#obsolute

[anlaminedemektir]

obsolute Türkçesi nedir? obsolute ne demek?

obsolute Türkçesi nedir? obsolute ne demek? obsolute Türkçesi nedir? obsolute ne demek?

[gexydaf]

The Puyallup River Bridge isn’t over the Puyallup River. No that would be too easy. The steel tress bridge was built in 1925 and replaced in 2015 (90 years later). Now that the bridge has been relocated to an empty lot on the north side of Levee Road and the west side of Meridian (161) , the WSDOT is looking for to provide the bridge to another jurisdiction for different purpose such as a pedestrian or bicycle facility. If unsuccessful, WSDOT will recycle the steel. There is a marvelous time lapse video of the bridge being moved here.

My husband noticed the surplus bridge yesterday and just knew I’d like to see it. We parked right on the site and I walked along the side and for a short time underneath the structure.

Puyallup River Bridge

The Puyallup River Bridge needs a home The Puyallup River Bridge isn't over the Puyallup River. No that would be too easy. The steel tress bridge was built in 1925 and replaced in 2015 (90 years later).

[spiritofprophecy]

Jesus Christ Is All In All

[obsolute]

An Artistic Footprint - Review of Tiago A. Marques

Tiago A. Marques's expressive folk is truly unique latin music, but would be better off with a more organic approach. When listening to Tiago's "Demo", it is clear that he is dedicated to folk music, present and past. He is a virtuoso accordionist and changes his style from latin folk to metal to pop music in a heartbeat. At times, this demo beautifully blends the sounds of acoustic guitar, mandolin and accordion, but other moments reveal an unbalance of electric guitar and synth, which throws me off guard. The "Demo" at large is a clear demonstration of musicianship and a closeness to antiquated folk music, which resembles Rodrigo y Gabriella and definitely has a great appeal. 

"Demo" begins with "Frio e Amargura", which is a nice start-off point for the EP. The likeness to baroque music is what makes this song magnetic. In the beginning, the back and forth between guitar and synth creates a unique texture, but as soon as the song hits, the sound is somewhat synthetic. It might be the way the drums were recorded or the blend of synth, but I just would have appreciated a more simplified version of this song. The guitar and accordion have such chemistry here that a basic arrangement would have made this song very powerful. Regardless, this first song definitely captures my attention and I am eager to hear what more Marques has to offer. 

When "Bandolim Assassino" chimes in, his style has formed into pop infused folk music with a dazzling mandolin riff over top drum beats and synth. However, the metamorphosis doesn't stop here, he then opens the stage to a heavy metal guitar, which is unexpected. The electric guitar slightly overcrowds the rest of the music, but I can admire how the clashing of genres really works. 

"Valkyria" sounds like something I've heard street performers play before, which isn't a bad thing. The syncopation is great but the synthetic sounds make this song less appealing for me. The electric guitar isn't done yet and shreds towards the end of the first part of this song. However, the guitar is unbalanced and hard to enjoy. With all of this said, "Valkyria" is an incredible composition and is one of my favorites on this EP. Moreover, this song has such a delicate outro and leaves me with a smile on my face; I wish this outro was its own song.

One of the last songs on "Demo" is a cover of Bach's "Badinerie" and is a fun, upbeat finale, which features just the accordion, the organic sound I was looking for. However, the album isn't over just yet, the hidden track, "Mar de Gelo" leaves me perturbed. I really enjoyed Badinerie as a closer to the EP, but Tiago decided to throw in this track later on down the road. The mixture of classical guitar and piano is undeniably gorgeous, but the synth and the Wah of the guitar make this song muddled, leaving me with a sour taste in my mouth.

