventricular curve, the floor of the body of the ventricle becomes the roof of the inferior horn, hence the tail of the caudate nucleus forms the lateral edge of the inferior horn's roof, until, at the extremity of the ventricle, the caudate nucleus becomes the amygdala. The stria terminalis forms the remainder of the roof, which is much narrower than at the body - the choroid plexus moves to the medial wall. The tapetum for the temporal lobe comprises the lateral boundary of the inferior horn, on its way to join the main tapetum above the body of the ventricle (passing over the Caudate Nucleus as it does so).
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Thomas Bewick had wished to encourage the Northumbrian smallpipes, and to support the piper John Peacock; in his autobiographical Memoir, written in the 1820s, he wrote Peacock's Tunes, 2nd ed., Northumbrian Pipers' Society (1999), Some time before the American War broke out, there had been a lack of musical performers upon our streets, and in this interval, I used to engage John Peacock, our inimitable performer, to play on the Northumberland or Small-pipes; and with his old tunes, his lilts, his pauses, and his variations, I was always excessively pleased. William Green, piper to the Duke of Northumberland, considered Peacock to be the best small pipes player he ever heard in his life. He was probably the first player of the instrument to play an extended keyed chanter.
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Tennyson's use of the musical qualities of words to emphasise his rhythms and meanings is sensitive. The language of "I come from haunts of coot and hern" lilts and ripples like the brook in the poem and the last two lines of "Come down O maid from yonder mountain height" illustrate his telling combination of onomatopoeia, alliteration, and assonance: : The moan of doves in immemorial elms : And murmuring of innumerable bees. Tennyson was a craftsman who polished and revised his manuscripts extensively, to the point where his efforts at self- editing were described by his contemporary Robert Browning as "insane", symptomatic of "mental infirmity". His complex compositional practice and frequent redrafting also demonstrates a dynamic relationship between images and text, as can be seen in the many notebooks he worked in.
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However, it ends on a negative note with the second part of the title track. As she explained its meaning, "I’m good, overall, but I face a lot of unexpected interactions and emotions every day that I didn’t foresee before being out." "No More Pain (Promises To A Younger Self)" and "Move On (Let Go) (De-stress Mix)" are the album's slower moments, departing from Octo Octa's house sound for "pensive piano lilts" and Amen breaks, summarized Crack Magazine. For "No More Pain," Bouldry-Morrison intended to make the same type of IDM and breakcore that she used to produce as a teenager. Bouldry-Morrison made two versions of "Move On (Let Go)," the final one included on the album (the "De-stress Mix") and the "Stress Mix," which included a drum ’n’ bass-style bassline.
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As Bewick was also a friend of John Peacock, it is very likely that Cant and Peacock knew each other well. When Cant died on 15 July 1821, Bewick wrote the following substantial obituary: > Died, Mr. William Cant, master of The Blue Bell, Head of the Side, aged 70, > formerly piper to the Northumberland Militia. He was an excellent performer > on the violin and Northumberland pipes; and like his great predecessors upon > the latter instrument, Turnbull, Gilley, old Lamshaw and John Peacock, he > kept up the ancient tunes, with all their charming lilts and pauses, > unspoiled by the modern improvers of the music with their 'idiot notes > impertinently long'. He played 'his native woodnotes wild', such as pleased > the ears of the yeomanry of old at Otterburn, Hedgeley Moor and Flodden > Field, and 'Whene'er his instrument did silence break, You'd thought the > instrument would speak'.
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