74 Sentences With "toneless" | Random Sentence Generator

Then the possessive marker 的 (like English 's) = de (toneless) = d (2) + e (k) + toneless (7).

The mashup of Egyptian antiquities, Japanese ceramics and American marbles is occasionally surprising but more often toneless.

The stories are written in the alienated, toneless style that has dominated certain types of fiction writing in recent decades.

Here, too, were crescendo climaxes, but lushly bluesy, more Gershwinian than Mahlerian, before an unexpected ending: a hushed, nearly toneless whoosh.

Instead Mr. Sinton wrings his corpulent instrument for its full range of values: toneless smears; soul-baring swells; chomping, roughed-up blasts.

" Later in the novel, Raunce and Edith are in a library together: "Love," he went on toneless, "what about you an' me getting married?

Before we explore exactly what the closure means for nightlife in London and throughout the UK, it makes sense to investigate that flat, toneless council statement a bit further.

But Trump's toneless, almost resentful address as he faces a challenge from outside that could threaten his reelection hopes is unlikely to fulfill the soaring mission of the presidency.

Instead of the unfired, fossil-like blend of clay and cement the artist usually employs, these toneless statues are of urethane foam coated with licks of matte industrial paint.

Things reached a climax about an hour in, when he swept across his electric keyboard in a violent crescendo, using a host of toneless sounds he'd programmed into it: shrieks, crashes, what sounded like dogs barking.

Verdict: Extremely pissable I call the Trump Hotel in the middle of the night, their time, and am told by a toneless employee that in-room watersports will be assessed, and charged, on a case-by-case basis.

Skins took everything that was happening in that particular corner of youth culture and reflected it back at us to the tune of The Gossip's canonical "Standing in the Way of Control;" The Horrors made an appearance on The Mighty Boosh two years before Primary Colours propelled them to wider credibility and recognition; and Kaiser Chiefs and Franz Ferdinand provided the same toneless soundtrack for lads to chant at football games as Pulp and Blur had the decade previous.

Japhug is the only toneless Gyalrong language. It has 49 consonants and seven vowels.

Zulu has tonic assimilation: high tones tend to spread allophonically to following low-tone syllables, raising their pitch to a level just below that of adjacent high-tone syllables. A toneless syllable between a high-tone syllable and another tonic syllable assimilates to that high tone. That is, if the preceding syllable ends on a high tone and the following syllable begins with a high tone (because it is high or falling), the intermediate toneless syllable has its pitch raised as well. When the preceding syllable is high but the following is toneless, the medial toneless syllable adopts a high-tone onset from the preceding syllable, resulting in a falling tone contour.

'I'm off' (said on parting), from the normally toneless 'go'. This can perhaps also be considered a kind of intonational tone.

Males have a single internal subgular vocal sac. The male advertisement call is a loud, toneless croaking like "ong...ong...ong...".

Louw, vol. 3, s.v. . Sequences with two or more toneless syllables between the high tones (e.g. HLLH) do not normally make a plateau in Chichewa.

These tones added to toneless words are called 'phrasal tones'. The tone-raising rule also applies to the toneless syllables at the end of words like eddwâliro [eddwáalíró] 'hospital' and túgenda [túgeendá] 'we are going', provided that there is at least one low-toned mora after the lexical tone. When this happens, the high tones which follow the low tone are slightly lower than the one which precedes it. However, there are certain contexts, such as when a toneless word is used as the subject of a sentence or before a numeral, when this tone-raising rule does not apply: Masindi kibúga 'Masindi is a city'; ebitabo kkúmi 'ten books'.

In relation to certain languages, the name "schwa" and the symbol may be used for some other unstressed and toneless neutral vowel, not necessarily mid central.

The first and second person pronouns are toneless, but the third person pronouns have a high tone:Stevick et al. (1965), p. 163, 165. : 'I' : 'you sg.

Unaccented syllables always bear the low tone (toneless). The high and rising tones occur only in monosyllabic, monomorphemic lexemes. Multisyllabic morphemes are stressed on the first syllable.

