I thought I had outgrown such things (not that I ever really was that much into it), I must say there’s something about Nightwish’s ye olde end of the world ballad. At least in combination with that quaility video. It could have been cheezy, but it does some steampunk/fantasy/post-apocalypse thing in a sort of pretty way.
Blue For Two – Eye of a Storm. A mood appropriate for when night is turning into morning.*
(A wonderful track from the long running co-operation of prominent swedish vocalist Freddie Wadling (probably most known for his work with Fläskkvartetten/The Flesh Quartet) and musician Henryk Lipp.)
(*I thought I had set up the software to show local time for posts… have to fix that)
I really needed that one. (Nothing seriously wrong – just sitting here with the clock going towards 2am, with a bit of the weird kind of backlash blues you sometimes get hit by as you realize that things aren’t too bad)
(Link via Boing Boing, via other places)
I have to say it at once: Portishead fulfill and surpass all expectations, and I can’t describe Third as anything but another masterpiece. But it is different. Definitely Portishead, but at the same time fundamentally different, and something entirely new.
The opening track, “Silence”, has a sound like you’d expect Portishead to sound like after maturing for a decade – maybe a bit more lo-fi, but with the familiar structure of lazy drum patterns along with familiar sounds. But then it is abruptly cut off, as if to make statement that the past ends there.
Going back, I’d say that Dummy was comfortably melancholic, while the self titled follow-up turned a few shades darker with its outcry of frustration. So, how would I define the sound of Third in emotion? Nagging anxiety, unnerving tension, restlessness and that feeling of wanting to crawl out of your own skin. The album never lets really lets you relax – if it isn’t stressing, monotonous beats or discordant semi-industrial sounds it’s sudden changes and interruptions.
“Hunter”, the second track, just lets you get into a comforting mood before an electronic arpeggio abruptly wakes you like a doorbell in the night. “Plastic” stops, starts and twists this way and that. “We Carry On” has a beat like that of some tribal ritual, and along with something like electronic imitations of primitive instruments the beat goes on and on and keeps you waiting for a break that never really comes. The whispering “Small” is broken off by determined, dissonant chords. And then we have the single track “Machine Gun”, like a martial theme out suitable for some dystopian sci-fi, a minimalistic construction of industrial beats carrying Beth’s light voice and, somewhere far in the background, a mellow flute struggling to be heard.
Minimalism is, by the way, a good description of the whole album. There is a lot going on, but the soundscape is open, even vast. It goes with the anxiety-feeling I described, and there’s something quite cold and raw about it. And along all this there is, of course, Beth’s wonderful voice – this time free from the vocal effects so common in the past.
Third is a work of musical art, far from light entertainment. It demands attention, left in the background it will turn into an distraction and lure you in – or force you to turn it off. It is Portishead, and it is something you have never heard before. And it is absolutely brilliant.
Official portishead site | Wikipedia entry
Portishead – Third at amazon.com: Download | CD | Vinyl
Portishead – Third at amazon.co.uk: CD | Vinyl
Thanks to William Gibson I saw this video of Annie Clark performing St. Vincent’s “Paris is Burning”. Beautiful.
I just had to… procure… the promo for Marry Me. More beautifulness.
Update Found out that those videos are bloggable, so here’s an update.
Occasionally, there’s a commercial spot so good that you don’t mind having your show interrupted even if you don’t need to go to the bathroom or refill your coffee. I think Saab’s latest is one of those. Great “spot the Scandinavian design icons” concept, and wonderful music in the form of Nina Kinert’s “Through Your Eyes”.
Though I have to say the Swedish captions were a bit better, along the lines of “Form is nothing without function” (a bit simpler than the international version)Â and “Introducing a new design movement”.
Bingo – A Circus Where People Die, from upcoming 12″ Mer grind än din morsa* (available from Wasted Sounds whenever it’s ready).
*Free translation in post title
Thought I’d make a short post about the SanDisk Sansa c240 mp3-player I got a while ago (I ordered it with the Cresyn phones I mentioned in an earlier post, but due to some supplier hiccup they couldn’t deliver it until a couple of weeks later).
The selection process was pretty straightforward – my old player suffered from a loose headphone jack and I was tired of getting batteries for it all the time, so I went to an online store that had sent me a campaign code and selected the cheapest 1GB player with rechargeable battery available at that store.
I must say it turned out quite well, as the Sansa c240 scores quite well in the value-for-money category (the 2GB c250 is even better, but I was short on cash and wanted a pair of good phones as well). Besides my main requirements of storage and rechargeability, I also got nice color display and an SD Micro slot for expanding storage. Considering the price it feels pretty well built with a releatively solid, un-flimsy feel to it even though it’s all plastic, and it doesn’t look too bad (though it has to be said that you have to be a pretty bad designer to fail with basics like black, shiny trim and blue light).
