...From the Cuban rhythms of “Rachel” to difficult listening hour art-electronica stylings of “Mit Wut” to the fuzzed-out barrelhouse beats of “Bane” through to the dubby “To Die a Little”, Spring Heel Jack make sure that no listener could criticize Disappeared for sameness of sound. POPMATTERS
....αν πριν μερικα χρονια καποιος μου ελεγε οτι θα ακουγα ολοκληρο ενα δισκο αυτοσχεδιαστικου σολο σαξ χωρις να πατησω το στοπ απο το πρωτο λεπτο θα τον καρπαζωνα!...να ομως που εγινε και αυτο χαρη στον Πωλ ο οποιος στην κυριολεξια συνομιλει με το οργανο του(ναι αυτο που νομιζετε) και ανταμοιβει τον υπομονετικο ακροατη χαριζοντας του μια ανευ προηγουμενου μουσικοπνευματικη εμπειρια....δε τολμας ευκολα και συχνα το τριπ του Πωλ,αλλα οποτε δοκιμαζεις......
Eric Matthews' solo debut is filled with natural textures: trumpet, harpsichord, piano, violin, viola and tenor sax. Rest assured: Guitar, bass and drums are still used – they're just harder to find. Initially, the music comes across as a blend of lost late-'60s classics like Love's Forever Changes and the Zombies' Odyssey and Oracle (Matthews' laid-back vocal delivery owes more than a nod to the Zombies' Colin Blunstone). I say "initially" because repeated listens to It's Heavy in Here open up the comparisons to Robert Kirby's beautiful orchestration of English folk hero Nick Drake's work and even John Cale's haunting arrangements of Nico's solo material. ROLLING STONE
Matthews's striking melodies and graceful arrangements recall several whistle stops along the pop music timeline, visiting and grazing on painstaking '60s sophisticates like Phil Spector, George Martin, Brian Wilson, and their gentle, non-bombastic use of strings and horns on "To Clear The Air" and "Gilded Cages." From there, it's time for a snack of slick, soulful '70s Top-40 taffy by Gerry Rafferty, Walter Egan, Orleans, Seals & Crofts, and Little River Band, among others, followed by a dash of wistful '80s whiz kids like Sting, Richard Page, and Mark King on cuts like "Becomes So Dark" and "The Pleasant Kind." Clearly the man is a musical omnivore who has learned his lessons well, yet his too-smart-to-be-wimpy songs don't sound like they belong anywhere other than in the present, pulsing out of the stereo with the restorative powers of a hot bath after a day cutting cane in the fields.John Chandler
Some songs here have titles like "Lord, I'm On My Way" and "Love," but anyone expecting something close to Spiritualized might well run away screaming. God's first full studio album, recorded with the help of such similarly minded souls as Sweet Tooth drummer Scott Kiehl and Russell Smith, sometime guitarist with Terminal Cheesecake and Skullflower, found the band firmly established in its aggro-jazz ways. The influence of both early seventies Miles Davis and later exponents of freeform playing is clear, helped along even further by the appearance of John Zorn on three tracks. Martin's own squalling sax work finds plenty of room to go nuts in, evil drones and edgy roars an integral part of the compositions, matched just as closely by his shouted, heavily treated singing style. That gives an indication about an equal forebear, Black Sabbath and trudging doom metal -- Possession first and foremost is heavy, crushing all before it in a slow, steady fashion (a notable exception being the faster but still virulent "Hate Meditation"). Broadrick's participation alone might confirm that much to an outside listener, but instead of the focused obsession of Godflesh, God hit the groove a touch more loosely, thanks to Kiehl and fellow drummer Lou Ciccotelli's work in place of a drum machine. Check their starting beats (accentuated a bit by samples from Martin) on "Return to Hell," a sign they know how to swing in their own way. For all the feedback, the guitars aren't the most prominent instrument, Broadrick slotting alongside the various horn players (including sax/clarinet player Tim Hodgkinson and sax/didgeridoo performer Steve Blake) and bassists in the thick morass of the songs. Kudos as well to pianist Peter Kraut, who adds some good parts to songs like "Soul Fire." There are some quieter, spare moments, notably the church-bell sample start of "Black Jesus" -- otherwise, it's a full ensemble approach that won't surprise anyone who loves On the Corner. ~ Ned Raggett, All Music Guide
