Word: aural
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...fourth number, an instrumental called Marooned, the record veers off into a morass of sustained piano chords, droning synthesizers and gimmicky sound effects. The aural tricks that seemed so daring on earlier Pink Floyd disks -- running footsteps, echoing guitars -- are now impossibly dated and predictable. Even worse are the lyrics, which rarely rise above the sentiments of a greeting card. "Her love rains down on me easy as the breeze," guitarist David Gilmour sings on Take It Back. "I listen to her breathing it sounds like the waves on the sea." Only Keep Talking, propelled by interlocking guitars, manages...
...time you get to the mournful "Sur: Regreso Al Amor," the last track on La Camorra, (a tune which is a perfect illustration of just how much contemporary avant-guard American artists like Tom Waits have drawn from Piazzolla's work) you will have gone on an aural journey with one of the twentieth century's true musical geniuses...
...most part, sympathetic to the composition. While some works based on specific poems or material extraneous to the work rely on intellectual interest for their appeal, requiring that the listener decipher the thematic "content" of each phrase, "Surrendering to the Stream" depends for its success primarily on its purely aural beauty. Commencing with a lone low cello note, the piece progresses to reveal two different motifs, one embodied in the romantic solos played by each instrument, the other rousing and dramatic. Although the work seems slightly too long, its musical characterizations are quite memorable and the lyric sections are especially...
...aggressive pop songs are old bands like the Buzzcocks, whom Slant 6 sound nothing like. Scrawl are the most obvious reference point--their early records were just as clear, economical, hummable and covertly sad as Soda Pop Rip, Off, though early Scrawl song were about half as fast. Other aural similarities are to Tallulah Gosh (the fast, sloppy, Oxford pop band that eventually became Heavenly) and to Boston's Salem 66, another riff-oriented all-female trio. Which raises the question of whether there's a separate tradition of all-female bands, stretching from the Raincoats on, whose sounds...
...illustrate the many-faceted sensual appeal of the opera world. These range from the visual (such as Joan Sutherland's misaligned and garish lipstick on an album cover or the combination of Renata Tebaldi's ample bosom and her tight costume on the over of Aida) to the aural (Marilyn Horne singing "Mon coeur" from saint-Saen's Samson and Delilah, Anna Moffo's delivery of the single word disvelto in Verdi's Rigoletto) and even the oral (in a discussion of opera as addictive behavior, he calls listening to an entire opera the equivalent of locking himself...