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Porcupine Tree's debut On the Sunday of Life was recorded solo by Steven Wilson and originally released as a double LP in 1992. More playful and lo-fi by current Porcupine Tree standards, this is an album of future possibilities including everything from psychedelic pop to ambient interludes. The seeds of the future Porcupine Tree sound are also in evidence on tracks such as "It Will Rain for a Million Years" and the classic "Radioactive Toy." Kscope is pleased to reissue Porcupine Tree's auspicious debut on 180g vinyl newly remastered by band mastermind Steven Wilson.
Mikael Jorgensen (of Wilco) joins art historian James Merle Thomas as Quindar. Hip Mobility, the duo's first full-length LP, is built upon deep research into the audio archives of NASA's golden era, the 1960s and 70s. These Space Age recordings – and specifically the tiny, iconic communication beeps known as Quindar Tones – form the basis for Hip Mobility's electronic compositions. Quindar manipulates these archival recordings beyond recognition, samples and plays them as unique instruments, blends them with Jorgensen's vintage analog synths, and sometimes simply plays them back verbatim.
The result is an LP that is part historical document, part sonic pastiche, and always expansive and danceable beat-based music. Hip Mobility is available here as a deluxe 12" 180g single disc gatefold package that includes a laser cutout front jacket with visible gloss color inner sleeve. The lush artwork by Lawrence Azerred of LAD Design (Wilco, REM, Beach Boys, Miles Davis) is accompanied by a fascinating essay by James Merle Thomas that highlights the artistic and theoretical underpinnings of Hip Mobility specifically, and Quindar more generally.
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site1skuK33984000000000 site1prodK33984 K33984 Editions Salabert Raspberries (Score and Parts) Percussion Series Composed by C. Boone Skip to main content Skip to footer
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Browse our 3 arrangements of "It Will Be Worth It All." Sheet music is available for Piano, Voice, Guitar and 2 others with 5 scorings in 4 genres. Find your perfect arrangement and access a variety of transpositions so you can print and play instantly, anywhere.
Lyrics begin: "There's a promised land made for all the free, when our race on earth is run, where no broken dreams will mar our memory."
I'm known from Peking to Hong Kong, from the West Coast to the Pecos, (Hikin' cars is my game.) in an automobile (I used to be Hell on wheels.) that's what earned me my name.
NAMM 2016: From being the exclusive preserve of boutique manufacturers just a few years ago, new hardware synths have come to dominate the hi-tech landscape at the Winter NAMM Show, with all manner of manufacturers scrambling to take advantage of their renewed popularity.
Last week's show gave us the new instruments we were expecting, plus a few others that seemed to come out of nowhere. The good news is that, however much money you have to spend and whether you're seeking portability or maximum power, there's going to be a new synth that'll tickle your fancy this year.
We'll deal with modular offerings elsewhere, but here are the most promising-looking self-contained synths we encountered at NAMM 2016.
If you were looking for a synth with the wow factor at NAMM 2016, the MatrixBrute was most certainly it.
There's nothing outrageous about its analogue architecture, but the pad-based 16x16 modulation matrix is another thing entirely (this can also be used as a step sequencer).
Who knows at this stage if this thing will turn out to be a hit or a glorious act of folly, but it's certainly got people talking.
Once friendly rivals, now collaborators, Dave Smith and Tom Oberheim's was the romantic synth story of the show.
The 6-voice OB-6 shares some features with DSI's Prophet-6, but the two designers have come up with an analogue synth that promises the tone of Oberheim's classic SEM in an instrument that offers stability and plenty of contemporary features, too.
We wondered if Yamaha might release an all-new DX synth at NAMM, but as it turned out, it was Korg that unveiled an instrument in the vein of the company's classic FM synths.
It looks like a cracker, too: coming in the familiar Volca form factor, this FM instrument sounds and looks the part, while offering some intuitive performance features. Its announcement came as a pretty big surprise, but what a pleasant one it is.
While retro-inspired synths continue to capture the imaginations of many musicians, Yamaha is looking forward with its latest all-rounder, which builds on the success of the Motif range.
That's not to say that there are no nods to the past, though: the Montage's sounds are generated by a combination of AWM2, Yamaha's tried and tested waveform-based subtractive synth engine, and FM-X, which can be considered to be a next-gen version of FM.
We're very much on a retro tip here: The PO-20 arcade has a chiptune vibe, the PO-24 office is a noise percussion drum machine, and the PO-28 robot features 8-bit synth engines for creating melodies and lead lines.
Don't expect sonic sophistication, then, but once again, we expect the POs to offer a whole lot of fun for not very much money.