Anatomy of Addiction, the second God studio album, turned out to be the last, but it made for a good way for the band to go. Instead of continuing the previous releases' exploration into open-ended group jams, this time around God -- with a mostly unchanged line-up, interestingly enough -- focused much more (if not entirely) on brusque, heavy-duty techno metal with some free jazz touches. It's clear that Broadrick had a much greater say in the album this time out, especially with his massive, clipped riffing, but one or two songs aside (check "White Pimp Cut Up") it's not Godflesh redux, since Martin's own particular style remains intact. Squalling sax breaks and contributions mix with his extreme, echoed shouts, but he does also throw in more growling, low-end singing. Mixed with the crisp, industrial strength (and sometimes styled) beats from Kiehl and Ciccotelli, which are generally arranged as tight, focused rhythms and pumped up at high volume, it makes for a fine new avenue for God to explore. Where Anatomy resembles Possession the most, it ends up taking some interesting chances, like the droning sax start of "Lazarus" or the notably slower paced "Bloodstream," which actually also has one of the brightest, gentlest breaks ever in a God song (kudos to Kiehl's enjoyable percussion). In terms of overall sonic impact, though, it's hard to complain, and certainly Anatomy's not a commercial album by any standard. Martin's new emphasis on lyrics that are at points perfectly understandable certainly makes things a touch more accessible, but only just, while the blasting rhythms and feedback remain the undeniable center of attention. The addition of electric viola and, via guest performer Alex Buess, bass clarinet adds even more roiling chaos to Anatomy, and the album as a whole is a fantastic listen. ~ Ned Raggett, All Music Guide
life embarrasses me on planet earth San Francisco-based two-piece Seventeen Evergreen are masters of the sci-fi ethereal, mood-sculpting in a manner most organic. Comparisons to Mercury Rev, Grandaddy and Lee Hazelwood have been made and stuck, after a fashion; they’re certainly of a comparable quality. DROWNED IN SOUND
jobriath Jobriath Salisbury was born Bruce Wayne Campbell, a classically trained piano prodigy from an early age, who joined a hippie rock ensemble called Pidgeon. There he was discovered by Jerry Brandt, who had previously signed such talented luminaries as Patti Smith, and, er, Barry Manilow. Brandt saw in Jobriath the opportunity to create a stateside equivalent of David Bowie, and wasted no time signing the youth to Elektra and recording a pair of albums that showcased Jobriath's songwriting skills and piano virtuosity, as well as his Broadway-style vocal flamboyance, complete with thinly veiled lyrical references to homosexual love, male prostitution and sadomasochism. Jobriath's songs were wrapped in cataclysmically huge arrangements including overwrought orchestral interludes and a bevy of female backup singers. Monumental space oddities like "Morning Star Ship" rubbed shoulders with emotive piano ballads like "Inside" and utterly bizarre, campy Jack Smith nightmares like "What A Pretty."BRAINWASHED
.....Unlike the widescreen grandstanding of fellow Icelandic brethren Sigur Rós and Björk, Without Gravity exudes a humbler charm. It touts a similar melancholy and bittersweet inspiration, but does so in a contained space; its emotional meditation is tailored for the living room, not the stadium.POPMATTERS
Schwabinggrad Ballet was founded when musicians from Hamburg’s best bands were searching for ways to intervene in public spaces in an unexpected manner. Although groups such as “Die Goldenen Zitronen” (The Golden Lemons), “Die Sterne” (The Stars), “Die Braut haut ins Auge” (The bride hits into the eye) or “Parole Trixi” have been active for years in the field between aesthetics and politics, individual members were no longer satisfied with the form of support concerts. Flexible performance strategies were therefore developed. Theatrical elements were increasingly included and street musicals were developed for specific situations. The Schwabinggrad Ballet operates rhizomatically and is not dependent on permanent members; it is expanded by additional artists and activists depending on the occasion. The ballet focuses on the fight against the racification of public space and gentrification, as well as on anti-war actions. Schwabinggrad is part of a network operating the Buttclub and organising discussions, readings, exhibitions, concerts, reading circles, and actions. Schwabinggrad (whose name combines the Nazi’s greatest defeat and the Federal Republic’s first innocent street-musician riots) developed the Hellas Musical for the No Border camps in Forst (2000), Frankfurt a.M. (2001) and Strasbourg (2002).
