With drums that stutter and slice more like Trent Reznor than Tricky, "Initiation" handily defines what separates the Weeknd from other R&B acts, folding in the post-punk influences, the industrial touches, and that oddly alluring menace into four minutes of captivating hell. 'cause all we ever do is love." It's transparently deceptive, and it slips into "Initiation", a cringe-inducingly detailed tale of drug-fueled kidnapping and gang-rape told through the part-grunted, part-rapped exhortations of an inhuman goblin. Album centerpiece "XO / The Host" is a stomach-turning tale of corruption and coercion, featuring one of the record's most uncomfortable moments: After Tesfaye sings of reducing some nameless girl to destitution, the beat goes quiet as he self-satisfyingly mocks, "And if they won't let you in/ You know where to find me. With a clearer and less obtuse narrative arc than Thursday, the album finds his snaky, manipulative persona at its most blatantly corrosive. In lyrical terms, Echoes of Silence is Tesfaye's strongest work. And his conversational intonation emphasizes the lingering threat that underlies every lyric. The slinky, spectral "Montreal" is the closest thing to a pure pop song Tesfaye has written since "What You Need". The songwriting is tighter and more streamlined. Where House of Balloons was a debut tour-de-force, and Thursday an arduous journey into the internal turmoil of a self-loathing narcissist, Echoes of Silence exudes a brazen, animalistic confidence: The production is impeccable but never showy. The ease with which Tesfaye can shock and awe listeners at this point feels like something of a victory lap. It's an audacious intro even for an artist whose output has already stretched lyrical and musical themes to depraved extremes. Well, it turns out Tesfaye isn't out of surprises: As his fans now know, opening track "D.D." stands for "Dirty Diana", and Tesfaye channels the King of Pop with an eerily accurate vocal facsimile. North America South America Europe Africa Asia Latin America and the Caribbean Click the markers on the map below to explore space on film around the world. This week we are highlighting the 1962 Brazilian Sci-Fi comedy Os Cosmonautas. We have compiled films from 50 different countries on six different continents. Explore this page to listen to the stars inclusively, as they have been imagined by cultures from all over the world.
#Echoes of silence archive
Through Echoes of Silence, we aim to memorialize all sounds of space.Ĭonsider this archive a time capsule that muffles out the sounds of post Star Wars science fiction films. However, as the decades progressed euro-centric portrayals of space became more dominant and pervasive throughout the world. Mexican films portray extraterrestrials coincidentally similar to Lucha Libre wrestlers. Native American filmmakers have suggested the relationship between earth and space is more peaceful. Japan’s militaristic culture reverberates in the soundscapes of their plentiful science fiction cannon. We discovered that in Pre-Star Wars films not only was there a variation in the way different cultures visualized space, but that there were regional trends in the design of their soundscapes. Just as dominant cultures homogenized languages and customs, the vast and varying views of the skies were sidelined as unimportant and false.Luckily, early films reflect some of these historical perspectives.Ĭinema and films have allowed us to visualize and bring these worlds to life, shaping the way that generations imagine space. Cultures that recorded their beliefs orally, like the Navajo or the Hawaiins, are not as commonly known. That is why we are aware of their Astronomical achievements and astrological beliefs.įor instance, we have all heard of Ptolomy and Zues. We know this thanks to the wealth of knowledge transcribed by dominant cultures like the Greeks. For millennia people from every time and culture have turned their eyes upward to wonder, observe, and explore what lay beyond the stars. The same way we have been imagining the heavens from the beginning of time. So, how do sound designers imagine sound for films set in space if there can be no real life references? In deep space, in the large empty areas between stars and planets, no such molecules exist to create vibrations. In order for sound to travel, mediums such as water or air must be present like they are here on Earth. Like heat and light sound travels in waves, but unlike them, sound can only travel through vibrations of atoms and molecules.
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