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...engine. Or the sudden appearance of a predator. Some scientists have even linked whale groundings to magnetic anomalies that can play havoc with the internal compasses on which whales seem to depend for navigation. One scenario, however, has been pretty much dismissed in this case: disruption by underwater sonic booms from the powerful new U.S. Navy submarine-hunting sonar that recently inflicted fatal hearing damage on beaked whales in the Bahamas--and prompted an outcry from environmentalists when the Bush Administration allowed these exercises to continue. "Extremely unlikely," says Woods Hole Oceanographic Institution's Darlene Ketten, an expert on marine...

Author: /time Magazine | Title: Death on the Sand | 8/12/2002 | See Source »

...impossible to doze off, however, when the band launched into a horn showcase that riffed on Metheny’s composition “Offramp.” Vu crafted a searing, unsettling sonic landscape by half-blowing, half-buzzing into his horn. He simultaneously filtered and looped the sound with a mixer at his side and proceeded to solo over the resulting vamp. Initially captivating for its ingenuity, it decayed into a druggy, hellish stream of screaming guitars, strobing lights and tumult of menacing drums. It was an unsettling, visual and auditory apocalypse that left the audience puzzling...

Author: By James Crawford, CRIMSON STAFF WRITER | Title: Speaking of Metheny | 4/19/2002 | See Source »

...show attracted the attention of Sony Music, which gave the band a three-album deal; the first, Meteor Rain, was released late last year. It was pop-fluff stuff, a sonic fusion of Japanese groups SMAP and Tokio. But Taiwan's teens had not had a local boy band to worship since Little Tigers disbanded a decade ago, and 400,000 copies of Meteor Rain flew off the shelves; it sold more than 1 million Asia-wide. That success was quickly replicated on the mainland, where bootleg copies of the show, album and merchandise hit the streets...

Author: /time Magazine | Title: Don't Listen Too Closely | 4/15/2002 | See Source »

Here Be Monsters is the result of a collaboration between Ed Harcourt, who wrote all the songs, and Tim Holmes, producer of Mercury Rev. The producer’s influence shows immediately, in the richly textured sonic language, with lush string orchestrations and jazzy saxophone accompaniments. The opening song is typical, in this respect, of the whole album. It begins softly, with the strumming of an acoustic guitar and Harcourt’s velvety voice. As the song progresses, the instrumentation fills out, blossoming at the chorus in a climax of strings and guitar accompaniment reminiscent of Radiohead?...

Author: By Crimson STAFF Writers, CRIMSON STAFF WRITER | Title: New Music | 4/12/2002 | See Source »

...onto a wide screen quickly became the center of attention, and the music its soundtrack. It conveyed something that’s impossible to discern in Takemura’s albums. If Calix’s glitch symphonies were ones and zeros come alive, Takemura’s playful sonic freak-outs were the machines themselves speaking. Blocky polygon men sang along with the disembodied voices; kids frolicked with pixelated woodland creatures during musical lulls. Seemingly senseless static became a conversation between two clay figurines...

Author: By Ryan J. Kuo, CRIMSON STAFF WRITER | Title: Plaid’s Music Gets You Twisted Up | 4/12/2002 | See Source »

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