Explosions in the Sky
Explosions in the Sky is an American post-rock band from Texas. The quartet played under the name Breaker Morant changed to the current name in 1999; the band has garnered popularity beyond the post-rock scene for their elaborately developed guitar work, narratively styled instrumentals - what they refer to as "cathartic mini-symphonies" - and their enthusiastic and emotional live shows. They play with three electric guitars and a drum kit, although band member Michael James will at times exchange his electric guitar for a bass guitar; the band has added a fifth member to their live performances. The band's music is purely instrumental. Called Breaker Morant, Explosions in the Sky was formed in Austin, Texas in 1999. Drummer Chris Hrasky is from Rockford and the rest of the band hails from Midland, Texas; the new name of "Explosions in the Sky" came from a comment Hrasky made in reference to the noise or sight of fireworks when they left KVRX on the night they played their first set and recorded their first track, "Remember Me as a Time of Day", that would be released on a compilation.
Their 2000 debut album, How Strange, was locally distributed in the form of CD-Rs. Rehearsal footage is featured on the feature film Cicadas. Explosions in the Sky gained a reputation for themselves among other established bands such as Lift to Experience. Temporary Residence Limited signed the band on the strength of their demo after only half a listen; the band denied any connection in interviews. The album art shows an airplane with the caption "This plane will crash tomorrow." There were false reports that the last track was called "This Plane Will Crash Tomorrow" and that the album was released on September 10, 2001. Bassist Michael James was detained in an airport as a threat to security, had to explain why his guitar contained the words "this plane will crash tomorrow"; the band received a considerable amount of attention playing before large audiences as the opening act of Fugazi's spring 2002 US tour in support of The Argument. After being contacted by Brian Reitzell, Explosions in the Sky wrote the soundtrack for the 2004 film Friday Night Lights.
Despite having access to rare equipment in the studio for that project, the band kept to their songwriting style in creating original material. Their album The Rescue was written and recorded in eight days as part of the TRL Travels in Constants series; as such, the album was only available at the band's live shows. Explosions in the Sky's fifth studio album, All of a Sudden I Miss Everyone, which debuted February 20, 2007, exists as both a one-disc version and a two-disc special edition featuring remixes by multiple artists; the band began touring on February 19 in the U. S. and Canada. On April 26, 2011, the band released their sixth studio album, Take Care, Take Care, they were one of the support acts for Nine Inch Nails on their North American leg of the Twenty Thirteen Tour in late 2013, alternating dates with Godspeed You! Black Emperor. Although the band's music deviates from pop, Hrasky said that they have similar goals "like grabbing your attention and getting to your emotions." Rayani said, "We don't consider ourselves post-rock at all.
We just didn't go back to it because we were comfortable enough." Drummer Chris Hrasky added, "I think we just liked the idea of a band that there was not a leader or main songwriter, everyone sort of collaborating and has their own say. I don't think any of us want the sort of'leader role', so a leaderless band is kind of the best option for us." Most notably, Explosions in the Sky's music is featured in the Friday Night Lights movie and television show. It is a common misconception that the band recorded the television show's theme song. Instead, it is an original composition by W. G. Snuffy Walden. Music by Explosions in the Sky has been used in several television programs and commercials: "The Birth and Death of the Day" for the BBC documentary Lost Land of the Jaguar, All the Real Girls, One Tree Hill, Love the Beast and The Diving Bell and the Butterfly, as well as various songs for the PBS documentary The Street Stops Here. A number of One Tree Hill episodes are named after the band's songs.
