Album Reviews

[Crimson King]

Well, I feel since this is an entertainment room and there are people here with many different tastes, as seen in the music recommendation topic, we should have a topic to show the best albums of bands. Basically, anyone can post a review of an album. It should be at least a paragraph long and saying if you recommend it or not. I will have a list of all the albums reviewed if this gets good enough.

UPDATE:
Here is a nice scale to use to rate your cds.

The Tic Scale:

A - Amazing. An album every human being needs to have in their collection.
B - Not bad. If you see it, consider picking it up. It's worth it.
C - Meh. Not really worth paying full price for, but an alright get at used price.
D - Ick. Not the band's best. Even if you see this one used, only do it if you don't like the money and you can find nothing else.
F - A blemish upon the face of society. If you ever see a copy of this album, start smashing **** in the store likea gorilla in a suitcase commercial.

Do not post any non-review posts in this topic.

 

[Dodongo]

Nine Inch Nails "With Teeth"

First off I'd like to say that I have been waiting for this cd for about a year and a half since it was announced. Trent Reznor, more or less a one man band, said in a few interviews that he has been four years without drugs or alchohol now and has come out of his depression. I was pretty anxious to see what that meant. I picked it up on release day (and my girlfriend's brithday) last Tuesday and popped it into my cd player. It blew me away. It's usually expected that every NIN album is different from the last but With Teeth has gone to the extreeme. It starts out with "All The Love In The World", a surprisingly personal glimpse into a finally confident and upbeat Reznor. Each song after gently flows into the other giving a lot of insight into his coming out of the "downward spiral" so to speak. The album peaks with "Getting Smaller", a fast paced track akin to something you would find on "Pretty Hate Machine", NIN's debut record. Ending with a bang there is the aptly named "Right Where It Belongs" cycling back into the more farmiliar industrial sound that is his trademark.
I would definately recommend With Teeth to anybody. Unlike most of the proceeding albums it is easier for the uNINitiated to get into. It was more than worth the wait.

 

[Ticadrius]

The Tic Scale:

A - Amazing. An album every human being needs to have in their collection.
B - Not bad. If you see it, consider picking it up. It's worth it.
C - Meh. Not really worth paying full price for, but an alright get at used price.
D - Ick. Not the band's best. Even if you see this one used, only do it if you don't like the money and you can find nothing else.
F - A blemish upon the face of society. If you ever see a copy of this album, start smashing **** in the store likea gorilla in a suitcase commercial.

I decided to hit shuffle in Media Player, see what album came up and write a review. Here's what I got:

Who By Numbers
The Who
MCA, 1975

After the Who returned from their '74 tour, they set to work on the follow-up album to the monstrously popular Quadrophenia. What came out was Who by Numbers. Overall, this is a nice little album. It's sort of bizarre, the transformation the Who go under in this album. After the string of explosive smashes Live at Leeds, Who's Next, and Quadrophenia, one would almost expect Townshend to duplicate the gargantuan rock-style he has created, but he totally reinvents himself. The album doesn't even fit in with the early mod/British style the Who blended in with in the early-mid 60's. The album's vibe is totally different. Townshend is going through a mid-life crisis.

The man who coined the phrase "Hope I die before I get old" has hit 30, and suddenly, he doesn't feel young anymore. The album is soaked in self-pity, rustic nostalgia, and fear and frustration with aging. Oh, sure, there are the traditional, necessary singles, "Squeeze Box" and "Slip Kid," but they sort of attempt to evade the slower mood of the album. Overall, it's Pete bemoaning what his life has become and wishing for the days of his youth again. "Imagine a Man" and "Blue, Red and Grey" openly embrace rustic nostalgia. In "However Much I Booze" and, to a lesser extent, "Dreaming for the Waist," Pete cries out from the pit he feels his life has led to. "How Many Friends" and "They're All in Love" almost seem to be trying to make Pete into a martyr for the cause of a burned out, aging rocker. "Good-bye all you punks/stay young and stay high/hand me my checkbook/and I fall out to die." It's almost like a farewell album, the viobe of Pete terrified of his approaching age.

But this isn't really a negative criticism. The album appeals to the "down-on-our-luck" nature and fear of aging in all of us. Not so much focused on the "kick-in-the-door-and-rock" style the Who usually embraced, but more introverted and introspective.
And the songwriting is really beautiful. It's a side of the Who one would not expect to see, but is still happy to see. Pete is a burned out rocker, but he captures the mood in a more human and universal way than one would think possible.

Overall, the album is quite good. It's not the vibe one would really expect out of the Who, but it's still a really nice album. "However Much I Booze" and "Blue Red and Grey" still rank as two of my favorite Who songs of all-time. It's not a good place to start your Who collection, as they were winding down, and also not a good place to end it, as they relased other noteworthy albums later in their career (Who Are You), but it is still a very nice album that you should really consider purchasing.

Final Grade: B/B+ Not their finest, but certainly notewrothy.

 

[Crimson King]

Due to my desire to broaden my musical interpretation, I have bought a good bit of cds. Later this week, I will purchase at least two more. For now, I have gotten around to reviewing an album quite out of my typical listening enviroments.

Tic, if you don't mind, I will use your grading system and edit the original with this information.

The album is a Linkin' Park Album. Before starting, I hate Linkin' Park. But, I dropped my bias and bought this album. The album is the famous Collision Course cd.

Collision Course
Jay-Z and Linkin' Park

Synopsis:

The album starts off with Lester giving a little humorous quote and goes right into the first song, "Dirt Off You Shoulders/ Lying from You." When listening to the album, one thing to note is the transitions are quite smooth. Also, most songs start instrumentally with the opposite group singing. After the intro track is " Big Pimpin'/Papercuts." The song has a nice blend of the rhythm that Jay-Z brings and the melody that Linkin' Park actually has a talent of possessing. "Jigga What/ Faint" is a weak track in my opinion as the build up does produce as well as I hoped. "Numb/Encore" is the album's driving force. It is a well rounded track that feels like all the songs should sound more like this style. "Izzo/ In the End" is a fun track. My favorite track, the final, is "Points of Authority/99 Problems/ One Step Closer." The song is a nice end to the album and has great intensity. The second disk is worth the purchase alone. The second disk is the DVD of the show and it's quite well put together.

Overall, for a new rap-metal cd, with two bands I am not fans of, this album was great. The production value is lacking, but it fits the flow of the album. I was shocked myself and even a little embarassed that I spent money on this cd at first, now I don't mind so much. Give it an open-minded listen, and you will be somewhat surprised.

Final: B/B-
The album is something for the open-minded to check out. People who prejudge it ahead will see more flaws than are even important.

 

[Osco316]

Revolver
The Beatles

After Rubber Soul, the Beatles came out with one of my all-time favorite albums, Revolver. It starts out with the song "Taxman" which was written by George Harrison. It's one of my favorites on the album because of the guitar and the lyrics. Next up on the album is "Eleanor Rigby". It's a nice orchestrated song but kind of a sad song. After that comes "I'm Only Sleeping," John Lennon's ode to his bed. Not as good as "Taxman," but it's still good. Then comes George's "Love You To". George plays the sitar on this song and that may turn some people off. The opening is decent but once it starts going it gets better. After that comes Paul McCartney's "Here, There, And Everywhere" which is much slower than the previous song. It reminds me of a barbershop quartet song. A little slow for me but I like it. The song "Yellow Submarine" comes up next. It is sung by Ringo Starr and inspired The Beatles' next movie. A pretty catchy tune and lyrics. "She Said She Said" comes up next. It's pretty repetitive, but I like the guitar-work on it. Another song by Paul comes up next, "Good Day Sunshine". It's a pretty peppy song. It's a little short, though. The next song "And Your Bird Can Sing" may possibly be John Lennon scolding Mick Jagger for bragging about his "bird" Marianne Faithful. This song has the best guitarwork on the album in my opinion. The next song is "For No One" and is my favorite on the album. It's a sad song but just sticks with me. The french horn in the background adds a lot to the song. Sadly, it only lasts about two minutes. Lennon's next song "Doctor Robert" was inspired by a doctor who would supply rock stars with drugs. It's pretty catchy but not one of my favorites. The next song, written by George, is "I Want To Tell You". It is about having something to say but not knowing how to tell it. It's good but not one of George's best. The next song, full of brass instruments, is Paul's "Got To Get You Into My Life". It is not about a person but about drugs. I like how the horns sound playing with The Beatles. The album finishes with John's "Tomorrow Never Knows" which is a very psychedelic track. It includes many tape loops and has George playing on sitar. How it was produced makes it sound very unreal. This closer is one of my favorites on the album.

Overall, this is a great album. George is developing as a songwriter and playing more sitar. Lennon is starting to experiment more on his songs and Paul is being influenced by other bands and of course developing in his own right. ("Here, There, and Everywhere" - The Beach Boys) It all produces a great album and I think it's a must have for anyone.

Final Grade: A

If you don't have it, get it.

 

[Luigitoilet]

Medulla
Björk
After Vespertine, which was a perfectly fine album if a little monotnous, Björk comes out with possibly her most experimental album yet. To begin with 90% of the instrumentation on the whole album is the voice. Digitally modified voice, but voice nonetheless. That may sound like it makes it a barren album, but you can't be any more wrong. Bjork gets so creative with studio effects and just the right amount of other instruments (there's a piano in "Ancestors" and keyboards and synths on songs like "Mouth's Cradle" and "Desired Constellation"). There are moments on the album where there's at least five Bjorks singing at once (and not always singing, in the background on many of the tracks, there's groaning, wheezing, coughing noises). She isn't alone either. Guest musicians include Mike Patton (of Mr. Bungle, Faith No More and god knows how many other music projects), Rahzel (of The Roots), an Icelandic choir and an Inuit throat singer. Oh, and several beatboxers and probably more I missed.

For the most part the album blends together, in that most of the songs have the same tone and mood (a mood unlike any other Bjork album, I think). The only song I can think that stands out almost completely from the others is the closer "Triumph of A Heart". It's the catchiest and most poppy of the whole album, and I believe a music video has already been made (by Spike Jonze, nonetheless!). It stands out but it's just as good as the rest.

The whole album is a trip and great to listen to, and I can't go into detail with every track, but here's the highlights:

"Where is the Line" features manic drums (beatboxing, perhaps?) and distorted vocals. The time signature changes (or it appears to) several times and it's just a real manic song, almost a rock song.

"Vökurò" is in Icelandic (the title is Icelandic for "Vigil") and probably one of the prettiest songs on the whole album. Nothing but Bjork and a choir.

"Who Is It?" was my first favorite song off the album. Probably most likely to be a third single (if it isn't already). A nice melody over a techno beat and what sounds like a flute of some sort. Nice lyrics to boot, and I'm not a huge fan of Bjork's lyricism. (The alternate title is "Carry My Joy on the Left, Carry My Pain on the Right")

"Oceania" was written for the Athens Olympics last year, where she performed the song. This was the first single off the album, I believe. Hard to describe, it changes a few times throughout.

"Sonnets/Unrealities XI" is another just vocal song, the choir more sparse. The lyrics are from ee cummings.

"Ancestors" is one of the most far out songs on there. Just a huge orgy of vocal harmonies under a sparse piano score. Keeps on building and building until the very end. No lyrics here. My second favorite for the emotion in it.

"Mouth's Cradle" is the shining star of Medulla in my eyes. It starts off with a keyboard riff with more choir-work underneath. Some of the backing vocals are distorted and played backwards and the lead vocals are very syncopated and stretched out. The lyrics are fantastic with imagery and the song is just dizzying. It has such a weird sense of momentum and the chorus (refrain?) is probably my favorite part of the whole album.

That's not everything, there is one song that I still can't get used to. I don't like it, but I think the reason I don't like it is because it has the desired effect on me. I think it was intentional.

"Submarine" is in all seriousness one of the creepiest songs I've ever heard. I recognize Mike Patton's vocals here for the most part, and someone with an inhumanly deep voice in the background with Bjork herself. Also about halfway into it there's someone in the background that sounds like their gurgling water and in the other speaker someone breathing heavy. The song is too unsettling to be enjoyable at all and absolutely impossible to listen to with headphones. Everytime I try I get several involuntary chills up my spine. It's not an enjoyable listen, but it's effective which is to its credit.

