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In dit topic kun je plaatsen welk nummer je beluisterd. Om het aantrekkelijk te maken voor anderen om te lezen en discussies te laten ontstaan, is het de bedoeling dat je bij elk nummer een korte review of toelichting zet over of bij het nummer of over de artiest.
Postopkrikken wordt niet gewaardeerd en beloond met een waarschuwing of erger.

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U2 - The Joshua Tree

Naar aanleiding van hun overwinning in het Song van het jaar 1987 toernooi The Joshua Tree weer eens opgezet. Overigens had ik liever With Or Without You zien winnen maar dat terzijde. TJT vind ik een van de beste U2 albums, zo niet HET beste album (maar dat wisselt nog wel eens met The Unforgettable Fire en Achtung Baby). Alleen had I Still Haven't Found... er wat mij betreft niet op hoeven staan, maar het zij de heren vergeven.
Als ze nu nog eens 1 keertje alles uit kast haalden om zo'n intens album te maken...

Matthew Shipp - Equilibrium

Matthew Shipp is een van de meest verfrissende avantgarde jazz-pianisten van de laatste tijd. Hoewel, jazz is misschien een beetje een al te bekrompen omschrijving, want op deze plaat zijn ook veel klassieke invloeden te vinden en wordt er ook nog lustig met electronische effecten en hiphop-ritmes ge-experimenteerd. De bezetting bestaat verder uit een drummer, bassist, vibrafoon-speler en twee electronica-types. Om de Allmusic Guide te citeren: "Shipp, whose restless vision is never clouded by grandiosity or pretense, has become the most important pianist on the scene today. Equilibrium is soul music for the mind." en dat is in dit geval zeker niet overdreven.

Solefald - Pills Against the Ageless Ills

Zo tussen het avantgarde metal meesterwerk "Neonism" en de meest recente plaat "In Harmonia Universali" in, is "Pills Against the Ageless Ills" een vrij metal-gericht Solefald album. Muzikaal niet de meest interessante plaat van het Frans/Noorse duo, maar kwalitatief ijzersterk. Het concept is bizar en boeiend:

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Solefald's third and (relatively) most straightforward album to date, Pills Against the Ageless Ills is a concept album about two long lost brothers a porn filmmaker named Cain (who along the way gets executed for murdering Kurt Cobain) and a monk named Fuck, who winds up going insane and dying in a mental hospital.

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Tja, wat moet je over dit album en deze band nog melden wat de afgelopen tijd nog niet gezegd is? Deze "hobbyband" van Maynard James Keenan (Tool) en Billy Howerdel is de laatste tijd verworden tot een soort All Star Alt Rockband, met de toevoeging van James Iha (Smashing Pumpkins), Jeordie White (Marilyn Manson) en Josh Freese (teveel om op te noemen ). Zelf was ik er op 30 januari j.l. bij toen APC 013 in Tilburg versteld deed staan met (wellicht nu al) het beste optreden van 2004. Intens, strak, klasse.

Het album is inmiddels gemeengoed. Mijn favoriet is toch wel "The noose", waarop goed te horen is dat Maynard een echte Zanger is. Maar eigenlijk staat dit album vol juweeltjes....

The White Stripes - Elephant

Voor iedereen die van poprock houdt. Dit is een plaat met een verrijkende sound, met voor ieder wat wils. een absolute must in iedere collectie.

Entombed - Wolverine Blues

Het Zweedse Entombed onstond uit Nihilist en was en van de eerste grote Europese deathmetal-bands. Debuutalbum "Left Hand Path" is in dat genre een klassieker. Maar Entombed is een van de weinige bands, die zichzelf ontwikkelden en kwam uit bij een stijl, die ze zelf death 'n roll noemen. Keihard, maar met een "edge". "Wolverine blues" is in dat opzicht ook een klassieker: 10 keiharde nummers, eindigend met een hartgrondig "FUCK!"

Nicke Andersson vertrok later overigens om The Hellacopters op te richten

The Ramones - Hey! Ho! Let's go: the Anthology

De ultieme verzameling van The Ramones: 58 nummers en een mooi hardcover boek(je) erbij. Alle klassiekers staan er op, dus eigenlijk kunnen we volstaan met:

HEY! HO! LET'S GO!!!

Five for Fighting - Boat Parade

Het nummer Boat Parade van Five for Fighting is één van mijn favoriete nummers. Het album America Town is alweer een tijdje uit en sinds vorige week ligt hun nieuwe album Battle for Everything in de winkel. Five for Fighting is het project van singer-songwriter John Ondrasik en is bekend van voornamelijk Superman (It's not easy), Easy Tonight en Something About You (horloge reclame volgens mij).
Het is gelikte popmuziek als jullie dat zo graag willen horen, maar het heeft toch wel iets. Toch??
Nou goed, ik denk zet dat nog maar eens op want ik moet een opdracht maken voor de uni en dat gaat makkelijker met de Boat Parade dacht ik zo....

36 Crazyfists - A Snow Capped Romance

Het tweede album van 36 Crazyfists (uit Alaska) viel vanochtend in m'n bus. De sound is niet al teveel gewijzigd van voorganger Bitterness The Star, en de typische zang van Brock Lindow is ook nog steeds aanwezig. Wederom een erg leuk (emo?)metal plaatje. Jammergenoeg had ik 'm al aan iemand anders beloofd. Naja, ik bak wel even een kopie totdat hij in de winkels ligt.

Comfortably Numb is op ID&T, een vreselijk nmmer; doet me denken aan Stayin' Alive.

