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Limited colored vinyl LP pressing. Since their debut in 2012, Hands Like Houses have been making waves in their scene. They've sold over 70,000 albums in the U.S. to date, and have built an impressive army of fans through touring with the likes of Sleeping With Sirens, Pierce The Veil, Silverstein and more. They spent the entire summer on the Vans Warped Tour, and now Hands Like Houses are ready to kick things up another notch with their third full-length album, "Disso - nants". For this release

Dissonant Lives is not a standard 'history of Germany' in the twentieth century, or even of the German dictatorships. It is concerned with the ways in which Germans of different ages and life stages lived through this terrible period in German history, and how they interpreted, confronted, and responded to the multiple challenges of their times.In volume two, Mary Fulbrook explores the move from the Nazi dictatorship to the communism that succeeded it, examining the experiences and perceptions of selected individuals, and how major historical events affected the course of their lives and their outlooks. In doing so, she provides a new understanding of the ways in which not only the character of the German state, economy, and social structure changed over the century, but also the very character of the German people themselves.

Unread book in perfect condition.

Dissonant Voices: Religious Pluralism & the Question of Truth [Paperback] [Ap...

Musical sound has been central to heteromasculinist productions of nation and homeland, whether Chicano, Tejano, Texan, Mexican, or American. If this assertion holds true, as Deborah R. Vargas suggests, then what are we to make of those singers and musicians whose representations of gender and sexuality are irreconcilable with canonical Chicano/Tejano music or what Vargas refers to as “la onda”? These are the “dissonant divas” Vargas discusses, performers who stimulate our listening for alternative borderlands imaginaries that are inaudible within the limits of “la onda.” Dissonant Divas in Chicana Music focuses on the Texan monument of the Alamo and its association with Rosita Fernandez; Tejano corrido folklore and its musical antithesis in Chelo Silva; the female accordion-playing bodies of Ventura Alonza and Eva Ybarra as incompatible with the instrumental labor of conjunto music; geography as national border, explored through the multiple national music scales negotiated by Eva Garza; and racialized gender, viewed through Selena’s integration of black diasporic musical sound. Vargas offers a feminist analysis of these figures’ contributions by advancing a notion of musical dissonance—a dissonance that recognizes the complexity of gender, sexuality, and power within Chicana/o culture.Incorporating ethnographic fieldwork, oral history, and archival research, Vargas’s study demonstrates how these singers work together to explode the limits of Texan, Chicano, Tejano, Mexican, and American identities.

Musical sound has been central to heteromasculinist productions of nation and homeland, whether Chicano, Tejano, Texan, Mexican, or American. If this assertion holds true, as Deborah R. Vargas suggests, then what are we to make of those singers and musicians whose representations of gender and sexuality are irreconcilable with canonical Chicano/Tejano music or what Vargas refers to as “la onda”? These are the “dissonant divas” Vargas discusses, performers who stimulate our listening for alternative borderlands imaginaries that are inaudible within the limits of “la onda.” Dissonant Divas in Chicana Music focuses on the Texan monument of the Alamo and its association with Rosita Fernandez; Tejano corrido folklore and its musical antithesis in Chelo Silva; the female accordion-playing bodies of Ventura Alonza and Eva Ybarra as incompatible with the instrumental labor of conjunto music; geography as national border, explored through the multiple national music scales negotiated by Eva Garza; and racialized gender, viewed through Selena’s integration of black diasporic musical sound. Vargas offers a feminist analysis of these figures’ contributions by advancing a notion of musical dissonance—a dissonance that recognizes the complexity of gender, sexuality, and power within Chicana/o culture.Incorporating ethnographic fieldwork, oral history, and archival research, Vargas’s study demonstrates how these singers work together to explode the limits of Texan, Chicano, Tejano, Mexican, and American identities.

Music of the bars and clubs of Austin, Texas has long been recognized as defining one of a dozen or more musical "scenes" across the country. In Dissonant Identities, Barry Shank, himself a musician who played and lived in the Texas capital, studies the history of its popular music, its cultural and economic context, and also the broader ramifications of that music as a signifying practice capable of transforming identities.While his focus is primarily on progressive country and rock, Shank also writes about traditional country, blues, rock, disco, ethnic, and folk musics. Using empirical detail and an expansive theoretical framework, he shows how Austin became the site for "a productive contestation between two forces: the fierce desire to remake oneself through musical practice, and the equally powerful struggle to affirm the value of that practice in the complexly structured late-capitalist marketplace."

A lucid philosophical, theoretical, and practical guide to the creation of an authentic and realistic interpretation of heritage. Demonstrates how sensitivity and ethical approaches can be developed to present the actual history of concentration camps, atrocities, disease, death, and oppression without alienating the observer. Contains planning goals and advice to produce a thoughtful and sympathetic response and lasting understanding of the fate and consequences of real peoples and historic events.

The Hirshhorn's landmark show 'Distemper' defined what may be the last major art trend of the 20th century -- the prevailing sense of social and cultural dismay that Washington columnist E.J. Dionne called the 'distemper' of the 1990s. This brilliant exhibition catalog presents the work of ten younger artists whose work reflects the distemper of the times: Miroslaw Balka, Marlene Dumas, Robert Gober, Mona Hatoum, Mike Kelley, Guillermo Kuitca, Charles Ray, Doris Salcedo, Thomas Schutte, and Rachel Whiteread. Together, they represent a wide swath of the globe, from Europe and the Americas to Africa and the Middle East. Although their artistic agendas vary widely, they share a sense of being cultural barometers.

The isolators manage the energy of the speaker to reduce vibrations resonating through the supporting surface to eliminate dissonant sounds in the ...

Are you the type of musician who hears the beauty in a dissonant chord? Does feedback sound like violins to your ear? The Turbo RAT distortion peda...

The chorale-like Introduction with its sparse instrumentation quietly leads to the more agitated and dissonant Allegro, gradually expanding through...

The isolators manage the energy of the speaker to reduce vibrations resonating through the supporting surface to eliminate dissonant sounds in the ...

Composed by Pierre Boulez, 2nd Sonata for Piano is a piece for Piano in four distinct movements. Really modern and dissonant, this piece, played in...

The isolators manage the energy of the speaker to reduce vibrations resonating through the supporting surface to eliminate dissonant sounds in the ...

Are you the type of musician who hears the beauty in a dissonant chord? Does feedback sound like violins to your ear? The Turbo RAT distortion peda...

Interruption Overture is the musical inverse of Bryant's Chester Leaps In. In the latter, a familiar theme interrupts angular, dissonant music, wh...

The isolators manage the energy of the speaker to reduce vibrations resonating through the supporting surface to eliminate dissonant sounds in the ...

London/Oxford-based Scrap Brain are back with a long-player that expands and improves on their dirge-y and unconventional brand of hardcore punk. This time around the group embraces a wall of sound approach; this is a record that sounds both huge and claustrophobic at once. A dissonant take on Flipper with one of the best lyricists in contemporary music. Edition of 500.

Faith in Strangers was written and recorded between January 2013 and June 2014, and was edited and sequenced in late July of 2014. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it's a largely analog variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener "Time Away" featuring euphonium played by Kim Holly Thorpe and last track "Missing,