This is Björk's most out-there album, and now I can't wait to see what she's going to do next. If you're just getting into her, this is not a good album to start with. It's best to start with Debut, Homogenic or even Selmasongs (soundtrack to "Dancer in the Dark" in which Björk starred. I recommend the film too.) But if you want something unique, a little confusing and really emotional, pick up this horribly underrated album.

Grade: A

 

[Luigio]

X & Y

Coldplay: X & Y.

The album is EXTREMELY energy charged. If you listen to, perhaps, "Speed of Sound", you can hear the energy that Coldplay puts into their music. I have one complaint, which is that Coldplay strayed a bit too far from their original style, having more piano. This album has a little too much Guitar, IMO.

The album starts out with a song called "Square One". Personally, I didn't enjoy the song. Some high points are the vocals, and the drums(which come in about 30 seconds into the song).

We now move on to a song entitled "What if". I thought of it basically as good as the first song. The vocals were good, and the chorus is good also.

Next, the song "White Shadows". This was one of the songs on this album that I really enjoyed. The guitar is pretty good, and the vocals are spectacular.

We move on to "Fix You", an extremely great song. The Organ just did it for me. The song itself is good, i'm planning to use it in a slideshow i'm creating for myself. The vocals did extremely well.

Next: Talk. The guitar is quite good in it, and what the song is about brings me to enjoy it also.

Up next we have "X & Y". The beginning turned me off a little, but then the chorus really got me into it. Chris did exceptionally well in his vocals in this song.

We now come accross "Speed of Sound". Best song i've ever heard, and i'm not just saying that as a hardcore Coldplay fan. The song has a certain energy in it that completely makes your day. It's especially good to listen to while biking or any other form of exercise. The Pinao was to die for, the drums are amazing, and the chorus'll have you singing along (to the distress of your family ).

"A Message" isn't very good. It's simply acoustic guitar, and Chris singing. Phail.

We come to "Low". It's an okay song, I didn't enjoy it much, but it's okay. There's a lot of guitar, if anyone's interested. The vocals are pretty good too.

"The Hardest Part". Oh god. Don't get me started. The Hardest Part was listening to the song. It sounds like a country song, and I LOATHE country.

Swallowed in the Sea is a pretty good song. The vocals and chorus are great, but it's missing the Piano

Twisted Logic. Pretty good song. Has a good tune and beat, and the vocals are good.

Finally, we have "Kingdom Come" It's okay, even though it sounds like a folk song.

Okay, so there's my review for X & Y. I'd suggest buying it just for Speed of Sound, but if you have iTunes, buy the Speed of Sound single, which comes with a couple of EP's.

Final Rank: A.

 

[Ticadrius]

X & Y: A Counter-Review

X & Y
Coldplay
Capitol, 2005

When Coldplay debuted in 2000, I, like many was wowed by their unique style and bringing a subversive "indie"-esque style to mainstream pop. In 2000, Third Eye Blind was fading, Rage had broken up, the ska movement was falling, and bubblegum pop was huge. So, to escape it, the masses turned to this new style Coldplay was brewing, despite the fact that a similar band (Radiohead) had been doing it for years, BETTER, but was overlooked by the masses in favor of Coldplay. For some reason, where Radiohead failed to catch on as much more than a cult band, Coldplay barely set foot in the arena and the crowd went nuts. Coldplay was still a breath of fresh alternative air in an otherwise painful music season. We anxiously awaited their new album.

2002: A Rush of Blood to the Head. Huge record, right? We all know that. A global explosion. And still, these guys were the only real "pop" band that was doing this style. But by 2003, other subversive bands with the same style began popping up. With this Coldplay-esque style becoming a recognized genre, bands began flooding in. The fact is, that by making a Coldplay-esque record, anyone could become a bona fide hit. Keane's style, for example, points in many aspects to Coldplay. I, and many music critics, knew that in order to stay ahead of the game and stay on top, Coldplay's new album would have to blow away the competition, show us all that they were the kings of this alternative sub-genre in order to remain huge.

With this follow-up album to their 2002 smash, it was expected to debut at #1 in Britain, right? WRONG. Overturned by a ringtone. You all know that story, and if you don't, I'm not retelling it again. A fluke, right? Well....

Britain's history of heralding great music stateside is in their favor. I don't need to point out the British names that have been huge in Britain before exploding stateside. The Beatles, Stones, Who, Kinks, Led Zep, Police, Queen, Pink Floyd, Clash, Sex Pistols, et al. Once again, our relatives across the pond managed to prophecize just how good an album is.

It's an album that's ultimately "good enough." Good enough for Coldplay's name, and indicative of their style. It is good enough for Coldplay's hardcore fans, but really doesn't offer anything new. The songs sound generic and blend into the dozens of other bands that have sprung up since their last album was released. The album fails to blow away the competition, and in the case of many fans of their other albums (myself especially), realize that this band is not really that special; others have done and do this style as well/better than Coldplay. The fact remains that Coldplay had to blow us all away with this album, they had to transform themselves, become inventive, do something radically new. But they didn't. The singles "Fix You" and "Speed of Sound" don't just feel like the same old Coldplay songs, they feel just like songs that some other band could have just as easily written and released, and the product would have been just as good. The songs blend far too well into other bands and Coldplay's other albums. If I randomly play a Coldplay song, unless it's a single, I don't even know what album it's from.

Final Grade: C. Their other two albums are both better. If you really like Coldplay's style and have their other albums, go for it, but I was really expecting something more, something inventive, something new, something to put them ahead of the pack, but I was sorely disappointed. It's not an album anyone needs to "rush out and buy;" it blends in too well into the smear of similar bands. And to think, I still don't have Beck's new album...

 

[ValiantDeftone]

Around the Fur
Deftones
Maverick/Warner Brothers, 1997

It's hard to classify what category of Rock the Deftones fall in. There are so many (IMO too many categories) and everyone has their own opinion on what band belongs in what category. The Deftones have been seen as Nu-Metal more than any other category and Around the Fur is no exception.

Around the Fur is the Deftones' 2nd album, the first album being Adrenaline. The emotion you get from Around the Fur is like floating on an ocean current. One second the water is calm and smooth, next thing you know there's a storm coming and you gotta hold on. The album starts off with a bang that will make the hair on the back of your neck stand on ends. The rush from the heavy guitar and screams is just what you need to start off a good album.

Around the Fur is a great album to play when you're in that, "I'm gonna lay on my bed with my pillow over my face and just relax to some tunes," mood. Great tracks that build up energy and release it to intensify the mood ten fold. Then there's the all out chaos in the 9th track entitled "Headup". A track that any mosher will respect.

Final Grade: B Around the Fur was a major asset to the Deftones as their second album. Their video of "My Own Summer(Shove It)" was featured on MTV's TRL and helped send out their music on a world-wide stage. In fact, most of the songs that the Deftones play at concerts come from Around the Fur. It's difficult to imagine a Deftones concert without "Be Quiet and Drive(Far Away)".

 

[Ticadrius]

Everybody Knows This is Nowhere
Neil Young
Reprise, 1969

With my apartment all abuzz about Neil Young's album dropping Tuesday, I figured now would be a great time to whip out a Neil review. My roommates are HUGE Neil Young fans and insisted I listen to some of his stuff. Admittedly, I really dig most of it. Also, admittedly, he hasn't dropped a good album in 30 years, since Zuma. Freedom and Ragged Glory were OK, not good. Neil golden age was the late 60's-mid 70's. The album that keyed it all off was his startlingly mature sophomore album: Everybody Knows This is Nowhere.

The album has it all. All the signs of a maturing artist ready to break away from CSNY and the Byrds to really become a top tier artist. The album opens up feeling adeqately bluesy and rocky with a rather tough-pop single "Cinnamon Girl." The song shows Neil's ability to make modest hits, but still maintain the verneer of blues over it, which is always a tough balance to manage. The title track follows this, dripping electric country-rock. It's a difficult line to dance: country and rock. Nostalgia bleeds from the track, along with rock and non-twangy country. It's refreshing. "Round and Round" is a soft, folky ballad, with Neil nicely harmonizing with overdubs. After this track comes the album's shining gem: the blues-rock classic "Down by the River." At 9 minutes, it should get tiresome, but it doesn't. The song drips blues and rock. The next two tracks, "The Losing End" and "Running Dry" are both bluesy, mildly folky and country, but just rustic enough to not be overbearing. Both tracks stand out as great. "Cowgirl in the Sand" concludes the album much like another "Down by the River," long, smooth, bluesy, rock slowly easing you towards its close. Perfect.

In conclusion, it's everything a good rock album should be, and with only seven tracks. It flows flawlessly from track to track, merging several, then very distinctly different genres: blues, folk and rock. It's not poppy, but still catchy. You still want to listen to it over and over again. It set the standard for how to make a good rock and roll album.

Final Grade: A-. Seriously, one of the finest rock albums of all-time, and the perfect intro to Neil Young. The start of his golden period, which would culminate and peak with the two masterpieces Afetr the Gold Rush and Harvest. This is a great way to get to know Neil, and with his new album dropping, now is a better time than ever to hop on board the Neil train.

 

[Bedi Vegeta]

Demon Days
Gorillaz
EMI, 2005

As a fan of their first album, and also a fan of the art of Jamie Hewlett (draws the cartoons) and of Blur (their vocalist, Damon Albarn, is the voice of 2D, the Gorillaz’ lead singer), I admit that I went out and bought this album on the day that it was released. It has a bit of a different sound in comparison to the first album; it still retains the classic Gorillaz sound (whatever the hell that is), but these songs are a lot more upbeat and ‘bigger’ sounding than the previous album. Personally, I am a bit disappointed that this album (or at least the singles) was such a success. The first album didn’t really appeal to as many people, but the new sound is a lot more mainstream, and Gorillaz is becoming increasingly popular.

Intro – Meh, I’m not a fan of these things, it’s not really a song, and you only really want to listen to it the first time, after that it’s just annoying.

Last Living Souls – Cool song. I love the bossa-nova organ beat they have at the beginning of the track, and I love the strings they have after the bridge. Gets a bit repetitive though.

Kids With Guns – The Chorus in this song is awesome, as well as the extra vocals towards the end of the song.

O Green World – This song can be a bit hard to listen to at times, just like the original album; the classic discordant noisy stuff….so this is a lot more like their older songs…

Dirty Harry – This would be my favourite song if it wasn’t for the crappy rap they have towards the end of the track; it really ruins the mood of the song, and it’s bad rap besides. The song has a great 70’s funk feel to it, and you just gotta dance…and the children’s choir is a nice touch.

Feel Good Inc. – Undisputedly the best song on the album. It is a perfectly balanced song; the light chorus, the rap, the verses…and of course there is that bass riff…awesome…and it has a great funky beat to it. If I hadn’t heard it so many times I would still like it.

El Mañana – This is a great chillout song for me; nice and relaxing.

Every Planet We Reach Is Dead – This is one of those tracks that I forget about on an album…it’s not actually a bad song, but there is nothing particularly special about it.

November Has Come – Another ‘chillout-ish’ song for me…the rap in this song doesn’t bother me at all, and I don’t usually like rap.

All Alone – A catchy song…flows well…the chick’s voice in the bridge sounds so sexy…

White Light – A bit of a fun song…not much to it….I’m getting sick of writing about each track…

Dare – I don’t know why this got released as a single. It’s not that I don’t like the song, it’s just that in my opinion it doesn’t sound at all like Gorillaz
(it sounds to me a bit like Basement Jaxx), and I don’t like it as a Gorillaz song…too poppy.

Fire Coming Out of the Monkey’s Head – This song is as awesome as its title. I love these narrative songs, especially when the actual chorus or tune behind it is really good as well…

Don’t Get Lost In Heaven – This is the first part of a two-track song, the second part being ‘Demon Days’. I love the whole happy theme of the music mixed with the dark vocals…very cool.

Demon Days – The title track of the album. Even though it is the second half of a song, it changes pretty quickly to another tune…the bridge I guess…a lot of the track is just building up…to a really catchy riff, with a funky slow reggae-ish beat. Funky.

