This gloriously squelchy remix makes you forget about all that.
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The clip pairs "FloriDada"'s squelchy and harmonized psych-pop with equally squelchy-looking animations: shiny patterned people face-to-face spooning, a phallic Florida swinging around at the bottom of a map, hairy orbs of color, and one eyeless baby.
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When the squelchy stuff is scarce they dig down to reach groundwater and make their own.
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It's a big squelchy acid house banger and it's even got a really satisfying SoundCloud waveform!
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It's capable of making squelchy, Prodigy-like leads as well as thick, electro bass or blissed-out and plush pads.
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I drove a fist and arm straight through the squelchy moldie and punched Yola in the head hard enough to dent her skull.
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It's testament to how awful brostep is that even its creator has denounced it, like an EDM Frankenstein appalled at the squelchy monster he had constructed.
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With its squelchy synthesizer bass line, the groove is pure P-Funk in "24K Magic," Bruno Mars's new single and the title of his November album.
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"Drugs" is a sick track, full of bright, squelchy synth lines and sugary, crystalline vocals, with lyrics that are equal parts tongue-in-cheek and sincere.
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Instead, the squelchy bits dominate; somehow all the gushy sighs and oozing synthesizers dissolve, and the general background effect is that of a flailing, gooey formlessness.
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It's the last-ever Weather Channel forecast before Nintendo shut the service down, and it features all the cute click noises and squelchy sounds that you remember.
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It was used by everyone from Daft Punk to Aphex Twin, and has since become an iconic mono synth, known for its characteristic resonant and squelchy sound.
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Rather, the squelchy bass, pitched metal percussion, spirals of synthesizer glitter, and assorted bubble effects assemble a cold technological surface in whose reflection he sees his own coldness.
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"Follow me because I know where not to get stuck," the guide said, as we started to snake across the squelchy mud, my feet barely getting any traction.
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Over a squirrelly, squelchy beat by the Americanos — the production outfit behind the severely underrated "In My Foreign" — D.R.A.M. is wobbly and cheekily aristocratic, and Kyle is sweetly seductive.
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As evidenced by this premiere below, the British singer—born Marcus Foster—embraces of squelchy funkadelic kind of pop with a pinch of soul and a dollop of R&B.
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That said, this Model D app comes fully stocked with 160 lush and thick hallmark Moog sounds, from buzzy and delightfully harsh leads to squelchy and echoed square wave keys.
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As for the music, it consists of analog-sounding drums and squelchy synths that seem to me like a direct homage to Midwestern touch-points like Moodymann and Juan Atkins.
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Critic's Notebook The beginning of the self-titled debut album by Superorganism unfolds one psychedelic smear after the next: fuzzy white noise, throbbing boom-bap drums, heavily processed vocals, squelchy synthesizers.
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Something about their squelchy wetness, the vines they dangled from in clumps, how they were wont to fall on the ground and get squished by someone's unsuspecting shoe—it all deeply disgusted me.
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First up on the flip side, Bunker resident Mike Servito offers his own reshape of the track, taking influence from his hometown of Detroit with his own squelchy and stepping acid-drenched vision.
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Nicki Minaj & Jeremih, "Don't Hurt Me" When it comes to production, "Don't Hurt Me" is pretty unremarkable — we've heard DJ Mustard turn out this kind of buoyant, squelchy arrangement dozens of times at this point.
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It has a squelchy bassline that sounds like a cartoon springboard bouncing around, some elusive saxophone riffs, and the type of clattering, forward-marching vocal patterns that have defined Animal Collective's offbeat pop since Sung Tongs.
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Robyn, "Hang Me Out to Dry" UK electro-pop mavens Metronomy just released their fifth LP Summer 08, and Robyn duet "Hang Me Out to Dry" is an obvious highlight — it's squelchy, chugging, and a little nostalgic.
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Full of electronic claps, squelchy bass lines and dreamy, misty-eyed vocals, the whole thing has a throwback feel that Georgia says is probably a result of her using a lot of production equipment from that era.
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How it has now been rewritten that dubstep—the dubstep that was created in London—was in fact "dark instrumental two-step," and how it wasn't actually dubstep until it got huge and squelchy and American. 4.