The song "It's Natural To Be Afraid" is featured in the narrative sports documentary series 24/7, "Mayweather vs. De La Hoya", was used in the season 8 finale of CSI: Crime Scene Investigation, "For Gedda"; the song "Catastrophe and the Cure" is used during the intro to Get Collins, an Irish documentary on Michael Collins and the film Kaboom by director Gregg Araki in which the male lead is given a signed copy of All of a Sudden I Miss Everyone as a birthday gift. In 2009, the song "First Breath After Coma" is used for the introduction of feature presentations on the television network, Versus; the song is used in the trailer for the documentary Focus, directed by Steve Hwang. "First Breath After Coma", along with "Six Days at the Bottom of the Ocean", were featured in the 2010 film Kalamity. The song "The Only Mome
Prince Avalanche is a 2013 American comedy-drama film starring Paul Rudd and Emile Hirsch. It was directed by David Gordon Green, who wrote the screenplay based on the 2011 Icelandic film Either Way; the film was shot in Bastrop, after the Bastrop County Complex Fire. In 1988, an odd pair of sorts and stern Alvin and his girlfriend's brother, Lance and insecure, leave the city behind to spend the summer in solitude repainting traffic lines down the center of a country highway ravaged by wildfire; as they sink into their job in the remarkable landscape, they learn more than they want to about each other and their own limitations. An unlikely friendship develops through humor and nasty exchanges. During their adventure, they meet a drunk truck driver who seems to be unknowing about a woman that enters his truck, but it comes as a metaphor for the pair's own problems with the women in their life. Paul Rudd as Alvin Emile Hirsch as Lance Lance LeGault as Truck Driver Joyce Payne as Lady The idea of making Prince Avalanche came when the band Explosions in the Sky proposed the idea of making a movie with director David Gordon Green at Bastrop State Park, being restored following the 2011 Bastrop County Complex fire.
Adapted from Hafsteinn Gunnar Sigurðsson's 2011 film Either Way, the script for Prince Avalanche consisted of 65 pages – about 30 pages short of an average feature-length screenplay. From development onward, the film was fast tracked to completion. "We didn’t have time for proper or traditional development," said Gordon Green. "We had the idea in February of 2012, we were filming in May, sound mixing in July. It was an unusually tight production schedule." Paul Rudd joked to an Entertainment Weekly interviewer, "I found the biggest challenge of working on this was trying to stifle my alpha-male."The film's entire production was done in secret. This was at the request of the director, David Gordon Green, who wanted to get back to his independent roots after his last three films were completed by a major film studio. Principal photography for Prince Avalanche began in May 2012 and lasted for 16 days in Bastrop State Park; because of its scale, the film was shot with a small 15-person film crew. While mid-shoot, the film crew came across Joyce Payne, a resident of the area whose home was destroyed in the fire.
Fascinated by her story, Gordon Green included her in the film. "It wasn’t scripted at all. "It ended up being pivotal. I couldn’t imagine the movie without it now." Prince Avalanche premiered at the 2013 Sundance Film Festival on 20 January. It had its international premiere in competition at the 63rd Berlin International Film Festival on 13 February 2013 where David Gordon Green won the Silver Bear for Best Director, it subsequently screened within such U. S. festivals as South by Maryland Film Festival. Prince Avalanche received positive reviews and has an approval rating of 83% on Rotten Tomatoes based on 109 reviews with an average score of 7 out of 10; the consensus states: "A step back in the right direction for director David Gordon Green, Prince Avalanche shambles amiably along with a pair of artfully low-key performances from Paul Rudd and Emile Hirsch." Metacritic gives the film a score of 73 out of 100, based on 29 critics, indicating "generally favorable reviews". The soundtrack was scored by Explosions in the David Wingo.
Official website Prince Avalanche on IMDb Prince Avalanche at Rotten Tomatoes
The Earth Is Not a Cold Dead Place
The Earth Is Not a Cold Dead Place is the third album by American post-rock band Explosions in the Sky, released on November 4, 2003 on the Temporary Residence label in the USA and on the Bella Union label. It is considered to be a concept album; the Earth Is Not a Cold Dead Place continues the patterns of the previous albums, with brooding, ominous melodies building into crashing climaxes. The album was recorded by John Congleton. In an interview on "Slice of the Shiny", band member Munaf Rayani said The Earth Is Not a Cold Dead Place was the band's "attempt at love songs"; the vinyl version of the album features etchings of birds on side D accompanied by the phrase "The Earth is not a cold dead place because you are breathing, because you are listening." The Earth Is Not a Cold Dead Place received positive reviews from critics, with a rating of 86 out of 100 on Metacritic, based on reviews from 17 critics, indicating "universal acclaim". "Your Hand in Mine" was adapted for inclusion in the Friday Night Lights soundtrack, along with other original material written for the movie.