Myers (1998).Downing & Mtenje (2017), p. 110. Not every word has a high tone. Over a third of nouns are toneless and are pronounced with all the syllables on a low pitch.

When the vowel is toneless, the effect is less, but it seems that there is still a slight difference. The effect of depressor consonants in Chichewa, however, is much less noticeable than in Zulu.

One rather unexpected phenomenon for English speakers is that if a yes-no question ends in a toneless word, instead of a rise, there is a sharp drop in pitch, e.g. lúnó lúgúúdò? 'is this a road?'.Luganda Pretraining Program, p.99.

Kinyarwanda is a tonal language. Like many Bantu languages, it has a two-way contrast between high and low tones (low- tone syllables may be analyzed as toneless). The realization of tones in Kinyarwanda is influenced by a complex set of phonological rules.

Since the beginning of 2017 Fernsehen in Dresden GmbH GmbH is also the owner of the broadcast license. Since January 2017 television in Dresden GmbH has also been responsible for the toneless passenger TV in the Dresden trams. Around 231,000 us the tram system everyday.

The white-rumped swallow is, in addition, larger than the Chilean swallow. The song of the white-rumped swallow is often described as a soft gurgling or a broken warble. It usually sings while flying at dawn. The call is described as a quick and toneless zzt.

Lexical tones are the tones of individual words - or the lack of tones, since quite a large number of words in Chichewa (including over a third of nouns and most verbs in their basic form) are toneless and pronounced with all their syllables on a low pitch.

In tenses which have penultimate tone the object-marker is usually toneless: : 'do not help him'Kanerva (1990), p. 33. : 'I usually help him'Stevick at al. (1965), p. 264. But when the verb is monosyllabic, the penultimate tone goes on the object-marker itself: : 'I usually eat them' (e.g.

One finding was that for most speakers, focus has no effect on pitch. For some speakers, however, it appears that there is a slight rise in pitch if a word with a tone is focussed.Downing & Pompino-Marschall (2011). A toneless word, when in focus, does not appear to rise in pitch.

'the thing that has happened is what?') The dependent clause intonation is also used in conditional clauses, except those with the toneless tense. It is similarly used after 'if' and in clauses after 'although': : (or ) 'it isn't known if she has died' : 'even when rain is falling'Stevick et al. (1965), p. 287.

When an object-marker is added to a toneless tense, such as the Perfect, it has a high tone. (In verbs of three syllables or longer, the tone may spread in some dialects.)Kanerva (1990), p. 24.Downing & Mtenje (2017), p. 143. : 'I have helped him' : 'if I help him' : 'I can help him'Stevick et al.

Most verbal roots in Chichewa are toneless, as the following: : 'help' : 'go' Monosyllabic verbs are always toneless: : 'eat' : 'die' A few verbal roots, however, have a lexical tone, which is heard on the final vowel of the verb: : 'run' : 'thank' The tones are not inherited from proto-Bantu, and do not correspond to the high-low distinction of verbal roots in other Bantu languages, but appear to be an independent development in Chichewa.Hyman & Mtenje (1999b), p. 122f. Often a verb has a tone not because the root itself has one but because a stative or intensive extension is added to it: : 'know' : 'be known' : 'want' : 'want very much' If a high-toned extension is added to a verb which already has a high tone, only one tone is heard, on the final.

Sheldon Pearce of Pitchfork regarded the song as "an enjoyable ego trip full of empty-calorie raps, reliant entirely on the premise that you are as enthralled by these three artists as they are with themselves". He noted "Pi'erre's superb ear- bending production" as "the song's best feature", writing that "Scott is largely forgettable" due to his "toneless, flat, and unchanging" hums.

Senn is also favorable toward Murphy's acting, writing that he "gives a hearty performance as the arrogant, brilliant Oliver. He imbues his scornful scientist with a superior air and a wealth of passion". On the other hand, "hero John Ashley's toneless playing adds to the production's woes. His deadpan delivery and immobile countenance are so stiff you could light a match on them".