Hij is misschien al weer een beetje gedateerd maar ik heb het stof er maar weer eens vanaf gehaald. Dit is harde techno van een superhoog niveau met alle ingrediënten wat hardtechno nodig heeft: funk, stuiterende en pompende beats, industriële strings en filters. Speedy J heeft de uiltieme symbiose kunnen vinden tussen dansvloergeoriënteerde muziek en compositietechnisch gezien muziek van een hoog muzikaal niveau. Het album begint rustig met mooie, diepe en rustig voortkabbelende beats en na ongeveer de helft breekt de hel los. Deze plaat is nog steeds zijn tijd ver vooruit en je kunt er nog niet bij stil zitten ook... Toppertje dus

Probot

Een project van Dave Grohl om met 11 verschillende metalzangers samen te werken, die allen hun sporen wel verdiend hebben. Lemmy, Cronos, Max Cavalera, King Diamond, Snake (Voivod), Eric Wagner (Trouble) wekken natuurlijk de interesse! Ik heb hem zojuist pas gekocht, dus veel valt er nu nog niet over te zeggen, maar hij is in ieder geval allesbehalve subtiel

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Op woensdag 18 februari 2004 15:57 schreef Mark het volgende:
[afbeelding]

Probot

Een project van Dave Grohl om met 11 verschillende metalzangers samen te werken, die allen hun sporen wel verdiend hebben. Lemmy, Cronos, Max Cavalera, King Diamond, Snake (Voivod), Eric Wagner (Trouble) wekken natuurlijk de interesse! Ik heb hem zojuist pas gekocht, dus veel valt er nu nog niet over te zeggen, maar hij is in ieder geval allesbehalve subtiel

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Good Vibrations : Thirty Years Of The Beach Boys

Daar komen we de avond wel mee door. Ik ben voor de verandering maar eens bij disc 5 begonnen.

Ja ja, van hun hits als "Cherish" en "Celebration" krijg ik ook acute vomeer-neigingen maar ooit, in een ver grijs verleden, maakte Kool and the Gang geen gelikte bagger, maar was het een strakke band die moeiteloos funk, soul en jazz wist te mixen. Dit is een van hun eerste platen, en hij is naderhand helemaal leeggesampled door hiphoppers. De Beastie Boys hebben zelfs een nummer getiteld "Live at PJ's" op een van hun platen staan als tribute. Fijne plaat.

June of 44 - Four Great Points

Niet zo heel bekend denk ik zo. Volgens de amg is de muziek van 'June of 44' het best te omschrijven als:
Math Rock, Experimental Rock, Noise-Rock, Indie Rock, Post-Rock/Experimental, Alternative Pop/Rock

Dat Experimentele vind ik nog wel mee vallen trouwens, het zijn redelijk rustige en mooie nummer. Als Similar Artists wordt ook nog Tortoise genoemd, dat klopt wel qua sfeer, June of 44 gebruikt alleen de gitaar waar Tortoise het vooral van de electronica moet hebben. Volgens mij is de band redelijk groot in Amerika, ik hoor ze wel eens op een Amerikaanse zender, en ze hebben een foto op de AMG.

Vaux - Set it to blow

Een explosieve mix van hardcore, metal en een vleugje emo. Zaterdag de 14e nog gezien samen met het Nederlandse Razor Crusade en Thrice in de Melkweg.

Een live show die staat als een huis. 3 gitaren, 1 basgitaar, een retestrakke drummer en een zanger die zowel kan zingen, schreeuwen als krijsen. Superstrakke punkmetal.

The Coral Nightfreak and the Sons of becker

Ik heb net in een of andere vreemde opwelling deze CD gekocht, maar ja zo heb ik mn collectie bij elkaar gekregen natuurlijk...
Het is wel een lekker plaatje, lekker expirimenteel en rustig...hoe noemden ze het ook al weer bij OOR?
Juist ja...Psychedelische folkpop....

(Het is trouwen hun 2,5ste album omdat dit een mini is of zoiets...er staan 11 nummers op maar wel lekker kort allemaal...)

Ion Dissonance - Breathing is Irrelevant

Geniaal gestoorde band in het straatje van bands als Dillinger Escape Plan, Burnt by the Sun, Red Chord, met een vleugje Meshuggah.

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These men have finally emerged with a mathematical terror aptly titled "Breathing Is Irrelevant", an album that threatens to annihilate the metallic labyrinths created by the likes of Burnt By The Sun and The Red Chord with extreme prejudice.

To dub this as mere mathcore would be to snub the extreme immensity that Ion Dissonance are so well-trained in executing. From the opening moments of "Substantial Guilt VS. The Irony Of Enjoying" these men set out on a quest to surgically mutilate one's eardrums. By and large they succeed, with atonal guitars and headache-inducing time signatures driving this musical aberration into one's memory with the sheer force of a rivet gun to the forehead. "Binary, Part II" almost appears subdued, what with Jean François Richard's jazzy percussive dexterity, and Gabriel Mc Caughry almost seeming at ease with his nonchalant verbal dialogue, yet all is torn asunder seconds later as the band lay siege to their own creation. Admittedly the group do have a bit of trouble with sudden transitions, often relying on the usage of inane spoken word interludes as they frantically attempt to flip the songs in several directions, but in spite of these shaky moments lyrically, Ion Dissonance still astound.

Possessing the technical wizardry of The Dillinger Escape Plan and the devastating metallic grind impact of As The Sun Sets, the members of Ion Dissonance have delivered one of the heaviest albums of 2003. This is a record that ignores the listener's capacity for intensity, pummeling eardrums with violent time signatures and uncompromising vocal screams. The album's one weakness may be in its incessant need to document the essence of aural armageddon, as it could be perceived as just a blurry explosion of noise to less adventurous listeners. Indeed it does possess such carnal desires and the destruction left in the group's thunderous wake borders on the excessive, but those who dare traverse this metal battlefield should wear their wounds with pride. Few bands have the ability and drive necessary to labor on such a taxing style yet Ion Dissonance prevail, making "Breathing Is Irrelevant" a must for extreme music aficionados, and a brilliant debut effort from one of the scene's most exhausting machines of brutality.

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Machine Head - Burn My Eyes

Verbluffend dat deze plaat alweer bijna tien jaar oud is. Ik kocht hem in de periode dat m'n liefde voor metal zich wat aan het uitbreiden was. "Burn My Eyes" is, evenals de oude Iron Maiden en Metallica albums, een aangename nostalgische trip.

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Op donderdag 19 februari 2004 21:47 schreef Summoner het volgende:
Verbluffend dat deze plaat alweer bijna tien jaar oud is.

