An inch higher or to the right and it clangs of the woodwork.
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As such, the spectre of Coors Field clangs noisily behind everything he did.
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When Mayville stands up, someone clangs their keys against a beer bottle, and the room hushes.
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Their ballpark locomotive, which clangs merrily above left field after every big hit, has been rolling.
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He clangs around for a bit, but then returns a few moments later holding a wet cloth.
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The timbre of taps, the din of dings, silverware clangs in kitchens, door knocks, knuckle cracks, head scratches.
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The title track clangs and echoes; Ms Tucker whispers, chants and howls the words as the song builds.
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Mr. Oxley, from his digital equipment, produced metallic clangs and chimes and rings, and sampled bits of Mr. Taylor's playing.
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But even now, an hour before midnight, the work has not ended; heavy construction clangs out over the car park.
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Ear-piercing bells and clangs and chirps, the jukebox on full blast, players laughing, cursing, a million strobing and multicolored lights.
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The latter collaborated with local bembe group Ache Meyi, and transformed their conga drum clangs into bleepy, Latin-tinged dance music.
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It clangs off the rim, and Dwyane Wade flies in out of nowhere to punch it away so the clock can expire.
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At other points, async is discordant and disquieting, with pieces sometimes consisting of nothing but electronically manipulated percussion that skitters and clangs.
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These mechanistic influences are apparent throughout the album, which whirs, clangs, drones, and roars from loop to loop with precision and power.
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It's a good thing he does too because our hero follows through with his swing and clangs his sword off the window sill.
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This album clangs, pulses and shrieks with an intensity and industrial quality that was nowhere near 2015's Lustmore or 2013 debut album Nostalchic.
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This becomes clear in Fisher's haunting description of the Felixstowe shipping container port in Suffolk: a vast automated system of "inorganic clangs and clanks".
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Industrial clangs meet with Atlanta drums, and the gulf between Maccie's heavenly singing and the grinding, ominous arrangement backing her recalls Massive Attack's Mezzanine.
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Many suggest the movements of people walking briskly or running, the pitter-patters, rhythmic clangs, and other beats bringing to mind anxious but determined footsteps.
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San Francisco is surely much denser with beauty than people, even when the money carnival clangs into town, disgorging tourists from private jets like clown cars.
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The other realization about watching so many of these scenes in sequence is that, even with the shrieks and clangs, the scenes eventually start to fall flat.
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In the title game, his passer rating, 21, barely exceeded the 22013 rating the N.F.L. formula assigns when every pass a quarterback throws clangs to the ground incomplete.
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If it clangs off the rim at an awkward angle, they'll conclude that he's "open for a reason," chuckle, and maybe make some cruel comment about the unsightly aesthetics.
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The track, "Play N Go," soars, clangs, and glitters throughout its four-minute duration, punctuated by grandiose, drawn-out chords that could make club walls crumble at the right volume.
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On "Yeah Right," Staples questions frequently trafficked false narratives in rap, while the SOPHIE-produced track bubbles and clangs into formless bass—with neither side losing ground to the other.
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Across five parts and four hours, they conjure a terrifying stream of pops, clicks, and clangs from a distressed architecture of software patches they've been building over the last few years.
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Enter Conducta, a young Bristol-native who's garnered a bit acclaim for layering steely garage clangs upon classic R&B top lines—resulting in party-ready dancefloor beasts with a nostalgic flair.
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From a side room, the faintly audible industrial clangs of Bruce Nauman's 1967-8 video "Dance or Exercise on the Perimeter of a Square (Square Dance)" function as the show's metronomic heartbeat.
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NYC's Total Freedom took this concept and ran with it, deconstructing the song almost entirely and pairing metallic clangs with dissonant percussion that makes me double check my open tabs every time.
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Listen to how well the recording captures Mr. Hutcherson's muted clangs and chiming overtones — along with the bleats, harrumphs and gargles of Mr. Dolphy's bass clarinet, and the deep gravitas of Richard Davis's bass.
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It doesn't feel like there's a lot of room for hope on Contact—not in the vacant clangs of its sonics, certainly, and not in its lyrics, which seem to reflect humanity's worst qualities: emptiness, enmity, greed.
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Stepping over a crew of self-declared skinheads squatting in the corridor, I pushed open a heavy door and found myself in a dark windowless room vibrating with metallic clangs and the brutal 299/217 punches of techno.
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The instrument was just one in Norment's orchestra of glass: she also rubbed glass fragments together to create rough noises, scraped others around in a dish, and tossed them, one by one, into metal bowls to produce hard clangs.
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To some of his former associates, that history clangs against the persistent message of Mr. Trump, who has called Nafta "the single worst trade deal ever approved in this country" and has excoriated American businesses for sending jobs overseas.
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As he pours on the color, mixes in the chugs and clangs, evokes the Brothers Lumière and swings between the figurative and the abstract, the line between place and head space dissolves and a portrait of the artist emerges — brilliantly.
