Алкогольный абстинентный синдром (ААС) развивается через несколько часов после последнего потребления алкоголя и достигает пика через 24-48 часов. Он характеризуется разнообразными симптомами, включающими тремор, потливость, тахикардию, гипертензию, тошноту, рвоту, бессонницу и тревожность. http://vyvod-iz-zapoya-11.ru
Hi, fellow Tim; While I appreciate your insights and comments, I am writing to offer a different perspective on the second night of Khruangbin/Aftab show.
I was introduced to Khruangbin’s music some years ago, noticing them after the articles and documentary about Asian psychedelic rock were emerging, and have long had an interest in non-American rock. In fact, I had last been at the Wharf for Cambodian Rock Band, a theater production on the same subject.
However, I was there for Arooj Aftab only. True, her music shares some of the ‘dreamy/floating’ aspects of Middle Eastern and some Asian cultures also evident in the headliners, but, to me, she also brings the gravitas, art and humor Khruangbin’s textural approach only hints at.
Sadly, the Anthem is not the venue for nuanced, beautiful art music. True, the interested parts audience half-filled the floor, expectantly quiet, but the sheer size of the building and the disinterest of those still shuffling in and getting settled created an unending dull din that masked a significant portion of the sound. Equally unfortunate was the valiant attempt by the soundmen to produce something that would be related to what the band were doing as well as heard beyond that half-house. The results were abominable: a harsh loud slam-thud, relentless and over-powering, that I eventually recognized, several songs in, as the bass. I understand an acoustic bass must be terribly difficult to engineer in those circumstances, and they never overcame the issue. The drums were utterly unheard, and only the faintest clitter of the top guitar notes made it over the wall of dark thud. Of course, nothing could overwhelm Arooj’s voice, but it was a deep shame that it was only it’s stratospheric power, able to climb above, that we could really enjoy, as any and all of the less-than-soaring moments were swallowed.
I felt Khruangbin fared better, with both much improved sound (ahem) and much less to get across (don’t worry/be happy) …as well as the better acoustics of a full house.
The bad is mine for giving that much money to the Anthem when I knew better, but hoping those intrigued by the non-Americanness at the edge of Khruangbin’s sound explore those avenues.
Алкогольный абстинентный синдром (ААС) развивается через несколько часов после последнего потребления алкоголя и достигает пика через 24-48 часов. Он характеризуется разнообразными симптомами, включающими тремор, потливость, тахикардию, гипертензию, тошноту, рвоту, бессонницу и тревожность.
http://vyvod-iz-zapoya-11.ru
Hi, fellow Tim; While I appreciate your insights and comments, I am writing to offer a different perspective on the second night of Khruangbin/Aftab show.
I was introduced to Khruangbin’s music some years ago, noticing them after the articles and documentary about Asian psychedelic rock were emerging, and have long had an interest in non-American rock. In fact, I had last been at the Wharf for Cambodian Rock Band, a theater production on the same subject.
However, I was there for Arooj Aftab only. True, her music shares some of the ‘dreamy/floating’ aspects of Middle Eastern and some Asian cultures also evident in the headliners, but, to me, she also brings the gravitas, art and humor Khruangbin’s textural approach only hints at.
Sadly, the Anthem is not the venue for nuanced, beautiful art music. True, the interested parts audience half-filled the floor, expectantly quiet, but the sheer size of the building and the disinterest of those still shuffling in and getting settled created an unending dull din that masked a significant portion of the sound. Equally unfortunate was the valiant attempt by the soundmen to produce something that would be related to what the band were doing as well as heard beyond that half-house. The results were abominable: a harsh loud slam-thud, relentless and over-powering, that I eventually recognized, several songs in, as the bass. I understand an acoustic bass must be terribly difficult to engineer in those circumstances, and they never overcame the issue. The drums were utterly unheard, and only the faintest clitter of the top guitar notes made it over the wall of dark thud. Of course, nothing could overwhelm Arooj’s voice, but it was a deep shame that it was only it’s stratospheric power, able to climb above, that we could really enjoy, as any and all of the less-than-soaring moments were swallowed.
I felt Khruangbin fared better, with both much improved sound (ahem) and much less to get across (don’t worry/be happy) …as well as the better acoustics of a full house.
The bad is mine for giving that much money to the Anthem when I knew better, but hoping those intrigued by the non-Americanness at the edge of Khruangbin’s sound explore those avenues.