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Mum - Finally We Are No One

Even bijkomen na het geweld van Ion Dissonance, prachtige dromerige muziek zoals ze die volgens mij alleen in IJsland zo kunnen maken

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This excellent follow-up to the 2000 debut release, "Yesterday Was Dramatic, Today Is Ok" by Iceland's Múm, finds these wunderkind strengthening their already unique and deeply infectious "instro-spective" electronic sound. Where "Dramatic" had some beautiful melodies and some sad and sultry accordion, "Finally We Are No One" feels more complete and whimsical. Where "Dramatic" seem to hint at an idea, Finally We Are No One blows out the stops. Also the addition of the child-like singing of Gyda and Kristin-Anna Valdysdottir, sounding somewhat like Isobel Campbell if she was from Rejyavik, makes this album even more magical than the debut. But its like choosing which kid you like better if you're a parent. Nothing here disappoints, from the windup toy sounds and hard-drive detritus to the lonely accordion to the great, playful dance textures. Reminiscent of some of Aphex's best tinkerings, Boards of Canada or Morr Music's stable of great artists, this is quickly one of my favourite albums of the year so far. It is both unique and sadly beautiful with a wintry grace not unlike the mood created last year by that other famous Icelander, Bjork.

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Op donderdag 19 februari 2004 22:29 schreef mr_cucumber het volgende:

[..]

Teken dat je oud begint te worden heer Summo

Mum - Finally We Are No One

Even bijkomen na het geweld van Ion Dissonance, prachtige dromerige muziek zoals ze die volgens mij alleen in IJsland zo kunnen maken
[..]

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Op donderdag 19 februari 2004 22:34 schreef Z het volgende:

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En ze zijn nog mooi ook!

[afbeelding]

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Op donderdag 19 februari 2004 22:40 schreef mr_cucumber het volgende:

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oei inderdaad! Volgens mijn ben ik spontaan verliefd geworden

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Op donderdag 19 februari 2004 22:41 schreef Z het volgende:

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Dit is trouwens een hoesje van Belle & Sebastian,

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Op donderdag 19 februari 2004 22:29 schreef mr_cucumber het volgende:
Teken dat je oud begint te worden heer Summo

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Ik ben weer met Pornographer Cain en Philosopher Fuck bezig.

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Op donderdag 19 februari 2004 22:45 schreef mr_cucumber het volgende:

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Lijkt dat enigzins op Mum en aanverwante bands?
Mum speelt trouwens 17 april in Nighttown R'dam

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http://www.noisedfisk.com/mumweb/

Phlebotomized - Skycontact

Wat mij betreft een van de beste bands die Nederland gekent heeft op metalgebied, erg originele mix van deathmetal en popmuziek, af en toe erg spacy. Jammer dat ze gekapt zijn.

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Op donderdag 19 februari 2004 23:28 schreef mr_cucumber het volgende:
Hmm, dat vind ik toch wel de 'minste' (relatief gezien dan) van Solefald.

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If you're the type of hip-hop fan who finds a group like OutKast a tad too experimental for your tastes, you might wanna back away from this album slowly and try not to make any sudden moves. With a cacophonous sound that falls somewhere between the Bomb Squad, Disposable Heroes of Hiphoprisy, and that annoying guy with the jackhammer who just...won't...stop, this is music for those people who think Anti-Pop Consortium just isn't quite weird enough. The jarring industrial noise that drives the opening "Spiritual Healing" is your first clue that Dälek is coming from a whole 'nother frame of reference, with producer Oktopus' grinding grooves providing a dense, dark backdrop for some furiously inventive mike work. Thankfully, not every track here is quite so chaotic: The haunting instrumental "Antichristo" wouldn't sound out of place on a DJ Shadow album, while the exotic Indian drones and tabla beats of "Trampled Brethren" almost border on accessible. But even a noise-loving freak like DJ Spooky would be put off by the dissonant, 12-minute spoken word epic "Black Smoke Rises." Warning: Easy listening this is not.

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The Repercussions of Angelic Behavior:

* a) is a live recording
* b) is a studio record
* c) is improvised
* d) is composed
* e) is a companion disc to Rieflin's 'Birth of a Giant'
* f) is a companion disc to King Crimson's ProjeKct series
* g) is an exciting and indispensable adventure into the musical unknown
* h) is the medium for the release of the cover art
* i) is considered in exactly the same way by Rieflin, Fripp, and Gunn alike
* j) is a source of differing opinions between Rieflin, Fripp, and Gunn
* k) all of the above
* l) some of the above
* m) none of the above

Everything on this record is intentional.
Except where not.

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Op vrijdag 27 februari 2004 22:30 schreef fripper het volgende:
De enige cd die ik heb van The Art Ensamble. En ik heb net besloten dat 1 veel te weinig is.

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Op zaterdag 28 februari 2004 01:14 schreef Seborik het volgende:
[afbeelding]

Black Sabbath - Vol 4

De vierde plaat van Black Sabbath uit 1972 van het baanbrekende kwartet Ozzy Osbourne, Tony Iomi, Geezer Butler en Bill Ward. Niet hun beste plaat, maar desalniettemin erg goed met onder andere de geweldige opener Wheels of Confusion met het uiterst rockende instrumentale einde waarbij je gewoon niet stil kunt blijven zitten.

Even later het (naar mijn mening) wat saaie, echter op zich wel leuke Changes wat ook nog wat covers heeft moeten ondergaan door verschillende bands en op nummer 6 dan ook nog eens het supernummer Snowblind.

Nou het kan niet op.

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Op zaterdag 28 februari 2004 19:25 schreef dantes_inferno86 het volgende:

[..]

Mijn fav. album van sabbath,1 van hun beste en hardste nummers komt hier af(supernaut )
Veel beter als die overgewaardeerde Paranoid!!

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Op zaterdag 28 februari 2004 19:23 schreef Zander het volgende:

[..]

Ik heb zelf "Fanfare for the Warriors" en "Les Stances a Sophie", waarvan ik zelf laatstgenoemde wel het beste vind (iets toegankelijker, misschien). Moet me ook nog eens verder in hun werk verdiepen.

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Op donderdag 26 februari 2004 20:15 schreef MuadDib het volgende:
[afbeelding]

Yellow Matter Custard - One Night In New York City

Yellow Matter Custard was een eenmalige Beatles coverband bestaande uit Neal Morse (Spock's Beard), Mike Portnoy (Dream Theater), Paul Gilbert (Mr. Big) en Matt Bissonette (sessiebassist bij wie-o-wie). Niet de minste namen dus. Ze deden op 18 mei 2003 een eenmalig optreden en daar is dit een integrale opname van. Er is niks aan gesleuteld, dus what-you-hear-is-what-you-get, inclusief alle foutjes en meligheden. En ondanks het hoge muzikale vakmanschap van de heren worden er nogal wat foutjes gemaakt, vooral op de zang. Maar dat geeft juist wel charme aan het geheel. Je hoort het spelplezier de luidsprekers afdruipen en het is erg grappig hoe ze zich af en toe uit tekstuele fouten proberen te redden. Kortom: een geslaagd projekt en een cd die ik regelmatig opzet.

