Skip to main content

Featured Post

How To Convert Image To Word On Android Phones

How to Convert Image to Word onAndroid PhonesLong gone are the times where the only way to digitize something written on paper was to retype it on a computer. That was a really painful and time-consuming process. 
Just imagine students with hundreds of notes and study materials trying to digitize them all. Or stay at home moms trying to digitize their recipes so they wouldn't have them laying around the kitchen in a paper form. You could also imagine the struggle of a businessman trying to digitize tons of reports or other financial documents.



Thom Yorke - Suspiria (Music for the Luca Guadagnino Film) Music Album Reviews

Luca Guadagnino’s remake of a horror classic features Yorke tackling a broader range of styles and ideas than any of his previous solo work, and all of them shine.

Thom Yorke is an unexpected choice of composer for Luca Guadagnino’s remake of Suspiria, Dario Argento’s 1977 horror classic. The original’s iconic soundtrack came from Goblin, an Italian progressive-rock outfit who brought a wild, cacophonous aesthetic to Argento’s moody mind-fuck of a film. Shoveling all manner of seemingly incompatible ideas into the blender—Baroque harpsichords, synthesizers, tabla, splatter funk, even intimations of death metal—they yielded a score even gorier, in its sticky dissonance, than Argento’s gaudily fake blood.

Yorke, on the other hand, is, well, Thom Yorke—the brainy, sensitive possessor of a falsetto and a perpetual melancholy that lingers like a head cold he can’t quite shake. To call him “anemic” might sound unkind, but a scene from Argento’s film comes to mind: Protagonist Suzy, following a faint and a nosebleed, is prescribed bed rest, bland food, and a nightly glass of red wine. “It builds the blood,” enthuses the unctuous doctor, and one suspects he’d probably want to get Yorke on a regular Sangiovese regimen as well.

But unlike Argento’s film, with its almost cartoonishly supersaturated, blood-red hues, Guadagnino’s remake favors a drab, wintry, washed-out palette, which is precisely what the Radiohead frontman does best. Just listen to something like “There Is No Ice (For My Drink),” off his last solo album, Tomorrow’s Modern Boxes: In Yorke’s hands, even muscular club tracks come off sounding like vaporous sighs. (For what it’s worth “suspiria” is Latin for “sighs”; the film’s title comes from Thomas de Quincey’s essay “Suspiria de Profundis,” or “Sighs from the Depths.”)

However it may work in the film, on its own, Yorke’s score tackles a broader range of styles and ideas than any of his previous solo work, and all of them shine. There are appropriately cinematic, minor-key passages for piano and strings; great sheets of electronic buzz; gorgeous choral miniatures with a whiff of Arvo Pärt’s arctic grace; brooding, gothic Americana; and striking forays into pure electronic abstraction, the kind of thing you might have found on the German experimental label Mille Plateaux in the late 1990s.

There are even a few bona fide songs. “Suspirium,” a lilting ballad largely for piano and voice, wouldn’t sound out of place on a Radiohead album, and though the lyrics gesture at some of the film’s themes, they’re oblique enough to stand on their own, and spooky enough to sound haunting even outside the context of the movie. “Unmade,” a stately showcase for Yorke’s voice at its most moving, is cut from similar cloth, and “Has Ended,” a droning dirge set to a hurdy-gurdy grind and a slow, almost funky drum shuffle, is even more compelling, if only for a Mellotron-like solo about halfway through. It’s only some 15 seconds long, but it has a powerful impact, transforming transform sullen trip-hop into something transcendent.

While Yorke’s score doesn’t sound anything like Goblin’s, you can hear the influence of their spooky central theme—a minor-key melody for celeste and bells that Argento deploys as a means of anticipating moments of awful violence—in a handful of skeletal melodies that lend cohesion to the soundtrack, primarily in the form of piano figures pacing haltingly against an orchestral morass, tritones hanging in the air like echoes of a scream.