......ο Αιτινος με την ξανθια''μοικανα''ειναι ενας πολυταλαντος καλλιτεχνης που εχει συνεργαστει με(παρτε βαθια ανασα) Dick Clark, Bo Diddley, Chuck Berry,Flamingos, The Plasmatics, KISS, The Ramones(ποιος νομιζετε εγραψε το Pet Cemetary), N’Sync, John Waite, Deborah Harry, Lionel Richie, The Pretenders, Carol Davis, Nile Rogers, Nona Hendryx, Desmond Child, Jim Vallance Eurythmics, David Bowie, Tina Turner, Bon Jovi, Van Halen, Little Steven, Bruce Springsteen and The Who.Το 1989 κυκλοφορει υπο το ονομα Voodoo X ενα καταπληκτικο δισκο μελωδικου Hard Rock(η Hair Metal οπως χαρακτηριζοταν οι δισκοι του ειδους στο εξωτερικο,η Poser οπως τους χαρακτηριζαμε στο εσωτερικο)σε παραγωγη του ''τεραστιου'' Max Norman(Ozzy,Megadeth,O.MD,Bad Company,Fates Warning,Armored Saint και πολλα αλλα)γεματο υπεροχα τραγουδια με catchy refrains και μια περιρρεουσα εξωτικη ατμοσφαιρα που οφειλεται στην καταγωγη του...
.....καλησπερα σας κυριες και κυριοι το συγκροτημα Προωρη Εκσπερματωση παρουσιαζει αποψε το δισκο του Εκτιμωντας Την Ωρα Του Θανατου ενα πρωτολειο αμαλγαμα θορυβου και ηλεκτρονικων..ελπιζουμε να περασετε ολοι καλα.....???
....Can elephants make music? By the sounds heard on Thai Elephant Orchestra, a collaboration between humans Dave Soldier and Richard Lair and the Thai Elephant Conservation Center (not to mention the six creatures doing all the work), the answer is a resounding, percussive, and unimaginable "yes." Provided with oversized instruments--including a large harmonica, gong, synthesizers, and numerous drums--six elephants between the ages of 6 and 17 were allowed to create whatever racket they wished. The results are astounding and about as avant-garde as music gets.
Comprising two members of Serena Maneesh, The Lionheart Brothers are a widescreen, psychedelic colossus that take in and juxtapose the expanse and serenity of Slowdive and Mercury Rev with the blissful chamber pop and 60s technicolour of Brian Wilson
Lubos Fiser provides what is perhaps the greatest musical score of all the maligned Czech New Wave feature-films with a gossamer-fragile blend of pastoral-orchestral folk songs and clockwork harpsichords. From the very first delicate chord to the final crescendo this joyous sound is as addictive as the bizarre imagery seen in this seldom celebrated cinematic gem
It's lo-fi in places, and modestly experimental with plenty of interesting textures (the duo prefer an array of homemade electronics, analog synthesizers and archaic drum machines to software and laptops), but remains consistently, comfortably warm
....χα!ακομα και στα μεσα τις δεκαετιας 80' οταν εβλεπα τον ξανθο ηλιοκαμενο μποντιμπιλντερα να τραγουδαει το κατω του μετριου υπομεταλ του πεθαινα στα γελια.. ποσο μαλλον τωρα που καποιοι δινουν σε τετοιες μετριοτητες cult status για να πουλησουν σε απροσιτες τιμες το ταδε κορυφαιο ''σπανιο''... ...η αληθεια ειναι οτι το 99% των μεταλ γκρουπς που δεν εγινα γνωστα εκεινη την εποχη ειναι γιατι ηταν οντως μετρια..αυτα που αξιζαν με τον ενα η τον αλλο τροπο βρηκαν τον δρομο τους σε ενα μικροτερο η μεγαλυτερο κοινο...αυτος ειναι ο λογος για το συγκεκριμενο ποστ....FUCK OFF σε ολους τους ''εμπορους-ξερολες'' τις μουσικης!
