On “Dissonance,” Jlin leaves her sample library mostly untreated and unprocessed it’s the least electronic-sounding piece she has recorded yet, and the lack of digital bells and whistles reveals new subtleties in her rhythmic and timbral investigations. The suite’s final two pieces come closest to achieving a cohesive dialogue between Jlin and Third Coast that’s particularly true of the marimba- and bell-dominated minimalism of “Duality.” It retains the multi-dimensional shifts that make the previous pieces so engaging, but they happen in more subtle ways and within a more strict, pulse-based rhythmic system. You can practically hear Jlin smiling through each bar, twisting each rhythm and twisting it again until it surprises even her. “Derivative” feels like it runs at two different tempos at once, the kick-snare groove heavy enough to inspire a head nod (or booty shake) while a manic synth line darts about anxiously. The brisk four-on-the-floor that leads off “Obscure” mutates less than a minute in, doubling back on itself and leaving pockets of space that destabilize the rhythm. Where Third Coast’s recording was limited to the acoustic timbres available to the ensemble and the physical limitations of their playing, Jlin’s originals, which Third Coast based their own versions on, employ a staggering range of frequencies, from body rumbling sub-bass to chirping melodic accents so high-pitched they might not be audible to many listeners over a certain age. But the obvious joy Jlin felt in the process of creating this music shines through in these electronic versions-not only in the emotions conveyed, but in the depth and detail of the productions. On Third Coast Percussion’s recording, released last year, they occasionally sounded hesitant, as if more focused on keeping up with the score than harnessing the elation that produced it.

She gave her compositions-which were nominated for the 2023 Pulitzer Prize for music-to the four members of Third Coast to translate back into their own language the title reflects the idea of approaching the same material from different angles. We were there for eight, 12 hours… I have a whole library of these sounds.” She imported these raw materials into FL Studio, where she sculpted them into bouncing backbeats, adrenaline-rush whirrs of high end, and majestic pulsations. “I went there and I got as many sounds as I could: the marimbas, the xylophones, a lot of bells and bowls. “It was bliss for me,” she recently told Passion of the Weiss. The project began with Jlin recording raw materials in the Chicago ensemble’s studio. Her new EP Perspective, a collaboration with Third Coast Percussion, is a more complex venture that moves in multiple directions at once. The tessellating rhythmic cryptograms that made Black Origami an enigma worth both pondering over and dancing to have remained central, even if they fill a concert hall rather than a nightclub. Shuts off automatically after 30 minutes to save batteriesĭimensions Approx: 58.42 cm x 48.26 cm x 58.Despite the diversity of these collaborations, and their footing in institutional contexts, they retain all the grit and ingenuity that have been Jlin’s signature since she emerged on the fringes of footwork over a decade ago.Cozy DreamComfort fabrics promote airflow.With a machine-washable seat pad, weve got you covered from blow ups to blow outs. Keep everyone calm with 12 melodies, 3 nature sounds and white noise. When baby needs to play, 2 plush toys dangle above for his entertainment. Cradle baby in cooler comfort with fabrics that promote airflow, and use the removable head support and bolster cushion to keep tiny newborns snug. Because no two babies are the same, this bouncer is designed with multiple speed settings to fit your little one just right. Add a few hands-free moments back into your busy day with automatic bouncing that mimics your natural motions. But when life happens, the Ingenuity Smart Bounce Automatic Bouncer is made to move just like you.

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