Sentences with phrase «synths get»

The «Boss Theme» «s driving drums and propulsive synths get you hyped for the battle, while «Sarinuka Sands» is pure metal.

Not exact matches

The breakout project: Betabrand.xxx, a pornographic parody of the company's website involving videos of «sexy» zippers, socks and pants «getting it on» to cheesy synth music.

Instead, the analog synth - driven stylings here are more reminiscent of Vangelis film scores (with a slightly glitchy, IDM twist to prevent things from getting too dated or sleepy), while one track even samples Carly Simon.

Creature Comfort is a balls to the walls statement about modern culture with amazing sound, the album shouldve kept that level of fun, instead we got just a very dull synth - pop experience.

«Hazmat Suit» begins with an electronic beat and some abrasive synth sounds but it's not long before the main theme gets back in on the act, the music really picking up the pace after a slight lull, and while «A Happy Family» (whose tone suggests an anything - but - happy family) slows things down again, it's an impressive piece.

Now, add a dash of psychotic ex-80's guitar synth player, and you've got some kind of kooky.

Cliff Martinez's pounding synth - rock score meanwhile makes it feel like Refn is remaking some lost 1980s classic of existential action cool — John Carpenter at his most ruthless, or maybe something produced by Drive's Bernie, played by Albert Brooks, once a sort of LA Woody Allen, here a late - middle - aged urbane mobster who guts arteries with his razor if you let him get close.

It alternates between a synth - heavy»80s TV movie sound, elevator jazz music, and a recurring instrumental that seems to lay the groundwork for Randy Newman's «You've Got a Friend in Me.»

Hajian gets too close by adding strings on top of his synths, bringing sad, soul - searching impact to the soundtrack as the noose gets both tighter around compromised heroes and multi-dimensional villains.

Pushed to a denouement, Prince's narrative takes a predictable turn toward violence, retribution, and that all - purpose standby, the funeral where everyone gets to examine their bottled - up feelings, while the prevalence of thumping synths, shiny bomber jackets and neon hues betrays perhaps too much of a debt to Nicolas Winding Refn (who seems to be the unfortunate new patron saint of every straight, angsty young male auteur).

I still get chills thinking about the Metal Gear Solid 4 wallpaper on my PS4 — a tortured Old Snake, gritting his teeth as the bottom half of his body disintegrates into pieces, while Williams» signature synth - brass sound blares on loop.

But you can download the totally tubular soundtrack and get your synth on for real.

When things get tense and the pulse - pounding synth kicks in, it's time for combat.

So what can happen is that, if your empire has synths and you are treating them badly, you can actually get an AI uprising where the synths rise up, form a Machine Empire, and start a civil war in your empire.

If you missed grabbing a cassette copy of Switched on SNES's analog synth rendition of A Link to the Past, they've got a little Christmas miracle for you.

The Steel Samurai (Warrior of Neo Olde Tokio) has gotten quite a full arrangement with heavy drums, brass sections, distorted guitar riffs and an 8 - bit synth too.

The presentation is quite impressive, and the catchy synth soundtrack is sure to get firmly lodged in your brain almost instantly.

It's got a funky synth horn section that sings Fire Pro Wrestling G's Results Screen tune in a wonderful staccato medley that backs up the the main theme.

Bass, synths, and guitars all get their turn in the spotlight here and really bring the original track to life.

I think I've been preparing myself for a soundtrack like Cosmic Star Heroine for a long time, building up a collection of hardware synths (Roland D550, Roland JV2080, KORG Triton, KORG M3M and a few others), so it feels great to finally scratch that itch so to speak, in regards to getting to write a soundtrack with all these influences — and in this fantastic future - world Robert and Bill are building.

What I got was a pretty decent synth - heavy collection of tunes instead.

Music had potential, I love electronic stuff and there were a few highlight moments like crossing the pyramid with deep vibrating synth lines ala Blade Runner in the background, but in most worlds the music got very repetitive and annoying quickly, disturbing your thinking tranquility when you're deep in the puzzle solving process, so I found it's better to just mute it all and listen to your own ambient stuff.

This week, we've got a Women's Synth Workshop at the Kitchen, a Ragnar Kjartansson show at the New Museum, a new exhibition of abstract art by Jayson Musson, and more.

Opening day will also get down with a special D.J. set from Bubbles («New York's feel - good synth - pop band!»).

I've recently gotten into modular synths, and that's neat becasue there are plenty of kits to build wihtout having to know a lot about hot the stuff works.

Cymbals and high synth elements tend to get a little painful when the volume is maxed out, but on the bright side they keep a good amount of detail.

A few high - mids like some of the synth claps in Lincoln Jesser's Wicked Son get emphasized a little too much, which can be a little annoying, but you have to hunt doggedly to find any emphasis errors.

The sub-bass synth hits and sustain of the drum loop still get plenty of low - end boosting and presence, however.

The kick drum loop's attack gets the treble edge that Bill Callahan's voice doesn't, and the sub-bass synth hits that punctuate the beat are delivered with a decent amount of gusto.

The attack on the kick drum loop here gets a bunch of added high - mid edge, and it cuts through the mix with intensity, while the sub-bass synth hits that punctuate the beat are delivered with booming low - end.

The kick drum hits and deep bass synth notes get plenty of head - rattling force at maximum (and unsafe) volumes without a hint of distortion.

With our bass test track, The Knife's «Silent Shout,» the low synth notes got very loud without distorting, to the point that my ears began to vibrate uncomfortably at maximum volume without any noticeable crackle.

The loop also gets some added thump in the lows and low - mids, while the sub-bass synth hits that punctuate the beat are delivered with serious power — it amost sounds like there's a subwoofer in there.

The sub-bass synth hits that punctuate the beat are more implied than delivered — we get their raspy top notes and a little of their bass depth, but almost none of their sub-bass.