... hmm,,, gerai,,,, patinka skaityt aprašymus ne tik apie grupes bei kompozitorius, bet taip pat ir apie albumus. suprantu, kad dėt aprašymus prie kiekvieno musice ęsančio albumo būtų supermilžiniškasdarbas, tai nutariau pats pakopypeistint aprašymus prie mano mėgiamų albumų. tikiuosi niekas neužpyks.
...
Legendary reggae producer Lee "Scratch" Perry has exerted an almost mystical pull on artists from across the musical spectrum ever since the halcyon days of his Black Ark studio, when he created some of the strangest and most compelling music ever to come from Jamaica; his work with foundational reggae artists like the Heptones, Max Romeo, and the Congos remains both sonically unique and deeply, weirdly compelling, and artists from the Clash tothe Beastie Boys have sought him out ever since then. Some of the resulting collaborations have turned out to be deeply misbegotten; a few have been brilliant. This is one of the latter. The Orb are almost as legendary in electronic music circles as Perry is in the reggae world, but their signature style -- a soft and dreamy fusion of house and ambient music -- is obviously not a good fit with Perry's sonic adventurousness or his infamously manic (not to say crazy) verbosity. As it turns out, though, this is one of those situations in which a surface incompatibility masks deep harmony. The Orb do not try to provide faux-Black-Ark reggae grooves for Perry, nor do they make the mistake of treating his (apparently improvised) lyrics as sacred pronouncements. Instead, they create a rich tapestry of soft but dense rhythmic backing, some of it more house-derived, some of it more reggae-flavored, over which Perry raps, and then they treat his voice like one instrument among many to be woven in and out of that tapestry. The approach is dubwise, but the result is unique -- it simultaneously pushes familiar musical buttons and sounds like nothing else that has come before. Listening to this album is a bit like eating comfort food from an alien planet. Highlights include the stately and decorous skank of "Man in the Moon," the tectonically bassy "Go Down Evil," and the richly funky "Thirsty," which is built on a piece of vintage Perry wisdom: "If you're thirsty, drink some water."
Man tai vienas dalykas su dabartiniais emoji, tai kad jie gerokai didesni nei tekstas ir kartais dėl to negražiai atrodo. Nors nauji atrodo per maži, bent iš mano ekrano žiūrint, todėl net nežinau, koks sprendimas būtų geriausias.
Šiaip, at the end of all this, man emoji nėra svarbus reikalas. Jei jų nebūtų, aš nelabai ir pasigesčiau. Galėčiau parašyti dvitaškį ir D didžiąją arba skliaustą ir to užtektų visiems suprasti šiais laikais
Ten kažkokių elaborate emoji, kur ten visokių profesijų žmogeliukai būna ir pan. komplikuotos nesąmonės nenaudoju. Vėliavėlių ir tų turbūt nėra tekę gyvenime panaudoti.
Nu aš emoji prisijaukinau ir kartais komentaruose vartoju, tiesa, aš naudoju dažniausiai visokius generic smile'us ar kažkokius simbolius (kaip būna visokios varnelės, up-arrow, šauktukai facebook'e arba discord'e).
Kaip ir va emoji aptarimas yra naudingas. Būtų įdomu sužinoti ir visų nuomonę apie juos, kad ir esamus, kas kokius mėgsta naudoti, arba kodėl nemėgsta.
Ne jokia segregracija, tiesiog būtų chaosas jei ne iki galo funkcionuojantis būtų pas visus iš karto. Yra ką galima pokalbių dėžutėje pasakyt, ir yra ko ne. Manau, vis tiek maloniau žinoti, kad kažkas išvis daroma, negi ne?
2014 m. balandžio 6 d. 09:11:23
... hmm,,, gerai,,,, patinka skaityt aprašymus ne tik apie grupes bei kompozitorius, bet taip pat ir apie albumus. suprantu, kad dėt aprašymus prie kiekvieno musice ęsančio albumo būtų supermilžiniškasdarbas, tai nutariau pats pakopypeistint aprašymus prie mano mėgiamų albumų. tikiuosi niekas neužpyks.
...
Legendary reggae producer Lee "Scratch" Perry has exerted an almost mystical pull on artists from across the musical spectrum ever since the halcyon days of his Black Ark studio, when he created some of the strangest and most compelling music ever to come from Jamaica; his work with foundational reggae artists like the Heptones, Max Romeo, and the Congos remains both sonically unique and deeply, weirdly compelling, and artists from the Clash tothe Beastie Boys have sought him out ever since then. Some of the resulting collaborations have turned out to be deeply misbegotten; a few have been brilliant. This is one of the latter. The Orb are almost as legendary in electronic music circles as Perry is in the reggae world, but their signature style -- a soft and dreamy fusion of house and ambient music -- is obviously not a good fit with Perry's sonic adventurousness or his infamously manic (not to say crazy) verbosity. As it turns out, though, this is one of those situations in which a surface incompatibility masks deep harmony. The Orb do not try to provide faux-Black-Ark reggae grooves for Perry, nor do they make the mistake of treating his (apparently improvised) lyrics as sacred pronouncements. Instead, they create a rich tapestry of soft but dense rhythmic backing, some of it more house-derived, some of it more reggae-flavored, over which Perry raps, and then they treat his voice like one instrument among many to be woven in and out of that tapestry. The approach is dubwise, but the result is unique -- it simultaneously pushes familiar musical buttons and sounds like nothing else that has come before. Listening to this album is a bit like eating comfort food from an alien planet. Highlights include the stately and decorous skank of "Man in the Moon," the tectonically bassy "Go Down Evil," and the richly funky "Thirsty," which is built on a piece of vintage Perry wisdom: "If you're thirsty, drink some water."
Rick Anderson
2014 m. balandžio 4 d. 15:58:00
positive vibe ir rolling riddim porcija - superinė orbų ir Lee koloboracija - šimtas ir vienuolika balų, suku pakartotinai