Despite the tension between songs that could pass for Radiohead’s repertoire and more soundtrack-like material, the whole album flows remarkably well, particularly given its 80-minute running time. Tracks run together, connected by viscous strings and unsettling sound design; the “proper” songs float along a vast expanse of half-frozen slurry. Occasional Foley effects—footsteps, rustling, ominous groans—serve a function similar to the muffled screams of Goblin’s score, infusing the music with a subliminal pedal tone of terror. Yorke has said much of his compositional process entailed extensive studio tinkering, and that’s borne out in the richness of many of his sounds here—particularly in “Olga’s Destruction (Volk tape)” and “Volk,” where brooding piano and synth melodies dissolve into eerily detuned fugues reminiscent of Aphex Twin’s microtonal experiments.

Of all the obviously cinematic pieces, as opposed to “singles” like “Suspirium” and “Unmade,” one stands out: “A Choir of One,” a 14-minute study for voice and, presumably, electronics. For nearly a quarter of an hour, wordless vocal harmonies float like some sulphurous vapor hugging the treeline of a haunted forest, queasily rising and falling in pitch, with a dark shimmer reminiscent of Ligeti or Xenakis. It is shapeshifting, almost formless; it sprawls like a glistening oil slick, and it serves as the album’s de facto finale. It’s followed only by a handful of short sound-design experiments, which conclude with “The Epilogue,” a brief collage of organ drones, Foley effects (traffic noise, a ticking clock), and, after a fade to silence and a false ending, a deep, rumbling analog throb, a sound as bleak as the void itself. I’d imagine—I hope—that’s what’s playing when the credits roll. In its minimalist opacity and Vantablack depths, it’s the polar opposite of Goblin’s playfully neon-hued approach, and it’s in going to that extreme that Yorke has made Suspiria his own.

View the original article here


Related Posts Plugin for WordPress, Blogger...

Popular posts from this blog

Nokia 8 Sirocco Review: Hands-on

Nokia 8 Sirocco Review: Hands-on

There’s something of a lack of new flagship smartphones at MWC 2018 but Nokia has plenty of new devices to feast your eyes on, including a sleek handset to rival the Galaxy S9. Here’s our Nokia 8 Sirocco hands-on review.
You would assume that Nokia’s new flagship would be one of the biggest smartphones (in terms of importance) to be unveiled at MWC but Huawei and LG have delayed their respective 2018 devices. So it’s a case of Nokia vs Samsung vs Sony.
Although a Nokia 9 was a possibility, the firm has actually announced the Nokia 8 Sirocco which is quite a radical phone for HMD – the company with the rights to the Nokia brand. For now, this is the Nokia 9.

Nokia 6 (2018) UK Release Date & Specifications

Nokia 6 (2018) UK Release Date & Specifications
It's easy to forget that the Nokia 6 is a year old, given that it didn't make its way to the UK until August, but it was actually unveiled much earlier in January 2017. The company has in January 2018 announced an update to the original smartphone, with the 2018 model now official.
Currently China-only, the new Nokia 6 will also become available in Europe in April, priced at 279€ (around £245).

Nokia 8110 4G Review: Hands-on

Nokia 8110 4G Review: Hands-on MWC might usually be about smartphones and other high-end gadgets but a feature phone has caused quite a big of hype. HMD has re-launched the Nokia phone seen in The Matrix. Here we go hands-on with the Nokia 8110 4G. 
Let’s face it, sometimes old things are cooler than new one and although the Nokia 8110 4G is technically a new phone, it’s another example of the firm bringing back a classic.
Following the Nokia 3310, this is the second ‘retro classic reloaded’ and although it’s been 22 years, the Nokia 8110 is back.

Nokia 7 Plus Confirmed: Release Date, Price & Specification

Nokia 7 Plus Confirmed: Release Date, Price & Specification
Nokia has announced its Nokia 7 Plus at MWC 2018, a mid-range Android phone that will go on sale in April at €399 (around £350).
A larger version of the China-only Nokia 7, the Nokia 7 Plus features an upgraded Qualcomm Snapdragon 660 processor, 4GB of RAM and a 6in full-HD+ 18:9 display primed for entertainment.

Samsung Galaxy S9 vs Nokia 8 Sirocco

Samsung Galaxy S9 vs Nokia 8 Sirocco
Two of the most anticipated smartphone releases of 2018 have now arrived in the form of the Samsung Galaxy S9 and the Nokia 8 Sirocco. So, how do these premium phones stack up against each other, and which one should you pick when upgrade time comes around?
Let's dive in.

Like Fan Page