#thomas dinger

[jt1674]

[spilladabalia]

La Düsseldorf - Time

[ballpark-specials]

Top of the 9th. The Party Animals down 5 to 2. Tanner came up for his last at bat. He fought off 10 consecutive pitches and then in another one of his impressive plate appearances, he sent the 11th pitch over the centerfield wall for his 8th home run of the year!!!

BOOM!!!

I was in awe of this moment. He can bear down and fight like no other! It's not the first time, and it won't be the last! Unfortunately, even with the heroic efforts by the Party Animals in the last inning, they were not able to come back. But despite the loss, they did win their final series against the Savannah Bananas!

[cadaverviper]

Frank Thomas 'Big Hurt' Baseball Review (Sega Saturn)

One of many baseball videos games released for the Saturn this game is honestly about what you would expect. As a baseball fan I feel like I can fairly and accurately take a look at this game and tell you how it feels.

For modes it's a pretty standard fair. Exhibition for those who just want a one and done game experience and i think it also has a versus for playing with a friend. Season mode runs through a normal season of baseball with your team of choice and you can choose how many games you want to be played with what seems to be accurate rosters from the time. Playoffs is just a run through of the playoffs with whatever teams you want to the World Series. All-Star is a series of all star teams with there respective players duking it out and i beleive it also has historical players to use in that mode as well. Homerun derby is as you would expect pitting players against one another to see who can hit the most dingers. Batting practice is where I spent alot of my time because you can practice hitting all the different pitches in the game and I used it to get used to the timing of hitting in this game.

Onto the gameplay the presentation is simple but oh so nice I think. The commentators keep up with what's going on on screen but they don't just constantly yap about nothing which is honestly a relief from how they usually are in newer baseball games. No music or anything in game either which is kind of a bummer honestly. The graphics are kind of ehhhh but I suppose they make sense for the time it was released. All of the animations make sense and i can always tell what's going on so I can't complain much.

Pitching is the part I was worried about but it works out pretty nice. Every pitcher has 3 pitches that they can use and is assigned to a separate button. You push up for slow pitch and down for a fast pitch. You can also push left or right to have it move in said direction. Pro tip use 4SeamFastball and push left combination alot. They also seem to swing at 4 Seams especially with 2 strikes already, works every time. As for batting it's pretty easy as long as you have the timing right. Just as simple as hitting A to swing or X to bunt. You can also like move your character around the box but I still don't understand why that really matters.

And then finally fielding is also pretty easy. It locks onto the player closest to the ball and then you can throw the ball to whichever plate and each plate corresponds to a button input as well. Random errors and such happens as you would expect but it never gets annoying.

I actually had way more fun with this then I thought. Old baseball games are usually a pain to play and deal with pretty much at all but I'm surprised by how playable this one is. Ive heard others on the Saturn are even better so I'm excited to get to those but this game is super cheap everywhere so you lose nothing by giving it a try if baseball is your thing. Oh and BTW Frank Thomas is kind of a legend if you don't know you can look it up yourself. If I had to say I was disappointed by something its that I feel this game didn't have enough of a personality, something to really set it apart from the rest. You think with this big name attached to it there would be a little something more but it's just baseball nothing more.

Rating: THAT BALLS GONNA NEED A NEW ZIP CODE WITH HOW FAR IT WENT/10

[dustedmagazine]

Winged Wheel — Big Hotel (12XU)

Big Hotel pours propellant over Winged Wheel’s already tightly wound sound and launches it into orbit. The band’s debut, 2022’s No Island, was a stellar album but represented four musicians working in isolation. Now we have evidence of the magic that happens when Cory Plump, Fred Thomas, Whitney Johnson, and Matthew Rolin come together and weld their minds into a collective consciousness. If their previous effort calls to mind the slow-moving outer radius of a maelstrom, this record is the rapidly spinning current at the center of the funnel. New Winged Wheel members Lonnie Slack (Water Damage) and Steve Shelley (Sonic Youth) dollop on additional accelerant, enhancing the richness of the band’s sound and the insistence of their rhythms.

The six-person strong Winged Wheel’s roiling, frothy sound is evident immediately as “Demonstrably False” comes into focus. Swirling guitars scythe about in luscious waves, conjuring shoegaze and Michigan space rock atmospheres. Johnson’s breathy coo comes on like a cross between Mary Hansen, Georgia Hubley, and Windy Weber. Feedback, melody, and drone combine in a kosmische haze, bolstered by Thomas and Shelley’s propulsive double drum attack.