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Occasional Canadian industrialist Rhys Fulber teams up with songstress Poe for a mellow and ambient beat ballad that drips with beauty and eerie power. And while Poe's delicate vocals get buried a little in the remixes, both the 29 Palms and JXL reinterpretations are prime candidates for big-room play. The energy is increased geometrically, the keyboard programs are suitably arpeggiated, and fans of vocal house have no excuse not to check it out.

_bron

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Op dinsdag 2 maart 2004 16:42 schreef Harry_Sack het volgende:
_{was net op tmf}

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The first track, “Disintegrate,” comes out extremely strong with heavy riffing and maniacal drumming. This actually reminds me quite a bit of the technical stoner rock band Mastodon. Kaufman even sounds like Mastodon vocalist Troy Sanders, employing primal shouts that are somewhere just short of death vocals. The guitar work by Kaufman and Petersen is wonderful—listen to the almost Cure-like melodies they get into with flange in full effect. Throw in some bizarre programming by Smith and unbelievably agile kit bashing by Haddad and it’s an impressive opener. The second track, “Hopeless,” rapidly switches gears. This sounds like prog rock a la Porcupine Tree, with Fisher now entering the game as clean vocalist. But Kaufman doesn’t stray too far—he is back quickly with some gravelly clean vocals of his own. He and Fisher work well together, and the guitarists and Smith create some interesting melodies that give the song an ethereal dimension. Two tracks and already the band is showing definite range, and they finish the good impression on “Anyone.” This one sounds like Pink Floyd meets Rob Zombie! Kaufman is definitely angry again here, and his voice sounds powerful as twin guitars swirl behind him in a sea of noise. Like on “Hopeless,” there is a strong ambient feel.

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Op woensdag 3 maart 2004 01:29 schreef Summoner het volgende:
Klinkt interessant Q-cumber.

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"Het repertoire varieert van mambo on speed tot rechtstreekse verwijzingen naar de technicolor wereld van Carmen Miranda, de Busby Berkley-musicals en de Italiaanse retro-glamour van Dean Martin. De perfecte soundtrack voor dansers van 7 tot 77. Kitsch tot kunst verheven ... El Tattoo del Tigre is duidelijk een big band om in het oor te houden. Alleen spijtig dat de meeste nummers zo kort zijn."

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Calling this set of performances bizarre would be an understatement. John Zorn inspired (through obscure game playing that is not explained anywhere on this CD) these 14 eccentric "tributes" to different types of cobras. Because many of the performances utilize samplers and voices (in addition to conventional instruments and miscellaneous devices), the wide range of sounds attained from the 87 musicians (heard in different combinations) is impressive, if often quite unlistenable, ranging from humorous interludes to very obnoxious noise. For a few examples, "Cobra 4" has a man screaming over and over again, "Cobra 2" features a sound collage with a male opera singer repeating the same four notes continuously, and "Cobra 5" has, among its many vocal noises, a man imitating a dog barking. There are some colorful segments, but in general, these self-indulgent performances would be much more interesting to see in person than to hear on record. Taken purely as a listening experience, one is surprised that this material has even been released.

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Art Blakey's drums generate a lot of power on Miles Davis's 1953 sextet session with J. J. Johnson and Jimmy Heath. All but the ballad "I Waited For You" are heard in two takes. The enduring masterpieces of this set are "Tempus Fugit" and "C.T.A.". Personnel: MILES DAVIS, trumpet; J.J. JOHNSON, trombone; JIMMY HEATH, tenor saxophone; GIL COGGINS, piano; PERCY HEATH, bass; ART BLAKEY, drums.

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Space Is the Place provides an excellent introduction to Sun Ra's vast and free-form jazz catalog. Typical of many Sun Ra recordings, the program is varied; earthbound songs, like the swing number "Images" and Egyptian exotica piece "Discipline 33," fit right in with more space-age cuts, like the tumultuous "Sea of Sound" and the humorous "Rocket Number Nine." Sun Ra fuses many of these styles on the sprawling title cut, as interlocking harmonies, African percussion, manic synthesizer lines, and joyous ensemble blowing all jell into some sort of church revival of the cosmos. Throughout the recording, Sun Ra displays his typically wide-ranging talents on space organ and piano, reed players John Gilmore and Marshall Allen contribute incisive and intense solos, and June Tyson masterfully leads the Space Ethnic Voices on dreamy vocal flights. This is a fine recording and a must for Sun Ra fans.

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This 1987 production signifies experimental guitarist David Torn's second and final effort for Germany-based ECM Records. Here, the artist exhibits a sound, style, and methodology that are clearly his own, amid superb support by Bill Bruford (drums), Tony Levin (Chapman Stick/bass), and Mark Isham (trumpets). Torn generates gobs of excitement via his cunningly articulated phraseology, while also incorporating North African and East Indian modal concepts into these power-packed performances, fabricated upon climactic opuses and steamy crescendos. The guitarist's rippling harmonics and off-kilter voicings make for an engaging listening experience, especially when he trades sprightly fours with Isham atop the often-circuitous rhythms. Simply put, Cloud About Mercury looms as one of the finest jazz fusion dates of the '80s, and should be deemed a mandatory purchase for aficionados of this genre.

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Losing the saxophone player from earlier EPs and taking advantage of better budgets and studios, the Nephilim on their first full album established themselves as serious contenders in the goth world. It certainly didn't hurt having signed to Beggars Banquet, home of such acts as Bauhaus and the Cult, though the more obvious source of the Nephilim's sound at this point was the Sisters of Mercy, various attempts to deny it aside. Like Eldritch's crew, the Nephilim fivesome weren't aiming just for the clad-in-black audience, but at being a great group in general; while that goal wasn't quite achieved on Dawnrazor, the band came very close. With sympathetic and evocative production throughout by Bill Buchanan, the album strongly showcases another chief element of the Nephilim's sound: Ennio Morricone. The at-the-time totally outrageous fusion of smoky, cinematic spaghetti western guitars with the doom-wracked ominous flavor of the music in general, not to mention McCoy's growled invocations of pagan ceremonies and mystic energy, provoked a lot of merriment from outside observers. The Nephilim stuck to their guns, though, and by wisely never cracking a smile on this album, they avoided the cheap ironic way out. Songs here which would become classics in the band's repertoire included the fiery "Preacher Man," which sounds like what would happen if Sergio Leone filmed a Stephen King story; the quick, dark gallop of "Power" (originally a separate single, then added to the album on later pressings); and the slow, powerful build of the title track, featuring McCoy practically calling the demons down on his head. For all of the undeniable musicianship and storming fury of the songs, sometimes things just get a little too goofy for words, as revealed in a classic, unintentionally hilarious lyric by McCoy from "Vet for the Insane": "The flowers in the kitchen...WEEP for you!."