Most verb roots in Tonga are toneless, although there are a few such as bangulá "shout" or sambilá "learn/swim" which have a tone on the final syllable of the stem. When a tone is final, as in the verb bangulá "shout", it tends to spread backwards to the penultimate syllable, giving the result bangǔlá (where ǔ represents a rising tone).

Like most Bantu languages, Fuliiru is tonal, with a two-way contrast between high and low tones. Morphemes can be underlyingly high (H), low (L), or toneless. Phonetically, high, low, mid, and falling tones can all occur; mid tones are the realization of an underlying LH sequence, and falling tones are the realization of an underlying HL sequence or an utterance-final H tone.

Matbat has five lexical tones: high falling 41, high 3, low rising 12, low level 1, and low falling 21, which in open syllables has a peaking allophone, 121. Most Matbat words are monosyllabic; additional syllables in polysyllabic words are often weak and toneless, though a few words do have two tonic syllables. Examples of some of the longer monomorphemic words are 'star', 'sea shore', 'round', 'butterfly'.

Tonal patterns also play an important grammatical role in Chichewa verbs, helping to distinguish one tense from another, and relative clause verbs from main clause verbs. Tones are also used in intonation and phrasing. Conventionally Chichewa is said to have high tones (H) and low tones (L). However, it has been argued that it is more accurate to think of it as having high-toned syllables versus toneless ones.

From a theoretical point of view, however, it has been argued that Chichewa tones are best thought of not in terms of H and L, but in terms of H and Ø, that is to say, high-toned vs toneless syllables.Myers (1998). The reason is that H tones are much more dynamic than L tones and play a large role in tonal phenomena, whereas L-toned syllables are relatively inert.Hyman (2000).

The following monosyllabic words are commonly used. The following are toneless: : 'it is, they are' : 'in, to, from' : 'on, at' : (m') 'in' The following have a high tone: : (also , , , etc. according to noun class) 'of' : 'with, and' : 'it isn't' These words are joined rhythmically to the following word. The high tone can spread to the first syllable of the following word, provided it has at least three syllables:Moto (1983), pp. 204f.

In linguistics, a schwa is an unstressed and toneless neutral vowel sound in any language, often but not necessarily a mid-central vowel (rounded or unrounded). Such vowels are often transcribed with the symbol ə, regardless of their actual phonetic value. An example in English is the a in about. For Barker, Schwa is alternately his pseudonym, a fictitious omnipresent corporation, a religion, or a resistance movement against corporate conspiracies and aliens.

The high tone /H/ (but not the mid tone /M/) will spread through following toneless moras until coming into contact another /H/ or /M/ tone or the end of an intonational phrase. The /M/ or /H/ tones that the spreading /H/ tone runs in to will be downstepped phonetically, but will remain /M/ or /H/ phonologically. /M/ tones on monomoraic enclitics will become /H/ tones if its host's tone is /M/ or /ØM/.

This tends to occur (with some exceptions) when there is a series of syllables with tones H L H or H L L H; it does not occur when two high tones come in adjacent syllables. The toneless syllables tend to be lower than the high-toned syllables. However, the first syllable of anticipates the following high tone and is almost on the same level. The last syllable of is also raised.

The verb stem itself 'rule' is toneless. Also illustrated in the pitch track above is an intonational tone, known as a boundary tone, marked L%H%. This rise in pitch is typically heard at any pause in the middle of a sentence, such as here, where it marks the topic: 'a man, he rules women'. The boundary tone is not obligatory, and Myers prints another pitch track of the same sentence where it is absent.

They can also make a plateau with the following word, if the tones are HLH: : 'Lilongwe' > 'of Lilongwe' : 'prayer' > 'with a prayer' : > 'of Malawi' When is a preposition meaning 'on' or 'at', it is usually toneless: : 'on the bed, in bed' But has a tone when it means 'of' following a noun of class 16: : 'underneath (of) the bed' It also has a tone in certain idiomatic expressions such as or 'on his own'.