The song was shortened from its album length of over eight minutes to just over four, was embellished with string accompaniment. Parts of the song the dramatic crescendo at 6:18, are used in Reliant Energy's series of radio and television advertisements extolling "The Promise of Power"; the song was used on The Weather Channel's Local on the 8s for July and August 2011. "The Only Moment We Were Alone" was featured in the trailer for the 2008 film Australia. The song was featured in the 2009 documentary film Love the Beast, it is featured in Michael Moore's film, Capitalism: A Love Story. "First Breath After Coma" was used in a 2009 promo for sports television channels Versus, the Big Ten Network, an Under Armour commercial, commercials for Bing, in the outro of Toy Machine's "Good and Evil" skateboard video. It was used by director Shawn Levy, in the movie Real Steel to make Dakota Goyo cry. Explosions in the Sky albums The Earth Is Not a Cold Dead Place at Temporary Residence Amazon reviews Metacritic reviews
Early Man (film)
Early Man is a 2018 British stop-motion animated comedy film directed by Nick Park, the creator of Wallace and Gromit, written by Mark Burton and James Higginson, starring the voices of Eddie Redmayne, Tom Hiddleston, Maisie Williams, Timothy Spall. The film follows a tribe of primitive Stone Age valley dwellers, who have to defend their land from bronze using invaders in a soccer match; the film was produced by Aardman Animations and UK Film Council, was released on 26 January 2018 in the United Kingdom, in the United States on 16 February 2018. The film received positive reviews from critics, but was a box office disappointment, grossing just $54 million against its $50 million budget. An asteroid collides with the prehistoric Earth, causing the extinction of planet's dinosaurs, but sparing a tribe of cavemen living near the impact site. Finding a spherical chunk of the asteroid, too hot to touch, the cavemen begin to kick it around and invent the game of football. Centuries during the Stone Age, the impact site has become a valley.
Living in the valley is a young caveman named Dug along with the chief Bobnar, many other cavemen such as Asbo, Treebor, Barry, Grubup and Eemak, his pet boar Hognob. One day, Dug suggests to Bobnar that they should try hunting woolly mammoths instead of rabbits as they always do, but Bobnar brushes him off, believing the tribe could not catch mammoths. A Bronze Age army of War Mammoths led by Lord Nooth drives the tribe out of the valley and into the surrounding volcanic badlands, proclaiming that the Stone Age has ended and the Bronze Age has begun. Dug tries to attack the army, but is unknowingly taken to Nooth's city. While trying to evade the guards and escape, he ends up mistaken for a football player and led onto the pitch before a full stadium crowd, he challenges Nooth's elite local team to a match with the valley at stake and promises that the tribe will work in Nooth's mines forever if they lose. Nooth dismisses the proposal at first, but changes his mind once he realizes that he can profit from the match.
Nooth receives a Message Bird from Queen Oofeefa, having got word that Nooth's football team will challenge the cavemen. Nooth believes his team will win but Oofeefa warns him to not underestimate Dug's team and if they win, Nooth will work in the mines. Dug discovers that although his ancestors played football, the other members of his tribe are too dim to understand it, they get. That night and Hognob sneak into the city to steal more balls but are found by a resident named Goona. Resentful over the team's exclusion of women, she helps them steal some balls and agrees to coach the cavemen. Goona points out that the players on Nooth's team are talented but too egotistical to work together effectively; the cavemen improve in teamwork under her coaching. Nooth learns from his men working in the mines that the cavemen's ancestors invented football from cave paintings, he receives the Message Bird from Oofeefa again and she has learned the cavemen's ancestors invented football as well as the fact that they have been training every day and improving.