Overall, as a Gorillaz fanboy I would give this album an A. Must have. It is better than the first album; the majority of the songs are really good, and there aren’t really any songs that suck. But I would probably give it a B+ from somebody else’s point of view. Decide for yourself…

 

[God Sribe]

Enya- a day without rain

Artist: Enya
Album: A Day Without Rain
Genra: New Age
Rating: A for those into New Age, and a C+/B- for those not.
Notable Songs: Only Time, Wild Child, One by One, Flora's Secret, Fallen Embers

Without a doubt, this is one of my most favorite albums of all time. Enya is one of the best female singers I have ever heard. The music is splendid. It weaves the harmony and melody in a seemingless fashion.

Enya sings in three languages: English, Gaelic, and Latin. She also seems to pick the perfect language for each song. And even though some songs have no words, the music is enough to fill the vocal-less tracks.

One song that really stands out is "Only Time", a brilliant song that moves the soul and moves the heart. It would also make a perfect wedding song.

I could go on and on for days about the album, but I pretty much just summed it all up in those 3 paragraphs. If I was you, I would give the album a shot.

 

[The Volitan]

Megadeth- Countdown To Extinction

This album has been in constant rotation in my CD player lately and gets an B+. Every track on this album is filled with great guitar riffs and lyrics. The only reason it didn't get an A was becuase the title track is about Anti-hunting, save the animals type stuff. The music itself is great but the lyrics are to political and I despise politically motivated songs. But other wise the album is great so if you like metal, buy this record.

Shining Moment- Symphony of Destruction. A song with a killer riff that heavy as ****.

Honerable Mention- Sweating Bullets. Pretty much a song about a schitzophrenic guy having a conflict with his own mind

 

[Ate Track]

Cage - Hell's Winter

This is Cage's coming out party (no homo). Movies for the Blind was a sick and twisted trip through this man's life, filled with vivid imagery of drug use, self-mutilation, and deranged thoughts. Hell's Winter, however, is more grown-up and, well, playable to the masses. He starts the cd out with "Good Morning". Very slow start, but picks up and becomes one of the better songs on the cd. "The Death of Chris Palko" I feel is the best track on the cd, and top 5 songs of the year. Camu Tao comes out of nowhere and makes a ****ing killer beat, and Cage rides it like no one else could. Another amazing song is "Scenester". Blockhead laces the track for Cage, and it is, again, a flawless song. The posse cut, "Left It To Us" featuring El-P, Aesop Rock, Tame-One, and Yak Ballz is just crazy. The entire cd is worth listening to, so I highly recommend it.

Grade: A

Track Listing:
1. Good Morning
2. Too Heavy For Cherubs
3. The Death Of Chris Palko
4. Grand Ol' Party Crash
5. Stripes
6. Shoot Frank
7. Scenester
8. Perfect World
9. Subtle Art Of The Breakup Song
10. Public Property
11. Left It To Us
12. Peeranoia
13. Lord Have Mercy
14. Hell's Winter

 

[falcoX]

Guns N' Roses: Appetite For Destruction

This was Guns N' Roses first album, its a really hardcore rocker that i listen to all the time.

Tracks:
1. Welcome To The Jungle: I promise you, you HAVE heard this song before. In arena, at stadiums, at games, events anywhere. This song is just plain incredible. I listen to this song to pump me up, believe me, it pumps up alot of people.
2. Its So Easy: A good song. Next
3. Nighttrian: This song was average the first time you hear it, but it will grow on you. Its now one of my all time favorite sogs. Slash's solo to end it is just awesomeness.
4. Out Ta Get Me: Good guitar. Good drums. Good song: Next
5. Mr. Brownstone. A good song to get stoned to (or so I've been told) as it is all about drugs.
6. Paradise City: A song on par with welcome to the jungle. The intro is kick ***, the drums are awesome, the killer solos rock. As the song reaches it climax, it just shows how awesome Guns N' Roses is (Or at least once was). Favorite track on the album.
7. My Michele: Like Paradise City, The intro is great. It only gets better as Axl begins singing and the song really takes off well.
8. Think About You: Probably the most underrated song on the album. Its a sweet song, fast and fun, and it should have it dues. Maybe its not regarded that highly becuase of the song following it...
9. Sweet Child O' Mine: For every thing that Think ABout You is, SCOM just takes it to a whole 'nother level. Arguable the best song on the album, and one of my favorites. The lyrics are wonderfully special, something that everyone can relate to. And oh yeah, that killer solo by Slash. Him slamming on the ax at roughly 3:30 into the song is just incredible. Dont believe me, fine. But I definetly think that this is one of there best songs.
10. Your Crazy:Like Think ABout You, its an underrated song. A lyrics just get stuck in your head, its fast, its fun, and Axl is really "Telling it like it is"
11. Anything Goes: Meh. The only song I regularly skip on this album. Its a below average song, and Im sure that even the Backstreet Boys could have sucess witht his one.
12. Rocket Queen: Last song on the album is a goodie. Don't know why I like its pretty good.

Yeah I know that album review was pretty terrible but the album itself is not. Its one of the greatest rock/metal albums of all time. It showed that Guns was a threat, but sadly, the band went down hill from here.
Grade: A+

 

[Aruun]

Ágætis byrjun

Ágætis byrjun
Sigur Rós

Tracks:
Intro
Svefn-g-englar
Starálfur
Flugufrelsarinn
Ný batterí
Hjartað hamast (bamm bamm bamm)
Viðrar vel til loftárása
Olsen olsen
Ágætis byrjun
Avalon

Just as a warning, I'll try and go through each track and describe it, but, honestly, Sigur Ros is beyond description. You just need to listen to it, there's really nothing like it.


Hailing from Iceland, Sigur Rós' debut album, Von, was an alright start for the band in 1997 (which they quite obviously agree with, as the translation of "Ágætis byrjun" is, literally, "An alright start"). In the process of studio work the album became less music and more pretty atmospheric background noise. This all changed with the release of Ágætis byrjun in 1999. Filled with atmosphere, flowing strings, and enough imagery to fill books and books, the album was and still is considered one of the greatest albums of all time.

The disc begins with "Intro," fading in with manipulated voice clips and ending in a low rumble, filled every few seconds with a synth "ring" of sorts. Ending at a mere 1:36 long, the song seamlessly blends into the following track, and serves as a well executed introduction for the album.

The next track, Svefn-g-englar, or "Sleepwalkers," is about as close to the divine I think any music can get. With Jonsi using a cello bow on his guitar as usual, and the continuous ring every so many beats, the song is rather hard to describe, but I think the word "angelic" works just fine.

The following song is Starálfur, or "Staring Elf." Various noises along with amazing strings start the song off with incredible atmsophere, only enhanced by Jonsi's falsetto vocals. The song ends with a huge orchestra piece, which fades away with only Jonsi's voice still singing. Afterwards an odd sort of grumbling noise fades in until the end of the track, blending into the next, Flugufrelsarinn.

Flugufrelsarinn, or "The Fly Freer," begins with synth keyboards and quickly escelates into the bowed guitar. Not my favorite on the album, but still an excellent song. The feel is darker than the previous two songs, and it also has some very nice vocals by Jonsi. The song ends and, once again, fades seamlessly into the following track.

Ný batterí, which translates to "New Batteries," begins with sparse brass, sound effects and a bit of flute, feeling very barren. Guitar and more bowing follow, revealing the melody. However, this song climaxes at a few points - displaying some of the most excellent use of drums I've ever heard - and this is where it really shines. I didn't like this song too much at first, but it really grew on me. Much darker than the previous tracks.

Hjartað hamast (bamm bamm bamm), or "The Heart Pounds (Boom Boom Boom)" is easily one of the oddest yet most-likable songs on the entire album. Featuring a deep bass line and, of all things, a harmonica, this song continues with the great drum use and provides a good "pounding" feel, which fits in nicely with the title. Around halfway and again for the ending, the song transfers into a dramatic, meloncholy-ridden portion, without any percussion and laiden with strings and grumbling sound effects. The song ends with a very odd but very nice sound, similiar to static or something... I'm not quite sure, but it has a nice ending all the same.

The next track, Viðrar vel til loftárása (aka "Good weather for airstrikes," which you might recognize as my location), is incredibly beautiful. After some sound effects, a wonderful piano line slowly fades in, laden with clever pauses and a feeling of bittersweet. The piano is eventually joined by bass, strings, and of course Jonsi's amazing voice, resulting in an incredibly emotion-filled piece. As the song progresses, it becomes louder, firmer, and more dramatic, and features I think the best ending to a song I have ever heard. Slowly the drumbs and other insturments die out, leaving just the strings, which begin playing unnaturals and purposefully losing key, going out with a bang into organized chaos that finally comes to a stop. You just need to listen to it to really know what I'm talking about. Probably my favorite track on the whole CD, although that's a very hard choice.

Olsen Olsen is sung entirely in "Hopelandic," which is essentially jibberish. However, the mood quickly returns to the angelic-like atmosphere featured in Svefn-g-englar. Not much to say, besides the flute returns and sounds wonderful, and the song features a very nice bass line and melody in general.

Ágætis byrjun is probably my least favorite on the entire CD, but even then it's a really nice song. Great guitar is featured throughout the whole song (I adore the squeeky noise from sliding fingers on the string, but that's just me). Another nice ending (I think I'm starting to see a trend...) and obviously the song also has great vocals from Jonsi (again). It's just not my favorite from the album, there's not anything inherantly wrong with it.

Avalon finishes off the album, and to be honest, I don't really know how to describe this song. It has a bunch of lingering notes, and odd time signature and lots of bass, but it's still a very good insturmental. A fitting end for the album (although I think Viðrar vel til loftárása would have made a better end, but hey).


All in all, this CD is fantastic. It's not neccesarily for everyone (aka it's for open-minded, listens-to-more-than-linkin-park people), but it's an incredibly beautiful, atmospheric, artist and unique album that's sure to tickle your fancy if you have any taste at all (sorry dears, it's the truth). If you see it, pick it up. Also, just as a note, this album is much better when listened to on a CD player with the CD, rather than iTunes or a similiar program, because the tracks are meant to flow seamlessly together, and they sort of don't on iTunes or an mp3 player, and as a result alot is lost. The album is more like one large song, rather than each track being it's own. Just a tip, though.


Grade: A+

 

[Neo Debisu]

Bad Religion - The Empire Strikes First

The Empire Strikes First
Bad Religion
Epitaph, 2004

After a triumphant return to form with their 2002 release The Process of Belief, Bad Religion went on to further establish their legacy with The Empire Strikes First-- a hardcore/pop punk masterpeice. The title itself is a clear reference to U.S. president Bushs' policy of preemptive war, as well as a pun that Star Wars fans might enjoy.

Bad Religion is an extremely influential hardcore/pop punk band from the very early 1980's. Though they have influenced, and are credited by many artists such as Blink-182, Death By Stereo, Fall Out Boy, My Chemical Romance, The Offspring, Pennywise, Rancid, Simple Plan, Good Charlotte, and Pink(!?)-- they are definitely NOT your ordinary "pop" punk band. For one, as this album will demonstrate quite well, the band does not write typically "pop" songs. In fact, even though their melodies are pop-inspired, one would be hard pressed to call them pop to begin with. No whiney emo vocals, no songs about highschool issues, no songs about relationship problems. And most atonishingly for a hardcore punk band-- No indistinguishable screaming!

"Overture" kicks off the album as a slow-paced gradually-building melodic introduction to its sister-song "Sinster Rouge", which violently erupts forth from the previous song with blazing speed, and church-choir backing vocals. The song is very catchy, blazing through at 800 miles per hour, only to stop suddenly, leaving you wanting more.

Thankfully the well produced next track delivers; "Social Suicide" is a fine example of Bad Religon's brilliant philosophy inspired lyrics (see Plato's Allegory of the Cave). "Atheist Peace" shows off some more of the progress they've made through their 3 decade spanning career, ending with a weird acoustic melody that really mixes things up. "All There is" brings back the choir for a moment in what sounds like an excellent cross between Sinster Rouge and Social Suicide.

"Los Angeles is Burning" is the first single for the album, and the only song with a video to boot. It has catchy pop-vocals and beat, but just doesn't catch my interest. (full quality DIVX version here )

"Let Them Eat War" is probably my favorite track off the album. A Wall of guitars, excellent drumming, and-- What the Fawk? -- a rap breakdown? That's right. Bad Religion isn't afraid to mix stuff up at all. A Cameo by Sage Francis really puts a new spin on their sound. This song is followed by "God's Love", a song that you'd probably want to play to scare and disorient christians. "The Empire Strikes First" is an extremely poppy song with extremely bland, but direct lyrics.