The Present Simple, which often refers to events in the near future, has a high tone on the initial syllable, that is, on the subject- marker 'I'.Maxson (2011), p. 79; Kanerva (1990), p. 22. In some dialects this high tone will spread (or shift forward) to the second syllable in longer verbs (that is, verbs where the high tone is followed by at least three toneless syllables):Mtenje (1987), p. 174.

The book "Karay-a Rice Tradition Revisited" introduced "ə", the International Phonetic Alphabet (IPA) symbol for the schwa, also used in the Azeri alphabet, to represent the Kinaray-a schwa. The Kinaray-a schwa is a toneless neutral vowel, that could be stressed or unstressed, and is not necessarily a mid-central vowel. It maybe found in the beginning of a word or at the end. Its quality depends on the adjacent consonants.

Some speakers add intonational tones also with the toneless word 'already', making not only the final syllable of itself high but also the last syllable of the verb which precedes it: : 'I have danced already'Stevick et al. (1965), p. 176. : 'I arrived a short time ago' Other speakers do not add these intonational tones, but pronounce with Low tones. Occasionally a verb which is otherwise low-toned will acquire a high tone in certain idiomatic usages, e.g.

Chichewa verbs are mostly toneless in their basic form, although a few have a high tone (usually on the final vowel). However, unlike the situation with the lexical tones of nouns, there is no correlation at all between the high-toned verbs in Chichewa and the high-toned verbs in other Bantu languages. The obvious conclusion is that the high tones of verbs are not inherited from an earlier stage of Bantu but have developed independently in Chichewa.Hyman & Mtenje (1999b), p. 122f.

Luganda Basic Course, pp.xviii, xix. In a sentence, the lexical tones (that is, the high tones of individual words) tend to fall gradually in a series of steps from high to low. For example, in the sentence kye kib _ú_ ga ekik _ú_ lu mu Ug _áń_ da 'it is the chief city in Uganda', the lexical high tones of the syllables bú, kú and gá stand out and gradually descend in pitch, the toneless syllables in between being lower.

Language Log The literary tones of Beijing dialect tend to be more exaggerated than Standard Chinese. In Standard Chinese, the four tones are high flat, high rising, low dipping, and falling; in Beijing dialect, the first two tones are higher, the third one dips more prominently, and the fourth one falls more. However, toneless syllables are incredibly common in vernacular Beijing dialect and the third tone is realized as a low tone instead of a dipping tone, known as a "half third tone".

A commonly held conception within phonology is that no morpheme is allowed to contain two consecutive high tones. If two consecutive high tones appear within a single morpheme, then some rule must have applied . Maybe one of the surface high-tone vowels was underlyingly high-toned, while the other was underlyingly toneless. Then, since all vowels must have tone at the surface (in this hypothetical language), the high tone of the one vowel spreads onto the other (see: autosegmental phonology).

A different kind of emphasis is emphasis of degree. To show that something is very small, or very large, or very distant, a Chichewa-speaker will often raise the pitch of his or her voice considerably, breaking the sequence of downdrift. For example, a word such as 'very much' or 'a little' is sometimes pronounced with a high pitch. The toneless demonstrative 'that man' can also acquire a tone and become with a high pitch to mean 'that man over there in the distance'.

The surdelina or sampogna is used almost exclusively at Hall Castle. The sound can be described as a sort of endless toneless droning. The surdelina or sampogna was a kind of bag pipe which was described and illustrated by Mersenne as the musette de Naples; its construction was very complicated. Mersenne states that the instrument was invented by Jean Baptiste Riva (who was living in Paris in 1620), Dom Julio and Vincenze; but Mersenne seems to have made alterations himself in the original instrument, which are not very clearly explained.

Thus asóma means 'he reads', but when the toneless prefix a- 'he/she' is replaced by the high-toned prefix bá- 'they', instead of básóma it becomes básomá 'they read'.Luganda Pretraining Program, p.94. The tones of verbs in relative clauses and in negative sentences differ from those in ordinary positive sentences and the addition of an object-marker such as mu 'him' adds further complications. In addition to lexical tones, phrasal tones, and the tonal patterns of tenses, there are also intonational tones in Luganda, for example, tones of questions.

