Various resonant vibes

“$10” is essentially a very bizarre dance track. You almost want to dance to it, but the incessant refrain of “$10, $5, $5, $10, $5” in this deadpan shout comes out of left-field, to the extent of being actively uncomfortable. Being uncomfortable is somewhat a given with Hitchhiker’s music, of course. Each element of the song makes sense in the context of their function, but there is always an unexpected touch. There’s a trap beat in there, but the song is also propelled by rattling organic metallic percussion at certain points as well. Instead of a normal synth loop, you get this ethnic Asian string instrument playing (which gets even more ridiculous as it gets pitched and warped beyond belief). Hitchhiker is making some of the more experimental electronic music on the Korean scene (and maybe even globally), and it is both interesting and refreshing to see such a large music label give this sort of music a platform.

Sadly, the tot-size Christian Louboutin ballet slippers in satin, glitzy gold and silk - and price tag of US$250 - have sold out. There's always the grey alpaca beanie-style rabbit hat with long floppy ears for US$56, from Oeuf NYC.

Presumably seeking to arrest the precipitous sales drop between their first two albums, for Evolve Imagine Dragons ceased producing most of their own songs in favour of the R&B strategy of spreading the work amongst a range of talents. The hot British producer Alex Da Kid – who secured their diamond-selling breakthrough hit “Radioactive” – is retained for three songs, but the most significant shift is the involvement of Swedish hitmakers Mattman & Robin on four of the eleven tracks, including the brazen but empty stadium singalong anthems “Believer” and “Walking The Wire”, songs whose messages of uplift delve no deeper than their titles. That message is most literally realised in “Rise Up”, although their proclaimed openness to new experiences – “I was always up for making changes/Walking down the street and meeting strangers” – doesn’t seem to apply to music. On the contrary, Evolve involves mostly devolving back into the hoariest of tired rock cliches (including what sounds like roto-toms), and plodding grimly towards the summer’s festivals.

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The 1970 jazz album Gary Burton & Keith Jarrett does not sound real through any speakers. Although this wasn't a good recording even by the standards of its day, I still enjoyed the way it sounded through the PL200 II. The speakers clearly revealed the album's rather strangely mixed stereo presentation, but the timbres of the instruments--especially Burton's vibraphone and Jarrett's piano--sounded natural nonetheless. Nothing sounded harsh or boomy or undefined, and the tune's infectious groove came through beautifully.

Given what we know about resonance, clearly there is no one stone or crystal that can offer better protection from electromagnetic fields than any other stone or crystal. Healing with crystals is an intuitive process.

For one ,the piece The Gates of Omega as suffered (?) a ten minutes cut and, at still seventeen minutes, it keeps a soft moody progression which will not overstay its welcome by too much. Home sweet home, now the fifth song of this single cd should stay pretty much the same at approx. the same time of sixteen or so minutes. And the same applies to Stars and Tears,the third epic of this well packed album, now the conclusion of the record. Untouched is the loveable overture, Forever chained, and the softer still 5 Years, giving you a one/two "feather punch" of prog ballads for which i'm a sucker i suppose. In fact this is a kind of album i'd listen in a row, when in the mood, with the polish group Quidam mark II version, period "Together we're alone". As long as you share with me some appreciation for the same kind of moody prog indebted to Genesis circa 76/78 but sung in place by Ray Wilson and thus Marillion: or if you like the overall work of Cristiano Roversi, you could do worst than put an ear on this one. Three stars and a half for this reworked version. social review comments | Review Permalink
Posted Sunday, September 15, 2013 | Review this album | Report (Review #1035538)