Big Hotel’s songs bleed into each other, crossfading like the scenes in an anthology film about nebulae and other cosmic phenomena. It’s a journey, the energy ebbing and flowing as a variety of shapes and colors intercept our path. As “Sleeptraining” takes over, we’re treated to a torrent of interlocked bass, guitar, and synth, with a rock-solid rhythm section striding energetically beneath it. The drums and bass provide a sturdy skeleton on top of which the front line pours heaps of melted sound and Johnson dreamily sighs.

Not every track on Big Hotel is replete with bombast. “Clean Blue Shelf” conjures an early 1980s post-punk feeling as it churns with a sinister mid-tempo throb. Doppelgangers of Klaus Dinger and Michael Rother hover over the motorik “Smudged Textile,” as Winged Wheel fire up their roadsters for a long drive that continues with the groovy, Stereolab-evoking “Aren’t They All.” The blissful “Short Acting” drifts along a pastel-hued streamer of vapor, gently coalescing into a wistful hypnagogic groove. No matter which of the band’s influences rise to the foreground, they consistently manage to deliver a rich, full-blooded sound that is full of energy but never devolves into chaos. No Island hinted at Winged Wheel’s ability to craft such a sonic space, but that record was merely an appetizer for the hefty dose of momentum that Big Hotel provides.

Bryon Hayes

[atwas-gaming]

Ok, so, I have been playing Axiom Verge 2, and I promise I am enjoying it, but it is taking me time to adjust to the fact that everything is so different- the gameplay, the setting, the music setting. It's all very different, but I do like it.

But what's confusing me is that I have no clue where in the world (ha! which world???) we are. I would presume we're on Sudra, but I haven't had to translate any texts, and I haven't recognized a lot of the non-English words... except one that I've found so far: udug. I remembered the name "Udug Hul" from the "Transcription" note in the first game, so I looked it up:

Well, that's... an interesting development, to say the least.

ANYWAY, it led me into a rabbit hole where I found some reddit posts translating Sudran and even Rusalki words into English:

This one talks about the dinger-gisbar.

This one talks about pretty much all the other words and names.

Thomas Happ is clearly a huge fan of Ancient Mesopotamia, and I applaud him for it. Egypt, Mesoamerica, China, those all get incorporated into media very frequently, even in video games (as well as medieval Europe, of course). But AV must be the first high-quality story in any media type to get so in-depth into Mesopotamian history and mythology.

[emirates356]

Hallo,

Hier Bilder von den Autos in Bremerhaven vor der Einschiffung.

So, jetzt sind Dinger inzwischen schon angekommen.

Morgen Abend fliegen wir,Christian, Antje, Silvia und Thomas hinterher.

Wir werden berichten.

#1000migliaexpierenceuae

#356porsche

[funkqs]

Für Dich by Thomas Dinger

[satinbearman]

Klaus n Thomas Dinger

[brusiocostante]

Hero - NEU!

[jt1674]

[franklymrshankly0]

Great albums #6

Music genre: synthpop, synthwave, electronic, new wave

1. Fehler Im System- Peter Schilling (1982)

2. Für mich- Thomas Dinger (1982)

3. Psychotropia- Nick Nicely (2003)

4. The Colour of Spring- Talk Talk (1986)

5. Linea Aspera LP II- Linea Aspera (2020)

6. Kim Wilde- Kim Wilde (1981)

[de-salva]

Alb. “Neu! ‘75“ (1975)

* Memories on the Dinger brothers:

Klaus Dinger (March 24, 1946 - March 21, 2008) Thomas Dinger (October 28, 1952 - April 9, 2002)

[bubblesandgutz]

Every Record I Own - Day 322: Thomas Dinger Für Mich

I’m out in Chicago working on writing a new album, so I’m keeping this one short.

A couple of years ago I was on a krautrock binge where I’d buy pretty much anything that had an affiliation with Neu! or Can. Thomas Dinger is the brother of Neu! drummer Klaus Dinger. He played on side B of Neu! ‘75 when Klaus took over guitar and vocal duties and was a full-time member of Klaus’s anthemic ‘80s band, La Düsseldorf. 

Für Mich came highly recommended to me by a record store clerk at Rough Trade in Brooklyn. And sure enough, the steady motorik pulse and layered atmospheres of Neu! must have been in the Dinger bloodline, because they’re on full display here. It’s like taking a bong rip with your morning cup of black coffee while watching the sun rise.

[sinceileftyoublog]

NEU! Box Set Review: 50!

