[Album Review] WINNER - ' S/S' | allkpop
Bruckner's themes flirt with the idea of C Minor – but relish playing hard to get. But the genius of Bruckner's symphony lies not only in its composer's capacity to . “With the Eighth,” Rattle tells me, “I don't think choosing which . Discover the winners in Limelight's bumper January/February edition. Click through the gallery to see some of the top Grammys winners and nominees . WINNER: "Don't Wanna Fight," Alabama Shakes | Live Video . " Flirting With Disaster," Lorraine Feather .. "Bruckner: Symphony No. . "Barry: The Importance of Being Earnest," Gerald Barry, composer (Thomas Adès, Barbara. "Don't Wanna Fight," Alabama Shakes (WINNER) "What Kind Of Man," . The Theory Of Everything, Johann Johannsson, composer. Whiplash . Flirting With Disaster, Lorraine Feather Jamison . Bruckner: Symphony No. 4.
Simon Rattle on Mastering Bruckner - Limelight
But now everything had come right — and Bruckner knew it. Disparate themes, gesturally and harmonically, turned the heel, knitting seamlessly together as the symphony found its way home.
Eighty minutes earlier, Bruckner throws us ear-first into an angsty harmonic wilderness. The first movement Allegro moderato begins with that archetypal Bruckner scene-setting gesture: And this line asks big questions, more than enough to sustain the next 80 minutes.
Simon Rattle on Mastering Bruckner
Harmonic sleights-of-hand create the illusion that ultimate resolution is improbable. High-wire chromaticism propels the line forward and upwards… until a dramatic descent, which Bruckner, no coincidence, anchors around that other melodic interval guaranteed to undermine tonal certainty: The lettering on the front of the score is clear-cut, blaring out tonal allegiance like a neon light: And yet during this opening section, C Minor feels more like an aspiration than anything harmonically concrete.WINNER - '끼부리지마(Don't Flirt)' 1009 M COUNTDOWN
The structural epicentre of the first movement, where usually you would expect to hear an orchestral argument raging, fragments instead into one of the oddest orchestral textures Bruckner would ever concoct. A solo flute, circling high in the orchestral register, is left to prop up the symphonic argument as underneath — a whole five octaves underneath in fact — the double basses prowl those chromatic semi-tones of the opening, not so much accompanying as interrupting the flute.
The music continues to resonate long after the final notes decay. In the Finale, Bruckner pushes open the harmonic aperture: And Bruckner makes a key strategic decision following the conceptual monkey-puzzle of his first movement. To re-root the symphony back in songs of the earth, he places his rootsy Scherzo before the slow movement for the first time in his sequence of symphonies, allowing his wondrous Adagio to act as a bridge towards the Finale.
The last time I spoke to Simon Rattle about Bruckner — in when his recording of the Ninth Symphony with a reconstructed fourth movement Finale was about to released on EMI — we eyeballed each other over tea in his Vienna hotel room.
He talks about the death clock at the end of the movement ticking away in the violas, which is one of very few pictures he ever gave us about his symphonies. But what is astonishing is how the symphony resolves into an enormous calm.
S/S - Wikipedia
Nam Tae Hyun also composed and penned the lyrics for this track, so naturally his soft voice fits perfectly and he is able to showcase his vocal talent. With the acoustic guitar backtrack mixed with the vocals and rapping Even though the boys are "different than the good guys" and it would be nice if they were the good guys, we'll take them as they are, too. The next track, "Tonight," has a slow jam beat. This song about lonely nights and missing a girl also does not disappoint.
The falsettos in this track are on point. Now, the last track is nothing new. This song was praised by the entire YG family, and I'm not going to object to their opinion--it's a great song.
In addition, they sped up the song a little with a dance beat and bits of dubstep. I'm really happy this song made it onto their debut album. Overall, I am so, so impressed with this album--it's hard to believe this is a rookie group and a debut album at that. It's scary to think that this is just the start, but I am looking forward to following this group and seeing them continue to experiment with sounds and grow as artists!
What did you think of the album?