Album Reviews

[__Lewis__]

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

THE VERDICT: B +

So you're opposed to that of change and experimentation, then?
Tool have always pushed the boundaries. Always. Whilst they're less aggressive than they were back in the "Opiate" days, their music is still in the cusp of revolutionary (despite its now-acceptance by a wider audience). This is clearly an amalgamation of complex songs with intricate meaning and thus an attempt to propel the listener into a state of having to listen to the music, not hear it (as most of the populous have music as a filler to their surrounding, not as an actual focal point). Their attempt to create pseudo-trance music (As Danny Carey states in a 2006 Modern Drummer magazine) was more successful to them with this album than their previous work, "Lateralus". It's natural so much filler would comprise the album, rather than extensive 6-minute songs.
I'm not saying, "whatever Tool do is good," because it's not always. But bear in mind that we wouldn't have this music today if Pink Floyd weren't as radical as they were in their day.
By the way, Danny didn't "learn Tabla specifically for "Right in Two", he's been avidly learning the percussion piece since the "Aenima" days. Just so you know.

The Mars Volta: The Bedlam in Goliath

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

Here we go, the Pridgen vs. Theodore argument.
"Thomas overplays!"
Yes. So did Theodore. So does the whole band, hence their chaotic nature. Coming from a gospel background, and being asked to play in a busy band like TMV, it's only natural he'd go nuts. Bear in mind that Pridgen does settle down in sections, but by Rodriguez's directions: "Go nuts!"

"Thomas is too loud!"
Yes. So is the whole band on this album. Mastering flaw, maybe, but put on "Deloused..." and then put this album on. Not only you'll notice that Theodore play very similar patterns in similar sections, but the album is "quieter" than this one.
To win the loudness wars? Not quite, but a good effort.

-------

Gotye
Like Drawing Blood

Gotye= Got-e-yeah

Don't let the album title fool you, this isn't some emo-crazed hardcore band from your local club. This is a one man band. Well, at heart.
Wally DeBacker, a drummer, vocalist and programmer from Melbourne, Australia has shown off his considerable song writing skills with the follow-up album to his debut: Boardface.

This album portrays DeBacker's knack for a good groove and slightly off-the-wall antics in some situations. It seems that half the album is a programmed effort, with samples, loops and electronic instruments as opposed to the other "half" which comprises of "real" instruments being played (mostly by DeBacker himself).
The name "Gotye" itself comes from French origin, being a nickname his mother enodowed him with.

http://youtube.com/watch?v=S_CM5-gel6o
His first single, above, "Hearts A Mess" demonstrates his lavish song-writing capabilites whilst solidifying the claim that DeBacker is almost a musical chameleon, integrating many varying styles as each track progresses.
This song in particular became very popular with the Australian population, causing the album to sell extraordinary numbers. His tour, recently concluded in Australia, includes him switiching from keyboards to his drum set with an accompanying band. He's phenomenal to see live.
His love of programming and composition experimentation is evident throughout the whole album, especially on tracks like "The Only Way" and especially "A Distinctive Sound", the latter being a completely sample-only track. It's guaranteed to make you smile at some point.

It seems the only qualm with this album I have is the length of the later tracks, often being ambient pieces. Admittedly, they are welcomed on the first lesson but anything beyond that makes you want to repeat the first 7 tracks again. While almost hitting the happy balance between ambient and song elements in the album, it seems the songs override the ambient pieces in polish. However, the album still progresses smoothly without any tracks that you'd clearly not want to listen to at some stage.

I recommend you try and find DeBacker's project, and purchase it.
It's refreshing to have so many styles within one album, and even despite some of the lengthy ambient tracks that don't necessarily "fit" with the rest of the album, it's still a stellar effort and his praise is earnt threefold.
B+

 

[Gedennnnn]

This Topic is making a Come Back Immediatly.


I want to write reviews for Sams Town and Saw Dust by the Killers and Wincing the Night Away by the Shins and Show Your Bones by the Yeah Yeah Yeahs but I dont have time this second. I really want this thread to come back. I love music. I don't discriminate against it either. Unlike most people who say iI love all music but I hate rap or something ridiculous like that.

 

[plasmawisp6633]

...you know this was inevitable.

I first bought Dark Side of the Moon last December because I was curious. I've seen the icon almost everything, and I was skeptical as to how good could this album actually be? Just let me tell you now, it's that good. After my skepticism was put down, Dark Side quickly became one of my favorite albums. Overall, the album's specialty is setting a mood, and you can tell what that mood should feel like by the first song. The message of the album may not be so positive, but the way in which the music presents the message, it's uplifting and relaxing. The musicianship is prime, and Dark Side is a true masterpiece which can easily be listened to all the way though.

Speak to Me/Breathe: Speak to Me is a type of overture that quietly runs through the various songs you're about to experience. About a minute in, it goes into Breathe, which really sets the mood for the album. To me, it makes me feel like I'm in space or something (it works real nicely with the Earth visualization on the PS3).

On the Run: Dark Side's not perfect. This instrumental track is the one track that I prefer not to listen to, and just skip over. It's repetitive and lacks a melody; it's mostly a survey of Rick Wright's electronic keyboard and special effects.

Time: Probably the most famous track off this album. The track may surprise first listeners due to the barrage of clocks in the beginning that break the ticking silence. The meat of the song starts at 2:30, and boy is it beautiful. The lyrics speak much truth, and the guitar solo is still legendary. Although it may not be anything interesting to a guitar hero guru, it's very soulful. The Breathe Reprise is at the end of the song, where it sounds like Breathe again, so it can fade into...

The Great Gig in the Sky: I didn't like this song at first, but it grew on me. The piano is beautiful in this song and it gives the atmosphere of a lounge or bar. There are no real words in this song, it's more or less raw singing and improv from one of the female background singers. At first, it sounds like random screaming, crying, and carrying on; but you have to realize the soul in her voice in order to feel the song.

