![]() Fuel rods fired by vehicle-mounted cannons can be guided by remote lock-on, while those fired from infantry-mounted weapons typically fire with a pronounced arc allowing them to be used as an indirect-fire mortar. The visibility of the fuel rod projectiles in flight give them a distinct psychological effect on enemy soldiers, which helps in their intimidation value. Usage įuel rods are primarily employed by the Covenant in anti-armor and anti-air roles, fired by their fuel rod guns and fuel rod cannons. When the fuel rod weapon is fired, the radioactive chemical inside the fuel rod is ignited and launched from its containment shell, exploding on impact with a surface or once enough gas has been expelled from the projectile to reach environmental equilibrium. Fuel rods consist of caseless, transparent projectiles containing incendiary gel - a radioactive substance composed of energetic meta-materials and strained-bond lattices-an imperfect form of Forerunner infusion gel. Despite this, the technology has very little in common with nuclear technology. ![]() The authoritative record of NPR’s programming is the audio record.The ket-lambathda gained their human-given nicknames from their appearance, visually resembling popular culture depictions of nuclear fuel rods. This text may not be in its final form and may be updated or revised in the future. NPR transcripts are created on a rush deadline by an NPR contractor. (SOUNDBITE OF LAUREL HALO'S "ATLAS") Transcript provided by NPR, Copyright NPR. I thought this would be really beautiful to make something kind of psychedelic and murky and a bit unsettling but, more than anything, a deep and peaceful listen or a restorative listen.ĬHANG: That was DJ and composer Laurel Halo. So this should be a record for people to walk around to or drive in their cars or reflect or just be comfortably by themselves. I think when creating music that is more ambient or beatless or contemplative in nature, you're not necessarily thinking about dancing first and foremost. The best DJ gigs are ones where the audience is right next to you so you can see an immediate reaction and you can see how bodies are moving. You want to see how they're reacting to the music, and you want to respond in kind with what you choose to play. You want to come into conversation with the audience. HALO: Of course, certain types of music, such as club music - you do want a desired outcome, which is to make people move. HALO: It was a additive process and one also of, you know, transformation, turning a piano loop into something that became a sort of, you know, undulating wave-like element, on top of which I would improvise further piano on top or improvise, you know, violin or guitar, vibraphone. HALO: The original in-roads for these tracks were either ambient beds created with synth and sound design, or it was a series of piano sketches. And you see the reflection of the headlights in the wet pavement, or you see steam coming out of portholes. And it's night, and it's pouring rain, and a car goes by. ![]() And I had these various sets of nighttime imagery because often, when you are touring and traveling as a musician, you experience cities at night, imagery that you see, perhaps, when you've gotten off of a long shift at work. HALO: Anytime I start working on a record, I like having palettes of mood and texture that I want to try and go for with the music just to have a sort of roadmap. (SOUNDBITE OF LAUREL HALO'S "BELLEVILLE") Her new album, called "Atlas," is a tapestry of slowly evolving textures, and it was inspired by the nighttime imagery of cities she visited while out on the road. ![]() LAUREL HALO: The feeling of everywhere becoming nowhere one can experience when spending time in airports, on planes, on trains, taxis, in hotels, in venues, becoming this atomized object rather than, you know, being able to feel the sort of fundamental resonances of a city.ĬHANG: And to put that feeling into music, Laurel Halo turned away from the techno and towards the experimental. After more than a decade playing shows on the road, DJ and composer Laurel Halo began to feel like everywhere was becoming nowhere. ![]()
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