It was named one of the 10 Best Books of 2016 by The New York Times Book Review. It was also included in the list of Books of the Year from The Economist The review in the Guardian called it a "future classic" and compared it to the works of W. G. Sebald, as did the NYT Book Review. The Irish Times gave it a less favourable review, calling it "an important work" but negatively comparing the "somewhat flat and toneless" prose to that of W. G. Sebald and calling it "less convincing artistically".

The story takes place in the fictional town of Huntersburg, Illinois, in June 1908. After learning from her father, Doctor Lester Cochran, on the evening before that he is suffering from a heart disease and might die at any moment, 18-year-old Mary Cochran takes a walk around the small town, thinking about her future. Her father had told her that he would be leaving her only very little money after he dies, suggesting her to "make plans for the future". He says this in a cold and toneless way, as he has never shown any real affection or warmth.

James Parker of The New York Times describes her as animated, powerless, prone to fits, and at times distracted. He notes that she motorcades and entourages with importance, but also passes time rotating dreamily in her swivel chair. Parker opines that Meyer "swears her head off" because that is what the modern "gaffe-phobic, linguistically constipated" public servant who has sold his/her soul to a lobbyist group does behind closed doors after public speeches about "ceaseless, toneless platitudes". Variety television critic Brian Lowry describes Meyer as "easily flustered, foul-mouthed", saying that her "over-reliance on profanity" is a comedic crutch.

On the night of the final Stone & Stone performed 3rd in the running order, following Ireland and preceding Bosnia-Herzegovina. Following the show, lead singer Cheyenne Stone was heavily criticised both for a very shaky, toneless and at times off-key vocal performance, and for her choice of stage outfit - a shapeless half-sleeve floor-length white dress which, it was said, looked like a nightgown. The widely predicted bad result materialised, as "Verliebt in Dich" was saved from the ignominy of nul-points only by 1 point received from Malta, placing Germany last of the 23 entries. The German jury awarded its 12 points to Sweden.

Like the southeastern Gyeongsang dialect but unlike other Korean dialects, the Hamgyŏng dialect has a distinct high-low pitch accent system used to distinguish what would otherwise be homophones. Pitch-accent minimal pairs do not have tone in isolation, but only in the presence of a particle or copula. For instance, the word —homophonous in the toneless standard Korean dialect of Seoul—may mean both "pear" and "belly" in Hamgyŏng as well, so long as the word exists in isolation. But when attached to the topic marker , is realized as with a high pitch on the second syllable, while is realized as with high pitch on the first syllable.

Hall wrote that "although the low-toned voice is not what is expected from the alluring actress, one becomes accustomed to it, for it is a voice undeniably suited to the unfortunate Anna." Variety said that "La Garbo's accent is nicely edged with a Norse "yah", but once the ear gets the pitch it's okay and the spectator is under the spell of her performance." Mosher called it "a boy's voice, really, rather flat, rather toneless, yet growing more attractive as the picture advances and you become somewhat accustomed to it." In 1962, film historian Richard Schickel reviewed the film negatively, describing it as "dull", with Marie Dressler providing "the only vitality in an otherwise static and ludicrous" film.

Since the mid-1960s Alfred Harth was open to all creative horizons influenced by the Stuttgarter Schule around Max Bense, zen and the fluxus events in nearby Wiesbaden. He treated breaking glass, thunder and rain, fireworks or everyday tool's noises as equal synaesthetic manifestations.Harth co-created a toneless wind instrument concept during a studio production at the Hessischer Rundfunk, experimented muting his saxofones with all kinds of stuff even from outside the keys by covering the saxophone with clothes and implemented backward recorded accordion live on cassette. Johannes Krämer was using a wide variety of unorthodox guitar tunings, and preparing guitars with objects like drumsticks and screwdrivers to alter the instruments' timbre.

