Word: musicalize
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...intricate, feedback-heavy compositions of Life Partners. Exusamwa combined manic punk with a performance art aesthetic—Sawyer spent the entire set in a wheelchair, her face bandaged and her voice howling, while her bandmates all wore red-stained OR scrubs—and Quits played experimental noise music. Daniel Striped Tiger played a cleaner, jazz-infused brand of post-hardcore, while L’Antietam’s heavier, more distorted songs featured complex tempo changes and polyrhythms. The audience had no difficulty moshing during the sludge hardcore of Connecticut’s Iron Hand before sitting down...
...spent the set moshing with and leaping on a local punk rocker, but afterwards, the two patted each other on the back and introduced themselves. “It’s not necessarily overtly violent in nature, even though it’s this really aggressive music,” Augenstern says...
...word-of-mouth by individuals who are already involved in the scene. “It depends on the people you know and who can hook you up,” Shaket says.For Shaket, one of these people is Daniel J. Thorn ’11, a DJ and music director of TDS (The Darker Side), WHRB’s hip-hop department. In the past, Thorn has arranged for Shaket to battle with local and traveling rappers who have contacted the station in search of competition. Though there is no official organization for rappers at Harvard...
...plays, has his own sound. He is also quite an underrated jazz master and musician that really deserves the honor.” Everett and a committee made up of several people from the Office for the Arts at Harvard and the Quincy Jones Professor of African-American Music Ingrid Monson chose Roy Haynes from the top of their list. “Roy Haynes is a living legend, a walking history of Jazz,” Everett says. Growing up in Boston near Long Wharf, Haynes “just about played with every major innovative artist since...
...idiosyncratic, internal rhythm—both figuratively and literally, as Steve Martini, the director’s brother, scored the film. In the opening scene, the quick cross-cuts between shots of live-action and shots of a housing development model match the beats and thumps of the music. The sounds, however, are only a part of the film’s internal pulse. Each character’s arc acts as a sonata to the film’s whole, and scenes are explosive not because of physical action but rather because of latent energy. “Lymelife?...