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Month: July 2021

When artists lost their professional rhythm …: La Tribune India

Tribune press service

Amritsar, July 29

For future musicians and artists in the Punjabi music industry, the pandemic has been nothing less than a struggle for survival. In the absence of live performances, music festivals and commercial recordings, the forced split on the professional and creative front has not gone well for many.

Aar Bee, a city-based music director and artist who is a household name in the Punjabi music industry and who has also worked with the famous Wadali family, believes that many artists have lost their professional rhythm during the lockdown.

While commenting on the impact of Covid-19 on artists and the music industry, said: “I consider myself lucky to have found work with the Wadalis. I worked throughout the pandemic. But not many people have had that kind of luck or support. Performing artists struggle to connect with audiences the same way on digital platforms. I know many artists, who have been forced into other jobs to survive the financial stress of the pandemic. “

“Covid-19 has not been good for the creative industry, especially artists, who were looking for careers through live performances. But the gradual resumption of activity and events will certainly help put the industry back on track, ”explains the young music director. But he also feels that adversity has opened up an alternative digital media platform for a world of possibilities to explore.

“What we need now is to solidify the virtual presence with stronger visibility for independent artists,” he says. In the industry for the past decade, Aar Bee began his career as Music Director for the legendary Wadali Brothers. I was lucky enough to be noticed by Puran Chand Wadali ji and then I worked with Lakhwinder Wadali on several of his recent songs, ”he shares.

Like many who dream of succeeding in the music industry, Aar Bee also started young, as a music student at GNDU.

“My father, Sudesh Noor led a jaagran group and sang jagratas. Although he is an artist himself, he never really encouraged me to pursue a career as a professional singer because he thought it was a very difficult career and that it really took a lot of hard work to to succeed. I had really proven my talent for getting his approval. I met the Wadali brothers at an event, where they saw me play. But I really found my vocation behind the camera, as a director, ”he explained.

Aar Bee led Lakhwinder Wadali’s recent hit streak including Ranjhanna, Nazara and Maula, which were hits on digital platforms.

“People retraced their way to the melodious and moving music during the lockdown. Noise can only be heard as music for a limited period of time. But the melody is what remains forever. I believe in making good music rather than commercial gain, ”he says.


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Bacao Rhythm and Steel Band, “Expansions”


ALBUM OF THE DAY

Bacao Rhythm and Steel Band, “Expansions”

By Eli Schoop July 26, 2021




Somewhere in Margaritaville the Jimmy Buffett was turned off and a DJ started smashing club hits like Jay-Z, Nas, Grace Jones, Slum Village and Sylvester. The local ecosystem, in response, has evolved to adapt to new sounds. Pop culture and steelpan, finally together. Thereby, Bacao Rhythm & Steel Band was born – not in Hamburg, Germany, as official documents say – but grew up deep under Trinidadian roots, manifested in the waters of the Gulf of Paria.

Successful cross-cultural pollination like that of Extensions must come from a love and knowledge of the music he embraces, coupled with a playful spirit and a knowing nod to his audience. Call it kitsch, call it corny, but when the grooves are this good, it’s just plain undeniable. Take Minnie Riperton’s cover of “The Flowers” ​​for example: her angelic voice is metamorphosed into a whimsical steelpan lead, but it doesn’t sound awkward at all. And with both “Raise It Up” and “The Healer”, Bacao Rhythm & Steel Band makes their admiration for J Dilla evident with an ear for melody and percussive flair. The original compositions complement the covers beautifully, leaving the listener to guess at times what was written by others and what came from the tropical spirits on this record. So, pull out the Hawaiian shirts, make yourself a mai tai and enjoy the exhilaration of steelpan funk, aided by iconic hits.


READING
ON BREAK

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Commoners Choir still in tune and ready to perform again

LOCKDOWNS and Covid regulations silenced many community choirs in the region at the start of the pandemic. But a group of passionate local singers – the West Yorkshire-based Commoners Choir, which has several members from Bradford – refused to be intimidated and channeled their talents in different directions.

Choir member TONY SUTCLIFFE explains: It’s been just over 18 months now that around 50 or 60 of us have crowded onto a rather small stage within the confines of a West Yorkshire concert hall. Packed side by side, some of us rushed backstage while others staggered precariously over the edge. Even the sardines, quite frankly, could have complained about such a tight space.