Certain suffixes, known as enclitics, add a high tone to the last syllable of the word to which they are joined. When added to a toneless word or a word ending in LL, this high tone can easily be heard. Bumping does not occur when the tones are HLHL: : > 'Lilongwe also' : > 'he's still helping' But when an enclitic is combined with word which has penultimate high tone, there is local bumping, and the result is a triple tone: : > 'the fish also' When added to a word with final high tone, it raises the tone higher (in Central Region dialects, the rising tone on the first syllable of a word like also disappears):Moto (1983). : > 'the house also' Not all suffixes are tonally enclitic in this way.

The aspect-marker 'always, ever, generally' usually adds two high tones, one on itself and one on the penultimate syllable. For example, when added to the 'when' tense, which has the toneless tense-marker , it adds two tones: : 'whenever I help' However, in the Present Habitual, the tone on is lost:Mtenje (1995), p. 7n. : 'I usually help him' On the other hand, in the negative Present Habitual, the tone on is retained while the penultimate tone is lost, unless there is an object-marker: : 'I never help'Mtenje (1986), p. 245. : 'I never help him' can also be used as a tense-marker itself to make the Imperfect tense, in which case its high tone is proclitic: : 'I was helping' : 'I wasn't helping'Mtenje (1986), p. 246.

Either of two surface tone distinctions, H (high) or L (low), is possible for each syllable (and in certain limited cases rising (LH) and falling (HL) tones are possible too). There is a subtype within the L tone category: when a syllable is 'depressed' (that is, from a depressor consonant in the onset position, or a morphologically or lexically imposed depression feature in the syllabic nucleus), the syllable is produced phonetically at a lower pitch. This system of tone depression is phonologically regular (that is, the product of a small number of phonological parameters), but is highly complex, interacting extensively with the morphology (and to some extent with the lexicon). Phonologically, Phuthi is argued to display a three-way High/Low/toneless distinction.

Alexandra Y. Aikhenvald & Robert M. W. Dixon, Grammars in Contact, page 4, Oxford University Press, 2006, Many languages in the western side of the Sino-Tibetan family, which includes the Tibeto-Burman languages, show significant typological resemblances with other languages of the South Asia, which puts them in the group of Indosphere. They often have heavier syllables than found in the east, while tone systems, though attested, are not as frequent.Carol Genetti, A Grammar of Dolakha Newar, page 3, Walter de Gruyter, 2007, Indospheric languages are often toneless and/or highly suffixal.Colin Renfrew, April M. S. McMahon & Robert Lawrence Trask, Time Depth in Historical Linguistics, page 334, McDonald Institute for Archaeological Research, 2000, Often there is considerable inflectional morphology, from fully developed case marking systems to extensive pronominal morphology found on the verb.

A.C. Bradley indicates, with the exception of the scene's few closing lines, the scene is entirely in prose with Lady Macbeth being the only major character in Shakespearean tragedy to make a last appearance "denied the dignity of verse." According to Bradley, Shakespeare generally assigned prose to characters exhibiting abnormal states of mind or abnormal conditions such as somnambulism, with the regular rhythm of verse being inappropriate to characters having lost their balance of mind or subject to images or impressions with no rational connection. Lady Macbeth's recollections – the blood on her hand, the clock striking, her husband's reluctance – are brought forth from her disordered mind in chance order with each image deepening her anguish. For Bradley, Lady Macbeth's "brief toneless sentences seem the only voice of truth"Bradley, A. C. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth.

Although Levene has two songs on the original Guys and Dolls cast album, his portrayal of Nathan Detroit in the landmark musical is so popular Levene's performance appears on over 38 Guys and Dolls albums and compilations. In a 1996 New York Magazine letter to the editor, Sam Levene's son Joseph K. Levene, thanked film critic David Denby stating “my father, the late great Sam Levene, has received many kudos illuminating his career as an actor, none recalled the passion for the theater more clearly than David Denby's comment in his review of Everyone Says I Love You: Sam Levene playing Nathan Detroit in the original Guys and Dolls couldn't sing a note but his gruff toneless outbursts could break your heart. Levene was not cautious and that made all the difference. Joseph K. Levene said: "There were no Tony's in his career but thanks for the Denby".