Money: A unique song in that it's time signature is in 7/4. The bass line is catchy and the lyrics are simple. The time signature goes back to 4/4 for the awesome guitar solo. I listen to this song mostly for the musicianship.

Us and Them: This marks the beginning of the relaxing songs that really interconnect better than the preceding tracks. Us and Them is calm, contains multiple solos from saxophones and pianos. It goes straight into the next track.

Any Colour You Like:: This is another instrumental track which surveys more keyboard special effects. It's got more melody and it leads nicely into Brain Damage.

Brain Damage: "I'll see you on the dark side of the moon." Hey! There's the title. Brain Damage is pretty easy going and just a good song. It's a little trippier than other songs because of the strange voices and laughing in the background, but it doesn't hinder it.

Eclipse: It's a great conclusion to this album. It's a little repetitive, but it's forgivable. If you're listening to this in bed, you're probably already sleepin' like a baby.

Dark Side is truly awesome, but it doesn't end there. Consider, if you will, Dark Side as the Pink Floyd Starter-Kit. The four consecutive albums which consist of Dark Side, Animals, Wish You Were Here, and The Wall are great to own, and they each add a different flavor to Pink Floyd's diverse canon. this was and still is Progressive Rock at it's best. It's probably the most unique thing you can listen to in 45 minutes.

10/10

 

[Albert.]

Before these Crowded Streets by Dae Matthews Band

Dark doesn't even begin to cover the themes of this album. but Dave Matthews band is known for their poppy mediocre singles like "American Baby"," Crash into Me" and "What did you say" or they're known for being a lame jam band by some.
but their real sound is on this album.
Dark, Brooding, depressing almost. There are songs about oppression (Don't drink the water) religous extremism (the Last Stop) intense regret (the Stone) loss of innocence (The dreaming Tree) and greed/vanity (Pig)
but there is still hope in the album. The lyrics could never really affect your mood and there are three nice love songs in between the others
The musicianship and songwriting is top-notch. No one can deny that Carter Beauford is one of the best drummers in the world. While Dave matthews has been known to write clunkers of lyrics in some songs, everything on This album is perfect. The Bass player fills his supporting role with ease and presence while the strings and sax parts throughout are wonderful.

If you are into good music and have yet to like this band, I recommend this album above all others

 

[plasmawisp6633]

Acoustics

I tend to like the acoustic versions of songs because they put more of a balance in rock music. Normal rock music tends to be so abundant in guitar FX and distortion that it can drown out the vocals a bit. When acoustic music is played, it puts more of a balance between the vocals and the rhythm in the background, which may require the vocalist to sing more soulfully or differently. I feel that music in its truest form is acoustic, and I figured I'll name and review some of my favorite acoustic albums.

Nirvana - Unplugged in New York

I like this one especially because there's a lot of covers and Nirvana does their best to make these songs sound like their own. In fact, I hear the Nirvana versions of these songs on the radio more often than the actual versions. The guitar has a great rhythm, and Cobain's voice leaves a great lasting impression before he died (less than a year later).
Notable Songs: Man Who Sold the World, Plateau, Lake of Fire, About a Girl

Alice in Chains - Unplugged

Once again, another landmark because this one came out also soon before Layne Staley overdosed. No covers on this album, but still great music. Jerry Cantrel and Layne sing together very well. The songs have more of a somber feeling, but they do grow out of true emotion.
Notable Songs: Nutshell, Rooster, Over Now

Godsmack - The Other Side

There are only 7 short tracks on this album, just about a half hour of songs. The positive? Every one of those songs is listenable. Perhaps it's a mistake to start off with Running Blind, for it's not really built for an intro. To me, the acoustic guitars on this album sound much more powerful and full bodied than the electric guitars in their normal songs. If you want proof, listen to the acoustic version of Re-Align. My personal favorite is Voices.
Notable Songs: Touche, Voices, Spiral

Seether - One Cold Night

My most recent buy, as of the date of this post. I immediately fell in love with this album, primarily because I can listen to every single song on it (some say I have picky tastes). It's so great basically because of the reasons i stated in the intro to this post, less distortion, more soul. Immortality is the only cover on it (Pearl Jam song), and it's beautiful. I actually like it better than the original (probably because I heard this one first).
Notable Songs: Diseased, Immortality, The Gift, Plastic Man

If you guys need a number, I give all of these albums either a 9 or 10 out of 10.

Now pick up an acoustic!

 

[prog]

Innerpartysystem - Innerpartysystem

Don't you hate it when you get hip to a band and then they hit it huge? Well, Innerpartysysten hasn't quite hit it huge yet, but being featured on this year's Madden is a huge step in that direction. I first heard of this act last year when the radio station I worked at got a copy of The Download EP. Me, hosting one of the rock shows decided to take it home, give it a spin, and then bring it back and maybe put a song into rotation.

They never got that CD back.

This, being their first full length effort, clocking in at over 50 minutes, adds the depth that was missing from their first album. They seemed like a onetrick pony, with their pop-punk-hard-electronic sound, however, now, they've evolved showing that they can do more than just upbeat songs. However, their upbeat tracks are stellar.

1. Die Tonight Live Forever - A-
My third favorite track on the album. The synthesized sound of the vocals, and the constant refrain of "We're all hear cause we've lost control" never is grating, and the mix of live and digital drums in tandem is a really unique sound on wax. This is how you grab attention on the first track.

2. Last Night In Brooklyn - C
Their first slow effort. Sounds like Timbaland with The Killers. Not my favorite track, but sometimes you've got to change up the tempo...

3. Don't Stop - A+
...before you drop a bomb. Their first single, now released twice (once from the Download EP again here, but finally getting major station airplay). This is the embodiment of the band. Synthesizers, guitar, live and digital drums, uptempo, and an energetic vocal contribution. Great video as well.