Two of his men working in the mine come with copies of more cave paintings. To demoralise Dug, Nooth has him brought to the mines and shows him cave paintings made by his tribe's ancestors who, although they had invented the game and taught other tribes to play it, proved so inept at football than other tribes that they never won a single match and gave up the sport. Nooth offers Dug a deal which he agrees to. On the day of the match, with Oofeefa in attendance, Dug announces his forfeiture as part of the deal which spares the rest of the tribe and agrees to take their place in the mines alone. However, his reinvigorated teammates arrive on the now tamed giant duck and persuade him to break the deal and play the match, they are down 3 -- 1 at half-time. Nooth incapacitates the referee and takes his place, making biased calls in favor of the local team that leads to Bobnar, the cavemen's goalkeeper, being knocked out. Hognob takes his place and blocks a penalty kick, Dug scores using a bicycle kick to win the match for the cavemen, 4–3.
The cavemen win their valley back with the respect of Oofeefa, the local team, the crowd. Nooth tries to escape and steal the crowd's admission money, but Dug and Goona stops him with help from the giant duck. Nooth is arrested for his crimes and everyone gets their money back. Goona and Nooth's elite local team join Dug's tribe for a hunt, but they are frightened off by a rabbit pretending to be a woolly mammoth. Eddie Redmayne as Dug, a young Stone Age caveman. Tom Hiddleston as Lord Nooth, an evil governor of the Bronze Age City. Maisie Williams as Goona, a tomboyish vendor and football enthusiast in the Bronze City whom Dug befriends. Timothy Spall as Chief Bobnar, the chieftain of Dug's tribe. Miriam Margolyes as the Queen Oofeefa, the queen of the Bronze Age City. Kayvan Novak as Dino, Lord Nooth's second in referee. Novak voices Jurgend, the team captain of the Bronze City's football team. Rob Brydon as Brian and Bryan, football commentators in the Bronze Age City that work for Queen Oofeefa.
Brydon voices Message Bird, a pigeon who carries messages. Richard Ayoade as Treebor, a large and cowardly member of Dug's tribe, embarrassed by his mother. Selina Griffiths as Magma, a member of Dug's tribe, the
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Post-rock is a form of experimental rock characterized by a focus on exploring textures and timbre over traditional rock song structures, chords or riffs. Post-rock artists are instrumental combining rock guitars and drums with electronic instruments; the genre emerged within the indie and underground music scene of early 1990s. However, due to its abandonment of rock conventions, it bears little resemblance musically to contemporary indie rock, borrowing instead from diverse sources including ambient music and minimalist classical; the individual styles of bands that have been described as post-rock differ making the term controversial among listeners and artists alike. The concept of "post-rock" was coined by critic Simon Reynolds in his review of Bark Psychosis' album Hex, published in the March 1994 issue of Mojo magazine. Reynolds expanded upon the idea in the May 1994 issue of The Wire. Writing about artists like Seefeel, Disco Inferno, Techno Animal, Robert Hampson, Insides, Reynolds used the term to describe music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords".
He further expounded on the term, Perhaps the provocative area for future development lies... in cyborg rock. Reynolds, in a July 2005 entry in his blog, claimed he had used the concept of "post-rock" before using it in Mojo referencing it in a feature on Insides for music newspaper Melody Maker, he said he found the term itself not to be of his own coinage, saying in his blog, "I discovered many years it had been floating around for over a decade." The term was used by American journalist James Wolcott in a 1975 article about musician Todd Rundgren, although with a different meaning. It was used in the Rolling Stone Album Guide to name a style corresponding to "avant-rock" or "out-rock"; the earliest use of the term dates back as far as September 1967. In a Time cover story feature on the Beatles, writer Christopher Porterfield hails the band and producer George Martin's creative use of the recording studio, declaring that this is "leading an evolution in which the best of current post-rock sounds are becoming something that pop music has never been before: an art form."
