Word: chord
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...person is the founder, it's Rick Santelli. A year ago, the CNBC commentator blew a gasket on the air over a plan by the Obama Administration to tackle the foreclosure crisis. Multibillion-dollar proposals were flying like snowflakes in Washington, and Santelli's rant struck a chord with people who wondered where all the money would come from. "We're thinking of having a Chicago Tea Party," Santelli declared, evoking the 1773 protest in Boston Harbor. A movement was born. Egged on by conservative interest groups and leveraging Barack Obama's digital-networking strategies, grass-roots opponents...
...thrilling opening, and does an effective job of introducing what’s to come. Carter’s sleek, overlapping guitar lines on “Mouthful of Diamonds” are repeated many times throughout the LP. It seems as though he barely strums a whole chord, but his finger patterns are always effective and atmospheric. Barthel’s “oohs,” which first appear on “When I’m Small” are repeated on many other songs, injecting life into some of the record?...
...waves of organ that sweep through the wide-open spaces of the song like wind in fields of grain. Adu pulls off some memorable melodies, making use of her powerful and malleable voice, but the track somehow feels distant and merely pleasant. The instruments still sound prepackaged and the chord changes, while effective, remain obvious. The production, though nearly flawless, places more of an emotional divide between the band and the listener than there should be on what could have been such a relatable song...
...swagger and well-coordinated stage direction that emphasizes the awkwardness of the moment for Albert. Imitation folk songs are sung in a child’s squeal. Mock-Italian quintet singing is delivered with appropriate exuberance. Herring hiccups repeatedly to the “Tristan und Isolde” chord before he goes out for his night on the town—Britten’s in-joke to regular operagoers, and one entirely appropriate for an opera that depicts desire as transgressive as Wagner’s, but with infinitely more levity...
...shift is both regression and release. For the first time since 1998’s “A Series of Sneaks,” Daniel applies the same ferocity to his vocals as he does towards his one-chord guitar solos. “I want to show you how I love you, but there’s nothing there / I’m not standing here / Oh I’m not standing here,” he yells on “Written in Reverse,” the album’s bluntest approach...