4. Structure - B-
Another slow track. The better of the two, still really danceable, begging to be remixed again and again.

5. Everyone Is The Same - B-
Sounds like something from a Powerman 5000 B-side lyrically, with newer Coldplay instrumentals. With this and Don't Stop, you can tell a bit of the lyricist's mantra, but isn't music a form of self-expression?

6. Obsession - B
You know, it's hard to classify a band as rock when they're so danceable. This track shows that off. Another upbeat gem.

7. This Empty Love - A
The best slow effort, and second best track. I said that the band channels Sade at times, or at least her seductive vocals. Rather, this track seems like it simply is No Ordinary Love Part 2. Far from a bad thing, as both tracks are great. Hip-hop is generally noted for its storytelling, but while the story is pretty laid out, the vocals and instruments eventually lead to a big clash and...well...just great.

8. New Poetry - C
It seems like they purposely put their two worst songs after two of their best. The track isn't bad, just not memorable.

9. This Town Your Grave - B
Ever Heard DJ Shadow's track "High Noon?" I have no idea why this song reminds me of it, but if anything, this shows off the great layering done. The production on the entire album is great, and this is another display of it.

10. Heart On Fire - A-
First featured on The Download EP, this and Don't Stop are the only two cuts of the five that made the full length. Another hard upbeat track, not quite as danceable, but definitely marketable, and probably another single waiting in the wings.

11. What We Will Never Know - B-
The last real track on the album, is another slow effort, and definitely on the better half of those. Sounds like a Linkin Park b-side, in nearly all facets, but still good.

Overall: 8.8/10. What more do you want from a first album? Shows room for improvement, plenty of potential and staying power.

 

[Virgilijus]

OK Computer is Radiohead's 3rd album and was released in 1997. The whole album has a very somber mood in general, despite some songs having a little quicker pace.

Tracks-

"Airbag" - It has a peculiar little baseline that seems to draw on a bit longer than you would expect. The song itself has a little bit of an aetheral sound: not quite encompassing a lot of echoes, but the drawn out vocals and celestial imagery make it feel distant (in a good way).

"Paranoid Android" - One of my personal favorites on the album. It is reminiscent of "Bohemian Rhapsody" in the sense it has three very distinct parts. It transitions between them very well and intertwines up beat melodies and instruments with the lyrics of a man going insane. The third and final part of the song acts as a sort of baptism for the song: slowing down the pace to a very soft, somewhat choral plea. A very good song any way you look at it.

"Subterranean Homesick Alien" - Named after a famous Bob Dylan tune, the song has a lot of space related images and high pitched melodies that subconsciously reference old alien movies. The lyrics are a little goofy and add a bit of levity to an otherwise mostly somber album.

"Exit Music (For a Film)" - A very somber song that slowly builds up into a sort of violent outburst. The lyrics concern a lover waking the other up in the middle of the night to leave, fearing they may wake the father up. You can sense the drama of the situation in the song, which turns from suspense to hatred as the lovers leave and wish for the father who has caused them such pain to die. It is a very touching song.

Have to go to class now: update the rest later.

 

[Slithe]

Here, let me sum up the entire Radiohead collection from best to worst:

Based on Critical Acclaim, Lasting Popularity, Musical and Lyrical Quality, Impact, Influence and/or Innovation, and Originality:
1. OK Computer
2. The Bends
3. Kid A
4. Hail to the Thief
5. In Rainbows
6. Amnesiac
7. Pablo Honey

 

[Slithe]

EDIT: Sorry for the double post.

Probably my favorite album of all time, this is definitely an album where I have to try pretty hard to hit the skip button, and maybe even the stop button as well, not to mention it's an album that I have listened to at least a bizillion times probably and have never gotten bored of. The thought-provoking lyrics coupled with the exceptionally good compostions which are considerably lengthy yet always seem to captivate and keep the attention of the listener (or at least mine that is) with its seemingly addicting hooks and the fast-paced adrenaline rush it gives you shows you an album where the lyrics and music come together to really "paint a picture" for the tracks or overall concept, or concepts of the album; that concept, or concepts, being focused around the themes of conformity/non-conformity and/or control over oneself or others, or what could possibly be taken as a story about a dictatorship that forms and abuses its power which, thus, eventually leads to a rebellion and the downfall of that very dictatorship or abusive power.

And now for the track-by-track analysis:

Battery
In keeping with the general "control" theme of Master of Puppets, the lyrics of "Battery" discuss the control that anger can have over one's behavior. The title refers to "battery" in the sense of "assault and battery", as shown by these lyrics: "Smashing through the boundaries / Lunacy has found me / Cannot stop the battery". Although, to me, I'm still trying to figure out what the "Family" lyrics are about.

Master of Puppets
The lyrics seem to be a reference to drugs, in the case that the lyrics "chop your breakfast on a mirror" refer to the act of preparing powdered cocaine (not that I've ever done drugs before though, just basing that off of common knowledge). The summary to this song is that instead of you controlling what drugs you're doing, things get switched around and it's drugs controlling you.

The Thing That Should Not Be
The song follows a short story by H.P. Lovecraft titled "Shadow Over Innsmouth", and there are many lyrical similarities that can be drawn to it, such as, to name one, the lines from the song "Not dead which eternal lie stranger aeons death may die" relating to the lines "That is not dead which can eternal lie, And with strange aeons even death may die" from the story. A translation can be found here: http://www.encycmet.com/songs/smthingy.shtml

(Welcome Home) Sanitarium
These lyrics seem to refer to the perspective of one being trapped in a mental asylum. The lyrical themes, however, have also been related to the critically acclaimed film "One Flew Over the Cuckoo's Nest".