This EP is an odd combination of instruments and sounds, but has an ever present display of folk music. There are definitely times when I wish the beauty of the accordion and classical guitar would have been the extent of the songs, but Tiago is stamping his own artistic footprint. My favorite moments on this album are when the track is simplified and the essence of the accordion and guitar shine through. The tracks feel overcrowded with some of the instruments that are added and it just feels like he's pushing the limits of these songs. In all, Tiago A. Marques is a talented musician with a lot of room for growth. 6.8/10

[obsolute]

Hip-Hop's Royal Highness - KID 214 Review

The king of acronyms has released another full length album, K.I.D, but this is anything but abbreviated. With almost an hour of hip-hop, KID 214 is a serious lyricist and I'm sure he has piles upon piles of marble notebooks full of lyrics. Hailing from Dallas, Texas, this young rapper is a show-stopper, a genuine 'not give a fuck' kind of a guy and shows this spirit throughout his record. Working with over ten producers, KID 214's style is ubiquitous, no matter who is spinning. 

The record starts off with a captivating intro, which establishes his prowess on the microphone. The nature of this intro almost feels like KID 214 walked into the studio and just started spitting rhymes. Of course, the Crosby, Stills, & Nash sample by SupremeBreed gives this track a memorable impression and I take notice of this producer throughout the record. "I'm Back" is an unforgettable track, it solidifies his sound and shows his ability to write rhymes as well as superb refrains. There is definitely a familiarity to Lupe Fiasco and Too $hort in his rapping style, which shows his versatility. 

With the album cover displaying a crown, it is clear that KID 214 is proclaiming his right to the throne. This on-going theme of kingship throughout his record shows he is resolute in his ambition for greatness. This kind of confidence is harmonious with fame and success, but only if it is captured and streamlined correctly. 

"Cam Newton" has the theatrics of Immortal Technique's "Point of No Return" and is an anthem for the N. Carolina quarterback. It has these heavy beats that shake your entire body and synth notes that are nostalgic of baroque music, which is weird and wonderful at the same time. However, I begin to feel distracted during some of these songs, which is not unusual since there are over 12 songs on this record. It might also be the fact that I haven't listened to hip hop in a while, but I started to lose my zeal halfway through the album.

"Done Nothing Yet", "Pharoh Flow" and "L2LYL" have that Bay Area feel and take the record on a perfect turn. It's like People Under The Stairs stepped in and resuscitated KID 214, bringing the CD back into a unique groove. "If I Knew" is another epic production by SupremeBreed and just drives home that these two are a perfect match. SupremeBreed has a great way of incorporating oldies into his beats and it sounds really compatible with KID's rapping style. 

I only wish that the flow continued after "Empire Wayz Over Lames II" because I begin to lose interest again. It is so hard to maintain absorption with this many tracks and especially nowadays when people are releasing albums with less than 10 songs. Luckily, "Dreams Real Life" swoops in and leaves me with my jaw dropped. This closing track is definitely in line with Lupe Fiasco's "The Coolest" and is a proper ending to this enormous album. 

KID 214 is a breath of fresh air and this album took me down memory lane. His technique is aligned with the greats and is surely bound for much recognition. Even though his album is lengthy, he is definitely showing his lyrical talent. With a little bit of abridgment, this artist could put out albums that make Kid Cudi look like Moby. It would be interesting to see KID 214 working solely with one producer instead of the 11 that were on this album. With all of his efforts in this album, it definitely demonstrates his commitment to hip hop and his seriousness about the rap game. I'm excited to hear what he comes up with next. 7.4/10

[obsolute]

Changing the Shape of X-Mas - Silver & Gold Review

Front lawns are beginning to look like north pole snowglobes and Sufjan Stevens is caroling with his comrades again, what joy! Songs for Christmas was Stevens' first commemoration to Christmas with delicate versions of Christmas carols and light-hearted yuletide originals, making a definite mark on the holiday experience. With five volumes and over 30 songs, the first box set showed the world his love for the holiday and his commitment to spreading Christmas cheer. But his fondness has grown into an obsession and I think people are a little bit bewildered. The next five volumes have a variety of voices, stories, mystical creatures and musical genres to say the least. Recorded from 2006-2012, Silver & Gold shows all of the different sounds of Stevens, it is a concatenation of The Avalanche, The BQE, All Delighted People EP, and Age of Adz.

