

James Whale’s Manifesto

The UK is going to hell in a handcart. At least, that’s what James Whale thinks, so he’s taking matters into his own hands. Ladies and gentleman of the electorate, brace yourselves for James Whale’s Manifesto: Getting Britain Back on Track in 2012. In each episode, the outspoken broadcaster will be throwing down the gauntlet to a trio of opinionated guests to thrash out solutions to the country’s woes, from healthcare to housing, from economics to unemployment. An audio-jolt to jump-start the system, a hangover cure for political apathy, a slap in the face for a weary democracy- would James Whale get your vote?

Hello, we’re NASA. You may have seen our astronauts, rocket launches, or Mars rovers — but have you heard our sounds? From interviews with astronauts and engineers to stories that take you on a tour of the galaxy, NASA’s audio offerings let you experience the thrill of space exploration without ever leaving Earth.

Channeling the wild imagination and aesthetic enchantment of "Four Dream's" gorgeous album artwork into his songs, Keenhouse (Ken Rangkuty) entrances with soothing, aetherial vocals blended into seraphic synths that illuminate and perpetuate a fantastic fantasy world where magic breathes in iridescent dust of chimeric sound-waves.

Keenhouse’s “Four Dreams” lilts through your subconscious like prismatic clouds bursting with spectral colors. “Echoplants” charms as tropical birds and bugs cry out their lively echos against flora-like bass and synths that reverberate the sounds of a lively amazonian jungle. “Where I Belong” emotionally strings you along with wistful synths that cascade quietly in the background as wind chimes chirp in their high-pitched accents against Keenhouse’s mellifluously medicinal vocals that ache with the pain of a lost heart that can’t find its way home. Transcending traditional electronic music is the resplendent “Taura,” whose lead instrument is a Koto played by renowned new age composer Osamu Kitajima that solos and weeps over swirling pads like teardrops gently drenching the cheeks of a long-lost lover. The record concludes with “The Lullaby of Keenhouse,” a beautiful traditional piano piece played against the peaceful sounds of a babbling brook, as if Keenhouse himself was tickling the ivories beside a mystical creek, in the midst of an enchanted forest.
 

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2D, Murdoc Niccals, Noodle & Russel Hobbs

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