Disposable Heroes
Lyrics seem to pertain to the perspective of a soldier, but it is mostly a reference to how government tries to strip families of their young ones and send them into battle, with those young ones hoping that they will achieve "honor and glory" in doing so as told by the government, when the government tries to cover up the truly harsh reality of war. This site, I believe, sums it up the best: http://www.answerbag.com/q_view/422475

Leper Messiah
A song about how religious cults or movements seem to scare other people with "eternal ****ation" if they don't join them when all they're really after is their money. According to one site, it is about TV preachers who call themselves "messiahs"... they just make a good profit on other people's faith. Once on tour James sarcastically dedicated the song to Jim and Tammy Fey Baker, two TV evangelists who embezzled millions of dollars of charity money.

Orion
While there are no lyrics to this song, it might be in reference to the cosmic or space-like sounds heard during the transitional point of the song. A really interesting interpretation I've found is that it's like a war in the beginning with the rush you get be for you go to war then the battle starts with a bang then you realize that your killing off others with families that will never see them or you, including your own family. Then you start to think "What am I doing? How can I stop this? There must be a better way, but is there?"

Damage Inc.
The closing track focuses around personal freedom, independence, rebellion, and a call to arms, as hinted in the lyrics "go against the grain". It also could focus around how violence leads to more violence, as hinted in the lines "blood with follow blood". The track has been said to be the inspiration for many gangs, although I don't now if that's true.

*Again, I'm not sure if these are the exact definitions of each of the songs, but I think that maybe some, or all, of the meanings to each song off the album have been explained by the band members themselves.


Overall, amazing album. Therefore, I give it an A on the tic scale.

 

[Scott!]

And now I make my contribution to the thread. I've chosen to do a review on an album I should have had a year ago, but only just got recently. It's by one of my favorite bands, a group often known for only one song they ever made, and it's far from their best. I'm talking, of course, about Fountains of Wayne. That song, Stacey's Mom, was a huge hit off their album Welcome Interstate Managers, an album I love far too much to even think about attempting to write a review consisting of something other than me declaring my undying love for just about every song. Instead, I will discuss their most recent effort, Traffic & Weather.

One of the things Fountains of Wayne is best known for is the types of stories they tell in their songs. They love to focus on the normal and mundane, but in a way to make it more than what it was. On this album, they return with more stories of regular people, just as captivating as ever.

1. "Someone to Love" - This song was the first single off the album, and is a good start. It tells the stories of two lonely people. Each lives alone and yearns for something more. The song implies that they could be happy together, with the juxtaposition of their interlocking stories and how they spend their lonely lives similarly. In the end though, the only contact between these two people is that one cuts toe other off in hailing a cab. I thoroughly enjoy this song, since, despite its lyrics, it's a lot of fun to listen to.

2. "'92 Subaru" - The second single, this song is solid, but nothing too remarkable. Personally, I'm not sure why it's the second single. It's a good FoW song, but not a great one that stands out on the album.

3. "Yolanda Hayes" - Nothing quite like the DMV to out you in the mood for love, am I right? No? Well, the title character of this song works in one, and the song is devoted to the singer's love for her. I like the song a lot for the lyrics; it's FoW at their best in that department. It's not the best song on the album for me overall, but it's one of my favorites lyrically by FoW ever.

4. "Traffic and Weather" - My favorite song on the album. It's catchy, fun, and pretty funny too. It tells of the proclamations of love from one newscaster to another. Also, I find it even more amusing because I know who the newscasters mentioned in the song are.

5. "Fire in the Canyon" - One thing Fountains of Wayne likes to try every once in a while is the country thing. Now, I hate country music, but when they do it, I like it. They did it on Welcome Interstate Managers with Hung Up On You, and it's one of my favorites on the album. Fire in the Canyon is their attempt here. While not as good as Hung Up On You, it is still pretty good.

6. "This Better Be Good" - A boyfriend seems to have caught his girlfriend having an affair, and demands an explanation. That's the premise here, and it's another good one. It doesn't stand out from the rest too well to me, but it's solid.

7. "Revolving Dora" - First off, I love the name. I like clever wordplay like that. The song doesn't wow me, but the title gets it serious credit.

8. "Michael and Heather at the Baggage Claim" - This is another song that I find more remarkable lyrically than musically. It tells the tale of a couple waiting for their luggage. It never comes, but at the end, when Michael is feeling harried, Heather reminds him of her love for him. I'm a sap, but I love it. It's nice to see (fictional) people who see past the trials and crises of everyday life to what's important.

9. "Strapped for Cash" - Next, we hear the tale of a man who's too good at spending money, and not good at paying his debts. We all know the type; he's confident he can make the payments in a few days, but there's always something coming up. It's a good song, and is decently catchy. It's not the best of the batch though.

10. "I-95" - My other favorite on the album. It was on Rolling Stone's list of the 100 best songs of 2007, and completely deserving of that. Here, the band slows things down a bit. It's a love song about a guy who drives 9 hours along the aforementioned highway to see the girl he loves. The song mixes the minutiae one sees into the verses, with the chorus focusing on the love itself. It's a simple song, but a very, very good simple song.

11. "Hotel Majestic" - This song I find unremarkable, honestly. It's good, and decently catchy, but nothing really jumps out at me.

12. "Planet of Weed" - Hm... what could this song be about? I'll leave that up to the listener. But it's another one I don't find too amazing.

13. "New Routine" - In this song, people make drastic relocations in life to shake things up, only to find themselves in "new routines" there. It's a good song, and I enjoy the lyrical story.

14. "Seatbacks and Traytables" - I like this song for the end. It's about an airplane landing, with the chorus reminding people to put their seatbacks and traytables up. I find it calmly catchy. Also, considering the theme, it's a good ending for the album. End of a flight, end of an album. Symbolism and all.


In conclusion: I thoroughly like this album. It isn't their best, since Welcome... is just remarkable, but it's another strong outing by Fountains of Wayne. I personally enjoy all the stories. I come from Jersey, just like the band, so perhaps I identify with more of the album than some others would. I've driven on I-95. I've seen Chuck Scarborough and Sue Simmons, the newscasters in Traffic and Weather. But the stories in the songs are so universal and so real that I don't think it matters where you're from. You will recognize the characters in the songs and identify with their struggles. And that's a big part of why I love Fountains of Wayne in general and this album specifically.

