And laughter, that vital survival mechanism, whooshes in like oxygen.
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A cab whooshes by me and abruptly parks at the curb.
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Another RPG whooshes out of a building and knocks out a T-62.
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First, a prowling tuba and eerie whooshes of tam-tam and cymbals evoke Hamm's solitude.
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Then it whooshes us to New York City and a world of cynicism, menace and danger.
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It began in near-abstraction, with futuristic whooshes and otherworldly synth-glow, before a beat materialized.
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The Escalade whooshes by a sign that announces we are passing a place called Negro Mountain.
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Triple-filtered air whooshes in from floor vents, while ceiling ducts suck out carbon dioxide-filled air.
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We hear the whooshes of the sliding doors and the whistle when Pike walks on the bridge.
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A nearby spruce whooshes into flame, sparked by embers from an earlier, aborted, effort to widen the line.
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Murmurs of the upcoming USC versus UCLA game bounce around the courtyard as the soothing sound of a fountain whooshes nearby.
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"Speed of Dark" offers an early glimpse of the project, opening in atmospheric whooshes and chimes before an electropop beat kicks in.
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Instead, there are looping electronic whines and whooshes, amorous lyrics declaimed in bursts of group vocals and sudden outbreaks of guitar feedback.
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It was synced to music that also seemed monochrome at first — hisses, whooshes, buzzes, clicks — but became a world of its own.
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To reach a platform with a midpoint view of the work, you ascend darkened ramps, on which ominous hums, bongs, and whooshes can be heard.
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The album's most moving passage opens with one of the album's ferociously named instrumentals, a collage of whooshes and cracks called "Whip" (another is titled "Castration").
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In an instant, just as the birds are opening their wings, a net whooshes over about 100 of them, sending the group tumbling into the sand.
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Three descending chords, repeating in slow motion, cradle her breathy, solitary voice; meanwhile, in the near distance, there are mysterious whooshes and crashes, and an occasional tolling guitar.
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Ms. Davis is a sparky, charismatic performer, and, much like her character, she whooshes into the story, infusing it with energy and scattering good vibes like a punk Tinker Bell.
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We may mistake this Acela for our life until it whooshes past, stranding us with other gut-kicked women whose jobs have ended for reasons H.R. never admits are age-related.
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"Strong 'overheard on the Acela' energy," Rosie Gray, a BuzzFeed News reporter, wrote on Twitter, referring to the Amtrak express train that whooshes the chattering classes between New York and Washington.
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In an early episode, there is a sight gag where a car whooshes past a dog and a businessman waiting on the sidewalk, spraying the dog's slobber all over the guy's suit.
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The opening passages should be erotic and feather-light, but on the Echo the massive orchestra comes through as smothered whooshes, the exhalations of a pint-sized table fan caked in dust.
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My favorite of these many corny, ardent baubles is "Just Ain't Christmas," in which Ne-Yo mopes on Christmas alone, missing his beloved, as a shiny electronic beat whooshes through his ears.
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Electronic brightness and rickety crunch, two modes that are in theory opposed to each other, combine to produce knotty density; the squeaks and whooshes and synthesizer flourishes click together with sprung tension.
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On the surface, behold a luscious exhibition of whooshes and glides, whistles and sighs, clouds of electronic polish sucked through tubular vacuums, synthesized flutes and strings playing through fields of computerized fog.
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Slides, whoops and whooshes rush through "Play," with half-buried lines of aching lyricism dissolving into fragments of scales that are passed around the orchestra with the enigmatic intimacy of dialogue in Beckett plays.
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"Zora" moves with cautious energy, as a dusty, delayed piano loop stutters over breezy, cymbal-heavy drums; she keeps adding fuzzy electronic whooshes with each chorus, so the song ends in a whirl of frizz and flicker.
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Only on the plane ride home do those elusive, ethereal whooshes of green iridescence finally make their cameo in the night sky — but on the opposite side of the aircraft from where Mr. Dyer and his wife are sitting.