Besides the drawback of being very hard to read without the back-light the display was the greatest surprise on a device in this price range. It is large enough to display four lines of text (about 15 characters wide) plus a header while browsing, and in playback mode it shows artist, track and album while displaying play mode, track number, and battery status at the top and playback status, progress bar and track timer and the bottom. Overall, the interface works quite well, with tracks sorted by artist, album, song and genre. As I said, the display hard to read unless the backlight is on, but I think the size still makes it better than the single line monochrome LCDs found on many similarly priced players.
When it comes to the sound, I have to say it’s what I expected – nothing to complain about, but not remarkable in any way. Good enough, in short. There’s also the standard five EQ presets plus a five band custom setting. I did, at first, think that the player felt a bit weak volume wise – it was just a bit over my comfort range when I cranked it to the max with the fairly sensitive Cresyn phones. I later found out that there’s an option to set the volume control to “loud”, which can be useful for those who want to use more power-hungry phones, while the “normal” setting is useful for getting the volume right with earphones.
So, I mentioned earphones, and I guess that makes it a good time to mention those included. They don’t sound particularly bad with any kind of music I tried, but the overall impression is dull. While they are far from the worst standard phones I’ve gotten with a portable music device, they are not among the very few exceptions to the rule that a small investment of 15-25 dollars or euros will make your new device sound much better.
So, what’s left to mention? According to specifications battery life is 16 hours, and that’s enough for my use which mainly is to entertain me during the half hour it takes to get from my door to my job. I haven’t tried the voice recorder, so I can’t say anything about that. Same goes for the photo display feature (it requires the images to be converted, and I haven’t found any reason to install the software). It has two transfer modes, MTP that allows transfer of WMA DRM files, and a mass storage mode when you only need to play unencrypted mp3s or WMAs (I also think that the MicroSD expansion slot is disabled in MTP mode).
To conclude, I have to say that the SanDisk Sansa c240 fulfilled my very basic requirements, and then some, for a reasonable price. So I’ll say it’s a good low-budget choice from a company that seems to begin to take serious interest in the media player market (the Wi-Fi enabled Sansa Connect looks pretty interesting, for example) instead of just being a memory manufacturer that decided to slap some basic playback electronics on their chips to make a few buck more.
And some Amazon links, good for finding more user reviews, and making me a buck or two when buying :)
SanDisk Sansa c240 (1GB) and SanDisk Sansa c250 (2GB) at Amazon.com
SanDisk Sansa c240 (1GB) and SanDisk Sansa c250 (2GB) at Amazon.co.uk
I finally got a good reason to buy a pair of new phones, and after seeing a couple of reviews pointing them out as a good value choice I decided to try the rather obscure Cresyn brand.
Lets start by trying to work out the price. I paid 245 Swedish Kronor, which is about $35 US or €27* at today’s exchange rate. The reason I mention that first is that these Cresyn phones don’t sound a bit like it – if I hadn’t known the price, I’d probably guessed it to be at least twice as much. They have that quality of… well, having been designed to really play music well, rather than just make it sound good.
One of my main problems with phones is that I listen to a very wide variety of music, ranging from mellow, acoustic stuff to the upper extremes of metal and hardcore, and I have had trouble to find something that can cope with it all. But these phones handle it all admirably well. Acoustic guitars and crisp voices come out clear but still with warmth, and at the harder end the phones keep the definition even during the most extreme blasts of sound, making the experience no more painful than the bands intended. Simply amazing, especially considering the cost I mentioned.
Another thing I’ve noticed with earphones is that they often need to be cranked up to a certain volume before they sound good, but in a silent room these Cresyns provided a good sound with the volume on my player set to 1. I’m pretty sure most eardrums are grateful of the fact that you only need enough volume to cancel out the background sound. Something that also helps in that area is the design. I suppose they are pretty standard as far as in-ear phones come, with three sizes of silicone rubber tips to ensure that they fit most ear canals, but it works well.
The cord is of the asymmetrical kind that hangs over the wearer’s neck, and the length from the short (left) phone is about 0.5 meters, plus a one meter long extension cord. This is for the black/metal version I got (also available with red “stems”) There’s also a white/silver necklace version that is held together by removable clips so it can be used as a regular cord as well. I also think the clean design looks quite nice, the straight stems might look uncomfortable but they are well out of the way thanks to the shape of the driver housings. Besides the ear tips and extension cord the package also includes a pouch made of neoprene-like material. Not really useful, but more useful than the molded plastic cases that often come with earphones since it’s large enough to also hold your average size flash memory-based music player.
To sum this up, I’ll say that Cresyn LMX-E630 delivers excellent sound at a bargain price. With an exception for bass-hungry club music freaks its rich but balanced sound will probably appeal to most kinds of listeners looking for something in a reasonable price range. After only four years since the launch of the brand Cresyn is still quite obscure, but if they keep the quality at this level they might have a bright future.
*Markets are quite different, so for comparison with some popular products the price is about twice that of a pair of Koss The Plug at the webshop where I bought my phones, and a third less than the iPod in-ear phones at Apple’s Swedish online store.