But we didn’t care, as our enthusiasm and pride was overflowing to launch our second Commoners Choir CD – Untied Kingdom – in front of a full capacity audience who had bought the last precious tickets weeks before.

The whole room was restless, a jostling sea of ​​dimly lit faces beyond the glare of the stage lights.

And we sang. Choir and audience as one. Voices rose together as anthemic choirs echoed and echoed in every corner of this room.

A little over 18 months ago. But it almost seems in a lifetime now. Even the mere fact of describing such a scene makes one think of the severely disapproving face of Chris Whitty.

Because, of course, just weeks after this album’s launch, the world as we knew it was on hold indefinitely, as the lockdown has brought so many strange silences into our lives. Thousands of local and community choirs across the country, if not around the world, have been deprived of the musical oxygen that keeps us alive, as singing together was quickly identified as a high-risk activity.

Thus, the “new” word Zoom burst into our collective vocabulary and, for many, it was a social lifeline, offering the possibility of connection in a suddenly dislocated existence of enforced isolation.

For choirs, like ours, it offered a certain degree of temporary refuge, voices connected across distances… although, in truth, it felt a bit like singing to yourself in your own living room!

It would have been easy to feel deflated, maybe even dejected, and fall into a hazy hibernation of nebulous inactivity, especially when we had to ditch a 12-date album launch tour.

Even the enthusiasm of Ellie Clement, a member of the Shipley-based choir, was slightly dampened as she now remembers how “the possibility at the start of the pandemic that it may be some time before that we could sing together again sounded like a black cloud. ”

But that’s not the stuff we commoners are made of. Because when the choir was first dreamed of six years ago by Otley-based composer Boff Whalley and this guy who played guitar in Chumbawamba, they came up with their own manifesto.

In fact, you can still read it on our website, with its heartfelt pledges to be “a choir like no other” and to be “explicitly political and engaged,” highlighting injustices and injustices in the world. world and singing with “like a lot of harmony, melody and earworms that we can put together”.

Granted, he does not explicitly say “there will be no periods of idleness following global pandemics”, but I think it would be fair to take that read.

The choir therefore found many other outlets for its resolute and ardent enthusiasm in the months that followed.

Songs were written (including the appropriate poignant Singing Together Apart), YouTube videos were posted, and a new choir allowance was carefully cultivated.

And we’ve found a new way to get our messages across about things that matter to the world with the release of a new zine (or magazine for those of us from a certain vintage!) Called Commontary.

The second edition is already on the streets, in a number of outlets in Bradford, and features articles, reports, interviews, even crossword and crossword research, all on the topic of trespassing.

Helen Lucy, who emerged from the choir to take on the role of volunteer writer, was amazed by the writing skills of her fellow singers. Each edition has its own theme – a process of negotiation between choir members – and anyone inspired by the themes is encouraged to contribute.

As Helen explains, “we can’t go out and be in front of people right now, but it’s an alternate way of projecting ourselves and what we believe in.”

And for Ellie, it helped bring back some of the camaraderie and common purpose that keeps the choir together. As she says: “There is too much spirit and innovation in the choir to keep us silent for long. The zine is a glorious mixture of articles and far greater than the sum of its parts.

In the meantime, we’re resuming rehearsals outside, with a pragmatic mix of raincoats and sunscreen, and we can’t wait to sing for you all again. I hope soon enough!

You can pick up a copy of Commontary at Bread And Roses, Mean Old Scene and Plant One On Me in Bradford, Tambourine and The Triangle in Shipley, The Grove, Ilkley or at commonerschoir.com


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Real McKoy Records debuts with beat 876 | Entertainment














Real McKoy Records debuts with beat 876 | Entertainment | Jamaican Star


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July 22, 2021

Music label Real McKoy Records made their debut on the music scene with the release of their first official project, the 876 rhythm.

“The riddim is a simple trap beat with a nice dancehall pattern that presents a nice baseline that anyone can vibrate on,” explained producer Ryan McKoy. Comprising seven tracks, featured artists include Kalado, Zyna, Gabeana, Jahmade, and Ancient Warrior.

“The links with these artists have been forged through experienced and knowledgeable producers, like Jakk Stero and others in the industry,” the producer explained. Rhythm has been working well since its release in May and the producer is confident it will continue to gain traction.