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These emitted Sébastien Roux's quizzical electronic score — an aural parade of buzzes, whooshes and bleeps — while Thomas Dunn's enchantingly capricious lighting filled the central corridor, its eye-popping changes, like a plunge into deep red, punctuating more understated moments.
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"The first half of 2018 is going to be a very volatile year without a lot of progress where you get a lot of whooshes, which means sharp, 'oh my God' kind of sell-offs, and ramps," he said.
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Emptyset, the English electronic duo of James Ginzburg and Paul Purgas, dealt in elementals almost entirely stripped of melody; crashes, thuds, whooshes, crunches and room-shaking bass tones that could linger and throb or land as hard as drumbeats.
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I'm reminded at times of the plasticine sounds that have made up the brittle world of the Hungarian composer Gábor Lázár's last few releases, but Girardin twists those tense synthetic whooshes and whines into pieces that feel strangely warm and inviting.
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While not quite qualifying as an EDM move, Purpose overflows with drops, squawks, whooshes and the like that wouldn't sound out of place on an electrohouse album (or whatever electronica subgenre you prefer), albeit a prettier one than the norm.
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It's an impressive spectacle; the fire whooshes and pops, and as Roel plays with it, scooping up flames with the ladle and pouring ribbons of it back into the bowl, it leaps into fireballs of orange, threatening to slosh over the sides.
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You know in Lord of the Rings, whenever anyone touches the ring, they see sudden visions of hell and violence: rushes of orcs, the swinging of axes and clubs, the sound of the wind around a projectile as it whooshes toward your face?
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"California Gurls" utilizes multiple synths, drums, funk guitars, and electronic whooshes in its production.
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Barney whooshes around the house before shrinking and landing in Jimmy's lap, who happily adopts him as a teddy bear and, cuddling Barney, finally goes to sleep.
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Thankfully, the > addition of bassy synths, thrilling electronic whooshes and surprisingly > thoughtful lyrics ensure that this not only sounds bang-on-trend - but, just > as importantly, nothing like a certain Gallic knob-twiddler with a very > public affection for party jams.
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The sei whale makes long, loud, low-frequency sounds. Relatively little is known about specific calls, but in 2003, observers noted sei whale calls in addition to sounds that could be described as "growls" or "whooshes" off the coast of the Antarctic Peninsula. Many calls consisted of multiple parts at different frequencies. This combination distinguishes their calls from those of other whales.
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Its varying soundscape incorporates electronic effects such as clicks, hisses, whooshes, and low-frequency synths, as well as subtle strings and scattered piano notes. Music writers have noted Diplo's production as uncharacteristically reserved and understated. The song's musical structure is characterized by intervals in which the music builds to a potential break, but softly decrescendos instead. As each verse concludes, the song's snapping, electronic rhythm track gradually softens and rippling synth chords repeat throughout the song.
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GameSpot pointed out that "explosions erupt with lots of satisfying, floor-rattling bass, lasers ping nicely, flamethrowers emit appropriate rumbling whooshes, and there's plenty of ambient beeping, hissing, and mechanical humming". Game Revolution praised the graphics for their "modeling, colored lighting, incredible special effects, wonderful animation, [and] sheer overall feel". Victor Lucas of Electric Playground stated similar pros, but also admitted that the game's hardware requirements were relatively high. Criticism was leveled at the game's story.
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Matthew Jacobs from The Huffington Post, placed it at number 35 of his list "The Definitive Ranking Of Madonna Singles"; calling it "Madonna's finest disco flourish". Writing for The Baltimore Sun, J. D. Considine opined that "When applied to conventional club fodder, like the explosive, exultant "Deeper and Deeper", the result is as slick and successful as the best of Madonna's dance singles". While reviewing Erotica for Billboard, Paul Verna called the song "a playful disco-throwback". Entertainment Weeklys David Browne said that the song "whooshes like a subway train going express at 4 a.m.".
