Sleepmakeswaves Band Analysis

The opening grouping blurs into" ‘The End,’ an environmental melody by the Doors that sounds as colorful as the Vietnamese wilderness looks" Apocalypse Now (1979). With this spooky, cranky tune as his background, Captain Willard tumbles into a descending path that proceeds all through the film. Promptly, the music connects picture to place and time: with its furious rhythms, the tune sets us up for the journey that begins. Music from the Doors shows up again close to the end of the film when Willard rises out of the stream and shots of Kurtz's butcher are intertwined with shots of the caribou butcher. The homicide scene is the most hallucinatory of the film because of the mix of the Doors' rock, cinematographer Storaro's dreamlike lighting plan, and the forward and backward cuts in the middle of Kurtz and the

“Momentary Glow” takes us back to the acoustic roots of Pyke, and the brevity of his tones articulate the delicate nature of a relationship and how it becomes all consuming. Lead single “Hollering Hearts” is next, and the delightful banjo driven melody eases the complexity of the album. Exploring what it means to find the things that give us passion, percussion makes this a pop tune that will simply make you feel

Beginning with a steady, and slow build of electrical magic, mimicking a visual representation of lights flicking across one's eyes, "When The Smoke Clears" foundation begins. The track's layers and precise timing of the smallest of sounds is appreciated, heard clearly as the transition from electronic to the psychedelic installment flourishes. Hints of musical delights are trickled towards each build. Bass riffs pulls both vocals into an unexpected groove, noting Rosen's soothing vocals that softens each blow.

The animated beat that introduces “Drown Dreams”, an oblique, dreamy, chamber pop song, doesn’t dissemble some solemnity attached to its melody and harmonic conduction. There are a few grey clouds encircling it, but also some sunrays that make the liberation possible. Exclusively on this tune, Slavin plays synth and flutes.

The song finished and the next song played was a drastic change in genre. Lego House by Ed Sheran. The sidewalk began to end, and the dirt road that I used to walk home had turned into quicksand. I was grateful that I wore converse today. Especially since they were the oldest pair I owned.

Mark Wade is a proficient double bassist and composer who has been playing in NYC for two decades, showing off his fluid, athletic sound. The follow-up to his widely recognized debut album, Event Horizon, is entitled Moving Day and like its previous, features a classic trio with Tim Harrison and Scott Neumann on piano and drums, respectively. Together, they achieve an impressive triangular tightness that can be heard without delay on the first track, the 6/4 post-bop wonder that gave the album its title. It kicks off with the pianist delivering an ostinato, which, minutes later, is reutilized by the bassist to install the groove. The bandleader embarks on an effusive back-and-forth solo, discharging equal parts of melody and rhythm, and the energy doesn't faint when Neumann unleashes his clear-sighted chops over a rock-inflected vamp.

With synths so invitingly encompassing, a bass line this fat and charming acapella-esque vocal arrangements via Alexander Giannascoli ((Sandy) Alex G) and Maine, The House strikes the precise, tone-setting chord for what is phenomenal listen through and

I slipped out of bed trying my hardest not to disturb Red. I could still hear the light, upbeat tune drifting through the open window. I don't know why but there was something that was drawing me towards the sound.

For this song I aimed to portray as much natural emotion utilising heavy layering and particular notations for each part. By choosing an array of acoustic instruments and an underlying dissonant feel enriched in the piano part I was able to provide a solid foundation for the String and Vocal arrangements.

Animated with transitive melodic asymmetries, frequent rhythm syncopations, and collective improvisations, “Cube Code” is a rollercoaster drop that also features an explorative bass solo by the bandleader. He delivers another great one on “Two Thirds Radial”, which swings with sharp focus and is rounded off by another piquant solo, beautifully cooked by Noriega, who thanks his horn mates for filling with a few twisty

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.

With director positions in the band having been available, Lead Downard and Dalton Haberman took up the challenge.

This week I listened to a program from the New Sounds collection. It was on electric guitarists/ composers. This collection first aired on July 21, 2014 and it consist of ambient electronic artists, who are known for creating sonic landscapes with their music. The first song of the playlist was called Almost Alright by Noveller. Noveller is an artist who plays her own music and tries to explore the different uses and sounds that can come out of a single guitar. She uses the different sounds to create unique textures in her work. The song started off with a periodicity of chords, which sounded like notes from a scale. I could not recognize which one but I could hear the descending of the pitches. Then there was an undertone note that was consistent. The song overall was slow but it contradicted the typical sounds of an electric guitar. I kept expecting for the music to speed up, but it didn’t. The artists instead played with the length of sustainment in each note. I thought it was interesting to hear how long a note could last and how it created a constant interval with the melody. This idea gave the piece more texture within the vertical organization. This piece of music was written in a 4/4. The constant repetition made it easy to notice the time signature.

New band name, new album: after a busy year, the Max Graef Band reassembled a bit in order to progress into new rough and edgy adventures in music. As the band has grown during their heavy touring through Europe into a strong unit, they renamed themselves to Torben Unit and wrote a lot of new material during heavy jamming late night sessions, where they tried all sorts of instruments, amps and effects in order to shift into a new sounding direction without loosing their Jazz affected signature sound. Although bands from the past like Wolfgang Dauner's Et Cetera, Embryo or Xhol had an influence on Max Graef and his band, their first Torben Unit album turned out to be absolutely original and ranges stylistically from distorted Jazzrock to experimental

On the 23rd of September 2015 Disclosure released their second studio album titled Caracal which displays the English born brothers signature electronic style. Among Disclosure’s many works on this album is a collaboration with New Zealand born singer Lorde, Magnets. The song begins with a soft hiss and a chord progression begins to rhythmically fade in and out while a syncopated drum groove is laid down. While the introduction proceeds, a bass drum line begins with a four on the floor pattern and klave can heard on beats two and four moments before the songs vocalist, Lorde, begins. This introduction has a relaxed, laid back, eerie vibe but still feels vibrant by its switching from a minor tonality