Another reason I like the band is their musical style. They're best classified as "power pop", though there are songs on this album with influences stretching back through the decades. If that type of music appeals to you, then you should have this album, definitely. If you see the word "pop" and immediately dismiss it as over-manufactured garbage, then you're only hurting yourself. I definitely recommend checking them out to at least some extent.

Final Grade: A If you're into this type of music, you need this album.

 

[Caleb Wolfbrand]

Nobody has posted a review in here in a long time. I just did one, hope it's okay to post here. Taken from my Livejournal, a review of Sonata Arctica's new album, The Days of Grays. Tony Kakko is the singer/songwriter and I mention him a lot (just so you know)

===

After sitting at my computer for nearly two straight days listening to the newest from Sonata in full quality brilliance, I am finally ready to sit down and talk about it. I think.

1. Everything Fades to Gray (Instrumental)​

A very creepy start to an album. It gives me horror movie vibes until the song itself breaks in, and it's breath-taking. This little tune is beautiful, and really sets the mood for the album. Somewhat of a perfect intro, a prelude for what is to come...

2. Deathaura​

... And it leads directly into the epic song on the album. What a complicated piece of music this monster is. The song follows a story, thought honestly I am having trouble hearing all of the lyrics and understanding this story. It's about a witch, or at least someone who is suspected of being a witch. This song has SO MUCH going on that it's difficult to take it all in at once. This is certainly a new golden egg for Sonata. I cannot wait for the Orchestral version of this track, more than the others. This song takes you on something of a journey, you can just feel it, and sense the jist of the story Tony is trying to convey, even discounting lyrics. This is quite the "star" of the album, if I had to say so.

This is the first song to feature Johanna Kurkela, who does a fantastic job, but doesn't get much to do in this song. I honestly would have liked to hear her more in it. The intro from her is just perfect, and then Tony breaks in and all hell cuts loose.

The instrumental melodies following the "Somehow HEXXED!" line is my favorite part of this song.

"The sun leads the white mountain snow colored peaks... There I see you amongst the good people, suffering. She is the one, the unwanted, decidedly so! But she makes our children cry!"

3. The Last Amazing Grays​

Honestly, this was one of the biggest disappointments on this album to me. That is, The Last Amazing Grays full version's intro. When they do this live, they start out the intro just like the album, but playing on the keyboard as well. But on this version, they only intro with guitars and drums, and doesn't have that same feel that it has later in the song.
However, I soon realized this was not a bad decision. Think of it like you would White Pearl. That song opens with the same melody that will repeat several times later, strengthened. But you wouldn't expect White Pearl to OPEN with "Ten thousand steps down!" now would you? So, for TLAG, Tony chose a more subtle opening which will later be expanded on. Not a bad idea over all.

That aside, this is one HELL of a song. It's the first single, and the Wolf song for this album, following Fullmoon, Wolf&Raven, The Cage, Ain't Your Fairytale, It Won't Fade. It speaks of an old wolf(ves?) that is getting too old, and passing on, leaving the pack to the young ones. It's a very beautiful song, and not as complex as some of the others on this CD. When I first heard this song from YouTube videos of their live Kemi world premier, I knew it was something special. And so it is.

I find the instrumental bit towards the end to take a little long, but that might be just me. Overall this is one of the best songs on the album, I believe, and a perfect choice for single.

"Mountains seem to devour this last time, marking the moment, I have found my place... I close my eyes and join them, guarding the young amongst the amazing grays..."

4. Flag in the Ground​

The song we're most familiar with. The video song! Flag is, in general, is one of the most light hearted songs Sonata has had, lyrically. It follows a good story with a good conclusion. Lyrics are well written and everything fits pretty well. Musically, this song is terrific. This is classic Sonata at it's finest. This song was written in 1996, back even before their first album was released. It was called "Blackout" if I'm not mistaken. After being revamped extensively, we are gifted with Flag in the Ground.

Tony's voice is so beautiful in the chorus of this one. The fastest song on the album as well. A great addition to SA's library.

"We are free from eternal serfdom, I'm gonna bring you home, my light!"

5. Breathing​

Wow. This track is absolutely touching. The lyrics are beautiful, Tony's voice is in prime here. This song has already achieved the status of one of my favorite ballad songs, along with another on this album (track 10)

The guitar section of this song is brilliant. It just soars beautifully, perfectly placed on the track. The keys in here create a strange feeling in me, as well.

"I just really need to - be - alone - now..."

6. Zeroes​

... And now we're into what is almost the weirdest song Sonata has ever done. (don't think I forgot Black Swan and Forbidden, Forgotten...)

I was not happy with this song the first time I heard it. I couldn't get my head around it... But as I gave it time, it became one of my favorite songs altogether. I even used it in the bloopers video for Use Bombs Wisely 2. The song is actually - amazing- to me now. It is one of those songs that continues to change it's paces and melodies but in a good way. It's good to hear Tony being a little silly too, like at the end

All in all this song is a welcome break from the standard metal tunes.

"These people win elections...Empowered by... YOU! These wars are never ending... Acceptance just might win them."

7. The Dead Skin​

Speaking of breaking away from standard metal... The Dead Skin is the most convoluted, complicated, confusing song on the album. This song is Tony's favorite on this album as well, and you can kind of feel it just by the way he sings, his tone, his feeling, and the lyrics. This is yet another song I had a lot of trouble liking at first, but then started to love. (It's Drop of Fuel for a Nightmare all over again!!! not really)

Lots of effects on Tony's voice throughout it. I was afraid they would take away from the song, but quite the contrary, it's very fitting. Musically this song is all over the place. There are fast guitars and then there's keyboard solos, and then you're just taking it all in quietly while this masterpiece plays itself out in front of you. It's definitely one of the deepest songs I've ever heard from SA. There is simply so much to this.