This is where the album takes a sharp left turn. "Beyond Electric Dreams" and "Boot Stamping on a Human Face Forever" really show some weird, and much appreciated diversity of sound. Awesome production value and a very un-punk beat and tempo help round out this album as being something the band created, and not their image. Closing out the album is the final track "Live Again", as a socio-religious commentary on suicide bombers. It's not mellow, but at the same time it is. You'll have to just hear it yourself to figure it out.

Finally "Surface of Me" is included in imports of the album, and on B-Sides of the "Los Angeles is Burning" single. When your band is so good, that you can have 'throw-away' songs that are THIS good, you know you've succeeded. This track is sort of tricky to find, but I uploaded it for you.


Final Grade - A+


Tracklist

1. Overture
2. Sinister Rouge
3. Social Suicide
4. Atheist Peace
5. All There Is
6. Los Angeles is Burning
7. Let Them Eat War
8. God's Love
9. To Another Abyss
10. The Quickening
11. The Empire Strikes First
12. Beyond Electric Dreams
13. Boot Stamping on a Human Face Forever
14. Live Again (The Fall of Man)
15. (BONUS IMPORT B-SIDE) Surface of Me (download here)

Download more free Bad Religion songs at their record labels site: Epitaph

 

[Aruun]

Tidal
Fiona Apple

Tracks:
Sleep To Dream
Sullen Girl
Shadowboxer
Criminal
Slow Like Honey
The First Taste
Never Is A Promise
The Child Is Gone
Pale September
Carrion


Ah, Fiona Apple. Yup. Tidal is the album that started it all - the controversial quotes, videos, record labels, and leaked songs... but also a fantastic musical career for the meer nineteen year old. Really, I don't care if she's a vegan, as long as it won't make her lose that smokey voice of hers.

Apple's 1996 debut album feels and sounds much different than her 1999 "When The Pawn..." and last year's "Extraordinary Machine." The album in general is much freer, wandering, and bittersweet than her more recent moody and witty outings. At first I disliked the fluidity and occasional lack of structure, but now I've actually become quite fond of it. It makes Tidal more raw than her other albums, and it seems more like she's telling a story rather than singing a song.

The album begins with "Sleep To Dream," featuring strong percussion and angry lyrics, and quickly fades to "Sullen Girl," a wandering song featuring metaphorical lyrics such as:

They don't know I used to sail the deep and tranquil sea
But he washed me ashore, and he took my pearl
And left an empty shell of me

The album continues on, featuring more heartfelt tracks, such as the self-derogatory song "Criminal," or the bittersweet and string-laden "Never Is A Promise." Apple even shows some strong jazz influences with "The First Taste."

For a debut album, and one by a nineteen year old at that, this album is very impressive. Despite having a few boring songs ("Pale September," "The Child Is Gone"), if you see this album, you should definitely consider picking it up - you probably won't be dissapointed.


Grade: B

 

[Aruun]

( )
Sigur Rós


Sigur Ros took a surprising turn in 2002 with ( ). The album features no real name, and is only called ( ) because of the shapes cut out on the slipcase for the CD. The album also features eight untitled tracks, all averaging on about eight minutes in length, all without any lyrics - real lyrics, anyway. Jonsi sings, but only in the jibberish language they've deemed Hopelandic. The CD, case, and booklet all feature no text, the booklet having empty pages to write or draw whatever the person wants for each song.
Some believe it has the parantheses shapes on the front to signify the two "halves" of the album, the first four tracks being more hopeful than the much darker final four tracks. I don't really know, nor do I really care, because Sigur Ros could stick unicorns having sex on the cover and the music would still take my breath away.

( ) sounds much different than Ágætis byrjun, either way, but not really worse. It features almost no string instruments, unlike its string-laden brethern, and is in generally a much more atmospheric, imaginative and wintery album overall. Infact, I'm not sure there could ever be a group of eight songs that so perfectly capture winter - and I would know, seeing as I live in Alaska - as well as these. The album is a bit abstract and creative, actually, and I'm none of the tracks make "sense" unless listened to in conjuction with the others. I almost never listen to this CD some way besides from the first track to the last, because the tracks flow so seamlessly, and they sort of tell a story. There are a few tracks, such as four and eight, that I didn't "get" until I had listened to them in context of the album. Somehow that completely changed the way I listened to it. So, on with the review.

The first track is somehow both an extremely sad song and yet very hopeful at the same time, and is really quite hard to describe. It features piano, synth, bowed guitar, some voice manipulation, and of course Jonsi's angelic vocals. I actually prefer this song live, I'm not really sure what happened in the studio... but it's still a very beautiful and heartfelt song.

The second track is what I consider one of the two "supporting tracks," the other being number five. It's not that the song is bad, because it most certainly isn't. Infact, it's quite beautiful; however, it doesn't stand out, but instead completes and compliments the other tracks on the album and lets them show their full colours. After taking this into consideration, though, the song is still a wonderously winter-like song, featuring more voice manipulation, nice guitars, a good drum beat, and wandering vocals. Very calming.

The third reminds me of laying out in the snow and watching the stars on a winter's night. It features an intoxicatingly beautiful and peaceful piano line, with slowly grows into a wonderful finale. I don't really know how to describe this. Just listen to it and you'll understand.

The fourth track is more upbeat compared to the last three tracks, with guitars, great percussion, and a very joyful melody. The song also has a fantastic piano part near the end, with the song fading away, with only Jonsi's voice (did I mention his voice is angelic and wonderful?) left standing. There's a thirty second pause until the next track.

Number five is the second "supporting" song. It's really not anything special by itself, but it really sets the stage for the next three tracks, with a much darker and morose atmosphere for the second half of the album. It can get a bit wandering sometimes, and doesn't seem to actually go anywhere. It's nice background music, though.

Number six is a wonderful track. It's actually less depressing than track number one, in my opinion, but it fits well where it is. It starts with yet again great drums, and features beautiful guitars and vocals. It builds up for a gorgeous finale that has Sigur Ros written all over it, and it works very, very well.

The seventh track is an odd one, really. When I first heard it, I didn't like it that much, but now I think it very well might be my favorite track on the CD. The unofficial name that Sigur Ros has given it, "The Death Song," fits more than perfectly. It's laden with groaning guitars, devastatingly sad vocals, and reminds me of a jagged iceberg wasteland. It takes awhile to get going, but the ending is so da emotional and painful, with only Jonsi's heartwrenching vocals at the end, I don't see how anyone could listen to this song and not feel like bursting into tears. It's still oddly beautiful, though.

The final track starts off with a seemingly happy guitar piece, with a really nice melody for the vocals, but eventually fades into a very dark, storm-like ending. It has fantastic drums and guitars for the last bit, along with really rather haunting vocals. It's not quite as death-ish as the previous track, but is still very dark and ominous.


This is such a hard album to grade. I absolutely love it, and I think it isn't even really comparable to Ágætis byrjun because it's so much different. However, I can guarantee alot of people, even some who maybe like Ágætis byrjun or Takk..., with find this album boring. Because it's so abstract, some people aren't going to like it, so I couldn't really expect this to be in everyone's collection. Just like how someone can look at an abstract painting and think, "So what?" while someone else looks at the same painting and thinks, "I get it!" this album isn't for everyone. Chances are, though, if you like Sigur Ros, you'll like this album. Just don't expect your usual music experience out of it.


Grade: B+

 

[Venom Dream]

The Flaming Lips – At War With the Mystics (Warner; 2006)

“I’m not going to beat around the bush”.

While that’s what I said when I began think up a clever way to kick off my review of The Flaming Lips latest album, it is also a fair description of that album. At War With the Mystics feels like the obvious evolution for the Lips after their last two albums, the almost gratingly mellow Yoshimi Battles the Pink Robots and the critically acclaimed The Soft Bulletin. The flashy, Sci-Fi Movie poster inspired cover art that so clearly compliments Yoshimi is possibly the first and most obvious sign of this. If The Flaming Lips front man Wayne Coyne were to take the most upbeat, intriguing elements of those two efforts and meld them into a single album, I’m sure it would come out sounding something like Mystics. Hence, they have stopped beating around the bush.

But that’s not to say the album doesn’t have its weak spots. In fact, the very first thing your ears are bombarded with when you reach for the play button is the obnoxious verse of “The Yeah Yeah Yeah Song”. However, this is quickly remedied by the songs brilliant chorus, the lyrics proudly proclaiming “And so we cannot know ourselves/or what we’d really do…” followed quickly by “With all your power/ What would you do?”
After a wonderfully executed transition into the clanging, White Stripes-esqe “Free Radicals”, we are once again treated to a wonderfully catchy, memorable chorus.

While the three tracks that follow Radical all seem like they could be outtakes from Yoshimi’s second-half fall-out, these tracks are far more interesting than “In the Morning of the Magician” or “Do You Realize??” could ever be, and the album bounces back quickly with the intense “The Wizard Turns On…”, the albums only instrumental track. From then on it seems to follow the formula set up by the beginning of Mystics.
Finally, the album finishes on an extremely high note with “The W.A.N.D” (The Lips most aggressive track since Transmissions from Satellite Heart), “Pompell am Gotterdammerung” (the albums defining track, which sums everything up nicely), and “Goin’ On” (almost an epilogue, its acoustic guitar is a refreshing change of pace to bring the album to a finish).

The only major spot where Mystics falls short of expectations are the lyrics. Inane references to Donald Trump, Brittany Spears and Gwen Stefani in “Free Radicals” and “The Sound of Failure” seriously take away from the atmosphere, and “Haven’t Got a Clue” has one of the most distressingly ridiculous lyrics The Lips have ever put on an album (“Every time you state your case/ The most I want to punch your face!”)
Despite this and a shaky opening, Mystics still manages to be one of the most refreshing albums this year. While it may not be the most accessible record, it seems like the type to age well.
Now all The Flaming Lips need to do is have two hit albums. Why? That way I can more easily compare them to Pink Floyd.

8.2/10.0

 

[Cyphus]

Infected Mushroom:
Classical Mushroom(2000)

Complex. Hypnotic. Classical Mushroom, InfectedMushroom's 2nd album, is a journey through intense middle-eastern influenced, Goa/Psytrance. I believe the first song on the Album "Bust A Move" defines the team-duo at their best. Like most of their songs, its starts extremely simple with a unique melody. Then some unorthodox bass movement joins in, and then another interesting sound carries a 3rd odd melody and so forth it builds. It grows until a climax, stereotypical to trance, and then unleashes a jam session before withdrawning again into a new buildup.
What i think separates this from all other pystrance bands is how delicate and well structured their songs are...especially with abstract melodies that somehow just perfectly mesh into the backgrounds so well that you don't know which sound you are suppose to follow, and just becomes a pleasant fruition of energy. Most trance or club stuff is just a basic electronic tune that sets the pace, and then a very basic, bass line, and it repeats, then you hear the oh-so cliche fast drum riff starting at a low volume and slowly get louder until it climaxes. This is not what you'll hear in this album.
Specific feelings of psychoticness come from irradic riffs during a freeze, and when it lets out something pretty, yet not fully destinguishable, it gives off vibes or hauntedness, anguish, and aggression.

Not to degrade its title, it does have a half dozen Classical elements or moments in their songs that actually doesn't seemed "forced" in anyway. Aside from piano, chimes, and strings, electric guitar makes many appearances, even thoughout all their albums. What in this genre the meat of the music is from the electronics, and the first time I heard this album the sounds I heard were all relatively new to my ears, and I immediately felt enchanted by the (what i'll call...) 'uncertainty' of the feint, vibrating electronic jingles. It simply felt like candy to my ears and sex to my mind.
Granted, I will admit I enjoyed the songs more each time I heard them, growing a greater appreciation for them in more a artistic and dare I say...spiritual way? well..being an atheist i might say "meditative" way, since I've periodically just played songs in my car, close my eyes, and lie there in trance for hours. I guess most people would think I do acid, from how well i feel involved in the trippy music, but in reality i've never done a drug in my life, so whatever.

1. Bust A Move
The most evolving of all the songs. Has several movements and returning jam sessions w/ a number of complex sounds. Several 'warped' moments that lead into new instrumentalization, that repossess previous sounds creating a more open-minded perspective on what the melodies can work with.

