Word: bandã
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...with a noise that only foreshadows the expanding thunder sound that follows, this portentous crescendo is finally interrupted by the percussive minor piano chords that go on to frame the song. Take this next to “Neighborhood #1 (Tunnels),” the opening song on the band??s previous and debut album “Funeral.” Like the rest of “Funeral,” the song created a new world. The world of “Neon Bible,” however, is clearly rooted in our own. While...
...free download. The NYC band combines poppish rock and a moody pan-Asian sound with the voice of potentially attractive singer/keyboardist Yuki Chikudate, to produce a sugary ambient effect. The music video for “Goodbye” finds its influences not in the sexiness of the band??s name but rather in its Japanese background. The aesthetic scheme of the video is origami, and little happens besides the shifting of a number of colorful designs decorating the screen and Yuki singing and moping around the paper landscape. I mentioned Yuki?...
...compositions don’t take untraveled roads. Marsalis borrows heavily from the same motifs and melodic texturing he’s been using for 15 years. He’s a talented writer, but the recycled ideas leave the work sounding unimaginative. The energy of the band??s performance often can’t live up to the grandeur of the expectations the album sets for itself. “Find Me” and “These Are Those Soulful Days” are lethargic, and Marsalis’ improvisations don’t push...
...that time there are already six or seven CGI Maxïmo Parks performing, and the video can’t decide which version of the keyboardist it likes best. We end up careening between multiple iterations of the same musicians, massed before neon-hued backgrounds. Part of the band??s personality problem stems from lead singer and lyricist Paul Smith. He’s dreamy enough to be a frontman, but he’s saddled with an unblinking intensity that can’t help but unnerve fawning girls. While his winsome lyrics bring Split...
...band that left high school punk rock fans for the mainstream may even disappoint the squares who rocked out to “The Boys of Summer” and “In This Diary” from “Goodbye, Astoria.” Though the band??s Web site praises their hard work, calling the new record “easily the most daring, dazzling and inspiring Ataris album yet,” there is little proof in the pudding. “Welcome the Night” is filled with moody, regret-stained...