Word: synths
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...years from ’64 to ’95 on this album appear as a mishmash of easily recognizable sounds, heavy synth in ’88, soulful “oohs” and “aahs” from “’76 aka The Slow Train,” but only in spots seem to precisely nail the musical feel...
...bring to mind the debt the band owes to Björk’s Icelandic ’80s band the Sugarcubes, for both groups’ consciousness of (and commitment to) the fact that their translations might not translate so well into English. But Total is all synth, bips, beeps, and Euro-kitsch nostalgia like the faux-Gainsbourg “Orange Mécanique,” in which the woman plays the narrator, her moody tones accompanied by “Melody Nelson”-like bits of soprano...
...want to buy L.A.M.B., here’s the recap: the album is completely derivative, and it doesn’t even do a good job of ripping off the music it tries to copy. Stefani wants to be the next Madonna with her sex-obsessed lyrics and electronic synth beats, but she loses the thing that got No Doubt its fans and made Stefani famous: her innocent-yet-knowing sexiness and clever lyrics. It’s a sellout as disappointing as Jewel’s or Liz Phair’s, and far less pleasant...
...Portrait.” With its laid-back Latin feel and colorful melodies, the band easily settled in with the audience while effortlessly building up to the exciting “Johnny’s Landing.” At the outset of this number, Corea percussively tapped metallic synth sounds in offbeat rhythms to Weckl’s elaborate drum beat. The tune developed gracefully with a catchy bass line and calypso guitar accents. Gambale, Marienthal and Weckl played solos showing exquisite touch and truly unfathomable technical prowess...
...into its encore, the classic Jimmy Health tune “CTA,” which the band covers on their Paint the World album. Starting with a massive drum solo, the tune developed into a superb rendition with stand-out solos all around. Corea, donning his signature KX5 synth (a mini-keyboard worn like a guitar) stood center stage with the band and played away with a smiling youthful glow...