The first album, Gloria, is the closest thing to the Stevens that I know. With a comfortable 8 songs, Gloria is a very delightful start to the box set and has a nice balance between covers and originals. "Lumberjack Christmas" is an upbeat, catchy original and is very reminiscent of his writing style during The Avalanche. Just like what Stevens did in Songs for Christmas, he is taking the archaic carols from centuries past and rejuvenating them. "Coventry Carol" dates back to the 16th century and is part of a mystical play called The Pageant of the Sheamen and Tailers. Stevens and his cast bring out such a pleasant air in this cover by staying true to the original; a tactic that is hard to come by in this box set. 

"Auld Lang Syne" ends Gloria on such a blissful note and is worthy of much praise. The way that Sufjan Stevens and his comrades share in the melody on some of the songs in this box set brings such warmth to the songs, which is perfect for this type of holiday setting. However, the heat evaporates when the jarring notes of "Jingle Bells" are pounded. We are headed for the weirdest part of the box set with I Am Santa's Helpers!, which was most likely recorded while he was working on The BQE. Although it is not a complete mess, there are many moments when I begin to feel disoriented and wish for the songs to end. Luckily, each track doesn't span longer than about 2-3 minutes each.

Sufjan is taking the songs we know so well like, "We Wish You A Merry Christmas" and "Jingle Bells" and forming them into a grotesque display of the holiday. He is definitely making some kind of a statement when he gives those songs an erratic edge because the rest of the songs are so beautiful and lofty. One of the best examples of the bizarreness of this album is "Ding-aling-a-ring-a-ling" where time isn't kept and the dissonance hurts my ears. Stevens knows it too when he says, "alright, let's do a real song," at the end of the track.

With so many odd tunes, it's hard to enjoy some of the ancient carols on this CD and I'm seriously ready to move on halfway through it. I actually did take a two day break from this box set to clear my head of Stevens before I could continue onto Christmas Infinity Voyage. When I came back to the box set, a gorgeous version of "Angels We Have Heard On High" welcomed me back with open arms. It was so memorable that I was even singing this song in the shower and throughout the day. But right when I think I am back with the Stevens that I remember, I am transported into the future with "Do You Hear What I Hear?" It is clear that this part of the box set was recorded during Age of Adz with vocal modulation and heavy drum beats. 

One of the most interesting songs on Christmas Infinity Voyage has to be "Joy To The World". It is a perfect combination of Age of Adz and All Delighted People EP, from its softness to its zealous drum fills. Towards the end of the track, Stevens adds one of his favorite riffs from the 25 minute song "Impossible Soul" on Age of Adz. He is busting out everything on this track and even ties in "Do You Hear What I Hear?" into the song at the very last second. 

This CD keeps my attention but doesn't necessarily flow with the rest of the box set. There are moments when I questioned if these were even Christmas songs or if he just threw them in for shits and giggles. I would have preferred to have had just one or two of these electronic songs because they are overwhelming at times. There isn't much constraint in this box set.  

The next two albums are a bit more congruent and pick up where Gloria left off. Let it Snow! has a lot of different voices that give this album a unique precedence. Additionally, it is enjoyable the way that Sufjan covers these songs. He does it with matchless technique, giving these songs new lyrics or just creating new melodies for them. "Ave Maria" has a starry, mystical air with it being sung by Cat Martino. It is one of the first times that I've wanted snow outside and a cup of nog.

"X-mas Spirit Catcher" has the perfect Sufjan Stevens appeal with fetching instrumentation and rhythm. Even though there is weird breathing at the end, it is more fitting than some of the oddities that occur in the past couple of albums. When "Let It Snow! Let it Snow! Let it Snow!" is creepily sung, my first reaction isn't disdain like it was during I am Santa's Helper! because it ties together better. I like this version because of the creativity and it gives me the feeling like it should be in the Nightmare Before Christmas or something.