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In the middle of the 27-track, 100-minute project—right after the atonal boom-bap funk of "Free Life"—is "Young Niggaz," a spaced-out club track built on squelchy synths and a straightforward Based God delivery.
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Still, to hear the rapid-fire dotted-note flow of "Bitch, Don't Kill My Vibe" on the "Forgot About Dre" beat is a delight, and the squelchy G-funk setting for "XXX" somehow makes the song more anarchic.
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There's squelchy attempts at garage that take dives into sci-fi juke ("This Started as a Garage Track") and jittery beats that draw on jungle ("VF"), and worlds even more delirious and strange packed into this release's six tracks.
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It's easy to lose yourself in the song's increasingly manic energy and squelchy synths, but if you want a genuine five-minute-and-18-second escape from reality (and don't suffer from epilepsy!) watch the video, by Weirdcore, a.k.a.
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It's a function of the related lo-fi illusion, the impression that these turbulent, punkoid spurts, airy, strummed confessionals, and squelchy, through-composed amalgams of both were stitched together by hand, that she's sharing something private with you (and you alone, dear listener!).
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It started with his name repeatedly dancing over a remix of Creative Thieves' "Nasty Rhythm" before snapping into the 10 Below mix of Glamma Kid's "Why" with Shola Ama's already iconic chipmunk vocal smattered all over the track's shuffling hi-hats, synth-guitar melodies and squelchy lasers.
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And someone has stepped up to the task of turning David Cameron's unearthly warble into something at least remotely more worthy of soundtrack this wet July: a four to the floor, squelchy electronic banger that can make us tap our anxious knees in these days of uncertainty.
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And the requiem for the male libido is (alas) one of literature's most honored themes; it was almost de rigueur for a writer of a particular generation to meditate, with squelchy detail, upon the end of eros — see Roth, Updike, Fuentes, García Márquez, Kingsley Amis, Edmund White.
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Laura Prudom, IGN: The fight scenes in Birds of Prey are jaw-dropping and more than earn the movie's R-rating - utilizing all manner of props (from baseball bats to bags of cocaine), satisfyingly squelchy sound editing, and a deranged sense of humor to create something truly thrilling.
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Gone was the rippling disco of the 70s, and gone were the new wave sweeps and squelchy funk of the 80s, replaced instead by a tightly wound mixture of electronica, reggae, and gospel, with lyrics that were more direct and personal than what she'd written in the past.
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There's not a ton going in the track we're premiering below, "Alma Del Mundo (Blast Mix)"—shuffling drum taps cozy up against squelchy harmonics—yet you can feel Moffa's attention to the utility of the various instruments used, and how cohesively they come together in a way absence of heavy bass.
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Among the artists featured are Matthew Dear (squelchy sweeps with robotic vocals), Geoff White (springy buzzes and glitchy snares) and Tycho (dawn-horizon, mid-tempo electronica for the still-up crowd)—each is singularly styled, yet everything fits together with a greater sense of cohesion than the game itself ever exhibited.
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On the one hand, the group is chameleonic — on "Boy With Luv," it partners with Halsey for a saccharine neo-disco adventure; the squelchy "Make It Right" is written partly by Ed Sheeran and does an effective job of containing BTS's exuberant energy in one of Sheeran's signature neat packages.
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The irresistible "Hold Up" rides an ironically perky Andy Williams sample plus relaxed bass as Beyoncé relishes and recoils from the melody simultaneously; the equally irresistible "Formation" builds a swaggering club banger from squelchy synthesizer, sharply percussive synthesizer, and a defiant choir of multiple Beyoncés backing, commenting on, and undercutting the lead singer.
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When she samples a puppeteer singing "Over the Hills and Far Away," the reference isn't just for ironic context: surrounded by squelchy keyboards, the beauty of the traditional melody is preserved, and the resultant longing — for the past associated with the song, for a better world in the future — is almost too sad to bear.
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Supporters of former Vice President Joe BidenJoe BidenSchiff: Bolton 'refused' to submit affidavit on Trump's involvement in Ukraine controversy Pence celebrates Trump's acquittal: 'It's over, America' Biden offers advice to young people with stutters: It's important 'to not let that define them' MORE stood in squelchy mud as they waited to get into a high school where he would make his final pitch.
