Drown Dreams

“Songlines” follows, and we hear the deeper tones of Pykes voice in this gentle piece. Building towards the chorus, it becomes a sunshine filled, love song that uses electro sounds, a killer brass section and xylophone to communicate the devotion for the

After reaching the outside edges of this musical arena, the true penetration of excitement occurs. An enormous steel plate decorated with a brilliant brass halo hangs on a slim, silver frame circumscribing the magnificent steel plate. A trapezoid of thin aluminum tiles placed in two meticulous rows across a thick ebony base rests gently, waiting for a majestic and seemingly undiscovered musician to compose amazing melodic tunes of grace and peace on its brittle keys. Sturdy skins of beastly predators stretch taut across their compressed wooden shell identical to a native American replication of a warrior’s cry as he marches his tribe into battle. Trailing in the forgotten distance perches a somber tower of drab coffers stacked with immense

Throughout the song I chose a heavy use of 3 part harmonies that closely align with the melody. This helps to give the main vocal melody depth and adds further interest. It is especially present from the 1st

The band grasps a more regular beat and simpler groove for “Listening Embrace”, a composition that invites to a meditation before entering in a contrasting rhythm propelled by Jovia Armstrong’s percussion and Tatsu Aoki’s shamisen. The exotic dynamics becomes the propitious setting for multiple improvisations.

If Sunbather was presented as “showcasing the true horrors that are here on earth—one's own personal demons,” and New Bermuda is about the “uprooting and throwing oneself into the complacent, monotonous routine of adulthood,” Deafheaven does well in sonically emoting their belief that rote is worse than horror. The lead single “Brought To The Water” encapsulates this, accompanied by frontman George Clarke’s kvltish crooning about his once colored multiverse surrendering to darkness. The opener and the majority of the album extend their peaks by way of Daniel Tracy’s impressive drumming, whose ability to transition from blast beats to a tamer percussive style and back act as the law of conservation of musical energy, seamlessly converting kineticism to potentiality to and fro. However, the standout tracks on the album remain “Luna” and “Gifts For The Earth.” On “Luna,” Deafheaven take their signature contrast-based song structure and lionize it, by making the song’s dark moments penetrating, and its bright moments as radiant as ever. The moments where the band’s sunburst guitar sound part the black sea of blast beats, tremolo picking and screeching are when Deafheaven is audibly in their element. On “Gifts For The Earth,” we are greeted with a benign sounding chord structure juxtaposed to some of the harshest mixed vocals on the album. Lyrically, the song is seemingly written by a fatalistic ideologue,

Philosophical analysis a broad range of perspectives on the developments in punk rock music, while rational arguing as We watch, observe and over time realize that much of it has become commercialized, undermining its original philosophy energy, angry, and passion of rebellion and alienation. In reviewing this you'll see how punk started from the underground sub-culture of punk roots and then followed them to see what happened when they went commercial.

“Get me a new fucking monitor!” Highly Suspect’s lead singer and guitarist Johnny Stevens was livid after the band’s opening song “Lost.” Confused, I looked around at other members of the crowd and found that they were equally curious – the performance had been as bold as Stevens’ demand. The opening song was a display of unbelievable rhythmical control that could be appreciated even without knowing the band could not hear themselves, or that Stevens had slurred his way through greeting the crowd. Highly Suspect is primed to bring unapologetically audacious sound and personality back to the floundering genre of rock.

Sweden’s Sabaton belong to the power metal subgenre and in their near 17 year career, they’ve amassed a strong army of loyal fans with 8 albums to their name. Their latest conceptual album, “The Last Stand”, encapsulates everything about the subgenre they belong to. From the grandiose atmosphere and realistic lyricism that Sabaton create, they lead us to the barefaced supercilious façade that all power metal bands wear through a brief history of “famous last stands in warfare”.

“Traces VI” and “Traces VII” are great avant-garde compositions. The former brings some madness and the right amount of ambiguity to an instrumental conversation; the latter, is oddly percussive, strategically layered, and becomes minimalist as it moves forward.

The album, Clockworks, is a breathtaking foray into metrics, temporal expressions and variations, cadenced movements, percolating polyrhythms, and mind-boggling patterns that make Zimmerli’s music highly contemporary, memorable, and unique.

Once widely deemed as mere shells of psychedelic overlords Animal Collective, MGMT has finally toned down the dated sensibilities of psych-pop and alternatively zeroes in on a darker atmosphere that was only briefly examined in the duo’s last album. With this in mind, MGMT manages to path a harmonious road where Oracular spectacular and the self-titled album meet—a balance that embraces the outfit’s early-career danceability and its expanding grip on darkness.

“Heroines” assumes a song format, shinning with Bro’s blissful melodies, Morgan’s dedicated bass notes, and Baron’s frequent gentile ruffs. It conveys a glowing peace that I refuse to let go, even when the following track arrives. The relentlessly atmospheric “PM Dream”, dedicated to Paul Motian, expands horizons after developing delicate layers of guitar-synth that fall on top of bass free moves and pertinent percussion. Baron almost feels geometric in its strokes, eagerly trying to give the last retouches on a flawless canvas.

The second track, “I Talk to the Wind”, provides a mellow rest after the dense amalgamation of noises towards the conclusion of the first track. The song starts with a flute, before a double-tracked harmony vocal begins the main section of the song. It is a slow ballad, where the complex drum lines are a lot lower in the mix, which allows for a softer, more melodic direction. Fripp’s use of a dark and jazzy guitar timbre lets the guitar’s harmonics provide a smooth accompaniment for the vocals and wind instruments. The major 7 chords also provide a slightly jazzy feel, before moving to an F# minor 7, to resolve to a B major. This minor 7 gives a great suspended feel (in place of a Bsus4), allowing Lake’s vocals to follow a more fluid path. The wind-driven ballad is well mixed, but at times, the wind can be a little loud, and harsh in

In the novel, Waiting for the Barbarians by J.M Coetzee, the magistrate’s progressive, non-linear dreams are a parallel to his growing involvement with the barbarians and his growing distaste for the empire. The great psychoanalyst, Sigmund Freud said, “The interpretation of dreams is the royal road to a knowledge of the unconscious.” In every dream there is a hidden meaning and when the reader starts analyzing the magistrate’s dreams he reveals that he is oddly attracted to the barbarians and knows he should not get involved and it will be a trial to get close to them.

Dreams are one of the great enigmas of humankind. Theircan be complexity both physically and psychologically licated as it was never stumpunderstood by anyone not even those who claim themselves experts. Often times, discerning between a dream and reality becomes unclear to the dreamer A dream is one of the sensitive topics and difficult to comprehend because of the different levels of mind emotional magnitude and consciousness that are associated with its such as convincing images, feelingsemotions, ideas, contemplations, and sensations. Dreams can even be expressions of our conscious mind that are portrayed and reflected through our subconscious. Edgar Allan Poe’s “A Dream within a Dream”, is a poem that carefully illustrates the speaker’snarrator’s true despondent feelingsemotional state, due to the death of a loved one, towards the emptiness of life due to a loss of a loved oneby in a blink of eye just like a dream using effective poetry devices such as personification, and symbolismmetaphor, imagery, and symbols, and a quickrapid change of setting .