Word: sitar
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...somewhere / Feels like I’m going left and right in the dark.” He brings a familiar tone of an unapologetic malcontent to “Ludlow Street,” which features a bizarre sitar introduction before transitioning into a boozy, demented waltz. Over a skipping drum machine and pleasant guitar strumming, Casablancas’ wistfully praises common street musicians while condemning the “yuppie expansion.” “Everything seems to go wrong once I stop drinking,” he bashfully declares at the song?...
...tricks he pulls in “Wavvves” are actually quite limited in scope. The tracks vary little in mood and instrumentation, and when Williams experiments it is mostly with electronic beats, blares and buzzes—with the exception, perhaps, of some inspired sitar twangs early in “Killr Punx, Scary Demons.”Take, for example, the representative first track of “Wavvves,” entitled “Rainbow Everywhere.” A voiceless introduction to the album, the piece jumps between electric frequencies underneath heavy static...
...like parts of The Love Guru because they sometimes take the form of an Indian musical, with Myers' sitar strumming becoming the bass line for the Dolly Parton song 9 to 5 and he and co-star Alba giving their all to a Bollywood-style dance number. I approve of the opening narration in the stately tones of Morgan Freeman, which turns out to be Myers speaking into a "voice-over box" set on the "Morgan Freeman" key. And I'm a big fan of Timberlake's farce skills; he shows here that he has a future in movies...
...expression of this deeper source. “My Bloody Underground” isn’t just exploring the styles of seminal rock bands; it appears to be hunting the roots of all humankind. As is typical of BJM, a wide range of musical tricks—from sitars to African drums to classical piano—gets featured on various tracks. BJM also culls their lyrics from a diverse linguistic spectrum, even composing and naming a song in an Icelandic tongue (“Ljósmyndir”). Just as Newcombe promises his soul will bring...
...promised by the event fliers began. One of the first to play was Anna I. Polonyi ’10, who provided a blues beat on the drums for Lee H. Dietterich ’10 on the clarinet and Momin M. Malik ’08 on the sitar. The trio began slowly, with each musician playing solo for a few minutes in order to give the others a feel for their style. Once comfortable with each other’s sound, the three began to play in unison, captivating those around them, with one student going...