2. None of This is Real
All in all, a weaker song on the album, but if you love eletric guitar you'll prolly 'gasm at the leading riffs throughout the piece. Has more of a grundge feel w/ this harsh bass and wailing. Song takes several backseat trips to minimalistic slow, deep sounds. Overall though, the song doesn't take you many places or sustains enough moments of high energy.

3. Sailing in the Sea of Mushroom
The starting melody is highly questionable, since it seems a little drawn out and very....goofy. The beginning is a little unconfident of where its going, but its rolling smoother later on. Once the main tunes kick in, you'll find them to be pretty subtle and scattery, creating a more enveloping atmosphere than say a building one. Again, not one of my favorites.

4. The Shen
One of their bests. What starts off w/ some classic sounding strings, is interrupted with a haunting super-deep electrong spaztic line. They combine and it works out pretty **** well. Guitar-esque electronics take over for trippyness effect backgrounds stay pretty and gradual. Unique vocal chant silences out everything, but can't be understood due to it be being artificially synthed to be too deep and can't tell if its really words or not. It sounds like some demonic entity, and fits perfectly w/ a solid pulsing bass.

5. Disco Mushroom
Another of my favorites. Sounds: electronic chimes and trwirky, ever-changing background. A solid beat enters, and you can sorta imagine a disco guy pointing later in the song when it becomes more obvoius. A pretty simple song actually, but very enjoyable, imo. They didn't try to do anything too crazy w/ this one.

6. Dracul
The most deranged of their songs on this album. Has plenty of dissonant chords, sounds that repeat during their own echos, and some wierd guy who sings "du-du-du-du...duuuh" etc. Takes some "aquired taste" (kinna like beer), but i think its a very pretty, artistic song, even if most might say its ugly or wierd.

7.Nothing Comes Easy
Synth choir that gets sorta cut up and remixed. Arabic-influenced melodies become evident. I'd say a very cultural song, well transitioned into more psychedelical music.

8. Mushi Mushi
Trippy, feint ghostlike female-esque vocals that are remixed into a pretty cool melody. Eletronic melody here is a little extra...out of control. Song makes me think of getting possessed. Not particular a song that makes you wanna jump, but very wierd and possibly mind-expanding.

9. The Missed Symphony
the 10 minute finale. Very slow, innocent introduction. Uses more real instrument sounds, mostly cultural stuff, in addition to piano and strings. Eletronic jam in the middle, and then continues to die for the ending minutes. Becomes very, intentionally, draining and kinna leaves you wanting to say "wtf?" but too drained to really care...so you just sit there for a while. or at least thats what i do.



Classical Mushroom by Infected Mushroom.
My favorite album of all time. Not trying to bias, but if i didn't give this an A, i would be being dishonest w/myself.
9.4

download a song or two from me on AIM, or your favorite music-theft program. If you like, you can buy it here pretty cheap... http://www.psyshop.com/shop/CDs/yoy/yoy1cd038.html or even I'LL send you all the songs you want from any of their 4 albums <_<

 

[typh]

Review of Blood Sugar Sex Magik- Red Hot Chili Peppers

Now recently, the Peppers have released a new album, "Stadium Arcadium", which has been called "the most anticipated record of the year" and "the best RHCP album yet". This absolutely kills me, because now that the Peppers are more mainstream, people listen to their more recent songs, never digging back into the library. Don't get me wrong, it's not a bad CD, but maybe a B- at the best. I hope to get some people to listen to some great music, and expand their musical likes.

Many fans regard Blood Sugar Sex Magik as one of, if not the best, album that the Chili Peppers have made. This 1991 hit returns to their funky and rhythmic styles of the past, and although this does not have as much of the hard rock genre as "Mother's Milk", their previous album, it still manages to retain a musical style you can really rock out to. It has elements of most styles of music; rock, rap, jazz, funk, and soft ballads are all combined into a musical buffet that almost anyone can enjoy.

Rap is seen to be a no-no among people who listen to classic rock, like me, but after listening to this, I realized it can be pulled off. The songs "Power of Equality", "If You Have to Ask", and, to a lesser extent, "Give it Away" bring out the excellence that a non-singing style of music can have. "Power of Equality" is a great song with a catchy beat, powerful lyrics, and doesn't seem to get out of your head. If you're wary of anything remotely close to rap, give this CD a try. You won't be disappointed.

Mother's Milk was heavily influenced by hard rock, and fans of it will love this album. The popular song "Suck My Kiss" is the most rock infused song of the whole album, and it's a great song with a catchy chorus. It is, in my opinion, the best song on it. "The Greeting Song", not to be overlooked, is a very fun fast-paced song, though the vocals leave much to be desired. Finally, "Naked in the Rain" is the most mediocre song in the bunch. It's not a song that leaves any strong emotion in you. The rock selection is definitely not this album's forte.

The true essence of the album, and without a doubt the best part of it, are the funky/psychedelic songs. Unfortunately, this is the last record they have made where this unique style has been utilized, and I would like to see more of it. There are so many songs that deserve mention: "Funky Monks", with a great guitar riff (fun to play, too) and bass lines; "Mellowship Slinky in B Minor", a great song with lyrics that flow wonderfully; and last, "Apache Rose Peacock" and "Sir Psycho Sexy", two strange sounding songs that you really need to listen to to appreciate. All these songs have that unique Chili Pepper feel to them that you will really enjoy.

This album has the first pieces of music that got the RHCP to where they are today- “Under the Bridge” and “Give it Away”. If you have ever listened to the radio, you probably know these songs. “Under the Bridge” is a wonderful tune about Anthony Kiedis’s drug abuse, and the lyrics are really powerful. The guitar and instrumentals are a wonderful accompaniment to the lyrics, and it all flows together perfectly. The slow, ballad types of songs would eventually make up the majority of future Chili Peppers albums.

Rating: A

I demand that you all buy this right now.

 

[Talim-Taki-soup]

The Empire Strikes First
Bad Religion
Epitaph, 2004

Listened to this band's album. Only reason the name popped up in the middle of a heated debate on Rage Against the Machine being more punk then allternative rock band of the 90's discussion; Band's that couldn't be fit into any kind of category, c very difficult to copy and mold from. Anyways, "Let Them Eat War", seemed sort'a-weak in my opinion but hey--Are oldschool after all. It took four or five times listening to them, to get them!

 

[MRMTDSN]

Snap!-Madman's Return 1992

1. Madman's Return*
2. Colour of Love (Massive Version)
3. Believe in It
4. Who Stole It?*
5. Rhythm Is A Dancer*
6 .Ex-Terminator
7. Don't Be Shy
8. Money
9. See The Light*


*Favorite songs

Snap!, this is a very unique album. The group was too but this just examplifies that. Madman's Return has traces of techno, dance, electronica, & hip-hop blended together for one unique sound. Turbo B is impressive with the way he delivers the lyrics and the beats/sound effects compliment his powerful style. Overall this is a great dance album with a unique sound that was popular in the 90s and still sounds great today. Well worth buying.

 

[RaRaRachael]

Album- Jazz
Artist- Queen

These guys are EMazing. I mean, of course, one has to have the taste for Queen. They are a very odd group; however, this band contained the musical prodigy of the world, Fred Mercury, althought he is dead now. This band is intellengtly good. Fred Mercury singing mixed with the drums, guitars and sometimes Keyboard is a MASTERWORK! The only bad part now is the fact that Queen has replaced Fred Mercury sence his death. The band sucks now. I don't know if anyone has lsitened to em yet since the new singer has arrived. Oh dear, what shall they ever do without Mercury? =/

 

[KLSmash]

Billy Talent - Billy Talent II (2006)

Almost three years since their Debut Album, Billy Talent relieved their anxious fans with their sophomore album. There are many differences in the two albums, they are similar yet different. As told by the guitarist Ian D'Sa, he told the public that Billy Talent wanted to release their first album, and that they didn't spend too much time on it. But this time, it's different. Billy Talent took some time for family, relaxation, before heading back to the studios. They put more deeper meaning to the songs, more darker than the first. The music does sound slightly different, but you can tell it's Billy Talent.

1.Devil In A Midnight Mass - For some reason, not one of my very favourites, but most likely for the reason because I've heard it a little too much. Many have seen the video, and read the lyrics, and they do speak the truth. Billy Talent wrote 'Devil In A Midnight Mass,' with a story in their heads. Somewhere in the US, as I recall, pretty sure it was along the Eastern coast, a priest in a local Church, did awful things with kids which I'm not going to speak off, but I'm pretty sure you get the picture. About 50 victims' lives were changed before the police were contacted, and handcuffed him. Very tragic, and Billy Talent wants to inform the world about what's happening. I personally liked the demo better because of the lyrics, but I think they changed the three choruses into two, is because they felt that it was getting too repetitive, and I believe, they were right. Very open song, many fans love it.

2. Red Flag - Very powerful vocals are produced by the band, and I have fallen in love with this song. Ben, the lead singer, has unique vocals for many songs, being able to hold on to a note for the perfect time. Aaron's drumming is splendid once again, creating the beat in which many fans could mosh to.

3. This Suffering - I haven't heard this song too much since I couldn't manage to download it to my mp3, but I personally like it. The beat changes a couple times in this song, and it works to it's favor. Pretty good song.

4. Worker Bees - Purely genious. I have never heard a song of this nature, that the perspective is from insects; bees. The song is about how bees must defend their nest from many enemies, and I won't say anymore or I'll give away the song. >_< At first I didn't like it too much, because I couldn't work out the lyrics, but it's become one of my favourite songs now that I can understand what Ben's singing. Unique song.

5. Pins And Needles - I love this song, the first song without strong use of instrumentals, kind of like 'Nothing to Lose,' in their first album. If you loved 'Nothing to Lose,' chances are, you'll feel at home with this one too.

6. Fallen Leaves - Not too many fans have this as one of their favourite faves, I don't understand one. Ben's vocals are brilliant again, and I recommend this song to anyone interested.

7. Where is the Line? - A local critique in Toronto gave this song a 0/5 for a very poor reason, and the band just laughed it off. The critique said that he was an urban hipster, and that the song made fun of him and whatnot. This song does sound different than most of the album, more pop than the rest of the songs, but it's still amazing in my opinion.

8. Covered In Cowardice - Once again, like in the first album, I loved Voices of Violence and few agreed. Now once again, I haven't met anyone yet that has said Covered in Cowardice is their fave song, but too me, it's pure brilliance. Ian's guitar and Ben's screaming vocals are a perfect match. A+.

9. Surrender - This was open to download on their site on Feb.14, many months before the album actually came out. Reason for it, is because the song is about heart-break, and feeling that you will never get the girl of your dreams. Once again, I personally love this song especially near the end as the mood changes during the line:''I think I found a flower in a field of weeds...'' becomes less-sad, more ecstatic. Another great song.

10. The Navy Song - In my opinion, this song does sound a tweak different than most of their songs. The title says it all, about the Navy, ships, war at sea. When I first heard the chorus, I felt amazed that they could actually make a sea-song, and not make it sound like crap.

11. Perfect World - Like many songs, this song startes on the 3/4 beat, catching people haven't heard this song off-guard. It's basically another song about heart-break. And when I'm saying another, I'm not saying the it's boring and repetitive, it has a completely different sound and twist, different than Surrender. This songs more upbeat, and gets your fingers tapping.

12. Sympathy - I feel like the chorus is played a little too much, but the lyrics are magnificent. Ben's vocals, once again, make a song amazing.

13. Burn the Evidence - At BT's forums, some have said that it is like 'Voices of Violence,' from their first album. That their last songs are always different than their album. I disagree, I find that this is the perfect song to end an amazing album.

Grade: A+ if you love Billy Talent.
Grade: A if you haven't listened to them.

Go buy this album, it's worth the money.

 

[plasmawisp6633]

I'll review Lateralus by Tool

If you like progressive rock, here's a guarentee for good music. However, if you are like me and listen to Schism on the radio on a hard rock station, and think that every song on the album must be like that, then you are far from right. Don't get me wrong, Tool makes great music; however, my rule of thumb for Tool is that they only make good music when they want to, but when they make good music, they make GOOD Music. So the thing is, keep open minded to the different styled (and really long) music that Tool creates. Here are the songs.

