![]() Musk has previously estimated the total development cost of the Starship project to be between $2 billion (£1.6 billion) and $10 billion (£8 billion). Starship is able to generate 16 million pounds (70 Meganewtons) of thrust – almost double that of the other new generation rocket created by NASA known as Space Launch System (SLS). Together, Starship and Super Heavy measure a whopping 394ft (120 metres) tall, and weigh in a 11 million lbs (5 million kg). SpaceX is planning to carry humans to space using a two-stage spacecraft composed of the fully reusable Starship (the passenger-carrying section) and the Super Heavy rocket booster. SpaceX did not respond to a request for comment. The most recent word from Musk is that the attempt will take place at the end of the third week of April – but the new information from the FAA suggests it could be sooner than that. They cautioned that the licensing process, while nearing completion, could take longer due to an environmental compliance review. The tipped Monday launch date comes from a 'person familiar with the process' who asked not to be named, cited by Reuters. 'The FAA's Command Center planning notice should not be interpreted as an indicator that a determination to issue a license has been made or is forthcoming.' Trivia of note: Orbit also did the album's painterly artwork.'The FAA has not made a license determination for the SpaceX Starship Super Heavy operation,' the FAA said in a statement. ![]() While arguably overlong, The Painter not only feels heartfelt on occasion but offers just enough variety, mainly through its guests, to sidestep sameyness while sticking to his signature sound. She's featured alongside Gloria Kaba on closing track "Free Glo," which ends the proceedings on a playful, symphonic dance-oriented note. Before it's over, Orbit works in an appearance by Laurie Mayer, whose collaborations with Orbit date back his first band, Torch Song. The more club-oriented "Bank of Wildflowers" featuring Georgia is more playlist-friendly, while non-English entries like "Nuestra Situación" featuring Lido Pimienta and the over-eight-minute "Heshima kwa Hukwe" with Hukwe Zawose seem to treat language like a timbre - or in the case of The Painter, a color. There are still standouts on board, however, including the Polly Scattergood collaboration "Colours Colliding," whose twinkling piano and keyboard tones, pixie-like voice samples, brittle lead vocal, and melancholy harmonic center achieve a more cinematic effect. ![]() That's generally true of the entire over-hour-long album, which like Orbit's previous non-classical solo work is much more concerned with creating a hypnotic, head-bobbing vibe than particularly memorable hooks or melodies. She reappears later, on "No Other World," a glitchier track with more focus on wide-ranging timbres but with a similarly low-key, danceable disposition. Just before the two-minute mark, Orton's glimmering-keyboard-accompanied humming switches to a half-whispered monologue about relationships, her surroundings, and painting. ![]() (The other is "The Diver" featuring Natalie Walker.) Developing slowly, "I Paint What I Can See" eventually settles into a melodic bass groove with ticking hi-hat. She appears here on "I Paint What I Can See," one of two reworked tracks from the limited streaming release Strange Cargo 5 (2014). It finds him welcoming a number of guest vocalists, including longtime collaborator Beth Orton, who lent vocals to 1993's Strange Cargo III around the time he was producing her debut album. ![]() Now entering his fifth decade in music, pioneering producer and overall song stylist William Orbit returns to his trademark blend of ambience and world fusion, progressive house and electro-pop, and seductiveness and spaciousness on his 12th solo album and first in eight years, The Painter. ![]()
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