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In 2016, when a lot of tracks labeled as "deep house" might make you shudder with their barrage of wallowed synths and metallic clangs, On the Raw Again offers something smoother, subtler and melodic—a reminder of the genre's potential for uncomplicated bliss.
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If you are Caleb Carr, you create an investigator who is a man of science yet who also possesses a jaundiced eye when it comes to the science of crime detection, a man who clangs that bell of warning: We may have gone too far.
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But no, just as he was forever haunted by the war he once lived through, she is forever haunted by him; using the voice of the house itself he shouts at her day and night in a symphony of clangs and creaks that would drive anyone crazy.
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Doyle designed the austere set, which features an imposing chain-link fence that severs the back of the theatre from the bare stretch of fluorescent-lit stage where most of the action takes place; a door, connecting the two spaces, clangs disconcertingly each time an actor passes through.
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Though she uses a largely contemporary vocabulary, she often tries to give her language a Jacobean touch that's not exactly credible, as when Richard Burbage (the spirited Stephen Paul Johnson) remarks, "what cold wind blows when mice attempt to play lions," a mixed metaphor that clangs on the ear.
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But it's really when these elements are combined, the mesmerizing art and sheer speed of the experience with the senses-rattling audio—all of its do something cues appropriate thumps and clangs, screeches and drones—that what looks like a cool little game becomes a crucial addition to anyone's catalogue.
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His set's metallic clangs, guttural yelps, and deafening static were enough to scare at least one person out of of the room—but just when it seemed like his audience couldn't take it any longer, he suddenly and decisively reeled everyone back in, closing out his set with the most exquisitely beautiful archival soul song.
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I have a space heater, sure, and a radiator that clangs and clacks kind of like a crackling fire, but when I'm stuck inside from a winter storm binging Netflix and Hulu's respective Fyre Festival documentaries, I need a roaring fire in the background or my heart will literally shrink three sizes, and I suspect you feel the same.
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While lace is soft and flimsy, the sounds the trio produced were largely raucous and forceful: they were vehement, jazz-leaning numbers that involved Parkins striking strings to produce undulating, metallic rattles, or plucking them to create more dampened, melodic tunes, backed by Sawyer's controlled but unyielding clangs of cymbals and Smith's piano work, which ranged from soft tinkering to a frenetic collapse of the keys.
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It clangs and Bangs and whangs at 'em till the day of rest is a torment.
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She goes back but becomes trapped by the flames. Johnny is at the fire station when the fire bell clangs. He finds out the fire is at the new Rutherford apartments. The dispatcher says they only respond if it becomes a third alarm.
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In Schabbach, things are easier and the village have created a good rapport with their occupiers. Paul returns to the village in a chauffeur-driven limousine. Paul glances upon his mother, placing flowers on the grave of his father, Mathias. Walking into the family forge, he clangs the hammer onto the anvil.
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"Larks' Tongues in Aspic, Part One", the longest entry in the pentalogy, was first released as the introductory track to the album of the same name. The song is guided by the shifting guitar of Robert Fripp, but it is in the tense violin of David Cross and the chaotic percussion of Jamie Muir that part I is defined. The track goes through numerous varied acts and passages, with somber moments and a calm violin solo falling alongside periods of heightened aggression where Fripp's guitar borders on heavy metal and Muir's clangs reach cacophony. Bird calls, metallic clangs, horns, breaking crockery and tin ripping are all featured in Muir's repertoire, and, along with his percussive contributions, he coined the title "Larks' Tongues in Aspic".
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Opening plaque from the movie The action starts as someone trips a Fire alarm call box. Then, the fire station alarm bell clangs, a fire dispatcher utters, "We roll - Third and Western." All the firemen spring into action. We pay particular attention to engine number seven, a Steam pumper, manned by an aging fireman.
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The ICTUS record label was founded in 1976 by Centazzo and his wife, Carla Lugli. Its first release was Clangs by Centazzo and Steve Lacy. Subsequent albums also featured Andrew Cyrille and Lol Coxhill, among others. The label was wound up after eight years owing to financial difficulties, "Andrea Centazzo Interview", by Klemen Breznikar, It's Psychedelic, Baby (blog of Klemen Breznikar), March 13, 2012.
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"She only loved herself and God and Father Clement". She adds that Raoul's life is a pretence – he does not love her, or he would not force her to marry against her will. So adds that he can send her to a convent but she will not marry Miguel. As she sobs the front door bell clangs, and the servant Hubert ushers in "Madame la Marquise de Kestournel".
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Suffered a heart attack, went to Palo Alto, in "Final Gong Clangs for Monte Attell", San Francisco Chronicle, San Francisco, California, pg. 37, 12 November 1960 After his passing in 1960 at his home on South Court in Palo Alto, he was interred in Cypress Lawn Memorial Park in the San Francisco suburb, Colma, California, the city in which he had first taken his World Bantamweight title.Mulcahey 2005."Monte Attell," Find A Grave, 16 May 2001.