This song has tons of brilliant lyrics, which is my favorite part of the song. One of my favorite lyrics on the whole album is from this song.

"Tears don't mean anything... If we don't know when we're sorry..."

8. Juliet​

Ah, the next song in the story of Caleb, Don't Say a Word, and The End of This Chapter! "Juliet"

Instantly became my favorite song of this album, though it's too early to say if that will remain so. Every time Tony sings from the perspective of his stalker character Caleb, it has a certain feel to it that is just wonderful. In a way, it is a very creepy feeling, not only because of what he is saying, but because I somehow identify with it. In a way, I can see myself becoming so horribly obsessed over a woman... And things turning towards death.

Back to the song. Another complicated composition, beautiful keys throughout. VERY excited for the Orchestral version of this one. Lyrics are wonderful and delivered perfectly, sweetly. This is the only song I memorized all of the lyrics for already. The ending gives me chills!

Story-wise, I honestly am just left more confused. You know people who try to figure out the Legend of Zelda time line, and when Nintendo releases another game that doesn't answer any questions, only gives you more questions? That's kind of what Tony did to me with Juliet I have a feeling this is NOT the last song in the series, as I still believe End-Chapter to be.

"You know what you meant to me... Emptied the room in your life that I paid for! When I lost my sanity... I made a mess now I am here to clean!"

9. No Dream Can Heal a Broken Heart​

New instruments we've never heard from Sonata open up here. This song is wonderful, and brings back the voice Johanna Kurkela for a singing role this time, and <b>wow, does she nail it or what?</b> She's perfect, beautiful voice that just touches the song perfectly, adding something that would have been missing otherwise. Her section is actually my favorite part of the song altogether, sorry Tony!!! :D

My only regret is that I'll likely never hear this live, since it has a guest vocalist for half of it.

Altogether a very touching song, a nice change from the very complicated songs before it.

"For my love, please be strong. If your heart can heal the song, you can't go wrong..."

10. As if the World Wasn't Ending​

My favorite song name on the album <3 This song's opening is absurdly gorgeous. I could listen to that little chime all day. Songs like this remind us how much Tony's voice has improved over the years. A much more simple songs than some of the others.

This song along with (5.) Breathing have become my favorite SA ballads ever.

"Whiskey, brandy, vodka, come and live this night with me, as if the world wasn't ending."

11. The Truth is Out There​

X-files references for the win. Time for another complicated song to take a lot of time with. Like (6.) Zeroes and (7.) The Dead Skin, I didn't like this song much upon my first listen. But as I gave it time, it grew on me in a big way. It's actually too early for me to say just how much I love this song, all I can say is it will very likely end up in the top ten. Another complex song, chicken soup for my Sonata soul. This song seems to be a good companion to (7.) The Dead Skin for some reason, but maybe it's just me.

The instrumental section starting at 2:20 is one of my favorite parts of the entire album.

"Wake up! I don't want to wake up! Don't want to fall asleep but... I'm already dreaming."

12. Everything Fades to Gray (Full)​

Return to the opening music of the CD, now with the voice of the wonderful one and only Tony Kakko. These lyrics are well written and touching. While hearing the lyrics, I am subtly reminded of all the past songs. A perfect reflection of the rest of the album, and a perfect outro in general.

"It's not fair, to lose it, and how... There was time now. But death's cheating us, somehow..."

13. In The Dark​

The first bonus track from this CD. It does seem to have somewhat of a bonus track feel to it, like, you can see why it was chosen as one. Some great lyrics in this one. Musically a bit more easy to swallow than the rest of Grays. Overall this song is my least favorite of this CD so far, but that is possible to change. This does not mean I dislike it, mind you, it's a wonderful song, just the rest of the CD is so good too.

The Orchestral version of this one should be interesting.

"I wanna be so close to you... See what other scars you carry within your broken heart"


On the whole :

This CD is very unique for Sonata Arctica. Every song seems to belong on this album, but in a way, I feel like the placement may be a bit strange. Some songs (Zeroes) have trouble fitting in anywhere, though. The intro-outro aspect makes me very happy. I am a little annoyed that "In the Dark" comes AFTER the outro, but I suppose since it's not part of the album it's alright. Personally I would have made it track 12.

-
THAT out of the way, the album is wonderful. It’s a dark collection of new, complex music for me to digest for some time. You can expect rants and raves here on my LJ, posts of lyrics and thoughts and self discoveries. Tony has done it again. This album sets you up for a stage, and closes the curtains just at the right moment with it’s intro/outro. Tony is wandering more towards a direction I fully support, unlike the guitary Silence worshipping fan group whom I do not belong to.

For a moment, I stop and let out a sigh of relief. Why? “There’s nothing as good as White Pearl... Thank god!” Some might be confused by that, heh. While all this music is wonderful, no other song, in the history of songs, has changed me so much as White Pearl, and honestly I don’t know if I’m ready for a “new” White Pearl if you know what I mean. (Though secretly, I think The Megas could be the one to deliver it...)

Am I disappointed? Slightly. Am I satisfied? Absolutely. My final rating for this CD has yet to appear. It holds up against Unia to me as the “this album flows together SO well” feel, but I can’t say for sure whether it’s the best yet. As I churn this album in my mind and musical stomach for the next week or so, my opinions are bound to change. If I recall, I didn’t like To Create a Warlike Feel from Unia the first time, and it became my 2nd favorite SA song altogether.