1. The Grudge (8:36) - Starts off slow with a rough beat, but picks up the beat in the middle. The Guitar is the most interesting part of the song next to the lyrics. 4.5/5

2. Eon Blue Apocalypes (1:04) - Not technically a song, just an intro for the next song.

3. The Patient (7:13) - Starts off with an interesting, repeating, guitar melody, then blasts into a strong guitar flow. 4/5

4. Mantra (1:12) - Once again, an intro to the next song.

5. Schism (6:47) - The Tool Classic. A difficult song that just screams for attention for some reason. Starts with the famous "I know the Pieces Fit" lyrics with a guitar that sounds weak at first, but picks up soon. Then the song drops into mellow middle section with a repeating guitar melody, to only pick back up into a sort-of different melody, until it leads you to the end. 5/5

6. Parabol (3:04) - Quite a long intro song. This one is mellow for the entire three minutes, but the only reason that I listen to it is because it makes the beginning of the next song more powerful. Listen to the whole song into the next and you'll see what I mean.

7. Parabola (6:03) - Don't let the mathmatical name of the song scare you, because this is one of the few (if not the only) up-beat song on the entire album. Lyrics are very powerful in this song especially in the second chorus. Like Schism, this song has a softer middle section, but it picks back up to repeat the chorus before the end of the song. The song is really only 4:30 minutes long because the end stretch is just a repeating guitar melody. It suprises me that this song's not on the radio.
EDIT: I've heard it on the radio and other places before. It turns out it was a popular song back then. 5/5

8. Ticks & Leeches (8:10) - Now this name can scare you. Speaking in terms of drums and lyrics, this is a viscious song. The song is pretty constant until the middle part comes along, which consists of a guitar melody, and about nothing else, for a while. Then the song BLASTS back in while Maynard sings "SUCK ME DRY". The song only carries on for a little while after that before the end. 4/5

9. Lateralus (9:24) - What a great song. It starts off with a very appealing repeating guitar melody only to rip into the main swing of the song. After hearing the chorus twice, the song sinks into a mellow middle section, with the guitar melody from the beginning playing again. Then the finalle comes in the last 2 minutes with a great drum piece and vocals. It leads up to a great final guitar strum leaving the listener to think of how great it just was. 5/5

10. Disposition (4:46) - A mellow song, just kinda drags on for the entire piece.
EDIT: I started to REALLY listen to this song, and I realized that It's incredibly relaxing. It's a good song. 4/5

11. Reflection (11:07) - A mellow song at first that picks up 10 minutes later. I personally don't like it although I know people that do. 2.5/5

12. Triad (8:46) - To me, it sounds like a track of mixed noise, with lots of guitar effex. It's a jam track with a long silent ending. 2/5

13. Faaip de Oiad (2:38) - The concluding track, not really a song. It's got obscure noise and a desperate man talking. It's almost creepy.

Well there you have it. This is definately one of the best Tool albums to date. Remember, the trick to appreciating Tool is to be open-minded and get used to the different style. I hope you enjoyed my first reviewing of an album.

 

[Sporkman]

Now, I would review The Haunted - The Dead Eye here, but the folks over at The Metal Observer did a much better job. For the reviews just scroll down 'till you get to the band. They're in alphabetical order so it shouldn't be too hard.

Screw it, i'm having a half-arsed attempt.

1. The Premonition
2. The Flood
3. The Medication
4. The Drowning
5. The Reflection
6. The Prosecution
7. The Fallout
8. The Medusa
9. The Shifter
10. The Cynic
11. The Failure
12. The Stain
13. The Guilt Trip

If you're a fan of The Haunted you might be a bit surprised by this effort. Although you could claim natural progression from rEVOLVEr I think this album is just a few steps past that mark. This album isn't your normal ` Haunted thrash effort and the songs have a large element of groove to them. Especially The Shifter. Dolving's vocals constantly dip in and out of clean and death, this makes for some moving music I must say, and I find most songs sound quite eerie, none the less I think this is a step in the right direction. As one of the reviewers said if these Swedes churned out the same kind of stuff over and over, it could burn out pretty fast.
The Premonition is just your average instrumental opener, slightly hinted at in the title but might as well point it out anyway. The Medication is the closest you'll get to 'old' ` Haunted on this album, thrashy and in your face. I've found the chorus to be particuarly infectious.
The Flood reminds me of The Drowning, the riffs just seem similar, no complaints though as The Drowning is quickly asserting itself as my favourite track from the album, toppling The Prosecution from its seat. Speaking of which, is one of the heavier tracks, and the line "Well if this is the road we choose If this is the path preferred If this is where we're headed now Welcome to hell..." is followed up by an absolutely superb use of evil carnie circus music. This is a brilliant track for sure. The Reflection and The Fallout are both more mellow numbers, and the beginning of The Reflection could be described as crooning, about a girl and all out. None the less, still an impressive track and the singing seems unsettling, i know one review elsewhere said otherwise, but in the same manner as Burnt to a Shell.
The Guilt Trip isn't the 'epic' mentioned in one of the TMO reviews, it's merely a song with a silent gap between it and a short song at the end. The latter number souding like what would accompany that eerie carnival music had it been a full track by its self.
I wholeheartedly recommend this album to about everyone with heavy root tendacies. Different yes, and i can see why some fans of the band may not like it, but the album is a solid release.

Score: 88%
Short Review: Happy Haunting

Sporkman's reccomended tracks: The Medication, The Drowning, The Prosecution, The Cynic and The Shifter.

EDIT: Someone should make a Doc combo vid to the sweet sounds of The Medication.

 

[Sandy]

1. Helena” – 3:22
2. “Give 'Em Hell, Kid” – 2:18
3. “To the End” – 3:01
4. “You Know What They Do to Guys Like Us in Prison” – 2:53 (featuring Bert McCracken)
5. “I'm Not Okay (I Promise)” – 3:08
6. “The Ghost of You” – 3:23
7. “The Jetset Life is Gonna Kill You” – 3:37
8. “Interlude” – 0:57
9. “Thank You for the Venom” – 3:41
10. “Hang 'Em High” – 2:47
11. “It's Not a Fashion Statement, It's a Deathwish” – 3:30
12. “Cemetery Drive” – 3:08
13. “I Never Told You What I Do for a Living” – 3:51
14. “Bury Me in Black” (demo; Japanese version bonus track) – 2:37

My Chemical Romance's 2002 debut was a particularly strident entry in that shifty genre of bands tortuously slamming together elements of emo, hardcore, and even metal. Rightly signed to a larger label (in this case, Reprise Records), MCR has returned in 2004 with Three Cheers for Sweet Revenge. With the aid of production major-leaguer Howard Benson, they've edited the slight rookie excesses of I Brought You My Bullets You Brought Me Your Love, resulting in a rewarding, pretty **** relentless product. Ghosts wander through this Sweet Revenge, and the blood-stained lovers of its cover are no joke. "Would I die for you? Well here's your answer in spades...Got you in my sights," Gerard Way wails in "Hang 'Em High."

There's also cinematic concepting here -- "The story of a man. A woman. And the corpses of a thousand evil men..." the liners intone. "You Know What They Do to Guys Like Us in Prison" begins "In the middle of a gunfight/In the center of a restaurant." Musically the cut's claustrophobic, messy, and juiced with adrenaline, just like the Tokyo crime caper shootout it was probably inspired by. Picture antiheroes leaping sideways with twin pistols blaring -- in slow motion, you know -- and you're close. Put an old At the Drive-In record on in the background, and suddenly you're shot in the arm and down to your last clip. Economic, treble-kicking production, consistently hyper, "Let's get to the next note NOW!" instrumentation, and great thematic songwriting -- Three Cheers teems with the influences MCR shares with its peers, but recent efforts from fellow travelers Thursday and A.F.I. don't have this furious immediacy, this coarseness that's so appealing. My Chemical Romance seems to have built-in restrictive bindings that prevent it from flying off the handle into quiet-loud screamo stereotyping or odd-bird stopovers into choral parts or maudlin piano.

Something like "Ghost of You" might slow the pace, but it doesn't touch the railing guitars or inventively explosive drumming. Album highlights include the propulsive chain shots "Give 'Em Hell Kid" and "To the End," where layers of vocals increase urgency over modernist post-punk, or the raucous "Thank You for the Venom." There's no question of Reprise's high hopes for My Chemical Romance and Three Cheers for Sweet Revenge. But its accessibility pays tribute to anger and bullet holes in black leather.

Grade: A+

Recommended tracks: Ghost of You, Helena

 

[Thrillhouse-vh.]

Apollo 18 - They Might Be Giants (Elektra Records, 1992)

Since they aren't the most mainstream band, here is a wiki snipit

Taking their name from the 1971 movie They Might Be Giants, the duo began performing their own music in and around New York City — Flansburgh on guitar, Linnell on accordion and saxophone, and accompanied by a drum machine and/or a prerecorded backing track on audio cassette. Their atypical instrumentation, along with their songs which featured unusual subject matter and clever wordplay, soon attracted a strong local following. Their performances also featured absurdly comical stage props such as oversized fezzes and large cardboard cutout heads of newspaper editor William Allen White. Many of these props would later turn up in their first music videos.

At one point, Linnell broke his wrist in a biking accident and Flansburgh's apartment was burglarized, forcing them to take a break from performing. During this hiatus, they began recording their songs onto an answering machine, and then advertising the phone number in local newspapers such as The Village Voice, using the moniker "Dial-A-Song". They also released a demo cassette, which earned them a review in People magazine. The review caught the attention of Bar/None Records, who signed They Might Be Giants to a recording deal.

The duo released their self-titled debut album in 1986, which became a college radio hit. The video for "Don't Let's Start" became a hit on MTV, earning them a broader following. In 1988, they released their second album, Lincoln, named after the duo's hometown. It featured the song "Ana Ng" which reached #11 on the US Modern Rock chart.

Well, after that, they moved to Elektra and recorded this album in 1991, released in 1992. This album is oftenly cited as their best album by both fans and critics alike.

Track List

1. "Dig My Grave"-Nice opening track, nice riff, nice solo. It's all easy basic guitar work, but very catchy.

2. "I Palindrome I"-Another catchy riff, this song tells the story of a man who kills his mother for insurance to start life on his own, then in the end is killed by his kid for insurance for the same reason. His adult life ends how it begins, like a palindrome, hence the title.

3. "She's Actual Size"-Meh. Not the most impressive track on the album. IMO, one of the lamest TMBG songs. This song is one of their most requested live songs, because it's entirely redone with a new beat, larger horn section and the famous "Dial-A-Drum-Solo".

4. "My Evil Twin"-I think the story is self-explanatory. Fun to listen too. Has become popular AMV material with anime like Trigun and wherever an evil twin is located

5. "Mammal"-Cute song, but drives some potential listeners away with its quirkiness TMBG is famous for with fans. The song is indeed about mammals, even explains some biological traits of mammals, different types like Placenta and Marsupials, and just naming mammals like Dolphin, Monkey and Caribou.

6. "The Statue Got Me High"-One of TMBG's most recognized songs was inspired by the story of Don Juan. Another interpretation of the song alludes to blind patriotism of Americans to statues/monuments like the Statue of Liberty and Mount Rushmore over their actual duties of being American Citizens. No matter the meaning, it's still a good song. Music video at youtube

7. "Spider"-No one really knows what this song is about, or why TMBG even made it, it is only known that they did. Some say it's about Spider-Man, altough that is rather unlikely.

8. "The Guitar (The Lion Sleeps Tonight)"-A jam session to "The Lion Sleeps Tongiht", another one of TMBG's recognizable tunes. Not entirely a remake, it more or less samples "The Lion Sleeps Tonight". Music video at Google Video (sorry about the quality).

9. "Dinner Bell"-Up there with "Mammal" for songs that may drive some away. Uses some interesting engineering with Linnell's voice. ALL the voices in the song are Linnell's voice.

10. "Narrow Your Eyes"-Touching song about the break-ups, but the TMBG have stated it is specifically about the break-up of The Beatles.

11. "Hall Of Heads"-The meaning is about a literal "Hall Of Heads", but is debated wether the heads are marbel busts or actual heads. Either the meaning, it is still a creepy song the first few times you hear it.

12. "Which Describes How You're Feeling All The Time?"-Catchy keyboard work and wordplay makes this one minute-thirteen second long track one of the simplest TMBG songs that is as fresh the second or third *blank*th time you hear it as it was the first.