"If you know someone who thinks Daniel Bedingfield or Jamiroquai represents the very apex of classy soul-pop, then slip them a copy of this stylish, sexy, infectious record and blow their tiny mind." Mojo
His style borrows heavily from the vintage reggae of Marley and the spiritual messages of singers like Luciano rather than the popular dance hall music of Sean Paul, but you can also hear other influences such as The Police in “Despatch the Troops”, and Matthew Wilder in “Jerusalem”, as well as rap and hip hop.
Everything about the album evokes dreamy days, lying in tall grass and looking up at blue, cloudless skies. An incredibly warm and organic sounding debut, the songs all belie the band name of Engineers, who, thankfully, never feel manufactured or contrived. DROWNED IN SOUND
Department of Eagles' debut album The Whitey On The Moon UK LP (the title being an homage to the band's former name) sounded like nothing else at the time of its first release. No one had ever heard such distinctive experimental beat driven montages laid next to such exquisitely structured pop songs The Whitey On The Moon
....a pleasing amalgam of jangly guitars, gauzily pretty female vocals, polite electronic flourishes, and the occasional breakbeat. The result comes across just a bit like the Sundays, updated for the post-Massive Attack generation.
Οι The Books, ξανά, είναι μοντέρνοι κλέφτες, όπως όλοι όσοι παίρνουν έτοιμους ήχους και κάνουν το sampling να εχθρεύεται την αυθεντικότητα (μόνο με ανακύκλωση θα πάμε εφεξής δηλαδή;). Εντούτοις, απομυθοποιούνται, τόσο οι ίδιοι, όσο και η γραφή τους, διότι σε όλα τα διανοητικά τεστ πέρασαν χωρίς σκονάκι στους πολύ έξυπνους έως ιδιοφυείς. Κοινώς μας δουλεύουν και το απολαμβάνουν παράφορα.MIC
Citay is by far one of the best LPs and certainly one of the most promising debuts I've heard in a really long time. To me, Citay sounds like a combination of the best 70's power ballad riffs and solos you can think of matched seamlessly with Sufjan's wonderfully lush orchestration. I.G.I.A.F BLOGSPOT
Christian Savill, half of Monster Movie, once played guitar for shoegaze legends Slowdive. The strangest thing about his current band’s new album is that it doesn't sound like a record made by a former member of Slowdive, but like a record made by someone who was not yet born when that band broke up.DUSTED ALL LOST
Full of experimental sound play that never sounds experimental, dual drummers that aren't redundant, and built microphones that distort lovely vocals into something even lovelier, Samme Stoff Som Stof begs to be considered as one of the year's most impressive works. Unlike so many bands that appear seemingly out of nowhere with the shelf life of a half-eaten apple, Under Byen offer a lush, incredibly dense and ethereal landscape of sound, with a style that stands in stark contrast to the rest of the world's perceptions. Samme Stoff Som Stof
wind and water The more I listen to Wind and Water, the more I think its sounds are akin to time-lapse photography. These recreations of the natural landscapes are time-compressed, days and years squeezed into seconds and minutes.IGLOO
....Outline is one of the quintessential albums from the disco age. It coheres as a whole very well, providing both listening and dancing pleasure with its throbbing basslines, stabbing keyboards, and spare, sometimes chanted vocals.
Free Mars Ex-Tool bassist Paul D'Amour masterminded the Replicants album of rock covers in '95. Here he and his new band opt for intriguing psychedelic whimsy that follows the path of Sub Pop maestro Eric Matthews.