(Grönland)

BY JORDAN MAINZER

There’s an inherent stubbornness in krautrock, perhaps a hopefulness. Propulsive, repetitive beats keep on, even as wrenches are thrown into the routine, in the form of drum fills and guitar effects. Dusseldorf band NEU!, formed by drummer Klaus Dinger and guitarist Michael Rother after they left Kraftwerk, certainly added some sunny timbres to songs like “Neuschnee”, “Für Immer (Forever)”, “Isi”, and “Wave Mother”, but they also included some darkness. 50!, a new box set celebrating 50 years since the band released their self-titled debut, wonderfully illustrates the complexity of the band who would go on to inspire the likes of Stereolab and Tortoise. Consisting of their four studio albums and a tribute disk of bands that actually successfully adopt their own aesthetic to NEU!’s material, 50! truly show’s NEU!’s greatness and influence.

Listening to NEU! with contemporary ears, you have you constantly remind yourself that the music was made in the early 70′s. While it’s a bit hard to place yourself in the shoes of someone hearing “Hallogallo” for the first time and finding the motorik beat revolutionary, many of their songs shine for their effortless embrace of seemingly disparate sounds. Rother’s guitars on “Weissensee” are slow-burning and slinky, fuzzy and twangy at the same time. “Negativland” juxtaposes sharp, wincing noise with a plodding, bass-heavy beat that repeatedly drops and comes back. “Sonderangebot” is a spooky, gong-filled swamp of ambient noise, a daring 2nd track following “Hallogallo”’s legendary album 1, track 1 status. (Dinger’s painfully throaty singing on “Lieber Honig” closing out the album is equally risky and anti-climactic.) And the song that most traverses time and space is “Im Glück”, containing the first of many recordings of water NEU! would include throughout their discography. You can hear Dinger speaking with his girlfriend on a rowing boat, but his voice is below brooding fuzz. You feel like Gene Hackman’s Harry Caul in The Conversation, surveilling and trying to make sense of the haze; at the same time, the combination of field recording and instrumentation recalls contemporary masters like Grouper, Karima Walker, and Claire Rousay.

As much as NEU!’s first album is their most beloved and influential, certain aspects of their other three eerily predicted trends in the decades to come. You could say NEU! accidentally invented remix culture on their second album, whose second side is the infamous result of a lack of funds more than ingenuity: The band simply presented their already released single "Neuschnee/Super" manipulated at different playback speeds. Amazingly, the songs still sound intentional. “Neuschnee 78″ ends up a punk bop, while “Super 16″ could pass for doom metal. Their third album, Neu! ‘75, whose second side was bolstered by additional drummers (and future La Düsseldorf members) Thomas Dinger and Hans Lampe, sports bits of shimmery, heartland rock on the trilling pianos of “Isi” and “Leb’ Wohl”, Gang of Four and Public Image Ltd-esque power punk on “Hero”, and proto punk on “After Eight”, looking back and forward. Their fourth album Neu! 4, recorded in 1985 and 1986 but not released until 1995, is actually presented in its Neu ‘86 re-released/revised format from 2010. It’s the band’s aesthetic outlier, ranging from a muted instrumental of the German National Anthem to the chirpy, panning, extremely 80′s sounding “ Dänzing” and dance masterpiece “La Bomba (Stop Apartheid World-Wide)”. The last of the three is almost vaporwave thirty years too early, chopped and screwed samples, “Twist & Shout” vocal harmonies, and huge drum machines bordering on pastiche. 

It’s the tribute disc that truly impresses, simply because it could have been curatorially obvious, like choosing, say, Cut Copy to tackle the cascading synths of “Euphoria”. Instead, the choices are inspired and divergent. “Super” gets two more variations, the skyward, slow build of Mogwai and the controlled chaos of Man Man. IDLES leans into the churn and guttural nature of some of their best songs when taking on “Negativland”, the ultimate reminder that post-punk is as much “Shadowplay” as it is “Damaged Goods”. Yann Tiersen turns “Lieber Honig” into an abyss of flickering electronics and atonal glitches; when the song does find a beat, it’s crawling with warped bass and synaptic synths. The National add their trademark piano-and-horns brood to “ Im Glück”’s washy ambiance. English singer-songwriter Fink treats “Weissensee” with bluesy acoustic picking and breathy hums, the song distilled to its most powerful elements. Rounding out 50!, the tribute disc makes you wish the late Dinger was still here to hear it, and perhaps that the band would set aside their differences and record a 5th record, maybe even in collaboration with some of these artists. Ultimately, though, their legacy remains as wide-ranging as ever.