13. "See The Constellation"-TMBG is noted for experimenting different genres, and their stab at hard rock is certainly credible as TMBG at their finest.

NOTE: "Weird Al" Yankovic pays homage to this song with his song "I Remember Larry", and TMBG as a whole on the song "Everything You Know Is Wrong" (A parody of "Everything Right Is Wrong Again" the opening track to TMBG's debut album) on the Weird Al album "Bad Hair day".

14. "If I Wasn't Shy"-This song is about anger with how the world is going, yet the narrator is too shy or scared to speak his mind and question.

15. "Turn Around"-Memento Mori, or reminder of death, is often a theme in their songs, as is here. It is about a man who is haunted by he ghost of people he killed, and him being punished by them.

16. "Hypnotist Of Ladies"-It's about a pimp. Simple as that.

17. - 37. "Fingertips"- 21 individual tracks make up a seemingly endless 4 and a half minutes of orchestrated nonsense. And yes, that's a good thing. TMBG performing "Fingertips" parts 5-21 live at Youtube

38. "Spacesuit"-Instrumental track built around Bass, Guitar and Accordian riffs. One of my favorite instrumentals.

Overall grade: A-

The album in general is very fun and catchy. If you don't prefer a certain genre and are willing to give anything a try, then I suggest you pick this album up. This is one of the albums that proves TMBG are saviors in College rock. The only albums that even begin to compare with this album are "Lincoln" and "They Might Be Giants".

 

[Sandy]

Hawk Nelson is a pop punk band hailing from Peterborough, Ontario. The band has become popular on the Christian music scene and was voted "Favorite New Artist" by CCM Magazine in their February 2006 Reader's Choice Awards.

The band played independently in Ontario for a few years before they signed with Tooth & Nail Records, largely on the recommendation of Trevor McNevan, the lead singer of fellow Tooth & Nail band Thousand Foot Krutch. McNevan, also from Peterborough, is credited with discovering the band. In July of 2004, Hawk Nelson released their major label debut Letters to the President. It was produced by Aaron Sprinkle and McNevan, who also co-wrote nine of the album's fourteen songs. They won GMA Canada Covenant Award [1] for Modern Rock/Alternative Album of the Year in 2006.

The band has achieved some success in the mainstream as well. They portrayed The Who on an episode of the NBC drama American Dreams, and they recorded a song named "Bring 'Em Out" for the 2005 motion picture Yours, Mine, and Ours. "Things We Go Through" from Letters to the President was also featured in Yours, Mine, and Ours.

In October of 2005, the band re-released Letters to the President, with new material including their cover of The Who's My Generation, three acoustic versions of some of their hits, and a limited edition cover.

The band released their second studio album, titled Smile, It's The End of the World, on April 4th, 2006. The album's first single, "Everything You Ever Wanted", went on to hit #1 for 9 weeks on the R&R Christian CHR chart, and was the fourth most played song of 2006. The band spent the summer of 2006 touring the major Christian music festivals, and also took part in Jeremy Camp's Beyond Measure tour. Hawk Nelson released a 3-track Christmas EP titled Gloria on November 21, 2006, and in winter of that year they toured with tobyMac's Winter Wonder Slam tour along with The Afters, Family Force Five, and Ayiesha Woods.

Bulletproof Records and Producer Ralph Sall have assembled the all-star compilation Charlotte's Web: Music Inspired By The Motion Picture featuring inspirational music by celebrated Christian artists including chart-topping Hawk Nelson and multi-platinum sellers Amy Grant and Billy Ray Cyrus, which was released December 12, 2006. In addition, Bob Carlisle, Leigh Nash (Sixpence None The Richer) and The Send have all contributed exclusive tracks.

Hawk Nelson performed in 2006 on the Fringe Stage at Creation Festival Northwest. They will perform sometime between July 25-July 28, 2007(The final schedule has not yet been released), at Creation Festival Northwest on the Main Stage, and they'll play again on the Fringe Stage at Creation Festival Northeast sometime between June 27-June 30, 2007. In 2007, Hawk Nelson performed at Winter Jam with a wide variety of other Christian bands, including Newsong, Jeremy Camp, Steven Curtis Chapman, and Sanctus Real. Also Hawk Nelson is on tour with MxPx, Run Kid Run, Project 86, The Fold, The Classic Crime

Hawk Nelson - Smile, It's The End of the World

==Track listing==
1 "The One Thing I Have Left" – 3:07
2 "The Show" – 3:13
3 "Bring 'Em Out" – 3:23 (Yours, Mine and Ours Movie Track)
4 "Everything You Ever Wanted" – 4:04
5 "Something On My Mind" – 4:19
6 "Is Forever Enough" – 3:22
7 "Zero" – 4:38
8 "Nothing Left To Show" – 2:54
9 "Head On Collision" – 4:07
10 "Hello" – 3:00
11 "It's Over" – 3:06
12 "Fourteen" – 4:50

Well, as Hawk Nelson's first album, I'd have to say it's VERY good. The songs are catchy, fast, and for the most part a good comfortable rock sound that most people should enjoy almost upon putting it in.

The only complaint I have about this CD is the lyrics. While they are fun, and sometimes deeply meaningful, I'm still dissapointed with the lack of God's name in lots of these songs. I would say, (lyric wise) your best bet in Christian "punk" is Stellar Kart, but these lyrics are definately deeper than just about any of Reliant K's "another Christian "punk" band" albums, and for that reason, I think you could do MUCH worse than picking up Letters to the President, as it is a lot of fun.

 

[Sandy]

Since I like My Chemical Romance so much, I'll list their influences for "The Black Parade"

'The Wall' when it first appeared must have surprised many Pink Floyd fans, being a double album of an astonishingly large amount of songs, twenty six in all. 'Another Brick In The Wall Pt 2' was the first Pink Floyd single to be a hit in the UK since 'See Emily Play' way back in 1967. The concept for 'The Wall' ( there has to be a concept! ) revolves around a Rock star named 'Pink' ( ha, ha! ) who is basically a jerk. Write about what you know, and all that. Sorry Mr Waters. Pinks fathers life was taken in the name of duty, and Pink builds a mental wall between himself and the rest of the world, every emotional trouble and stress becoming another 'brick' in Pinks mental wall of pain, disillusioned with stardom and fame. Roger Waters father, Eric Fletcher Waters died in the line of duty, during World War II. Sorry again, Roger. Maybe you're not a jerk after all, although Rick Wright may have thought so. Out of twenty six songs, not a one of them was written by Rick, who was pretty much just a session guy here, and would leave the band altogether before the groups next album project. So, if 'Animals' had 'sort of' introduced a new sound to Pink Floyd, although a new sound sat on top of largely old, previously unused compositions in the throes of writers block, 'The Wall' really does see Roger Waters write his little heart out. 'The Wall' is beautiful and bleak, impressive in scope and production. There is genuine beauty in songs like 'Is There Anybody Out There?' with it's pretty guitar and the string assisted 'Nobody Home', for examples. There's the groovy bass lines and sing-a-long of 'Another Brick In The Wall Pt 2', which released in the Punk ( post-punk? ) era, as a single - was a tremendous and deserved success.

'The Thin Ice' is as bleak as can be. Is the music here depressing? Possibly, although I prefer the word bleak, it describes the sound and feel more accurately. Gilmour gets to show off his guitar in some places ( the solo in 'Mother' for example ) but a lot of songs seem based around simple acoustic guitar, then blown up in the studio later on during the recording process. It works though, these are very real sounding songs, too real at times. There is variety here amongst the bleakness, a variation with guitar rock songs like 'Young Lust' and some string orchestrated material later on. The guitar rock of 'Young Lust' isn't a favourite of mine, but it's here, and it works, just about. Side three ( of the vinyl release ) is glorious, with 'Hey You', 'Is There Anybody Out There' and 'Nobody Home' all being stunning compositions and music of genuine beauty. 'Hey You' might just be my favourite song here. 'Vera'? Now's there's an old English name, World War II? You betcha! Roger sings of Vera Lynn in this case, with strings and bass and mentions of 'some sunny day' from her signature song. 'Bring The Boys Back Home' and 'Vera' combined are three minutes long, 'Comfortably Numb' switches us away so closely from World War II stories and for six minutes is atmosphere and stings, plus one - a total classic with Gilmour getting a chance to show off his guitar. He doesn't get that many chances to do that here on 'The Wall', an album that's very much the Roger Waters show, but it's a **** good show. Thought provoking? Yeah. Impressive in scope and scale? Yeah. 'Run Like Hell' is a little groove and up-tempo music at a time the album needs it, little moments like these keep you listening and add to the enjoyment of it all. Enjoyment? Yeah. Bleak? Yeah, you bet. I don't care for the theatre of 'The Trial' or the way the album ends amid ugliness before 'Outside The Wall' seems to be a little child-like story. It throws you. 'The Wall' throws the heart out of your chest, stamps on it, then chucks it against the ceiling before it falls to the ground, leaving a bloody mess on the carpet. 'The Wall' is that kind of an album, and a must-listen.

​

The history of Rock music was changed forever by the release of the Beatles Sgt. Pepper's album. Before it's debut, rock albums were just a bunch of songs put together on a record. But The Beatles showed how you could create an album. This album showed that rock music was indeed an art form. By creating a concept and blending in music with it, rock music was led into a new direction that would never be turned back again. There is no doubt whatsoever that this is the most important album ever made. Ironically enough though I don't think this is the best album The Beatles ever made. Rubber Soul, Revolver or even Abbey Road are probably their best albums. But none of those albums made music history the way Sgt. Pepper did.

Queen were superstars in Europe, and rising ever quickly to that status in America. Their tours sold out weeks in advance, their songs got lots of radio exposure everywhere, and when they ditched their old record company and management and signed with megacorporation EMI, they pretty much blasted into the rock upper echelon.
It should be noted that even though they used six studios to record this album, and with "Bohemian Rhapsody" spending countless weeks at number one, A Night at the Opera isn't markedly better than Sheer Heart Attack — it's just bigger. The range of the tunes is broader, from straight hard rock ("Death on Two Legs"), to light pop ("You're My Best Friend") and torch songs ("Love of My Life"), to even fake trad-jazz ("Good Company"). Because of this genre-hopping, the album lacks a bit of the glue that held together previous albums, but is certainly no less entertaining for it. And in the end, what else could we ask from them?

For example, take "Seaside Rendezvous". Queen does Shirley Temple, or possibly Lawrence Welk on this send-up of the 20s-era Hollywood dance number. Besides Mercury's carefree gadabout lead vocal, the main shows are his and Taylor's string and brass harmony vocalizations. If it could be sung, Queen probably did it, and with more ridiculous white sass than you could muster in three lifetimes.

"The Prophet's Song" was one of the last real pseudo-prog epics the group did, almost a throwback to Queen II. In keeping with group tradition, just what message this prophet is bringing to the people is unclear, but it something to do with an earth-shaking human zoo - I think. In any case, what you're likely to remember is the rather amazing Mercury a capella performance in the middle of the piece: just his voice, looped and looped, until it sounds like you've been sent to some kind of fairy-tale opera tune-up.

And finally, "Bohemian Rhapsody": It all seemed to come together in 1975 for Queen. They were stars in England and the U.S., and each record was bigger than the last. Logically, the centerpiece of this album should be at the end, and if you can imagine a better song to remember Queen by, you're probably thinking of the wrong Queen. In summary: Mozart + Zeppelin + sheer Freddie = a big fat hit.

 

[nobletoast]

Something i posted in the other music thread regarding albums id recomend to everyone. Id rate all the albums here 5 stars except Absolutly which id rate 4 and a half stars. More mini-reviews than anything.