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Op zondag 7 maart 2004 00:06 schreef Seborik het volgende:
De cd-versie van Dawnrazor telt 13 nummers

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Op zondag 7 maart 2004 02:12 schreef Downer het volgende:

[..]

die heb ik vandaag gekocht

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Rise Again showed ATP to be a ferocious, noisy alternative metal outfit that went directly for the jugular. Scorching, in-your-face tunes like "When Mercury Drops" and "Get Mad/Get Even" aren't big on subtlety -- ATP pulls the listener in with its heavy-handed riffs and grooves, and the level of intensity doesn't let up very often. Diehard metalheads will find a lot to admire about this promising effort. -- Alex Henderson

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Op zaterdag 6 maart 2004 19:40 schreef dwerg het volgende:
Matia Bazar - Ti sento
De nummer 100 uit mijn top 100 van beste singles aller tijden, uitgebracht in 1985. Ooit, ergens halverwege de jaren '70, begon Matia Bazar als een normale popgroep, met gitaar, bas en drums. Toen de synthesizer in de jaren '80 zijn opgang maakte, en Italo een stijl op zich werd, veranderde ook deze band haar geluid volkomen. Alleen de stem van Antonella Ruggiero bleef, de instrumenten gingen bij het grof vuil. Ti sento is een koude plaat, met als contrast de warme stem van de zangeres. Wat waren de jaren '80 toch geweldig. Hopelijk maken ze geen achterlijke tranceversie van deze mooie plaat.

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[Soulpreacher has] a sound like Electric Wizard with lots more 70´s influences... It´s pure Doom with screamed out vocals... a heavy sludgefilled, feedback drenched doomfest... The tiltletrack kinda sounds like Electric Wizard crossed with Atomic Bitchwax, Doom with a Boogie vibe.
hogfeldt
StonerRock.com

Soulpreacher's new 5 song EP has a nice blend of classic Stoner stuff that reminds me of bands like Sourvein and Bongzilla. That tuned down trance stoner stuff that loops around your head and captivates your brain frequencies...if you know what I mean.
robwrong
StonerRock.com

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Drummer Ronald Shannon Jackson, and his Decoding Society of the 1980s, learned from the example of Ornette Coleman's Prime Time and are a logical extension of the group. They featured colorful and noisy ensembles; were not afraid of the influence of rock; and their rhythms were funky, loud, and unpredictable.

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Live In London will hopefully be the last of the Tim "Ripper" Owens-led Judas Priest outings. As of this writing in January 2004, the classic Priest lineup of vocalist Rob Halford, lead guitarist Glenn Tipton, lead guitarist K.K. Downing, bassist Ian Hill, and drummer Scott Travis are back in action and planning to record to and tour. This is an acceptable date featuring two CDs of classic Priest tracks and video footage, but even though it is an inspired performance, it lacks the sheer outrageousness of the Halford-led band.

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I came up with an idea: that each of us should improvise for a specific length of time (an hour seemed appropriate) on a specific day ( April 1, Fool's Day seemed super-apt) in our own studios, without any known reference to what the other was doing apart from the fact that something would be afoot. Not without alarums and excursions - I had several recoding machines go critical on me with minutes to go before the off and also had to slam the door on last-minute visitors - we emerged from our active meditations (or, in Roger's words "an hour of unsilence") with...well, we didn't quite know what at all, except concentrated individual experiences. When I got Roger's tape and aligned it with my own I was astounded to find that - graced by luck - we had something quite different on our hands. Our diverse approaches (mine a continuous performance, using long loops; Roger's considered changes of sound and style, with gaps) worked quite seamlessly together.

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As mentioned before, this album exceeds all expectations. The music and intensity have evolved and is far better than anything Knut has released thus far. The musicianship is excellent, and the layout is eye-catching. Overall, this is just an excellent record that will pummel listeners. Fans of Neurosis, Keelhaul, Breach, Unsane, or Cult of Luna should definitely pick this one up. Those of you who want a break from the run-of-the-mill hardcore should give "Challenger" a listen.

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Tyranny was conceived by the strain of a stranger will from the seed grown with the disintegration of earlier unworthy gatherings and misconceptions.
As the concept of Tyranny had been clear for ages, additional inspiration was drawn from the arcane resonations of ocean and earth, being the echoes of a prehuman era.

Driven with otherworldly sights, the "Bleak Vistae" was envisioned, and receiving appreciation it was set upon the unsuspecting world. This quickly led to the pact with Firebox records, with omens of another, longer stream of funereal soundscapes to herald The Stranger Aeons.

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Freshly unpredictable and unpredictably fresh sounds from King Crimson rhythmatist accompanied by big basses , angular horns and mysterious voices on this studio improv based recording of quick changing dark fun.

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During most of Lift Your Skinny Fists Like Antennas to Heaven, musical and emotional opposites alternate as regularly, and naturally, as breathing: delicate string work and rock-out guitar and drums, spoken word and walls of sound, gracious and possessed, tip-toes and cliff-diving, dark hallways and blinding sunshine.

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It's easy to see how the band's roaring energy, overwhelmingly snotty attitude, and Rotten's furious ranting sparked a musical revolution, and those qualities haven't diminished one bit over time. Never Mind the Bollocks is simply one of the greatest, most inspiring rock records of all time.

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bludgeoning guitar riffs

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bludgeoning guitar riffs

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bludgeoning guitar riffs

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bludgeoning guitar riffs

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bludgeoning guitar riffs

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bludgeoning guitar riffs

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Josiah is one of the few bands out there currently that really manage to capture the authentic '70s acid-rock power-trio sound, style and energy while also sounding fresh and modern. Take some Grand Funk Railroad, Cactus and Groundhogs energy and update it with some Monster Magnet, Nebula and Fu Manchu styles and you'd get something along the lines of Josiah's self titled debut full length.