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The result, which even caught me by surprise was a piece wholly pervaded by this special Slavonic diction found only in church texts. It was the canon that clearly showed me how strongly choice of language preordains a work’s character.” The symphony is filled with the characteristics of chant, in its modality, phrasing, repetitions and alternations, the responses of voices to one another, and the use of percussion as the sounds of bells and clangs, which are associated with the ritual signals of the Orthodox Church.
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Attell was born on July 18, 1885 to a struggling Jewish family that, by one account, eventually had eighteen children.Eighteen children in family, in "Final Gong Clangs for Monte Attell", San Francisco Chronicle, San Francisco, California, pg. 37, 12 November 1960 As a poor Jewish kid of diminutive stature raised in a tough Irish neighborhood, Attell began his career as a fighter from a very early age. As his older brother Abe Attell (1884–1970) was the Featherweight Champion of the World during the same period, Monte and Abe became the first brothers to simultaneously hold world boxing titles.
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The Trackboyz introduced a twist on St. Louis Bounce thus they became popular for incorporating "unique beats and production that feature breathy gasps, visceral grunts, heel-pounding stomps, and wild clangs" on their tracks. The Trackboyz often created these sounds themselves. "Then, they threw in a bit of live guitar and bass." Although St. Louis Bounce borrows pounding basslines from Southern rap-styles, St. Louis Bounce - for the most part - is distinguished by the ever-present and fairly strict bluesy (or "country") guitar riffs and chords on top of (or around) infectious bassy or percussive beats, which are sometimes accompanied by whimsical lyrics.
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Composer Kenji Yamamoto utilizes heavy drums, piano, voiced chants, clangs of pipes, and electric guitar. Metroid Prime 3: Corruption took advantage of the increase in the amount of RAM that took place when the series switched from the GameCube to the Wii; this allowed for higher quality audio samples to be used and thus allowing a better overall audio quality. Kenji Yamamoto, who composed the music to Super Metroid and the Prime trilogy, copied the musical design of the original Metroid in Metroid Prime 3, by keeping the music and themes dark and scary until the very end, when uplifting music is played during the credits.
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Songs like "The Tempter and the Bible Black", "Soul Slasher", "Desolation Domain" are also have their flaws such as the tiring sounds and unfulfilled ambitions and false promises. Scott Alisoglu of Blabbermouth.net had praised the album quoting saying: "When that first menacing riff blackens the sun, that vibrato sends a shiver up the spine, and that ominous bell clangs, the anticipation of what's to come is powerful enough to put down a bull elephant." Larry Owens of the Teeth of the Divine praised songs such as "Age of Iron", "Through Eyes of Oblivion" and "Soul Slasher" while calling "The Tempter and the Bible Black", "Blood O.D." and "He Who Rises In Might" as mundane and boring.
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William Carlos Williams claims that the inspiration for the 32-word poem The Great Figure (1920) came from seeing a fire engine pass him by, sounding gong clangs and siren howls as it receded in the night. He said he was so struck by the sight that he took paper and pencil out of his pocket and wrote the poem, standing there on the sidewalk. Two lines: "I saw the figure 5/in gold" were taken by Demuth for his painting's title. The upper right corner has an arc, implying a fragment of a large number five, repeated three times in progressively smaller, complete number fives to create an impression of the fire engine moving away from the viewer.
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Although they would not be considered to be speaking, clocks have incorporated noisemakers such as clangs, chimes, gongs, melodies, and the sounds of cuckoos or roosters from almost the beginning of the mechanical clock. Soon after Thomas Edison's invention of the phonograph, the earliest attempts to make a clock that incorporated a voice were made. Around 1878, Frank Lambert invented a machine that used a voice recorded on a lead cylinder to call out the hours. Lambert used lead in place of Edison's soft tinfoil. In 1992, the Guinness Book of World Records recognized this as the oldest known sound recording that was playableAaron Cramer with Allen Koenigsberg The World’s Oldest Recording: Frank Lambert's Amazing Time Machine – Part 2 (Retrieved on February 2, 2007) (though that status now rests with a phonautogram of Édouard-Léon Scott de Martinville, recorded in 1857).
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Abruptly, the third movement jolts into play with a short, unexpected burst of the brass, followed immediately by the cello stating the familiar opening theme from the first movement. Afterwards, the cello rises in volume until it unexpectedly fades and the orchestra takes over, progressing with repeating trumpets and rapid bass (not unlike the brass repetition of Mars, the Bringer of War in Holst's The Planets); this builds into a climactic moment in the movement, an ecstatic, dance-like section with layered harmonies, punctuated by distant clangs of a bell. Afterward, the cello reappears and works with the orchestra until it returns to another crescendo, restating the first climax. Then, with the tambourine continuing the dance-like feel, the orchestra rises and falls, with the cello spiralling downward; the orchestra plays rapid, whirling notes until it reaches resolution.
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