Yay plonks a tub of pre-soaked mung beans on the table.
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Instead, he retrieves a huge tub of marinating chicken thighs from the fridge and plonks it on the work surface.
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He plonks his elbow on the arm rest because space has a "higher marginal utility" for him than for you 6.
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There's already a buzz at the vast 34-hectare site that plonks cattle onto Buenos Aires' doorstep four days a week.
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Later, the purple Titan plonks the final stone in the glove and snaps his fingers to a tune that accomplishes his goal.
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Joined by the big man Jools who plonks around on the piano, the song sees Lily sing from the perspective of her three-year-old child.
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How can you truly connect with the bittersweet piano plonks of Liquid's "Sweet Harmony," for instance, if you've never got so rushy on MDMA you could cry with delight?
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You can imagine my disappointment when the performance was submarined by a microphone mishap, one that introduced unexpected, tinny plonks to the mix and seemingly pushed the British star out of tune.
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I would love to say my first pill was taken in a crowded field on the outskirts of Manchester at 218 AM to the euphoric piano plonks of Liquid's "Sweet Harmony"—but it wasn't.
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It is there in the droopy, weak, drippy synth that plinks and plonks its toytown melody over and over again, sounding brokenly childish in the way that all of us can when romantic fantasy meets adult reality.
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Take Baby D's well known 1992 hit "Let Me Be Your Fantasy," for instance, and you can feel your stomach drop when those piano plonks come in (duuuh, duh, duh, duh, duh, duh, duhduhduh), as if all your loves and losses are being distilled and expelled in one go.
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One of the most lowkey relatable songs on the subject, though, came from an unlikely source: Kate Nash, a then 20-year-old indie kid from Harrow via MySpace who wore floral dresses and a choppy fringe and released what is essentially a semi-iconic modern nursery rhyme set to some piano plonks called "Foundations".
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Alt URL Influential publication Mixmag called it "one of the most perfect tracks ever written". It is frequently cited as one of the best compositions in James' extensive discography. In contrast to the ambient sound of "Analogue Bubblebath", the industrial, menacing sound of "Isopropophlex" has been described as "astringent" and suggestive of "a nasty corrosive fluid". Critic Ira Robbins, writing in 1997, referred to its "aggressively sequenced dance rhythms [which] underpin the synthesized squonks, plonks and samples" The record created a buzz in the UK about Aphex Twin, and on release won immediate acclaim, quickly earning the artist a cult following.
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According to the sheet music published by EMI Music Publishing, it is composed in the key of A minor but changes to E major in the bridge and changes to A minor, and set in common time at a moderately slow tempo of 85 beats per minute. The instrumentation of "Ring the Alarm" includes drums, clattering percussion instrument, treble synthesizers, and bass instrument. It also makes use of a slapping backbeat, an air horn, titanic handclaps, plonks, and breathing noises. A blaring siren is used as the song's introductory sound, setting an aggressive tone, which is augmented by Knowles' throaty mezzo-soprano growl.
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Although Mister Rogers' Neighborhood was a children's program, Costa insisted on not playing "baby" music. He believed children understood good music and that he could experiment with his own musical styles and techniques, even for a children's program. Each day, Costa and his trio (Carl McVicker Jr. on bass, Bobby Rawsthorne on percussion) played live in the studio for the filming. In addition to the show's recognizable main theme, they played the trolley whistle, Mr. McFeely's frenetic Speedy Delivery piano plonks, the vibraphone flute-toots (on a synthesizer) as Fred fed his fish, dreamy celesta lines, incidental music, and Rogers' entrance and exit tunes.
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Michael Small of People compared it favourably to the Beatles' White Album: "Almost every song contains at least one catchy pop riff or chorus. Then those bright tunes abruptly shift into minor keys or unusual rhythms and harmonies." Conversely, Melody Makers Bob Stafford felt that although the record includes "a handful of great pop songs ... there is simply too much going on most of the time ... as a double [LP], it allows for too much mediocrity and silliness, meandering tunes, and unnecessary techno plonks." In The Village Voice, Robert Christgau said the album lacked a "discernible" structure or concept to guide the band's "compulsive" formalism.
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