OK, we all knew you how good this one was before we even stepped on the plane to Anaheim, but it still qualifies as a star of the show.
It's a 4-voice analogue polysynth that sounds great, feels great and comes at a cracking price. And that, we'd say, is a winning combination.
Is this a synth? Well, yeah, but the ARQ is also a drum machine, sequencer, looper and MIDI controller.
Defying convention, the device comprises a Base Station (which generates the sounds) and removable Bluetooth Ring Controller.
Whether or not this makes for a winning combination remains to be seen, but Zoom has got our attention.
A new retro-looking electronic instrument that does audio and video synthesis but doesn't have a display? That's the kind of product that could only come from Teenage Engineering.
Also known as 'the little monster', the OP-Z is a 16-track multitimbral synth that offers fully sequencable parameter locks, step sequencing and per-step modifiers. Oh, and it supports Bluetooth MIDI as well.
Drums of this build and expected longevity are costly but, you can be assured, nobody else will have a set like this one - and it will last you a lifetime.
Alan van Kleef is master craftsman, metal engineer, sound engineer, designer, session drummer and the proprietor of VK drums.
His bespoke drum company (formed only two years ago), is based in the industrial city of Sheffield. Where better situated than in a city renowned for its stainless steel? After moving to Sheffield, he says,
"I found myself in the perfect place to do the stainless steel things I'm doing with drums. I've always loved tinkering with drums and taking things apart to see how it all works, and being a drummer too."
Up for review is a VK Drums four-piece stainless steel shell-pack and a titanium snare drum. VK Drums can also supply a variety of shells including plywood, solid wood staved, carbon fibre, or various metals including stainless steel, titanium, bell bronze.
This set-up comprises a 13"x9" suspended tom, two floor toms of 16"x16" and 18"x16", a 24"x14" bass drum and 14"x41⁄2" snare. While the hoops of the toms and snare are each made from triple-flanged steel, the bass drum has a 5mm-thick brushed aluminium rim which, according to Mr Van Kleef is "designed to cut down on the weight".
The toms and bass drum are formed from 1.5mm-thick sheets of stainless steel which are rolled, welded and the resultant weld seam smoothly polished out. The snare drum is constructed from 1mm-thick grade 1 (aircraft grade) titanium that undergoes a similar hand-manufacturing process.
This drum is fitted with the superb VK own-designed throw-off which has a front-release flap and adjuster. The simple but ingenious lever is designed to lock into position by the tension from the strainer wires. All of the drums are fully customisable with fine user detailing - for example, the lever can be etched with a band logo or your own initials.
Each drum features solid hand-polished stainless steel lugs which have a single-point bolt. With the exception of the laser-cut components (made from Alan's engineering drawings), the bass drum spurs and the triple-flanged hoops, every last piece of the kit is engineered and hand-assembled by VK Drums.
The shells of the review drums are fitted with an XLR socket - unfortunately for review, there are no mics mounted in the review set so we can't hear how these beauties sound through a beefy PA.
However, VK offers a KAM R1 mic together with an XLR socket fitted for only £50 per drum which seems great value for an internal mic system. There are plenty of design elements worth a mention including bass drum rim attachment, VKey drum, VK snare throw-off and those hand-polished round mini-lugs.
Though this 24" chunky kick is incredibly heavy, it's not so weighty that it's impossible to lift - though we must admit, we don't really think the aluminium hoops have made much of a difference.
"Both floor toms are ballsy enough to crack walls while the bass drum could destroy whole buildings"
We can see from the wear on the drum head the drum has been used with a double pedal and that is exactly what we are going to use - this beasty warrants it! The heads are quite tightly tensioned so we would have expected a good bounce, but the power and depth that is pouring from the drum is a complete surprise.
Of course, both the toms and kick have an expected underlying metallic essence which is loud and open - the sound reminding us of a stainless steel Ludwig kit a friend owned a few years ago.
Fortunately the EMAD dampening on the kick helps the drum recover quickly from my double-pedal onslaught and a slice of Moongel on the toms sees them slightly restrained but not in the least bit stifled.
Each drum is extreme and gutsy which, we are told, projects like crazy. Both floor toms are ballsy enough to crack walls while the bass drum could destroy whole buildings - shaking everything in its wake.
Due to the fairly shallow depth of this snare drum and Puresound snare wires, it only requires the slightest tickle before the opposing snare head shows its sympathetic response.
Seamless buzz rolls are readily available - virtually by just laying the stick tips on the tightly-tuned head. A few strikes followed by some delicate but impressive ghost notes are smugly satisfying. So too is the immense power available as laying into the drum rapidly cranks up those dBs with its incredibly powerful metallic drum sound - not a kit to be used near a sound limiter!