Two well-known works in which the animals carry on intellectual debates are The Owl and the Nightingale (13th century), involving a dispute between two birds quarreling over who is more useful to man, and Geoffrey Chaucer's Parliament of Fowls (1382?). In the former the argument is loud and vindictive, with the nightingale condescendingly insulting the owl for having a toneless and depressing singing voice; the owl defends her voice as warning and correcting men, and in turns threatens the nightingale. In Chaucer's shorter and more sentimental poem, a formel (a female eagle) has three suitors who submit their cases to an assembly of birds; the birds all have different agendas and cannot reach a decision, and 'Nature' must finally intervene by giving the formel the right to choose her own spouse. In the end the formel opts to delay being married to anyone for a year.

A.C. Bradley notes that, with the exception of the scene's few closing lines, the scene is entirely in prose with Lady Macbeth being the only major character in Shakespearean tragedy to make a last appearance "denied the dignity of verse." According to Bradley, Shakespeare generally assigned prose to characters exhibiting abnormal states of mind or abnormal conditions such as somnambulism, with the regular rhythm of verse being inappropriate to characters having lost their balance of mind or subject to images or impressions with no rational connection. Lady Macbeth's recollections – the blood on her hand, the striking of the clock, her husband's reluctance – are brought forth from her disordered mind in chance order with each image deepening her anguish. For Bradley, Lady Macbeth's "brief toneless sentences seem the only voice of truth" with the spare and simple construction of the character's diction expressing a "desolating misery."A.

Christian metalcore outfit MyChildren MyBride's sophomore effort rises above its 2008 predecessor with a more adventurous approach to the genre. The basic tenets of the style (toneless screaming and staccato riffs layered over a foundation of tight, dry, double kick drum pedal bursts) are well represented on Lost Boy, but the machine screw production and tone-deaf melodic structures that often accompany those parameters are not. Guitarists Robert Bloomfield and Daniel Alvarado know how to grind out basic jackhammer riffs, but they also know how to take those riffs and bend them into something real, melodic, and surprisingly progressive. Standout cuts like “Hooligans” and “Redeemer” benefit from the old-school punk gang vocals, and producer Matt Goldman (Underoath, the Chariot) allots vocalist Matthew Hasting's voice (which is surprisingly effective and utterly devoid of Cookie Monster posturing) the room it needs to be heard, resulting in another strong outing for both the band and the increasingly “solid” Solid State Records.

The New York Times reviewer Gerald Jonas wrote that, in a novel filled with wonders, "Niven describes everything in the toneless accents of a tour guide on a fall foliage caravan. . . . after a while, the wonders begin to blur together [and] the reader begins to yearn for less matter and more art.""Of Things to Come", The New York Times Book Review, October 17, 1976 Jerry L. Parsons in his review for the Library Journal said that A World Out of Time was reminiscent in parts of 2001: A Space Odyssey and To Your Scattered Bodies Go. He wrote, "a wonderfully escapist adventure, this story has a minimum of character development and description, but a maximum of excitement." Geoff Ryman has described A World Out of Time as one of Niven's "hardest" works, but went on to specify that many of the concepts Niven used as plot points were "disintegrated by later research".

Although it explores empirical topics in modern physics research, The Dancing Wu Li Masters gained attention for leveraging metaphors taken from eastern spiritual movements, in particular the Huayen school of Buddhism with the monk Fazang's treatise on the Golden Lion, to explain quantum phenomena and has been regarded by some reviewers as a New Age work, although the book is mostly concerned with the work of pioneers in western physics down through the ages. The toneless pinyin phrase Wu Li in the title is most accurately rendered in Chinese characters, one Chinese translation of the word "physics" in the light of the book's subject matter. This becomes somewhat of a pun as there are many other Chinese characters that could be rendered as "wu li" in atonal pinyin, and chapters of the book are each titled with alternative translations of Wu Li, such as "Nonsense", "My Way" and "I Clutch My Ideas". Zukav participated as a journalist in a 1976 physics conference of eastern and western scientists at Esalen Institute, California; and he used the occasion as material for his book.