Another pre-1994 example of the term in use can be found in an April 1992 review of 1990s noise-pop band The Earthmen by Steven Walker in Melbourne music publication Juke, where he describes a "post-rock noisefest". The post-rock sound incorporates characteristics from a variety of musical genres, including krautrock, psychedelia, prog rock, space rock, math rock, tape music, minimalist classical, British IDM, dub reggae, as well as post-punk, free jazz, contemporary classical, avant-garde electronica, it bears similarities to drone music. Early post-rock groups often exhibited strong influence from the krautrock of the 1970s borrowing elements of "motorik", the characteristic krautrock rhythm. Post-rock compositions make use of repetition of musical motifs and subtle changes with an wide range of dynamics. In some respects, this is similar to the music of Steve Reich, Philip Glass and Brian Eno, pioneers of minimalism. Post-rock pieces are lengthy and instrumental, containing repetitive build-ups of timbre and texture.
Vocals are omitted from post-rock. When vocals are included, the use is non-traditional: some post-rock bands employ vocals as purely instrumental efforts and incidental to the sound, rather than a more traditional use where "clean" interpretable vocals are important for poetic and lyrical meaning; when present, post-rock vocals are soft or droning and are infrequent or present in irregular intervals. Sigur Rós, a band known for their distinctive vocals, fabricated a language they called "Hopelandic", which they described as "a form of gibberish vocals that fits to the music and acts as another instrument."In lieu of typical rock structures like the verse-chorus form, post-rock groups make greater use of soundscapes. Simon Reynolds states in his "Post-Rock" from Audio Culture that "A band's journey through rock to post-rock involves a trajectory from narrative lyrics to stream-of-consciousness to voice-as-texture to purely instrumental music". Reynolds' conclusion defines the sporadic progression from rock, with its field of sound and lyrics to post-rock, where samples are stretched and looped.
Wider experimentation and blending of other genres have taken hold in the post-rock scene. Cult of Luna, Russian Circles, Palms and Pelican have fused metal with post-rock styles; the resulting sound has been termed post-metal. More sludge metal has grown and evolved to include some elements of post-rock; this second wave of sludge metal has been pioneered by bands such as Giant Battle of Mice. This new sound is seen on the label of Neurot Recordings. Bands such as Altar of Plagues, Lantlôs and Agalloch blend between post-rock and black metal, incorporating elements of the former while using the latter. In some cases, this sort of experimentation and blending has gone beyond the fusion of post-rock with a single genre, as in the case of post-metal, in favor of an wider embrace of disparate musical influences as it can be heard in bands like Deafheaven. Post-rock appears to take a heavy influence from late 1960s
Take Care, Take Care, Take Care
Take Care, Take Care, Take Care is the sixth studio album by American post-rock band Explosions in the Sky, released on April 18, 2011 in the UK, April 25, 2011 in Europe, April 26, 2011 in the US. Both the digipack and vinyl editions of the album case can be unfolded to form a model of a house. If viewed from the inside, the view from the door of the house is overlooking a tornado across a plain. A poster of an un-kept lawn to place the house on and a "postcard from 1952" with the track listing was included also. Early printings of the vinyl had colored vinyl and etchings of floorboards on one side; the album received positive reviews from critics, peaking at #81 on the iTunes Store. Metacritic assigned it an average score of 77 out of 100, based on 31 reviews. Gregory Heaney of Allmusic compliments the album, saying "it feels as though Explosions in the Sky have developed an greater sense of patience, allowing songs to build up more intricately without rushing their way into a huge moment of distortion-filled catharsis."
Kevin Liedel of Slant Magazine gave it a 3 out of 5, saying "In the end, the Texas band can't help but indulge their desire to produce epic, guitar-driven film-score material, after some initial feints into other territory, Take Care is business as usual."