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・ Emotional aperture
・ Emotional approach coping
・ Emotional Arithmetic
・ Emotional Atyachar
・ Emotional Backgammon
・ Emotional baggage
・ Emotional bias
・ Emotional blackmail
・ Emotional branding
・ Emotional Brands
・ Emotional Chemistry
・ Emotional competence
・ Emotional conflict
・ Emotional Consequences of Broadcast Television
・ Emotional contagion
Emotional Decompression Chamber
・ Emotional Design
・ Emotional detachment
・ Emotional distress
・ Emotional dysregulation
・ Emotional eating
・ Emotional exhaustion
・ Emotional expression
・ Emotional Fire
・ Emotional flooding
・ Emotional Freedom Techniques
・ Emotional geography
・ Emotional Girl
・ Emotional granularity
・ Emotional History


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Emotional Decompression Chamber : ウィキペディア英語版
Emotional Decompression Chamber

''Emotional Decompression Chamber''〔Review, ''Rock Tribute Magazine'', 11/2010.〕〔 (Metal Wave ) - Review〕〔(PassZio. Hu ) - Review〕 released with "Dreamcell_11/Aural Music" is the second full length album of the Italian industrial metal band Digitalis Purpurea.〔 (Last FM )- Digitalis Purpurea biography〕 It was released on November 12, 2010 with a worldwide distribution.〔(Metal.de ) - Review〕〔(BladerBrochure.NL ) - Review〕〔(Written in Music ) - Review〕〔 (Hard Sounds ) - Review〕〔 (A&R Music Webzine ) - Review〕
==Themes and lyrics==
This album can be defined as a cinematic record because of the combination between sounds and images set as its keystone. The protagonists of the lyrics, Junichiro and Ishtar, are a modern version of ''Fando y Lis'' (first work of Alejandro Jodorowsky) chasing the legendary city called Tar on a David Lynch’s Lost Highway. The sound is the soundtrack to this imaginary film.
The presence of electro-clash beats, lysergic desert rock guitars and the unusual use of the voice sometimes played from a busted grammophone give a decadent sound, in which the figures appear faded and where the substance is tinged with ''noir'' and the mind is lost forfeited in a thick consistency sensory tunnel where the end is distant and blurred.〔 (Metal Wave ) - Interview〕 The voice is used as an instrument that fits the metric and the tone with the mood of the texts. Pi Greco explored the research on the voice of Demetrio Stratos and the cut-up method of William Burroughs. Puns and variations of the pronunciation are used to create a grotesque effect and to reveal hidden words or concepts: there are dialogues hidden in the mix and hidden messages encrypted in the playing time of songs.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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