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From what I gleaned, Aoki bounces between two modes during his sets: half of it is comprised of, for better or worse, exactly what the popular perception of EDM is, with all the squelchy, screechy, treble-y synths one could ask for, and booming bass dropping at the exact right time to spur the maximum amount of movement from Pavlov's ravers.
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They're showcased on two songs near the end of this EP: "Mic Drop," which has a fantastically squelchy beat (produced by Pdogg), and the closing track, "Outro: Her," in which the group's three rapping members — Rap Monster, Suga and J-Hope — take turns with extended verses, a rarity for a group that often trades off every four lines, or less.
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The plot isn't hard to follow — Tyler starts the album longing for his lover, then the lover leaves him for a woman, then Tyler becomes his angry alter ego Igor, who renounces love and raps in a wounded snarl, before accepting the affair's end, forgiving the ex-boyfriend, and finding closure — but it does bifurcate the album rather cleanly between love songs and hard squelchy beats.
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The December 2014 remaster includes no bonus material on the Nerve Net disc, but does include a bonus disc with the original My Squelchy Life album: # "I Fall Up" # "The Harness" # "My Squelchy Life" # "Tutti Forgetti" # "Stiff" # "Some Words" # "Juju Space Jazz" # "Under" # "Everybody’s Mother" # "Little Apricot" # "Over" My Squelchy Life supposedly was to be released in September 1991, but as the release was postponed to February 1992, Eno decided to re- edit the album into Nerve Net instead.
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Wade through the gigantic swishy swashy grass, the splishy splashy river and the thick oozy, squelchy mud.
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Quietly angry, beautiful and poppy, it showcases the band's mastery of sound, with the album by turns sparse, luxuriant and squelchy.
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According to MusicRadar, the SH-101 has "snappy and razor-sharp" bass, "squelchy and expressive" leads, and a "piercing yet smooth" filter.
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Join the intrepid adventurers on their quest to find a bear, wading through swishy, swashy grass, the splishy, splashy river and the thick, oozy, squelchy mud.
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Join an intrepid family of adventurers and their musical dog through the swishy swashy grass, the splishy splashy river and the squelchy mud in search of a bear.
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Similarly, Stereogum contributor Chris DeVille called the track a "squelchy, bouncy MILF encounter", while also referring to "Sick of Sittin'" as the "superior option" among the Anderson Paak productions.
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The sand can be walked on when the tide it is low. However, it is very squishy and squelchy, due to the fineness of the sand particles mixed with the surrounding dirt.
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1 November 1986 Calamity James debuts in the comic. Issue No. 2311 22 November 1986 James' pet, Alexander Lemming, debuts. Issue No. 2314 29 October 1988 "Little Squelchy Things" debut. Issue No. 2415 c.
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In September 1992, Eno released Nerve Net, an album utilising heavily syncopated rhythms with contributions from several former collaborators including Fripp, Benmont Tench, Robert Quine and John Paul Jones. This album was a last-minute substitution for My Squelchy Life, which contained more pop oriented material, with Eno on vocals. Several tracks from My Squelchy Life later appeared on 1993's retrospective box set Eno Box II: Vocals, and the entire album was eventually released in 2014 as part of an expanded re-release of Nerve Net. Eno also released The Shutov Assembly in 1992, recorded between 1985 and 1990.
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In October 2012, the band described its 'vibe' as "squelchy, crispy, streamlined, hairy, indie". At the ARIA Music Awards of 2013 the group were nominated for Best Independent Release and Best Dance Release for the album; and Best Video for "Fred Astaire", which was directed by Andrew Nowrojee.
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303 : Refers to a Roland bassline synthesizer from the 1980s, the TB-303. The squelchy sound of the 303 was important for acid house. 808 : Refers to a Roland drum machine from the 1980s, the TR-808. The TR-808 drum sounds were widely used in electronic dance music.
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In his review of the album, Gigwise's Andrew Trendell called the song a "squelchy synth-fuelled call to arms and power ballad for the space-age, somewhere between Bryan Adams, Journey and Eurovision". The NME's Mark Beaumont described the song as "a two-speed storm built on monumental riffs".
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The TB-303 was designed by Tadao Kikumoto, who also designed the Roland TR-909 drum machine. It was marketed as a "computerised bass machine" to replace the bass guitar. However, according to Forbes, it instead produces a "squelchy tone more reminiscent of a psychedelic mouth harp than a stringed instrument".