Frank Zappa and the Mothers of Intervention - Freak Out! (1966)- Weird as sh*t but da*mn clever. Cheap sarcasim is forever as one review said somewhere.
Download: Trouble Every Day, Hungry Freaks Daddy

Eels - Electro Shock Blues (1998) - Written after Mark Evertte's mother died of cancer and his sister commited suicide its suprising this album is at times so bright. Although an album about death and grief (take note My Chemical Romance on how its done) the album is full of hope and tales of redemption (i know that sounds so pretentious but you really should listen)
Download: 3 Speed, Last Stop: This Town

Madness - Absolutly (1980) - Unknown everywhere outside of Britain where they are national treasures as beloved as tea, Steven Fry or football violence. Their most underated album since 'One Step Beyond...' and 'Rise and Fall' get most the credit but this is the one id recomend. Pop magnifigance.
Download: Baggy Trousers, On The Beat Pete

Parliament - Mothership Connection (1975) - Why I wish I were born black.
Download: Handcuffs, P-Funk (Wants to get Funked Up)

 

[Ice Puff]

Artist: Fantasia, Album: Fantasia

Album: Fantasia
Artist: Fantasia

The R&B/Soul artist Fantasia first entered the public eye in 2004 on the the third season of the reality competition series American Idol. Then going by her full name (Fantasia Barrino) she was considered one of the "divas", the big three contestants of the season, along with Jennifer Hudson and laToya London. With much controversy Jennifer went home in 7th place and LaToya in 4th. In the finale of A13 Barrino bested teeny bopper Diana DeGarmo by over a million votes. She was the second woman, and the second black contestant, to win the competition.

After the competition Fantasia made all the usual stops (Jay Leno, ect.) before releasing her debut album. She dropped the Barrino, but racked up double platinum sales. Free Yourself was a semi-success. It wasn't a break-out hit but it was far from a failure, with four successful singles.

Two years later in 2006 Fantasia returned to release her sophomore, self-titled album. Fantasia is a very different album than Free Yourself. FY had a few flat-out R&B songs but the basis was beautiful soul ballads and such. This album is the opposite.

From the very first seconds of the debut track, Hood Boy, you can tell that this album is R&B, lively and makes you want to get up and dance your heart out. The songs are so full of life! Fantasia's excellent voice shines through, and is amplified by some of the best background music (what do you wanna call it? instruments?) I have ever heard in my life. The songs are full of life, the beats and melodies are addictive (musical crack), and really make your heart race. (If you dance to them like I do. :embarrass) Some examples of such tracks are Hood Boy, Baby Makin' Hips, and Surround U.

The sound also has soul touching ballads. I Feel Beautiful andTwo Weeks Notice are destined to be #1 hits. They touch your soul. There are also songs that are a mix between soul and dance, such as When I See U. These are some of the best on the CD. When I See U is special to me as it reminds me of the guy I love.

I'm bad at writing reviews, but TRUST me. Fantasia (the artist and the album) is one of the best out there. It makes the more exposed R&B divas Beyonce and Rihanna (Those 2 and Fantasia have been nominated for American Music Rewards' Female R&B singer of the year) look like ameteurs. Fantasia has something clear on her album that almost no other Idol contestant has: Talent.

 

[estion11]

@ sandtiger, please dont compare my chemical romance to the beatles and pink floyd

Well im partial to the indie music scene (take note indie isnt a genre) so I will give a brief overview of my favorite bands as of late and there best albums in my opinion... oh and + respect points for sigur ros, infected mushroom, apollo 18, and enya

these arent in order

- appreciation night, by the Bound Stems A
- Ys, by Joanna Newsom A+
- Feels, by Animal Collective B+ (some songs are A++ though)
- Dandelion Gum, by Black Moth Super Rainbow A
- A Campfire Headphase, by Boards of Canada A
- Waiter, You Vultures!, by Portugal the Man A
-Church Mouth, also by Portugal the Man A
- Ok Computer, Radiohead A+
-Beast Moans, by Swan Lake A
- Shut Up I Am Dreaming, by Sunset Rubdown A
- In An Aeroplane Over the Sea, by Neutral Milk Hotel A+

these are some of the albums ive been listening to more recently and some of my favorites thrown in there... I will go into a in-depth review of an album if requested

 

[Vicious Delicious]

An Album Review!

Album Name: Era Vulgaris
Band Name: Queens of the Stone Age

^^That's the album cover ^^

Parental Advisory for suggestive lyrics

First View
This was the last album I officially bought from a real music store. Boy, did I make a good last decision. The first thing that got me was the cover; really caught my eye among the other records around. QOTSA is known for their unique style of blending heavy rock, a steady rhythm, slow jams, subliminal messages, and lyrical bombs. This album is no different, although they have noticibly changed their sound to fit a darker, heavier tone rather then the almost pop-rock they once held. This isn't a 'Little Sister' album.

Song Reviews

1) Turnin' On The Screw ..... Era Vulgaris opens with a steady drum beat, followed with an unusual beat and even more unusual lyrics that could mean many things in your opinion if you looked them up. Awkward hearing the first time based on the different sound. Your opinion may be more positive upon listening to it a couple more times though.

2) Sick Sick Sick (Single) ..... "A lick of the lips and my grip on your hips." Yup, this song is about the big S-E-X of sex. Julian Casablancas of The Strokes joins in the song as well. Again, the beat is different on this one, but I quickly grew to love it on my second listen. Sick beat, sicker guitar. You can download this song on Rock Band apparently as well.

3) I'm Designer ..... First off, there is a particular guitar solo on this song that is probably the best you'll hear on the record. Second of all, this is one of the better songs on the album (despite 'interesting' lyrics ). It has a pretty fun beat also. Not much else to say, it is a pretty good song all in all.

4) Into the Hollow ..... One of their more relaxed tracks. This song is average at best imo. Its fine to listen to if its on a shuffle track or something, it has a decent beat. But I normally wouldn't select it among the other tracks on the record. One of those 'other songs.'

5) Misfit Love ..... A scummy sounding (in a good way), almost hypnotic song with just a touch of a classical tone. I get lost in this song every time I hear it. Seriously, I have no idea what this one is about, I get lost in the music every single time. You probably will as well if you give it a listen. The end is much lighter and fresher, but both halves are great.

6) Battery Acid ..... A grindy sound at the start of the song, which quickly blends into a trance-like guitar beat with vocals following soon after. Keeps like that for about two minutes, until a wonderful guitar overlaps the one already playing. Sadly, it goes away. It isn't awesome, but you shouldn't skip over it either. Similar description to Into the Hollow, just faster and catchier.

7) Make it with Chu (Single) ..... Soft but strong. Doesn't overdo any insturments or vocals, and it performs the tast beautifully. A good beat, although a bit repetitive and may leave you wanting more. Doesn't really fit with the rest of the album either, but sits pretty where it is. The end is epic.

8) 3's & 7's (Single) ..... Bravo, QOTSA! This one is a single for a reason; the guitar is kick***, the lyrics are interpretable, it doesn't go too fast, but it isn't draggy either. Balanced. The song is pretty much about lies and how they affect other people. One of the best songs on Era Vulgaris. Playable on Guitar Hero 3 as well. You'll love this one.

9) Suture up your Future ..... You'll hate the beginning of this one; everyone that I've had listen to this song wants to change it based on the first minute or so. It gets better after that, although still stays soft. Even after the first minute, however, I'm still not feeling this one. The lyrics are definetely worth a lookup though. My least favorite song on Era Vulgaris.

10) River in the Road ..... The song is sad both musically and lyrically, although it holds some ground with that alone. Has an epic feeling as well. I'm still not sure if I love it or hate it. Average I suppose...

11) Run, Pig, Run ..... My favorite song on the album, and one my favorite songs in general. The guitars and drums are amazing, as well as the lyrical side of it. It is basically summarizing the conflicts of the topics of Era Vulgaris' other 10 tracks. Definetely about getting revenge, screwing someone over. QOTSA saved the best for last in this case. All 4:39 of it


Final Words
Queens of the Stone Age seem to change with each record they put out, and Era Vulgaris doesn't change that tradition. Although the songs are darker on EV, they don't escape from their normality of hard alternative rock like nothing else in the musical world. Era Vulgaris has a few bumps on the record, but has just as many rises. The rest is a steady ride that you'll almost always be up for. Suggested for sure by moi.

Final Grade
B+

 

[MIRAI87]

Alright. Let me give this a shot.
A few short reviews.
------------------------------------------------
TOOL : 10,000 Days

Excellent and highly polished work. While there aren't many songs on the CD, all of the songs are epic. The opening track 'Vicarious' smashes you over the head with a blunt object, and the CD doesn't lose its grip on you until the end. Even the filler tracks are listenable in the context of the whole album, though their numbers are too great. (3 fillers on an 11 track album is a bit much)

The 'Wings' songs (There are 2 parts) made me cry the first time I listened to it, it's absolutely beautiful. The lyrics have never seemed so full of conviction as they do here. And of course, the instrumentation is incredible, most noteworthy being 'Right in Two' (Drummer Danny Carey learned the tabla specifically for this song) and 'The Pot' (AMAZING bass work by Justin Chancellor.)

The only problem with this CD isn't the album itself, but what isn't on it! Yes the songs are long, but to only release 8 new songs in 5 years is a bit of a let down.

THE VERDICT: B +
--------------------------------------
The Mars Volta: The Bedlam in Goliath

This is their first CD with new drummer Thomas Pridgen, who by the way is a maniac. At all times his playing is amazing, but unfortunately for the band, he is almost at all times way too overboard and drowns out pretty much every unique instrument that The Mars Volta has come to be known for. The overbearing nature of the drummer makes many sections of songs simply chaotic, which defies the normal drummer mentality of maintaining order in a world of effects, distortion, screaming, and the like. Also, he's too **** loud IMO.

This CD seems to play for a more conventional hand in effort to get more listeners. The CD, unlike its predecessors, places a lot of emphasis on the guitar, drums, bass, and vocals, while forgetting the horns and keyboards that make this band what stands out in a sea of others. This isn't the Mars Volta I know!

While there are downsides, this work has a lot to offer. The vocals of Zavala shine here like never before, and the guitar work (mostly recorded by their good friend John Frusciante of the Red Hot Chili Peppers) is also frighteningly good. Also, this is a tentative review. Anyone who listens to TMV for the first year or so will be like 'WTF IS THIS!?' until something finally strikes you and you get into it. So, this could change for the better.

THE VERDICT : C+/B- (But could improve over time)

 

[CanadianIdiot]

Album: Black Album
Artist: Metallica

The three previous Metallica albums (At the time it was Kill 'Em All, Ride the Lightning, and Master of Puppets) are all fantastic and still clasics to this very day. Neverhtless, they all have only one to three great songs on each (Kill 'Em All having Seek And Destroy, Ride the Lightning having Ride the Lightning, For Whom the Bell Tolls, and Creeping Death, and Master of Puppets having Battery, Master of Puppets, and Orion). When I got my hands on Black Album, I was like any other Metallica fan: Excited for getting a Metallica. I had recently gotten into Metallica and had heard of this album many times before. And it is no let down.

Black Album was the first album without Cliff Burton. But surpisingly, it is the best Metallica album ever made. Right off the bat, you get Enter Sandman. The fantastic guitars and drums in this song along with James Hetfield's heavy vocals make this one Metallica's most popular song. After that you get Sad But True, another fantastic song. Then comes Holier Than Thou, which is a favorite. The rest of the album consists of The Unforgiven, Whenever I May Roam, Don't Tread On Me, Through The Never, Nothing Else Matters, Of Wolf and Man, The God That Failed, My Friend of Misery, and The Struggle Within.

Hands down, this is one of the best albums ever made. Ever last song is simply amazing and addicting in every way. I am ashamed that I only borrowed this album, but I am happy that I have it. Do NOT make the same mistake I did. BUY this album from your local music store. DO NOT get it from iTunes, even if the price is better!

Final Grade: A+

 

[Peeze]

Queen Greatest hits

Although its a compilation album, its still my favorite album of all time, from arguably one of the best bands ever.

Notables:

Bohemian Rhapsody. Obviously their most famous work. #163 on Rolling Stone magazine's list of "the 500 Greatest Songs of All Time". It spent 14 weeks at number 1 in the UK. In 2004 the song was inducted into the Grammy Hall of Fame.

Another one bites the dust- almost everyone has heard this one as well

Killer Queen, Fat bottomed girls, bicycle race- all display queen's talent vocally, and instrumentally

Your my best friend- common in commercials and sitcoms, good love song

Somebody to love: Freddy Mercury's favorite song, demonstrates Queens harmony ,and versatility in sound

Good old fashioned lover boy- my favorite Queen song. a must listen

We will rock you, and we are the champions- if you've never heard these your probably Hellen keller.

A+ album. Worth buying at any price. It hands down epitomizes the music scene of the 70's.

 

[Melee1]

I main the iceclimbers.