Word: keyboard
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TWISTED The Origami, a "concept" (read unfinished) device from National Semiconductor, combines a removable digital video and still camera, MP3 player, videoconferencing terminal, cell phone, mini-keyboard, Windows PC and wireless Internet browser in a single plastic case the size of a paperback novel. It changes function by twisting into seemingly endless positions and should be available late next fall...
...Hough? Why now? The world, after all, is full of keyboard athletes, though few can match this one when it comes to the flair and sheer finger power on display in his latest album, a head-spinningly fizzy two-CD set of the ever-so-French music of Camille Saint-Saens, composer of Carnival of the Animals (Hyperion). But Stephen Hough is not your ordinary piano man. Uninterested in going the safe star-soloist route, he revels in playing the music he loves best in smaller cities and with regional orchestras. Yes, that includes Saint-Saens, Rachmaninoff...
...America: the current trendiness of rave culture, led by superstar DJs and corporate entities, and 1997’s “electronica” craze. The latter saw a flurry of sensationalist stories in music magazines that envisioned the rock paradigm being overtaken by a legion of keyboard-wielding techno-freaks, in some kind of premillennial musical cyborg invasion. The truth was that artists like Prodigy and the Chemical Brothers themselves represented a rock-happy crossover breed, integrating elements from rave culture in order to fashion radio-friendly pop music, and that meanwhile, the music’s core...
...which builds a thumping and grinding riff so great that one would find it hard not to at least bob a head to, if not bang. “Cyberface” sounds alarmingly derivative of a Rammstein song, with slow and thick riffing ensconsed in a keyboard melody, which shows that the band is not altogether above nabbing appealing aspects of modern music, but fans will be happy to hear that Priest have not gone so far as to throw any rap into their 21st century debut...
...album as a whole contains much of what the Ozzman’s fans have come to expect—aggressive guitar work coupled with periods of keyboard melody, all swirled with the master’s voice, one that remains as haunting and powerful as it was when Black Sabbath emerged from the slums of Birmingham, England over 30 years ago. Zakk Wylde, guitar God responsible for much of the music on Osborne’s last three albums, returns to lend his axe to the effort. While his unique funk/chunk distortion and timbre are evident, the lack...