“I expect the project to go well. A lot of effort has been put into it and I am very confident that listeners, other producers and others in the industry will see us as a great source of music. “, did he declare. Based in Linstead, St Catherine, McKoy has had music in his life for as long as he can remember.

“My dad had a sound system and I ended up owning one myself. I’ve always been interested in doing something in music, but I didn’t have the talent to be an artist so I did. I chose the path of executive production, which is also a role that I played in the creation of the project, ”he said.

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Critique “In Harmony”: the masters of modern jazz left too soon

Twenty-four seconds after the start of “What Is This Thing Called Love?” by Cole Porter who opens the new two-disc version “In Harmony” (Resonance), trumpeter Roy Hargrove utters the melody before embarking on unexpected but completely logical improvised flights. We remember a sound – soft, round, clear and spiky, supremely confident yet penetrating – that was Hargrove’s calling card when he arrived in New York City at the age of 20, and was lacking in it. . scene since his death in 2018, at age 49, of a cardiac arrest caused by kidney disease.

As Hargrove digs into this opening song, pianist Mulgrew Miller rocks a midtempo groove, having played an intro that sounds like a question asked in harmonic terms (he responds, satisfactorily, a few minutes later, through a solo with light fingers). Miller’s laid-back grace, daring touch, and resilient rhythm remind us of another lost piece of the New York jazz puzzle; he died in 2013, at the age of 57, from a stroke.

That neither of the two musicians is still with us, that both died in their prime, gives drama to these 13 tracks, which were recorded at concerts in 2006 at Merkin Hall in Manhattan and in 2007 at the Williams Center for the Arts at Lafayette College in Easton, Pennsylvania Yet any sense of absence is quickly overshadowed by the captivating presence of this duo. Sadness gives way to the surge of sensations – ease, joy, comfort, challenge, humor – which set in each time these two musicians play together.

Mulgrew Miller


Photo:

Mark Sheldon / Resonance Records

Upon Hargrove’s death, the jazz world lost a beloved master who quickly rose to stardom at a time when popular interest in jazz rekindled. He kept that initial promise but challenged the dominant stylistic conservatism of the period, recording with equal skill and zeal alongside the Soulquarians, a loose confederation of musicians from the hip-hop and neo-soul worlds (including Questlove, Erykah Badu and D ‘Angelo), like jazz flagship bearers like Herbie Hancock.

Miller, who was 14 years older than Hargrove, was also less well known, his inclinations not being as extensive. However, the pianist – who performed over 273 recording sessions, according to Tom Lord’s authoritative jazz discography – was an elementary presence as a sought-after conductor and sideman who synthesized several strands of jazz piano into one. all distinctive and moving.

The testimonials of fellow musicians in this album’s accompanying booklet frame Hargrove’s impact across generations. Trumpeter Ambrose Akinmusire, who was in high school when Hargrove came to lead a masterclass, calls him “our Art Blakey” for his importance to young players seeking wisdom. Bassist Christian McBride, born three years after Hargrove, explains that Hargrove “made it difficult to question the validity of what our generation was doing.” Former jazz statesman bassist Ron Carter and saxophonist Sonny Rollins praise the trumpeter’s skill with a ballad. Here, the best proof of this last point, and of Miller’s similar ability, is “I Remember Clifford,” saxophonist Benny Golson’s tribute to trumpeter Clifford Brown, who was one of Hargrove’s musical heroes. Miller seasons his introduction with an unexpected dissonance; in the middle, he mixes stride-piano technique, bebop-piano harmony and church-piano feeling for a wonderful effect. The last minute, with Miller most of the time, is dominated by Hargrove’s majestic improvised cadences. On two other ballads, “This Is Always” and “Never Let Me Go”, Hargrove plays the milder brother of the trumpet, the bugle, which he commanded with unusual clarity and force.