But Sonata season isn’t over yet! We still have the Orchestral CD, and two more bonus tracks. I’ll likely do a detailed review on that later. Thanks for reading this lengthy rant of “wow dis stuff is GEWD” over and over
Goodnight all. <3


"Life is but a long, sad game. Drifting souls, avoiding shame. Two dead swans is all we need to pave the winding memory lane! No hellos, no bad goodbyes! Wailing, distant, silent cries. You can live with my pain; It's your own you cannot take! Played the game and lost, I wonder how you can... Hold the cards for a dead man..."
-Juliet

 

[Frank West]

The Blueprint III: Released Sept. 11 2009

With the final installment in the Blueprint series, Jay Delivers another dose of what hiphop heads have been sorely missing for a long time; high society meets the street, with the witty wordplay and holds no punches attitude Jay has become widely known for. But by the same token this certainly does not mean he plays it safe here, as this is one of Jay-Z's most experimental albums to date.

Jay begins the album in suitable fashion with the Luke Steele featured What We Talking about, a song that sets the tone well for the rest of the album. Run This Town and Death of Autotune the albums two designated singles both satire today's rap industry as Jay pokes fun at those who aim to take his spot, as well as Auto-tune abusers.

The next two tracks, Empire State of Mind and Real As it Gets see well placed guest offerings from Alicia Keys and Young Jeezy respectively and are both very well done. On to the Next One, the following track doesn't fare so well as far as production goes, as Jay's lyrics are drowned out by Swizz Beatz out of place synths and hand claps.

Next comes Off That, the Drake anchored Timbaland produced track, which finds Jay at his best: when he's boasting. Definitely one of the highlights of the album. On the following track Jay slows it down to a more modest pace on A Star is Born with a decent guest appearance from a newer name J. Cole. Jay continues the slowed pace on the next track with Venus vs. Mars, which sees Jay finally addressing his female fanbase.

Kid Cudi lends a hand on the next song Already Home, as we see a more inciteful Jay on this one. The production works very well on this one and is another one of the disc's highlights. teaming with Kanye on the next track Hate with a very unique rapping style that does a very good job of adding variety to the album's verse style.

on the final tracks we get to see more fruits of Jay's experimention with production and style, with Reminder, So Ambitous, and Young Forever. Reminder with a beat that is an acquired taste, Ambitious with not surprisingly a Pharrell appearance, and Young Forever with yet another "Forever Young" sample Jay makes it pretty clear becoming stale or predictable is certainly not his intent.

Overall: A-

Jay hits a home run, almost. Comparing this album to the greatness that is the Blueprint I is certainly not a stretch as this album delivers on many levels(Wordplay, Production) and stumbles on very few(perhaps too many guest appearances, very experimental). At any rate it's safe to safe Jay's back and he's finally taking it serious.

 

[CRASHiC]

David Hasselhoff Presents Music For Women To Dance To Too, Two By David Hasselhoff

Ladies and gentlemen, The Hoff is back. David Hasselhoff’s new album, David Hasselhoff Presents, Music for Women to Dance To, Too, Two is the greatest musical achievement accomplish by a single man, recalling such works as Barbra Streisand’s Music About Menopause as well as Tyra Banks’s and Opera’s upbeat, musical reenactment of Shindler’s List.

From the blue grass-Barry White fusion ‘The Hoffer Poffer’ to the wizard rock ‘The Sorting Hat at Hogwarts Puts All the Foxy Ladies in Hoffelpuff,” Hasselhoff has woven a musical web that he hopes the most beautiful of lunch ladies would wrap their hair around. After only five seconds as I was given the urge to do two things, pronounce my women hood so that I might be able to dance along with such divine beats, and get attacked by a shark just off the bay so that I might see Hasselhoff, and perhaps get to spend an afternoon on the 23rd of September, dancing underneath the setting sun with my David.

Instead of using instruments for the album, The Hoff has employed a technique engineered all his own, a feet that earned him three gold stars last year at his second grade class. By using the sound of his voice, run through the lower intestine of a camel and then filtered by whale blubber, David had found a way to reproduce nearly every instrument known to man, including the ever elusive sound of a rapping, yodeling Swedish banker, which is only surpassed by the sound of sweet and salt water evaporating off The Hoff’s chest.

One wonders how David Hasselhoff was able to make such a drastic improvement over his previous singing attempts. Clearly, The Hoff has soaked in the talent that poured off the stage on the past two season’s of America’s Got Talent, thanks to a special energy sapping device that was activated by raising his right eyebrow, and when the one of the three were stuffed with soul, they would stop their feed by pressing a buzzer that would then start a ‘X’ block that would absorb the power in their place.

The list of collaborations runs long, most notable of these appearance are the following: The Wiggles on ‘Hoff-formers,” Daft Punk adding their mix qualities to “You Can Hoff It in the Evening, You Can Hoff It in the Morning, You Can Hoff It at Summer Time,” and Tela Tequila giving a bit of nonsense during “Hoff, Texas Ranger.”

A Millennium will pass and Shakespeare will fade, Beethoven will be silenced, and somehow, man kind’s future generations will look back at the early stages of man kind’s development into an artistic society, and will look at David Hasselhoff Presents, Music for Women to Dance To, Too, Two as the source for all other inspiration that will follow.

 

[Bowser_Gangsta]

This Thread needs more gay.

Lady Gaga returns with a more Gothic and Disco eccentric album in The Fame Monster.
Lets get to the tracks.

Bad Romance
Bad Romance is often compared to Poker Face, some saying it sounds too similar. I disagree. This track is filled with heavy dance influence, whereas Poker Face is more poppy. In this, she talks about having a "Bad Romance", which is accepting someone for their good and bad qualities. The beat and catchy verses make this one of the album's selling points.

Alejandro
Soft and pretty, quite the contrast from Bad Romance. 90's European dance influence makes this a more laid back Gaga. The synth is always in your ear, in a good way. This is a good song, but it shy's in comparison to the albums other offerings.

Monster
Very pop. Bass and , of course, synth and a catchy chorus highlight this track. The Breakdown in the middle is very good as well. I think this is the track you'd most likely hear at a club. Also one of her first dance songs to sound Major. One of my favorites on the album.