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The last track on the album, "Bathroom Gurgle", includes "a squelchy grind of the riff" purpose-built for the Liars Club audience during the band's first ever gigs. Eastgate has explained, "I had these two themes, which looped round on each other which I sang very exasperated Annie Lennox style vocals over." The fast tempo of the first half of the song was juxtaposed against a section of "slow drama".
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Mike Wass of Idolator said; "'Give Me Something' is a heady rush of soul-tinged, retro-leaning pop — albeit with an extremely modern twist. Jarryd begs the object of his affection for a little more affection over squiggly synths and squelchy beats. There's a splash of Prince, a touch of Chet Faker and a large serve of something completely original." Wass believes the song is "just as good — if not better than — his breakthrough hit".
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"Pusher Love Girl" is a slow-tempo R&B; song with an approximate length of eight minutes and two seconds. The song "simmers" on an "elastic" soul groove that contains "retro- synth" hooks, hand claps, horns and a "squelchy" bass line. Jason Lipshutz of Billboard called the song "a more seasoned version" of "Señorita", the opening track of Timberlake's debut studio album, Justified (2002). The song is an ode to the "intoxicating effects" of love and sex.
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The rest of the production consists of funky synth beats, a squelchy bass, rubbery basslines, syncopated handclaps, nu-disco rhythms, wonky and bizarre synths, funky guitars, talk box vocals, a hypnotic synth line and disco strings. Lipa's vocals range from F3 to B4. The middle eight includes a Blondie-influenced rap, where Lipa exerts her British accent. "Levitating" has many outer space references, using the metaphor of love as a spaceship to transmit radiant euphoria and happiness.
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Quote: "The legacy of musical adventures with Latin dance music can still be heard in, for example, the dominance of salsa clave rhythms in the riffs of house music." Congas and bongos may be added for an African sound, or metallic percussion for a Latin feel. Sometimes, the drum sounds are "saturated" by boosting the gain to create a more aggressive edge. One classic subgenre, acid house, is defined through the squelchy sounds created by the Roland TB-303 bass synthesizer.
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The ninth song is "What You Crying For", first described by Cheryl as a "garage-sound track". However, critics refutted these comments by defining its sound as drum and bass, with influences of pop and two-step garage. Despite a negative remark by McCaighy, many other music editors highlighted the production as "forward-thinking" and believed the members "excelled themselves". The "futuristic" "I'm Falling" includes "squelchy sounds with a punky guitar", which was later compared to Girls Aloud's track "Graffiti My Soul" by BBC Music's Talia Kraines.
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"All I Need (All I Don't)" was described as "a Kylie-type tune set to squelchy techno", as well as "a disco- funk workout with traces of Cameo and Bedtime Stories vintage Madonna". "Life Got Cold", the album's first ballad and third single, was a late addition to the album, completed by Xenomania shortly before the album's release. The song received attention because of similarities between the guitar riff of "Life Got Cold" and that of the Oasis hit "Wonderwall" (1995). Warner/Chappell Music has since credited Oasis songwriter Noel Gallagher.
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" IZMs Do-heon Kim favoured the aggressive guitar riff in the production, likening it to that of '90s South Korean music group Seo Taiji and Boys. Mike Nied of Idolator deemed the song "one of the hardest hitting on an album of iridescent pop hits." Reviewing for Vulture, Kim Youngdae and Park T.K. wrote, "The beat is distinctive, making every part of this song instantly recognizable." In The New York Times, Jon Caramanica shared a similar view, favouring the sound of the song and labelling it as "a fantastically squelchy beat.
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Musically, "I Was Gonna Cancel" is a dance-pop and disco-inspired song. Tim Sendra said that the song is "a heartwarming affirmation of how awesome she is that sounds like a continuation of his work with Daft Punk on "Get Lucky". Ryan Lathan said "squelchy Stevie-Wonderesque electric keyboard flourishes, and overly- processed, pseudo-operatic background vocals, there's little here in this R&B-electro; brew, worth throwing back or bothering to revisit. It should have been relegated to a single B-side and replaced with last year's superior 'Skirt'.