The final album, Christmas Unicorn, is unorthodox and gives the box set a very prolific ending. There is a guest appearance by Vesper Stamper on "Up On The Housetop" and has a strange intrigue, drawing us in with heavy rhythm and spacey synth. The classic Christmas song, "We Need A Little Christmas" is covered with excellence; my girlfriend and I were singing with the track all over the house and dancing. This is one of the albums I would play at a Christmas party or during a cold winter night. 

The track "Justice Delivers Its Death" gives our box set its name, being a rendition of "Silver & Gold" by J. Marks. It is an incredibly dark song and makes me wonder if the theme of this album is death. Game, box set, match is all I can say when "Christmas Unicorn" is triumphantly sung at the end of this album. The words and melody give this song such a perfect balance, something that could relate to any believer of mystic. Christmas Unicorn is my new favorite holiday creature and once I finish constructing a paper mache unicorn, I'm going to dress it and display it proudly. 

With so many songs for Christmas, it is hard to believe that Stevens had a life outside of Christmas for the past 12 years. When Songs For Christmas hit the shelves, this was a remarkable accomplishment for Stevens and was his way of changing the shape of Christmas for all. With Silver & Gold, Sufjan is still altering the holiday experience and giving his fans a unique way to express their excitement for this time of year, but in a very odd way. It makes me wonder if he is ever going to stop making Christmas volumes and if they are all going to continue to reflect his studio albums. It was an unusual couple of days listening to this box set but if anything, it put me in the mood for this holiday season. My only hope is that his next five volumes aren't as asymmetrical. 7.6/10

[obsolute]

A Genuine Performance - AGF Review

Oftentimes is anything but a freakshow. This could only be said to describe the freakishly awesome combination of a harmonious string and horn section with a stunning vocalist, amidst an omnipresent drummer and poignant guitar playing. With today being the first I've heard from the group, I can equate them to bands like Copeland, Further Seems Forever, and Sleeping At Last, with an urgent sense of emotion seeping through their songs, which makes them very unexpected. 

I am captivated right from the beginning. "We Are The Undercurrents" transports me to a late spring afternoon at the beach, with the sun warming my body and my feet deep in the sand. As the song continues, I'm not sure if I am about to listen to a more emo version of Explosions in the Sky or if there is going to be a vocalist in the band. When Tim Sutcliffe starts singing, I am completely mesmerized and am enthralled for the next 30 or so minutes that I get to enjoy this album. Uniquely, the first song doesn't follow a normal arrangement  - it is abbreviated and straight to the point, which definitely grabs my attention. 

The band's post-rock ascetic continues to capture my attention as "I Can Feel His Heartbeat" strikes its key. The deliberate drumming mixed with falsetto vocals separates them from any expectation of a post-rock performance. Right when I think I have an idea of what their sound is, "Hopscotch Machine Gun Madness" breaks in and flips the switch. This is a sensational, pop-tastic piece with a female vocalist along the lines of Carly Rae Jepsen, but with an edge.  

With the decorative sound of the violin, cello and horns, A Genuine Freakshow has me wondering how many members are involved in the band.  Once I discover that this is a seven piece, I am thrilled to know that these instruments aren't going anywhere. In fact, to know that this sound can come to life on stage adds to their appeal. In addition to the resonance of their sound, the songwriting ability is uncanny and the movement of each song keeps me on the edge of my seat. 

"She's Got a Shooter (Part 1)" has a hauntingly long intro, which gives me the oceanic feeling again, only this time, I am sinking deeper and deeper into the blue abyss. The darkness doesn't settle but the feeling is more alive than dead. Sutcliffe's vocals are very reminiscent of Grayson Sanders' from the band Snowmine, which definitely shows his versatility. This ominous theme continues into "You Cut Me Out", but with more of a dynamic engagement. Time stops and the piano sings with Tim as his vocals illuminate this track. This is one of those songs that could be a set closer at a live performance, with the audience fervently displaying their lighters or cell phones. 