Photo:


Resonance recordings

In some ways, Hargrove, who often exuded hip-hop swagger in a tailored suit, Nike sneakers and a bowler hat, and Miller, who Mr. McBride here calls “the most ordinary guy you could meet,” no. couldn’t have been more different. However, the two common qualities of restraint and taste which make musical conciseness. Despite its fast pace, “Invitation” feels spacious and patient, upping the power of Hargrove’s fiery solo and Miller’s ingenious counter-melodies. Hargrove, who was born in Waco, Texas, and raised primarily in Dallas, and Miller, who was born in Greenwood, Mississippi, and studied at Memphis State University, were also steeped in the Southern blues. In their hands, even “Monk’s Dream” and “Triste” end up taking the form of the blues (notably, without upsetting the structural intentions of the composers Thelonious Monk and Antonio Carlos Jobim). And Hargrove’s “Blues for Mr. Hill,” named after his elementary school music teacher Dean Hill, is a gripping spectacle.

It’s impossible to guess where Hargrove’s career would have taken had he lived longer, or what New York jazz might look like now with Miller still at the piano. Yet we have this long look back on moments of communion that still seem relevant today.

Copyright © 2021 Dow Jones & Company, Inc. All rights reserved. 87990cbe856818d5eddac44c7b1cdeb8


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Cordillera Rhythm and Harmony (first in a series)

INDIGENOUS CULTURE

By Fr Samuel Maximo and Geneviève Balance Kupang

Ayuweng emanates from the sacred land, heartbeat and music of the indigenous peoples of the Cordillera. The lively sound beats of the earth in harmony with the umilthe songs (of the village), the sound of kalaleng Where tongali (nasal flute), awong (sound) gongs, among others are precious gifts from Kabunian (Supreme Being). Ayuweng encompasses the range of natural sounds that abound in the surrounding area— ayuweng di dagem (wind noise), ayuweng di danum (rustling of streams or babbling of rivers), chirping of birds, choirs of insects, outpouring of rain, thunder and lightning and the rustle of trees and grasses, all this gives the inhabitants of Montañosa their complex and deep connection to the land. In addition, the Cordilleras which are deeply rooted in their cultural heritage sing, play their gongs and other musical instruments during celebrations and festivities, invocation to the Supreme Being, ngilin (observances) associated with rice cultivation, rites of passage, and life cycle events such as birth, coming of age, labor, healing rituals, pacts of peace, marriage and death.

Awong chi gang-sa held in Kalinga (The sound of 1000 gongs). Credit: EMP Productions, AP. Media and Mauricio E. Patongao

This series presents a collection of audiovisual presentations; a combination of video clips and image slides embedded in music. In these, you will see the beauty, wonder and sanctity of our place and our culture that people of Indigenous or non-Indigenous descent must respect and preserve.

The audio-visual presented in this series is our humble contribution to the Encyclical Letter of Pope Francis “Laudato Si ‘(On the care of our common home) drawing the attention of the Church to the respect and care for the gift of Creation that God has endowed us with; our Creator and Source all life. Note that the indigenous peoples have long learned to live in harmony and with a deep respect for nature as it is imprinted in their hearts and in their awareness that the earth is sacred. And that the earth is life.

At the dawn of the 20e century, various American and European missionaries such as the Anglicans, the Catholic Congregation of the Immaculate Heart of Mary (CICM or “The Belgian Fathers”) and, later, the Sisters of the ICM, and other Christian denominations who arrived on our land, came to us with the mentality that they brought us the Gospel to evangelize us. However, the truth is that worshiping God and connecting people with the Divine was an integral part of our culture; lived and experienced in the daily lives of our people long before missionaries came to us, and they soon learned that they were to “take off their shoes and sandals because they were standing in our holy land” (Exodus 3 : 5, also cf. Joshua 5: 14-15).

This presentation is part of my own research. As such, the images that you will see in the videos are narrative collections of community life and the culture of Montañosa people taken at various locations since 2009. While I have been careful in my labeling of the presentations, there could be some misrepresentation of events, people and dates. No copyright infringement intended. There might be “original” authors of songs, music, pictures and videos that might not be properly recognized – I sincerely apologize for such a misrepresentation. I am also solely responsible for any misspelled or mispronounced words (Maximo, S. 2021).

With regard to the objectives of environmental, socio-economic development and pedagogy, it is a call to all Cordilleras respect Creation, defend our unique and magnificent culture and be proud of our identity. We continue to show our visitors (local and foreign tourists and businesses) what we have inherited from our ancestors: our indigenous knowledge, skills, spirituality and practices (IKSSP), our wisdom to take care of our mother earth, our home . To our guests from other parts of the world, we ask you to respect our place and not totally ignore our customary practices and traditions. We must engage in an “ecological conversion” and a transformative management of Creation as the encyclical demands of us. We owe future generations a thriving environment full of unspoiled natural resources. In essence, intergenerational ecological justice. We learned from our ancestors that our ecosystem is sacred. Creation is an integral part of the web of life that we must preserve and protect, whatever faith we profess.

