Kuricorder Quartet - Ukulele Kuricorder (Original Soundtrack) - dayline.info Music
Search results for 'double lead through by kuricorder quartet' karma of the street, you try to meet the karma While the karma sleep, yo it's deep, but the karma. 4) Museum Concert “The KURICORDER QUARTET” in TAD .. The books of Miyake's works include “East Meets West” (publisher: Heibonsha. Kuricorder Quartet is well known as a recorder ensembles group. They play various recorders, and other music instruments, such as Melodica.
In the deep south of Japan they have the blues. And with good reason.
Amami is particularly vulnerable to typhoons that wreak havoc every year, while poisonous snakes keep islanders on their toes during lulls in the weather. Once a part of the Ryukyu Kingdom of Okinawa, the people were systematically oppressed from the 17th century, its strategic location acting as a convenient launching site for Japanese incursions into Okinawa. Amami shima uta probably derived in basic form from Okinawa and are sung in the same 30 syllable structure.
The distinctive falsetto singing style of Amami shima uta is just about unique, there being little similar in either Japan or Okinawa. As a song moves in pitch from a low to a higher register, the singer switches to a falsetto range, adding an additional expressive dimension to the song. As on Okinawa, the main instrument is the three stringed snake skinned banjo, the sanshin. The Amami version has thinner strings and the snake skin thinner.
Mama Meets Kuricorder Quartet: dayline.info: Music
It is tuned to a higher pitch than in Okinawa, and has a sharper tone, and is a played with a bamboo pick, as opposed to the Okinawan horn, which adds to the trebly quality and clarity of the tone.
The main difference though between Amami and Okinawa shima uta, is in the scales.
Okinawan music is based on a pentatonic major scale, whereas Amami employs a minor scale, the same as throughout mainland Japan. Think this band is fierce on record? It was raw and powerful and violent and absolutely breathtaking.
Each and every song was given the same careful attention to destruction, the band seemingly overtaken with a maniacal force driving them every onwards in their demolition. Every stake was raised, and they all delivered time and time again.
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Singer and guitarist and Virginia boy Oliver Ackermann was particularly possessed, at times prone to a slightly deranged glint in his eyes just before he launched into a thrashing near-ruination of his guitar. Jerking around the stage almost as if in fits, he and his compatriots blew me away minute after minute. To quote a friend of mine, it was as if they had bellies full of hell. The guitar was searing, the vocals sneered menacingly, the bass inspired with its brutality, and the drums pounded without mercy.
This was a band on the edge, and it was magnificent. It all ended with a nearly incomprehensible wall of noise, as the boys turned things up to 11 and made with the never-ending waves of distortion that barraged the crowd for quite a while.