Although their sound is distinct and powerful throughout Oftentimes, I begin to almost feel disoriented towards the end of the album. There is so much instrumentation in "Our Bodies" that it is hard to retain the best part of the track, which is that "we won't waste our life." The next to last song, "Holding A Heart," is like a continuation of "We Are The Undercurrents", picking up right where the song left off. They describe themselves as riotous, callous, and the marching thousand, which is kind of a perpetuation of the oceanic theme from the undercurrents sweeping us out to sea. The thundering orchestra brings so much movement to the piece that it almost clouds Sutcliffe's voice, but his simple grandeur keeps the song grounded.

The last track on the album is one of my favorites. The simple, subtle guitar picking really stands out against the rest of the album. I love the melody and the fact that the song is not much more than a man and his six-string. My only wish would be to have this track in the middle of the album instead of as the last track. However, it really does leave me wanting more and I can't wait to hear another AGF performance. 

This album deserves much esteem. This is an honestly complex band and I am confident that they will continue to develop their sound. Whether or not there are intentional themes in this album, it is definitely open to many interpretations. It is even transcending other emo or post-rock albums that I've heard this year and in years previous. The cover alone is ambiguous enough to keep me guessing; to try and unravel this innovational group. I look forward to hearing more work from A Genuine Freakshow and will keep them on my radar. 8.5/10

[obsolute]

The Softer Side of Dispatch

Dispatch is back and with them is a new sound. They were sorely missed, with their reggae rockin, sing along-ing, free talkin, musical pioneering. But practically all the things that we loved about them seem to be lost with their resurrection. “Circles Around the Sun” isn’t a disappointment, but it is definitely different.

The album begins with the title track and puts the record off to a strong start. I feel like I am back in 10th grade listening to Guster’s Goldfly with that catchy guitar riff but with a unique edge to it. From there we head to completely different side of Dispatch with the folky yet overdriven “Not Messin’”. There is a strange essence of Nickleback in the beginning that gladly melts away when the vocals hit. Then it’s the Dispatch I remember with their jive talkin, tenacious attitude that I love so much. But it’s a new embodiment, it’s missing their reggae pop prowess and is more of a darker, colder Dispatch than I recall.

Fluttering banjo brings me back when “Get Ready Boy” chimes in. This simple and gentle melody drops me back in the Silent Steeples days and I’m smiling again. However, right when I feel like I know them, I’m lost in the dissonance of “The Sign of the Times”. This misplaced tune brings in forced harmonies and leaves me uninterested. I’m happy for that 3 minutes to be gone and a joyful John Mayer-esque riff to catch my tired ears. “Josephine” combines their former happy-go-lucky disposition with their ambiguous new sound. But once again, I become as sleepy as that trailing guitar riff.

To my luck an energetic mandolin wakes me up when “Flag” picks up. This has the echoey feeling that “Whirlwind” had in Bang Bang, but in a more mature setting. This definitely seems like a song Chad would sing with his side project State Radio. I want this feeling to last but to no avail. “Come to Me” is muddled and just plain forced. With “Come to Me” finished, I am left with a sour taste in my mouth. As if I’m on a roller coaster, we are climbing the track again in the upbeat, super catchy, “Now or Never”. They snapped out of their tranced monotony and cheerily chant this great song. It is incredibly powerful, especially when the chorus hits and we are reminded of their zing in Who Are We Living For?

Dispatch definitely sounds like they’re headed in a new direction with this album. There are many songs that I want to listen to again and again, but it’s missing a key part of what made Dispatch so unique – the energy. A lot of the music here is more expressive, almost a softer side of Dispatch than we’re used to. They’re missing the goofy, boisterous spirit that they had in their youth, which for obvious reasons is gone. But I can’t say I am upset or disappointed by any means; they’re back together and making music and that’s that. 6.3/10