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Part VI, p. 1. Gary Arnold of The Washington Post wrote, "Both loyal fans and neutral observers may agree that Eastwood has steered himself into a peculiarly murky flight path on this occasion," calling the plot "far-fetched" and expressing disappointment that "the Firefox doesn't look all that formidable on the screen ... The only in-flight special effect that stirs the imagination is the parallel curtains of water that suddenly erupt in the wake of the plane as it whooshes across the ocean."Arnold, Gary (June 22, 1982). "Farfetched 'Firefox'".
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The smoke creature moved rapidly as opposed to gently drifting so I had some movement to play off of in creating a sound for him. I came up with some stuttering, fluttery whooshes that kind of vibrated which made him more dangerous than if he sounded like a puff of steam moving along the hall. The smoke monster requires a host body to live in when he's not vibrating around killing people. The only way to recall the smoke monster to the host body, or to keep him there in the first place, is by severe electrical shock.
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In "Space Bootz" Cyrus expresses affection for a love interest who is "emotionally unavailable", with a more "cosmic-pop" production and "interstellar whooshes and synths" than the lyrically-similar "Something About Space Dude". "Fuckin Fucked Up" is a witch house-inspired interlude before "BB Talk"; in "BB Talk" Cyrus expresses distaste for public displays of affection from a love interest and a desire for him to "fuck [her] so [he stops] baby talking." The "swaying, stoney, piano-based" "Fweaky" describes a sexual encounter after drinking and using drugs. "Bang Me Box", a "raunchy electro R&B;" song, expresses an explicit desire for lesbian sex.
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Primarily a disco and pop track, Stephen Thomas Erlewine from AllMusic suggested that it serves as an attempt for co- writer Barry Gibb to "update his signature sound". Also describing the song as being influenced by "light disco" music, The New York Timess Stephen Holden wrote that "Night of My Life" and album track "Come Together" show off Barry Gibb's "gift for airborne melodic hooks carried on misty whooshes and anchored by feathery beats". The song's beat is produced with "thumping drums and guitar lines that recall the disco era". It also features guitar playing by Barry Gibb and orchestra work from the Miami Symphonic Strings.
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"Shut Up and Dance" is a pop rock, power pop, synth rock, and yacht rock song that is driven by synthesizer and dance grooves. It incorporates production that is reminiscent of the 1980s, with gated ambience added to the drums, sheeny synth pads, reversed snare 'whooshes', and stadium- sized reverb and delay effects. Steve Baltin and Shirley Halperin of Billboard called the song a "new-wave throwback", while Rolling Stones Brittany Spanos referred to it as "a Killers-style update on Eighties pop hits" such as "And We Danced" (1985) by the Hooters. Mike Wass of Idolator saw the song as "tapping into a '80s rock sound" similar to the band Bleachers.
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"By asking for, and allowing more input from all of us, we could all help each other to explore new territory and take a few more risks," Harmer said. Greenwald, writing for MTV, writes that the album's songs "slow dance between genres—lush, sensitive piano ballads bump up against and blur into kaleidoscopic guitar grooves." The album emphasizes ambient noises, including "clicks, whooshes, and whirs"; the title track, for example, is built around the humming of an airplane engine. Its mood is often somber or dark, which Gibbard figured was an extension of his point of view in life: "I have this sense of realism that sometimes is a little depressing," he confessed to Magnet in 2003.
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" In a review for Rolling Stone, Will Hermes described the album as "a shiny bouquet of synth-pop roses, with perfumed Eighties keyboard whooshes and modern stutter beats crooking a finger toward the dance floor", adding that "what makes the record are [Angelakos'] loose beats, shamelessly fruity melodies and breathless little-boy vocals, all pushing skyward." AllMusic editor Tim Sendra expressed that the album "could have been a total clustercrash of influences and sounds that ended up sounding hollow and pointless. Instead, thanks to the meticulous production values, the insane catchiness of the hooks, and the pure and true emotional underpinnings below all the gloss, the album is a total success of both sound and vision." The Guardians Paul MacInnes noted that while Angelakos' "euphoric mix of pop both electronic and melodic" is not "entirely unfamiliar", "the consistency with which various elements are blended suggests an artist with his own vision—signature details being crashing percussion left high in the mix and, even higher, Angelakos's piercing falsetto.
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