 Artist: Pitch Shifter: mp3 download Genre(s): Industrial Other Pitch Shifter's discography:  Infotainment? Year: 1996 Tracks: 12  The Remix War Year: 1994 Tracks: 7  Desensitized Year: 1993 Tracks: 12  Submit Year: 1992 Tracks: 6  Industrial Year: 1991 Tracks: 8 Drum'n'bass consisting of J.S. Clayden (vocals, computer scheduling), J.A. Carter (guitar, scheduling), M.D. Clayden (bass), and D. (alive drums), British dance banding Pitchshifter started out in the early-'90s industrial resistance as belligerent societal confronters hearkening back to the early age of British toughie and American hardcore (Ã la the Minutemen and Dead Kennedys). The dance band signed to Earache in 1992, and their low gear base duo releases -- the mini-album Submit (1992) and the uncut Psensitised (1993) -- steadfastly entrenched the stripe in the industrial resistance and brought their music to the tending of American listeners. Pitchshifter's shows used hot scheduling and slides, and further spread their music in the States, though their confrontational attitude closely ensured a lack of commercial airplay. 1996's Infotainment power saw Pitchshifter starting to outgrow their industrial roots and research reckoner technology in an drive to fetch their mark of aggressive social and political cognizance to a more mainstream audience. The album is filled with exciting aggressiveness and high-velocity techno breaks that were unusual in commercial-grade medicament. In accession, Pitchshifter included free samples at the end of the CD, and bucked up listeners to "slip" them for their have use. The dance lot toured unrelentingly and successfully for the next twosome days, playing with the likes of Korn, Tool, Ministry, and even Girls Against Boys, delivery them to the attention of American major label DGC, which signed them in 1997. During this period the ring too took a musical saltation as evidenced by their 1998 freeing world Wide Web.pitchshifter.com, their number one on DGC Records. Filled with an edifying combination of hard, no-see-um breakbeats swerve toward a singular sort of sweaty drum'n'bass, the album is reinforced both on samples and live acting, thanks in function to the sum of guitar player Jim Davies. Deviate followed in mid-2000. |
Mariah Carey, Britney Spears, Nicole Kidman Named Worst Hotel Guests
Virtually all reviewers compare The Chronicles Of Narnia: Prince Caspian with the earlier Narnia movie. The Lion, the Witch and the Wardrobe. A.O. Scott in the New York Times calls the newer film "more satisfying" than the first. He warns parents: "Its violent (though gore-free) combat scenes and high body count may rattle very young viewers, but older children are likely to be drawn into the thick political intrigue." Claudia Puig in USA Today remarks, "Fans of the first Narnia surely will enjoy this sequel, which is better made and more of an epic." Comments Elizabeth Weitzman in the New York Daily News: "Sure, it's a big-budget spectacle. But it's also the kind of grandly old-fashioned entertainment we don't get enough of anymore." Bob Strauss in the Los Angeles Daily News comments unenthusiastically, "Little of it may be exceptional, but much of it goes beyond the usual PG standard in thoughtfulness and craftsmanship as well as carnage." Michael Phillips of the Chicago Tribune insists that the new film "is roughly the same as the first in terms of quality and style. It delivers without much visual dynamism, and with a determined emphasis on combat." Kyle Smith writes in the New York Post that Prince Caspian: "doesn't quite equal the first film, but some may find this one a less-insistent piece of pure entertainment because it isn't so overtly Christian." Other reviewers are not so generous. Rick Groen of the Toronto Globe and Mail, who regarded the first Narnia as a "near perfect adaptation" of the C.S. Lewis novel, wails his disappointment over the sequel. "Why, oh why, are these sequels always bigger and louder and longer and bad?" he asks. And Mick LaSalle in the San Francisco Chronicle minces no words, concluding tersely that the film is "one of this year's biggest disappointments."