This video presentation is also dedicated to those who work for the inculturation of our faith and for liturgical celebrations. We thank the CICM / Belgian Fathers and the ICM Sisters for the work of “evangelization” here in Montañosa (with regard to the Catholic Church). Nevertheless, the faith they professed to us is natively foreign and tasty European! Today we have learned to express our faith in our own language and culture. We now have the feeling of “Uka tako na! “(it is ours! our own profession of faith, in the manner of our ancestors who knew God long before the arrival of the European).

BEBSAT SAN KAIGORATAN (Fraternity and fraternity in the Montañosa) The first video in a series

Indigenous production of sugar cane in Sadanga, mountain province.
Photo credit: Bro. William Moguigui and the Pusong community, Anabel, Sadanga, Mountain Province

This song expresses the essence of brotherhood and brotherhood deep in the Cordilleras. The images you see in the video speak of the exquisite beauty of culture, living tradition and creation.

Words and music by Francis Cayasen; performed by Fr. Samuel Maximo and Sendong Salvacio. English translation: Geneviève Balance Kupang

Cordillera mountain people
Beloved of the Supreme Being
Since time immemorial
Throughout our ancestors

God has endowed us with living traditions
And an identity specific to our tribe
Deep indigenous wisdom of which
we shouldn’t be ashamed or give up

Wisdom and instruction
Modern or that of the ancient past
Shouldn’t get a bad rap
Our dear culture so true and delicate

Should we ignore our culture
We lose our distinctive identity
And forget who we really are
Not knowing the basic story

Multitudes of customs and traditions
Songs, dances, warm treatment of the guests
Cooperation, peace pact and kinship ties
We protect the dear life that is so precious

Customs and uses we defend
Optimism and hope that we must maintain
Although moments that pass may pass
Yet through time they will endure

Now my beloved family
Unite and unite
By defending our culture
Enrich our ancestral land of the Cordillera

Sing the native melody
Dongdong-ay Si Dong-ilay
Insinalidumma-ay
Dongdong-ay Si Dong-ilay
Insinalidumma-ay
Aouch aouch

In the original dialect:

Bebsat san Kaigorotan
Nilaylayad in Kabunian
Manipud pay laeng sin kaysan
Babaen din kaapuan

If Kabunian inted na san ugali
Pakailasinan di puli
Duwan sursuro a nasudi
‘Di ibaen wenno ipakni

San sursuro ken adal
Moderno ken kadaanan man
Adi na kuma dangranan
Kultura a kapintasan

No bay-bay-am din kultura
Mapukaw mo ladawan dadama
Malipatam did not meet any sinnu ka
San rugin di istorya

Ad-adu a ugali
Ayug, sala, panang-sangaili
Kooperasyon ken bud-budong
Alikam di biag a nabanor

San ugali entako piliin
Namnama’y entako aywanan
Nangruna no maiparbeng
Isnan layos din panawen

Edwani ay kakadwa
Entako mankaykaysa
Mangilaban si kultura
Isnan Kaigorotan ay daga

Dongdong-ay Si Dong-ilay
Insinalidumma-ay
Dongdong-ay Si Dong-ilay
Insinalidumma-ay
Aouch aouch


About the videographer, performer and author:

SAMUEL K. MAXIMO – “THE SINGING IGOROT PRIEST”

Bro. Sammie is from Palina, Kibungan, Benguet where he was ordained priest in December 1989. In high school he started singing, playing native instruments and the guitar. This interest in music grew even more when he entered the seminary. Gifted as he is, he recorded Siak ti Silaw ti Lubong (I am the light of the world, John 8:12); Boyfriend. Mike San Juan, SVD was the lyricist and Paul Mauriat’s Serenade to Summertime was the music. He uses his talent to evangelize and entertain in concerts dubbed Evangelainment, a term coined by Fr. Oscar Alunday, SVD. Bringing the faithful closer to God, while being deeply rooted in the culture, Fr. Sammie began to organize concerts since 1998. His compositions raise awareness among people of respect for the environment and the protection of the cultural heritage handed down by our ancestors. . He believes that if Christ were alive in this digital age, he will use all available means to preach.