El Danno
StonerRock.com

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Op zondag 14 maart 2004 19:12 schreef dwerg het volgende:
The Mo - Fred Astaire
Jeugdsentiment. The Mo. Of gewoon Mo, zonder The. De toetsenist van de band heette Niewint, en zijn pa was de directeur/hoofdmeester van mijn lagere school, heel erg lang geleden. Meester Niewint had ook nog een dochter, en die verdronk midden jaren '80 in 't Joppe, bij Warmond, toen ze aan het duiken was. De school staat er nog steeds, maar wordt nu alleen nog gebruikt door allerlei verenigingen om zooi te stallen en te vergaderen. In 1983 was mijn klas de allerlaatste die daar 'afzwaaide', alle andere leerlingen plus leraren vertrokken naar een andere school.

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²Phantom² captures the essence of Black Metal in such a convincing manner and at the same time it has great crossover qualities. You might remember the catchy and groovy ²Nattpyre², the opening song of the last album. Imagine ²Phantom² having that vibe all over, but this time around, the songs go a little bit deeper and darker which makes the album ²last longer². Some songs might strike you immediately as killer while others will grow on you, just the way it is with good albums. The sound is filthy and heavy like it suits Khold and the artwork of the album is thorough! Khold manages to be very straightforward rock¹n roll and at the same time be original, that¹s a tough combination to achieve!

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A little under two years since their self-titled debut dropped, Uphill Battle are back with an even more venomous offering. At times, during the duration of "Wreck Of Nerves", I swear I hear about six different bands battling one another for supremacy. There's the Converge-esque technical chugging which is already a fan favorite within the metalcore scene. Then, there's a more brutal, but basic pummeling sound of a band like Lamb Of God. Couple that with the off-the-wall dissonant diversity of fellow Relapsers The End. And last, but not least, splash in some of the pseudo-melodic, evil signature riffery of Slayer. Now, you may be thinking to yourself that, by that description, Uphill Battle sound like a nothing more than a rehash of some of the metalcore scene's biggest influences. That's where you'll be fooled! Somehow, someway, Uphill Battle have condensed these styles into something more focused and atomic so that, rather than your standard "influence ripoff", you're hearing something that is pushing the boundaries of metalcore to their breaking point. The other thing that separates Uphill Battle from the metalcore masses is that they play what comes to them. Nothing sounds forced and they don't allow themselves to be hemmed in by any musical guidelines while writing.
"Wreck Of Nerves" is a perfect title for this full length - it's devastating. Consider this album a response to any concerns you may have about whether metalcore has grown stagnant and stale.

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The five selections that make up Robert Fripp's 1999 album were selected from 12 different live, improvised performances recorded in Buenos Aires, Argentina in 1994. And although some King Crimson fans will be confused by Fripp's musical departure, he's said that his soundscape material is his most immediate and personal work, since the improvised performances can change from night to night, depending on the circumstances. Also, it is pretty fascinating just how many different tones, colors, and textures Fripp creates with just a guitar, guitar synthesizer, and effects pedals (it sounds almost like a full electronic orchestra at times). Fripp also chose not to edit or cut any of the songs on 1999 (except for one), so the songs sound exactly the way they did when Fripp first improvised them in front of an Argentinean audience back in '94.

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In comparison to Accelerator, this is an extremely subtle listen, with rhythms generally buried in the mix, serving the melodies rather than vice versa. In comparison to the upfront breaks and steady house beats just two years previous, here they're stuttered, echoed, often approaching dub in pace and impact. Meanwhile, the space-alien bubbles and noises and haunting tones take to the fore, making for a disorienting, evocative experience, a mix of natural sounds and artificial elements much like the band's own artwork. Even the singles, "Cascade" and "Lifeforms," play down the beat. The one for "Cascade" is barely there, swooping samples and soft synth hooks to the fore, while "Lifeforms," for its comparatively more direct impact, relies as much on its keyboard swell and chiming melody as much as the complex overlay of rhythms. There are a few guest appearances here and there, but they're mostly notable for how the band incorporate them instead of letting them stand out -- Robert Fripp's guitar on "Flak," Talvin Singh's tablas on "Life Form Ends," and Toni Halliday from Curve doing a "vocal texture" on "Cerebral." -- Ned Raggett

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Op woensdag 18 februari 2004 08:15 schreef dragonstef het volgende:
kan er geen plaatje bij prikken, maaruh<p>The White Stripes - Elephant<p>Voor iedereen die van poprock houdt. Dit is een plaat met een verrijkende sound, met voor ieder wat wils. <img src="i/s/yes_new.gif" width="15" height="15"> een absolute must in iedere collectie.

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Op zondag 14 maart 2004 19:55 schreef PH52 het volgende:
The Mo, dat klinkt verweg bekend, die heeft de top 40 toch nog bereikt of niet ?

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Op zondag 14 maart 2004 19:12 schreef dwerg het volgende:
The Mo - Fred Astaire
Jeugdsentiment. The Mo. Of gewoon Mo, zonder The. De toetsenist van de band heette Niewint, en zijn pa was de directeur/hoofdmeester van mijn lagere school, heel erg lang geleden. Meester Niewint had ook nog een dochter, en die verdronk midden jaren '80 in 't Joppe, bij Warmond, toen ze aan het duiken was. De school staat er nog steeds, maar wordt nu alleen nog gebruikt door allerlei verenigingen om zooi te stallen en te vergaderen. In 1983 was mijn klas de allerlaatste die daar 'afzwaaide', alle andere leerlingen plus leraren vertrokken naar een andere school.

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Op vrijdag 19 maart 2004 21:14 schreef dwerg het volgende:
Blue State - Season Song
Van de soundtrack van 28 days later... een claustrofobische film met bijbehorende muziek. Dit nummer is gezongen door een kinderkoor met solozanger. Volgens allmusic (sorry) is Blue State een triphop formatie, maar ik had er nog niet van gehoord voor deze film. De muziek waar het koor overheen zingt is nog het beste te vergelijken met de Stone Roses, qua gitaar enzo. Het zit wel briljant in elkaar.

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Op maandag 22 maart 2004 21:04 schreef zoom het volgende:
Leuk detail : Vanuit dit project ontstond het idee van een supergroep : The Traveling Wilburys.

