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16 Sentences With "more hypnotic"

How to use more hypnotic in a sentence? Find typical usage patterns (collocations)/phrases/context for "more hypnotic" and check conjugation/comparative form for "more hypnotic". Mastering all the usages of "more hypnotic" from sentence examples published by news publications.

You want a more hypnotic, ethereal rhythm to the set.
And the movie's more hypnotic and surreal sequences benefit greatly from HDR support.
The more we burned, the more hypnotic it became — a mesmerizing spectacle of pages curling and embers dancing into the void.
But the smell of a pizza bun lined with mortadella and ricotta baking is even more hypnotic, as you shall see.
Although less dazzling, "Force Majeure" is more hypnotic, transforming 400 tiles coated with agar into a living, evolving painting of splotches of all colors.
Their actions are languid and explicit; yet there's a ritualistic precision to the way they slit a pig's throat and scrape off its hair that's more hypnotic than repellent.
After Dopethrone, the Wiz' started to further experiment with ever more hypnotic material, and while both 2002's Let Us Prey and 2004's We Live are not particularly highly-regarded albums, both are worthy of reappraisal.
But on "Love in Outer Space" — a Sun Ra classic that Mr. Taborn keeps in regular circulation with his quartet — the six-beat, Middle Eastern plod grows only more hypnotic over the course of the nearly eight-minute performance.
Advertise on Hyperallergic with Nectar Ads Attempting to make peace with the present state of pop radio, slower and sparer and more hypnotic than ever under the influence of what's now called Spotifycore, I went looking for the calmest albums I could find and came up with a bunch of alternative rock.
These behaviors and habits are repeated until they are not necessary any more. Hypnotic age regression allows for patients to reframe and purge their unnecessary behaviors.
Entitled "Ornamental Hysteria" and spanning more than three decades of the artist's career, the exhibition presented 51 works, many of which were new and previously unexhibited pieces. Amongst the featured works was Canoe, Shark, Woman (2016), a sculpture created in Yogyakarta Art Lab, which The Guardian described as "[having] the look of the ritual artefact of Bickerton’s tropical island obsession, creating a power object or fetish (as islanders do) with found objects (fish, flowers, beads) that is the more hypnotic for its solemn parody – silver vestal offering a hammerhead shark, coconuts in her Indonesian canoe".
Azure Ray's next release, a six-song EP entitled As Above So Below, came out on Saddle Creek on September 5, 2012.Rolling Stone Magazine. EP Premiere: Azure Ray, 'As Above, So Below' Retrieved 30 Nov 2012 After a two-year hiatus following the release of Drawing Down the Moon, Fink and a pregnant Taylor entered the studio to record six news songs with a more "hypnotic" "electronica" influence in collaboration with Andy LeMaster and Todd Fink. On July 17, Stereogum premiered "Scattered Like Leaves", calling it a "starry, shivering cut", while NPR premiered "Red Balloon" on August 9, describing it as a "long, slow summer swoon" with "devastating melancholy".
Gene Sandbloom from The Network Forty wrote that "the heavy house sounds you've come to know from this Belgian dance phenomenon take a back seat to former model Felly's vocals this time out. The results are the first single with actually more radio than dance floor appeal from this group that brought a whole new wave to the clubs a year ago. Expressing her words through her trademark blue lipstick, Felly's attitude filled vocals float over this African/New York beat, and the song becomes more hypnotic with each listen." Pop Rescue noted the "catchy formulaic sound" that the act found great success with, on the track, adding that it "bounces along nicely".
Stebbins writes that the album is "slightly psychedelic—or at least impressionistic." Psychedelic qualities that were common in the group's mid-1960s work were the invocation of "greater fluidity, elaboration, and formal complexity", "a cultivation of sonic textures", "the introduction of new (combinations of) instruments, multiple keys, and/or floating tonal centers", and the occasional use of "slower, more hypnotic tempos". Jim DeRogatis, author of a book about psychedelic music, surmised that Wilson's LSD use led him to write more introspective work, a contrast from the Beatles, who after taking LSD began addressing problems in the world around them. According to academics Paul Hegarty and Martin Halliwell, Pet Sounds has a "personal intimacy" that sets it apart from the Beach Boys' contemporaries in psychedelic culture and the San Francisco Sound, but still retains a "trippy feel" that resulted from Wilson's experimental use of LSD.
The band uses the just intonation tuning system favored by avantgarde composers La Monte Young and James Tenney, so the musicians are playing hand-modified guitars with repositioned frets, re-tuned and customized by [band member Owen] Gardner." Pitchfork, reviewing their 2016 album Interventions, described their progress to that date with "The Baltimore band has released two albums up to this point, both of which alternate switchbacking studies in rhythm and drone with noisy, knotty studio experiments... Interventions marks a major step forward in every way: The jams are both more focused and more hypnotic, while the quality of the recordings has a newfound clarity and fullness"." Ben Ratliff reviewed Interventions for the New York Times, calling it "invigorating" and "daring and energetic", avowing that the Horse Lords were "borrowing sounds and techniques from Mauritanian guitar music, free jazz, classical minimalism and other places" including being "way into hocketing... This music feels very live, shivering with energy".
Clubs would regularly have internationally known DJs as well as local acts such as Ivano Bellini, Patrick M, and a long list of others spin into the next day. There was also a period of alternatives to nightclubs, the warehouse party, acid house, rave and outdoor festival scenes of the late 1980s and early 1990s were havens for the latest trends in electronic dance music, especially house and its ever-more hypnotic, synthetic offspring techno and trance, in clubs like the infamous Warsaw Ballroom better known as Warsaw and The Mix where DJs like David Padilla (who was the resident DJ for both) and radio. The new sound fed back into mainstream clubs across the country. The scene in SoBe, along with a bustling secondhand market for electronic instruments and turntables, had a strong democratizing effect, offering amateur, "bedroom" DJs the opportunity to become proficient and popular as both music players and producers, regardless of the whims of the professional music and club industries.

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