About the author and translator:

Genevieve Balance Kupang (Genie) is an anthropologist, consultant, researcher and advisor to individuals and organizations working for good governance, real leadership, justice, integrity of creation, peace, indigenous peoples, preservation of cultures and societal transformation processes. . She is a peace educator, author, practitioner of interfaith dialogue and resource person with a career in academia and in an NGO.


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Ragnarock is a VR Viking Metal rhythm game – GameSpace.com

Put on some Viking metal and shoot your VR headset. Ragnarock is out now and it’s unlike any other rhythm game I recognize.

We already know that Vikings and metal are a sublime combination of aggressiveness and melody. Now independent French studio WanadevStudio is taking this duo and injecting the frenzied beating of Nordic warriors into a whole new VR experience. Released today and available on the Steam Store, Ragnarok is a rock / metal-oriented VR rhythm game where players can pull up the gauntlet on their own or hit the devil with a drum against, up to five, of other players.

Anyone daring enough to step into this virtual arena will find themselves atop a rowboat, beating the pace of their crew in a race. Equipped with hammers, each captain must strike the runic drums in time, mastering everything from Celtic rock to power metal. If you fail to hit the right one, your ship and crew will languish in the wake of the competition. Ragnarock is as extravagant as one would expect from a Viking metal rhythm game, with big beards, bulging biceps and horns galore. Six different environments serve as the backdrop to this race as you and your competitors try to win all the gold medals and dominate all the leaderboards.

WanadevStudio kicks off this competition with a total of 6 new tracks, or 30 solidly epic songs to make your heart beat faster. Alestorm, Saltatio Mortis, Ultra Vomit, and Sabordage are bringing their own take on the Sailor Huts to Rangarock for its full launch. Anyone wishing to weigh anchor can pick up a copy on the Steam store now for € 21.99 / $ 19.99, or the local equivalent, with a version of Oculus Quest expected to follow in the coming days.


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Listen to Romy’s cover of ‘The Rhythm of the Night’ and ‘You’re Not Alone’ for a special Pride live session

Romy covered Corona’s “The Rhythm of the Night” and Olive’s “You’re Not Alone” for a special live session for Apple Music to celebrate Pride 2021.

The guitarist and solo musician of xx has mixed the two tracks together as part of a new three-song set for the streaming service which went live today (July 9).

Romy said in an accompanying statement that “The Rhythm of The Night” and “You’re Not Alone” “reminds me of when I was around 17 and started hanging out with gay bars in London.”

“The lyrics to ‘You’re Not Alone’ resonate with the sense of community that I have found in these bars and clubs and the friends that I have made and cherish to this day,” she added. “I still love dancing to ‘The Rhythm of the Night’ and I have always loved the lyrics and the melody. It was fun to strip those dance songs to their hearts and still feel so much emotion. “

In addition to the covers, Romy’s new Apple Music ensemble also includes acoustic renditions of her 2020 solo single “Lifetime” and “Angels” by The xx.

You can listen to Romy’s full Apple Music Home session here.

“This pride, I reflect and educate myself on the amazing people who fought and continue to fight to make the world a safer and more open-minded place for the LGBTQ community,” Romy added. “There is still so much work to be done to protect and empower our community.

“I am proud to be a lesbian, for me pride exists all year round, not just for a month or a day.”

In December, Romy shared a series of “Lifetime” remixes which were directed by Jayda G, HAAi and Planningtorock.


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VR rhythm game Ragnarock launches on Steam next week

Ragnarock features an explosive VR Viking version of the rhythm game genre, featuring tunes from epic bands like Alestorm, Gloryhammer, and Wind Rose.

WanadevStudio’s Ragnarock releases on Steam on July 15 after six months of early access and an overwhelming response from VR gamers. This independent French VR company started over 10 years ago as a web agency focused on solving digital and technological issues.

Ragnarock is a single player and multiplayer VR rhythm game in which players assume the role of Viking captains participating in a frenzied longship race. To get to the finish line, players must strike the runes in sync with music ranging from Celtic rock to power metal with their hammers.