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The bass work throughout comes courtesy of Flea, while East Bay Ray offers rhythm guitar; the lead work is from Robert Fripp, playing some of his most cutting work yet. The horn work is from Zappa alumni Bruce and Walter Fowler. But the heartbeat of it all remains ineffably Algerian — with a percussion section raised high in the mix. And above it all is Rimitti's voice. Deep, cracked, sounding as if it's spent too many years in the desert, but still with a passion that can open the hardest heart, even if you don't speak Arabic. The whole record powers along in a perfect mix of Middle East and West — proof, if you need it, that rock and rai do make excellent bedfellows. It's the title track that's the true highlight: Remitti's voice tails off into a flurry of angry Frippertronics that careen up to the stratosphere, but everything is a pure delight — hard, rough, and ready, and good to the last drop. Given that Remitti was 70 when this was released in 1994, it's a bold step, and one that shows the younger generation a thing or three

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1. Huge
2. Ganbow-Ki
3. Hama
4. Kuruimizu
5. Vomitself

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Cretu being no fool, he figured if it worked the first time, no need to change things much for the second. But he also knew not to simply go ahead and just rehash his debut for Cross of Changes, resulting in a just different enough effort along the same overall lines. The usual air of tasteful middle-of-the-road spirituality takes precedence, right down to the cover art and appropriately pantheistic quote from Persian mystic poet Rumi in the CD booklet. Needless to say, the music attempts to match the same throughout, and often succeeds. Things kick off with more of the synth-whale song noises and atmospherics from MCMXC, however there aren't any monks to be found this time around, but what sounds like the same whispering woman talking about "clearing the debts of many hundred years" and the like. From there, Cretu merrily takes the same plunge -- some of his sample choices this time around show he's got a decent record collection, including parts from Songs From the Victorious City, the striking fusion of Egyptian and Western musics from Anne Dudley and Jaz Coleman. His work with beats and loops noticeably shows a more developed edge -- while hardly an innovator, there's a bit more grime and loud in his rhythms, which in combination with extra electric guitar make a reasonable contrast to the smoother elements. Consider the rampaging conclusion to "I Love You...I'll Kill You," which while sharing some cheese with the title itself still works surprisingly well, right down to a clever Robert Plant vocal sample at the end. "Return to Innocence" was the big single from this one, not quite up there with "Sadeness" in the popular culture in the U.S. but almost inescapable elsewhere. There's another Led Zeppelin sample (this time John Bonham) and a haunting male vocal providing oomph under the fuzzy-headed greeting card philosophy of the main lyrics. It's an impressive effort, showing Cretu had a definite something in his own way. -- Ned Raggett

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Dull, MOR jazz-funk in which the outlines of tougher material (3 Wishes, Desert Players, Healing The Feeling) are smothered in a clotted rock mix and further compromised by Denardo's bland keyboard washes. Grateful Dead man Garcia was a controversial inclusion, but does nothing to merit all the fuss, spinning out inoffensively countrified figures that merely take their place in the queue. Only the haunting title-track wakens memories of what Ornette was once capable of as a pure melodist.

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A word about the cover photograph . . .

Although the illustration on the album cover may seem a trifle bizarre to the uninitiated, knowing intimates of Monk will recognize the setting as that of his studio, an important part of his Manhattan apartment. In this atelier are the memorabilia of an adventurous and richly rewarding life. Most noticeable, perhaps, is the Nazi storm trooper. As real as he looks, he is stuffed, a trophy of Monk's forays as a member of the French Resistance movement in World War II, the famed FFI.With a cry of "Take that, you honkie Kraut!" Capitaine Monk shot him cleanly and truly through the heart. He weighed 187 pounds, dressed. Thelonious' only pet is the cow who answers to the name Jellyroll and has the run of the apartment. It is interesting to know that Capitaine Monk had access to a piano throughout the combat and would never go on a mission without warming up with some forty or fifty choruses of "Darkness on the Delta." The field telephone on the wall, a memento of Normandy, now serves as a direct line to Le Pavillon in the event he wishes to order a delivery of French soul food. The rest of the objects are really almost self explanatory - the Nazi battle flag he captured at Nuremburg, the dynamite he used so often on key objectives in Germany, the grenades, machine pistol, the .45 automatic - all of them bring tears of nostalgia to Monk's eyes as he thinks of action-packed years gone by. He was part of the underground then - for years in post-war America his piano was part of the underground of jazz. Now, and indeed for the past few years, this jazz giant is emerging as the great artist he has always been, one of the most inventive jazzmen in history.

Actually, the title of this album, UNDERGROUND is something of a misnomer - Monk surfaced long ago! He has been committing thelonious assaults on certain hidebound enclaves of jazz since the mid-Forties, and the attacks are beginning to tell. Oh yes, about the girl with the firearm in the background. No explanation was asked, nor was one forthcoming.

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"A cohensive presentation out of a series of incoherent events". Imagine a series of KC improvisations, complete with rogue flash photographers.

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Caution : "Three Minute Warning" is not for the musically faint-hearted, impatient, or critics of extreme self-indulgence. If you fall into any of the above categories, please hit the stop button on your CD player after track #8.

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A relatively conservative release for the Dead C, The Damned doesn't break much new ground for the band and isn't the logical next step hinted at by the electronic flirtations on New Electric Music. But the band proves it can still turn a tangle of creepy rumblings, dark scrapings, and piercing squalls into art like few other bands can.

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Op donderdag 1 april 2004 22:11 schreef Summoner het volgende:
Gritty noise rock uit Nieuw-Zeeland (bijna vanzelfsprekend).

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Er broeit iets gevaarlijks in Cleveland, Ohio. Diep in de onderbuik van de Buckeye State roert zich een nieuwe orde die op het punt staat de macht over te nemen. Het forse viertal Keelhaul wijst de toekomst toe aan de vuilnisophalers en machinisten, terwijl er van bankiers en advocaten geen sprake meer is. Supermarkten staan te verkommeren en lege auto’s verroesten langs volledig verlaten interstates. Keelhaul presenteert zijn uit verzengende gitaren opgebouwde chaos niet in duidelijk afgelijnde nummers, wat de luisteraar – tenminste, indien die zich wil openstellen voor een dergelijk sonisch offensief – er toe dwingt om alles in één keer te consumeren. Wat een hele opgave is, want in een relatief razend tempo laat Keelhaul zowat 30 jaar rockgeschiedenis door de gehoorgangen denderen. Van zinnenprikkelend postrock-gepingel over loodzware doom, glamrock, tot op trash afstevenende hakriffs: Keelhaul gooit alles in één gigantische melting pot en verwerkt het tot een sound die op zijn zachtst gezegd psychotisch klinkt en bovendien vrijwel volledig van vocals is gespeend.