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American raves began in the 1990s in New York City. A Roland TB-303 Bassline sequencer Acid house originated in the mid-1980s in the house music style of Chicago DJs like DJ Pierre, Adonis, Farley Jackmaster Funk and Phuture, the last of which coined the term on his "Acid Trax" (1987). It mixed elements of house with the "squelchy" sounds and deep basslines produced by the Roland TB-303 synthesizer. As singles began to reach the UK the sound was re-created, beginning in small warehouse parties held in London in 1986–87.
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"Hold On to Love" is a 1975 single by British singer-songwriter Peter Skellern. It reached number 14 in the UK Singles Chart on 29 March 1975, becoming Skellern's second and final top 20 hit, following his debut single "You're a Lady", which made number 3 three years earlier. Skellern described the song as a personal love song like his previous hit, but the song possesses more of a rock backing. The song has been praised by the British musician and journalist Bob Stanley, who highlighted its "spacious, squelchy production" and described it as "maybe my favourite single of 1975".
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Review by Alain_Patrick on Discogs; Interview with DJ Pierre in Fader Magazine, August 04, 2014. Its characteristic "acid" sound was derived from utilizing the Roland TB-303 bass synthesizer in a very particular way, using tone sequences modulated in real-time to produce a certain resonant and squelchy sound which is since then associated with the genre. The track also utilized Roland TR-707 and Roland TR-727 drum machines. After "Acid Tracks", Phuture released a number of acid house and Chicago house tracks now considered classics of the genre, usually as 12-inch vinyl maxi singles.
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The song has a basic sequence of Bsus2/G–Bsus2/F–B/E–Bsus2 in the verses and outro, changes to E–Gm–B–F–Cm at the chorus, and follows to Gm–F/A–B–E during the interlude and follows Gm–F–E–B at the bridge as its chord progression. The song's instrumentation mixes squelchy synths, zippy keyboards and melodic guitars. The musical composition is a realizing of the band's pop sensibilities, bending parts of mainstream pop towards introspective ends. "Holding on to You" features upbeat rhythms over which Joseph recites scattershot raps and euphoric choruses with a catchy delivery.
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According to author Richie Unterberger, it moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music. Acid house, a rougher and more abstract subgenre, arose from Chicago artists' experiments with the squelchy sounds of the Roland TB-303 bass synthesizer that define the genre. Its origin on vinyl is generally cited as Phuture's "Acid Tracks" (Trax Records, 1987). Phuture, a group founded by Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, is credited with having been the first to use the TB-303 in the house music context.
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RE/Search #6/7, pp. 9–10. William S. Burroughs, a conceptual inspiration for the industrial musicians Early industrial music often featured tape editing, stark percussion and loops distorted to the point where they had degraded to harsh noise, such as the work of early industrial group Cabaret Voltaire, which journalist Simon Reynolds described as characterized by "hissing high hats and squelchy snares of rhythm-generator." Carter of Throbbing Gristle invented a device named the "Gristle-izer", played by Christopherson, which comprised a one-octave keyboard and a number of cassette machines triggering various pre-recorded sounds. Traditional instruments were often played in nontraditional or highly modified ways.
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Both remixes blend elements of 1990s music, UK garage, New York house, and contemporary dance-pop, while solely Masters at Work's remix takes on bleep-house and the Midland refix has a soulful sound. "Boys Will Be Boys", remixed by Zach Witness has a club and Baltimore sound with a Rio Carnival feel and features a Latin-inflected groove that helps amp-up the track. The remix was described as "symphonic," and its production also uses frantic drums, whistles, horns, cowbells, and a distorted chanted chorus. The synth-heavy remix of "Love Again" by Horse Meat Disco features a squelchy 1980s and retro charm.
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The album was positively received by critics, with Artistdirect giving its 4.5 out of 5, calling it music "you throw on when the only passengers in your car are two recently emptied cans of Red Bull and a woofer". Remix called it a "wild romp through present-day breaks and bass". Rick Anderson of Allmusic stated "each track comes across as fairly unexpected: you know it's going to be funky, you know the beats are probably going to lurch around crazily with lots of squelchy synth and frequent reggae vocal samples, but beyond that there's no telling what's going to happen. At its best, the result is thrilling".