In a colorful and elegant visual design inspired by Norse mythology, players navigate to the Viking realms. Only the most experienced Vikings will be able to win all the gold medals, beat the high scores, produce unparalleled combinations and have their name appear on the scoreboard.

The PvP multiplayer option lets you participate in frenetic real-time races with up to six other players. The cross-play feature promises furious games between players from different platforms. The most competitive players will be able to face ghost ships in solitary mode.

Ragnarock releases on Steam on July 15 for $ 24.99. WanadevStudio also announced that the game will be available on the Oculus Quest 2 headset starting this summer.

Watch the trailer below!

Tags: Ragnarock, rhythm games, WanadevStudio

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Three Lions lyrics, melody and instrumentation: how good is football …

July 7, 2021, 2:01 PM

Three Lions Lyrics, Melody & Instrumentation: How Good Is Football’s Coming Home?

Image: Getty / Noteflight / Emojipedia


England’s love affair with football seems to be inextricably linked with this song. But what is so great, musically speaking, about “Football’s Coming Home”?

As the England Euro 2020 team lace up their boots and tackle the turf, we are preparing for the long-awaited championships ourselves.

We played the de facto hull-hulling anthem of the English football team, ‘Three Lions’ on repeat, and it got us thinking – what does the song do musically, and does it ‘is good ?

“Three Lions”, also known by its refrain “Football’s Coming Home”, was written and published by Baddiel, Skinner & Lightning Seeds in May 1996 to coincide with England hosting the European Championships. Since then, it has been an emblematic element of the beautiful game on our shores.

Notable for its rather modest nod to England’s uneven performances in football over the years, the song is nonetheless filled with pride for the team and their three lion emblem, and in 2018 it resurfaced. like a No. 1 hit often chanted when England made it. so well in the World Cup.

So why do we all love him so much? Here is a deep dive into music theory …

Read more: Watch Andrea Bocelli sing “Nessun dorma” at the Euro 2020 football opening ceremony

What makes “Football’s Coming Home” so eye-catching?

The popularity of “Three Lions” can be pinned on a four-part cocktail of punchy lyrics, a moving melody, a delicious descending bassline and those rocky vocals.

Lyrics

The boys have done something smart here. They spend about 30 seconds repeating the same words deadpan but weirdly refrain from really making them infiltrate our scalps from the start.

And just as we have the words, the song enters its underdog tale around a predictably low goal count, dreaming of an underdog resurgence amid “30 years of suffering,” while also referencing these three lions. It also includes fan-appealing references to English soccer heroes and famous past moments on the pitch.

The lyrics are a bit raw if you’re looking for easy listening, and they’re not as triumphant as other football anthems, but with this chorus there’s something for everyone. We approve.

Melody

In terms of melody, the song doesn’t do anything too adventurous at first. The “it’s coming home” part of the chorus oscillates between pitches spaced by a minor third, before jumping to another major third, which makes it melodious.

On the word “football”, the melody alternates between neighboring notes, and the simplicity of the whole makes it relatively easy to remember and join. Things get a bit more complex and flowery for the verse section, the melody creeping in to make the touching sense of the history of the England team swinging between underdog and winner.

Read more: How to watch Andrea Bocelli’s performance at Euro 2020 live

Harmony

Like the melody, the harmony of “Three Lions” is relatively simple in the chorus, then moves to more adventurous tonal centers in the verse, the chords reflecting the effort of an attacker who bravely throws a ball towards the goal. with undefeated perseverance and shattered hope.

There is also a nice descending bassline, which keeps you hooked.

Read more: Six of the best ‘Three Lions’ performances of the song’s climax of 2018

Instrumentation

“Three Lions” is written for a medium-tenor baritone scale, suitable for a low-key, perhaps a little gritty voice. This is what makes it so suitable for singing too: it is a real song for the everyday human in the street. And those with a higher pitch have the option of singing an octave, if they feel like it.

Beautiful, voluminous electric piano chords underpin the vocals, as well as an unwavering indie pop rhythm. The original recording features Lightning Seeds’ signature instrumentation with guitar and bass.

With all this music theory under our belt, and a conclusion that this song is pretty 👌 let’s revisit some of the absolutely iconic classical music takes from football’s most tongue-in-cheek anthem…



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