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Back in 1960, when Martin Luther King was guiding protest sit-ins across the USA, Max Roach and singer Abbey Lincoln recorded with passionate urgency Roach's Freedom Now Suite. Oscar Brown Junior collaborated in writing the lyrics and the undoubted star is Abbey Lincoln. Her powerful, committed vocalising can range from serenity to near-hysteria, as it does in "Prayer, Protest, Peace" which is a duet for voice and Roach's technically extraordinary drumming.

Overall this is a fine example of Roach's writing and performing skills, emphasising his political involvement as well as his concern to reflect his own African origins and those of jazz

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Op maandag 5 april 2004 19:56 schreef fripper het volgende:
Na een goed concert in Vredenburg zag ik de toekomst van Marillion met vertrouwen tegemoet.
( was p@t M. niet de drummer van het voorprogramma Mr. Mister ? )

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Op maandag 5 april 2004 20:47 schreef MuadDib het volgende:
[afbeelding]

Marillion - Brave

Nogmaals: een waar meesterwerk en elke liefhebber van progressieve rock zou dit album in z'n kast moeten hebben staan. En van binnen en van buiten moeten kennen.

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P@t M. was wel de drummer van Mr. Mister alleen stonden die niet in het voorprogramma. Dat was The Cutting Crew

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Mike Oldfield's groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the instruments himself, including such oddities as the Farfisa organ, the Lowrey organ, and the flageolet. The familiar eerie opening, made famous by its use in The Exorcist, starts the album off slowly, as each instrument acoustically wriggles its way into the current noise that is heard, until there is a grand unison of eccentric sounds that wildly excites the ears. Throughout the album, the tempos range from soft to intense to utterly surprising, making for some excellent musical culminations. Mandolins and Spanish guitars are joined by grinding organs and keyboards, while oddball bells and cranking noises resound in the distance. In the middle of the album, guest Vivian Stanshall announces each instrument seconds before it is heard, ending with the ominous sounding tubular bells, a truly powerful and dominating instrument. The most interesting and overwhelming aspect of this album is the fact that so many sounds are conjured up yet none go unnoticed, allowing the listener a gradual submergence into each unique portion of the music. Tubular Bells is a divine excursion into the realm of new age music. --

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Op woensdag 7 april 2004 11:16 schreef Z het volgende:
[afbeelding]

Lost in Translation

Wederom een soundtrack, nu van de film Lost in Translation. En wederom een erg goede film met een prachtige Scarlett Johanssen, maar dat doet er nu even niet toe .

Het interessante van deze soundtrack is dat er behoorlijk wat nieuw werk van Kevin Shields op staat en Kevin Shields is natuurlijk de shoegazer-guru uit My Bloody Valentine. Er staat ook één nummer van Loveless op deze soundtrack trouwens.

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Captain Black marks the real beginning of Ulmer's career as a leader. It has been a bumpy, restless ride since that time with many creative and professional ups and downs, but it hardly matters. Records like this one make him the most visionary and brilliant electric guitarist in a generation.

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Sanders, in particular, sounds inspired by the context, playing hard and pushing Ulmer and the music. His tracks all start out peaceful, go totally outside with high harmonic shrieks and thick, woolly tenor tone, and then bring it back to the serenity base. He plays some kind of flute over Jones' arco bass on the atmospheric "Suspect," before Cornell Rochester's drums (a driving, active force throughout) gradually push things out. Some lingering echoes of Sonny Sharrock's Ask the Ages disc mark the Sanders tracks — it is the exact same lineup after all, led by another guitar improviser with some kind of space-bluesman-kinship-connection to Jimi Hendrix — that becomes explicit on "Sweet." And damn, "My Prayer" finds Sanders playing over segments with an outright country & western groove (yes, you read that right) before it turns sideways and abstract with a spare Ulmer solo for effective contrast.

Zorn is subdued at first — he's the weak link on the opening "Law," not connecting with the blues dirge-feel created by Jones' bass drag anchor with octave drops and a solid Ulmersolo. But he hits his stride on "Proof," his sonic sax effects playing dodge 'em games with Ulmer's guitar around a very pretty, classic Ulmer theme over a slow, descending bass line — later he comes vomiting back in to spew forth guttural commentary, whoops, and slides near the end of a great track. His playing even picks up on the peace and serenity vibe for the nice closer "Backbeat."

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Underworld: Karl Hyde, Rick Smith.

If there's a pillar of consistency amidst the johnny-come-latelies in the ever fad-conscious electronic world, it's British outfit Underworld. They date back to the late-80s, tasted just a dash of well-deserved pop success with the ubiquitous "Born Slippy" roundabout the center of the electronica explosion into the mainstream, and continue to create intelligent, variegated, distinctive compositions. On A HUNDRED DAYS OFF, the band's first release as the duo of Karl Hyde & Rick Smith (DJ Darren Emerson left to pursue solo projects) since their first couple records, Underworld crafts its usual synthesis of many styles from many eras.

As close to bands like Ride and Slowdive as they are to Orbital, Orb, and the like, Underworld bury vocals (usually Hyde's) communicating curious, unsettling lines (like "I think he smoked his lungs" on "Luetin") under lush soundtracks that swirl and entrance. Hyde and Smith's music has always hearkened back to their early days in the new-wave '80s, but has also always incorporated elements of punk, psychedelic, ambient, trance, etc. into a sound poppy yet by no means simplistic, readily digestable yet far from disposable. A HUNDRED DAYS OFF furthers this trend.

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Damien Rice's debut full-length, O, is nothing less than a work of genius, a perfect cross between Ryan Adams and David Gray and a true contender for one of the best albums of 2003.

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I spent some time alone
In an old country home
Where the wallpaper looked like a landscape
In a foreign land

I took some walks alone
Around this old country home
And the landscape looked like the wallpaper

Time's slipping away
Time's slipping away
Time's slipping away

In the rooms of this home
I saw the pictures of the family still young
And I knew they were all dead and gone.

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Op dinsdag 13 april 2004 21:20 schreef LinuxCultVapor het volgende:
iets van idols :(
het zuigt...