Word: wail
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...also shows me the three noise settings for the siren: The wail sounds more like an ambulance, the yelp is the usual police car noise, and the hi-lo sound just goes up and down and sounds like a car alarm...
...always something visceral. There were hands clapping along to the grassroots rock of the Voodoo Crabs, chuckles and pointed fingers abundant during Depeche Mode, limits tested by the dense sonic experimentation of This Is My Rifle, emotions wrangled by the sugary-sour pop treat offered up by Blue Wail. The winner of the friendly compe- tition, the extraordinary B-Side, got the crowdon its feet with smart, effortless freestyle rapand a tight groove bound to get anyone withinhearing distance excited...
Moving on over to the silkier realm of the popworld, Blue Wail was blessed with a good vocalshowing but was stricken by the same dearth oforiginality as the Voodoo Crabs. Except for thesparkling "Island," a well-crafted, smooth andheartfelt selection under-appreciated by theaudience, the band showed that it needs to work onmaking its sound more unique...
...contemplates his malevolently gleaming assegai. Mnisi, too, has by far her most memorable moment in the sleepwalking scene: opening with a plaintive song of mourning, the scene poignantly brings out the tragedy of her madness, as she alternates between playing in the dirt and trying, with a tragic wail, to scour her hands of imaginary blood...
...tracks, stretched thin and left floating high and parched over shards of melody and jagged bits of rhythm. One song, All Mine, has a sound that might be described as big-band noir, with blaring horns and desperate, almost manic vocals. Another, Half Day Closing, ends with Gibbons' eerie wail twisting wraithlike into the ether. And Humming opens with a portentous Moog-synthesizer solo that seems borrowed, in mood, from a '50s sci-fi film. The songs on Portishead have one unifying feature: they all seem constructed on a wasteland of despair. Producer-songwriter Geoff Barrow, who, along with Gibbons...