username
2012-02-19 at 05:30:03
// www.youtube.com/watch?v=o0nMpAyOaGI&feature=related
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username
2012-02-14 at 16:25:28
saul goodman hatte auch schon bessere ideen.
//oe3.orf.at/aktuell/stories/542524/
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username
2012-02-14 at 12:46:52
Kindred's third track 'Ashtray Wasp' is a great example. Even after only a day's worth of listening it feels like one of Burial's richest pieces of work to date. That's largely to do with how seamlessly it builds an involving story structure from exactly these sort of fragments. Running to nearly twelve minutes, its first half evokes sensations of a train journey, rhythmic slippages lending it the slight back-and-forth rock of a locomotive carriage in motion. As he/she rides, the narrator-of-sorts draws residue from the surrounding environment. These are more tangible things - flickers of voice ("Alright, bye", from a girl on the phone, slogans from billboards, R&B leaking from someone else's over-loud headphones, a couple of schoolchildren a few seats away blasting music on their phone), percussion as the chug of the train itself, four-to-the-floor kickdrum as heartbeat. Halfway through the track, the narrator disembarks and walks on foot out of the station and into a new neighbourhood. Here the tone of the piece changes entirely. The tempo shifts, the rhythms flit like two-step and the music begins to decay, picking up on more less immediately obvious cues and associations - the arrangement of buildings, graffiti on the walls, rubbish on the street. Throughout, all of these elements that orbit the narrator are emotionally charged, and strongly imbued with the weight of their own history, even though they might only pass through his/her frame of view for brief - sometimes miniscule - periods of time.
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username
2012-02-14 at 12:45:03
aw hell
Wenn der Typ weiterhin mit der Rate besser wird ist kein Ende abzusehen
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