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Helen Brown, writing in The Daily Telegraph, criticized Gaga's choice to do another album "themed around her own stardom" (after The Fame and The Fame Monster), and commented that although the singer approached different genres of music, "she doesn't do anything wildly original with them, but she has fun". Brown however praised the album as "great for dancing". Alexis Petridis from The Guardian suggested there was "some decent pop" on Artpop but thought the art was "rather harder to discern". The Independent Andy Gill commented, "It's hard not to feel underwhelmed by Artpop", while Caryn Ganz from Rolling Stone called it "a bizarre album of squelchy disco" and "sexual but not sexy".
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Deep house's origins can be traced to Chicago producer Mr Fingers's jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?" (1986), which, according to author Richie Unterberger, moved house music away from its "posthuman tendencies back towards the lush" soulful sound of early disco music. Acid house arose from Chicago artists' experiments with the squelchy Roland TB-303 bass synthesizer, and the style's earliest release on vinyl is generally cited as Phuture's "Acid Tracks" (1987). Phuture, a group founded by Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, is credited with having been the first to use the TB-303 in the house music context.
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Generally 8–12 minutes long, Goa Trance tracks tend to focus on steadily building energy throughout, using changes in percussion patterns and more intricate and layered synth parts as the music progresses in order to build a hypnotic and intense feel. The kick drum often is a low, thick sound with prominent sub-bass frequencies. The music very often incorporates many audio effects that are often created through experimentation with synthesisers. A well-known sound that originated with Goa trance and became much more prevalent through its successor, which evolved Goa Trance into a music genre known as Psytrance, has the organic "squelchy" sound (usually a sawtooth-wave which is run through a resonant band-pass or high- pass filter).
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The song's production contains a "huge, electronic bass line" influenced by "stuttering, organic funk" and Jamaican dancehall, as well as a "pummelling low end" and "pulsating, throbbing rhythms" similar to those found in the work of production group Organized Noize. The bass line was deliberately designed by Roots Manuva to possess a "rickety... squelchy stamp of noise" in protest of the poor quality of many of the sound systems used in music clubs at the time, and the melody was intended to mimic the theme song to the television programme Doctor Who. Roots Manuva's rapping, which he described as "talk[ing for] three minutes over the top of [the production]", consists of "relentless, loping rhymes" that contrast with the "righteousness" of his Jamaican heritage with many references to British culture, such as eating cheese on toast and drinking the alcoholic beverage bitter.
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According to the 4 December 2014 issue of the Beano, he has a crush on Minnie the Minx and hopes to become her boyfriend one day. With much surreal and incidental background detail, various themes recur: notably the "Little Squelchy Things" which appear in a wide variety of guises and tend to be visual gags, though they may take part in the story (for instance, James may trip over one), and a constant scatter of winning lottery tickets, notes with a large sum of money on them, diamonds, gold bars, and bags with 'Vast Dosh' written on them which James walks past yet somehow never manages to notice. Once, when he was complaining about his lack of money, Alex told him to look around (he was surrounded by one of each of the above), as if he had just noticed them, but then it turns out he was referring to busking. Another recurring feature is the appearance of bizarrely-named factories and other buildings, such as "Lumpy Custard Factory" and "Knicker Elastic Testing Sheds", that appear in the background throughout the strips (all accompanied by appropriate sounds).
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Hemingway may have taken the idea of the swamp from the terrain in the battle of Portogrande—a battle that Hemingway wrote about in a 1922 newspaper story, saying of it: "Austrians and Italians attacked and counter-attacked waist deep in swamp water".qtd. in Adair (1991), 585 Furthermore, Adair suggests that Hemingway's own wounding is reflected in the scene where Nick loses a fish—the "biggest one I ever had"—with descriptive imagery such as shoes "squelchy" with water, suggestive of Hemingway's recollection of "feeling as if his boots were filled with warm water (blood) after his wounding."Adair (1991), 586–587 Writing in A Moveable Feast, Hemingway remembered "Big Two-Hearted River", recalling when he "sat in a corner with the afternoon light coming in over my shoulder and wrote in the notebook .... When I stopped writing I did not want to leave the river where I could see the trout in the pool, its surface pushing and swelling smooth against the resistance of the log-driven piles of the bridge. The story was about coming back from the war but there was no mention of the war in it."qtd.
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