So Happy I Could Die
A Slower paced, just as poppy song. An ode to masturbation by Lady Gaga. Liquid Synth really does its job on the chorus, making this one of Gaga's tracks with an 80's feel to it. This song to me envisions a nightclub party that seems to never end. Another very good offering.
P.S. Its dirty too!

Speechless
Gaga... in a rock setting? Not compatible right? Wrong. Channeling Queen is this track, Gaga really lets hers pipes do the job and not so much the beat. It shows that shes not only famous for risque songs and over-the-top antics, but she can sing. A 70's feel and great singing makes this a 5-star offering.

Dance in the Dark
In my honest opinion, the best song Gaga has ever made. This song has a darker feel to it, the beginning with a stuttering male and Gaga shrieking from the background. Electronic feel and a more underground approach, make this track compelling. She channels Madonna is this track with a funky chorus reminiscent of "Vogue", only with dead people. 0_0 right? Listen. Its her best song yet. Although I've most likely made it clear, its the albums best.

Telephone Featuring Beyonce
Ooohh! A duet between two of the most popular Female singers of the year. How could it go wrong? Beyonce does very well in this song with her verse, as they are both talking about men who are choking them up. The beat and fast paced lyrics make this song prime dance material.

Teeth
As Fanboy as I sound, the albums last track is probably its weakest. The sound is very bassy, to the point where it sounds too... over produced. Although its got good lines. (Take a bite of my bad girl meat.) It just seems too weird in comparison to the other tracks. This song is an acquired taste. Your first listen through you may.. umm.. switch songs(couldn't say that nicely), but a few listens and its the good old Gaga we all know.

8 songs. Pretty short, but it comes with the The Fame which makes up for that. As a standalone album many of these songs are hit-or-miss with some people, so if you're ready for a less mainstream Gaga, this is for you.

 

[Colonel Cuddles]

EMINEM - THE EMINEM SHOW

The Eminem Show is known to lots of people as Eminem's best album. Eminem is known for humor in his albums, but this one is very serious. He raps about his troubled youth often in the album. In the song Cleaning Out My Closet he talks about his mothers drug problem and how it hurt him as a child. He even talks about his anger towards former president George Bush in Square Dance. But his humor makes an appearance in Without Me, a hit song that brought a part of Eminem mainstream. In Till I Collapse he is very energetic and the song is really good for pumping you up. All in all I think this is his best album. His wordplay, flow, and general lyrical talent are all spot on. My favorite album of all time.

Final Grade: A

 

[Peeze]

Blue Sky Noise-by Circa Survive

1st and best cd purchase all year, great sounding cd all tracks are repeatable 40times.

 

[Viroxor]

Between The Buried And Me - Colors

Oh my goodness. Before I begin, I should say that at first listen, if you're not into hardcore metal, this album may turn you off due to the growling vocals, but if you keep listening, you will be glad. It's hard for me to describe this album, but what I can say is that it makes my life feel complete. The album is a journey in which the musicians (each of them some of the best in the world on their instruments) play through nearly every type of music imaginable in a little over an hour, in addition to their signature progressive, uber-heavy style, which seems reminiscent of early All That Remains combined with Dream Theater. Anyway, track by track:

Foam Born (A): The Backtrack - The opening to the album is gorgeous. It begins with a piano intro and a melodic vocal part by Tommy. It slowly kicks into a more upbeat anthem, and finally melts into BTBAM's usual style, bridging into the rest of the album.

Foam Born (B): The Decade Of Statues - The second part of the opening is probably the most relentlessly brutal part of the album. It's got some awesome guitar riffs and is almost uninterrupted in its heaviness except for a random classical-ish guitar interlude. Overall pretty good.

Informal Gluttony - This song grew on me over time, and certainly has many merits. It starts with what I can only describe as sounding like tribal war drums, followed by a sitar twang, and finally going into the rest of the song, which maintains the heaviness of The Decade Of Statues, while also including the first of many softer vocal segments on the album, the chorus providing a nice break from the heavy metal sound of the rest of the song. It ends the same way it began, and bridges into the next song...

Sun Of Nothing - I love this song. It starts heavy, and after slamming out some more awesome guitar riffs, the song takes a turn by converting into a pop-ish section before returning. After some more deliciousness, the same pop bridge is repeated and followed by a beautiful acapella portion of the song, and finally culminates in the epic clean vocals section, one of my favorite moments of the album. The song ends with some more amazingly impressive guitar work, including some passages later reprised in White Walls. Overall very cool, and bridges into what was for a long time my favorite song on the album...

Ants Of The Sky - Picking up where Sun Of Nothing left off, this song drives from the very start into a musical Odyssey. The heavy intro leads into an emotional guitar solo which then gives way to (in my opinion, at least) six or seven minutes of the best guitar riffs on the album. The incredible guitarwork then leads to the moment which serves as the highest point of the song, the melodic part. "Sleep on, fly on. In your mind, you can fly". It's truly inspirational, and always brightens up my day when I hear it. This section is followed by a sexy blues guitar solo by Paul Waggoner and another awesome section, this time a country bluegrass section. The band flawlessly transitions to country bluegrass style, accompanied by yet another Waggoner solo, then reprises the solo from the beginning of the song and transitions to to part 6.

Prequel to the Sequel - The introduction to this song is awesome, and the bass line after the guitar intro can be felt in the soul. Again, more awesome guitar riffs, and the band continues to deliver throughout the song. The odd musical moment of this tune is the polka section, made complete by an accordion and perfectly fitting vocals by Tommy. Afterwards, the second half of the song takes over and does everything the first half did, but better. The "comfort" part never ceases to send chills down my spine, and the end seems to sound utterly hopeless and chaotic, providing a perfect backdrop for the following interlude.

Viridian - One of BTBAM's rare instrumental only tracks, this piece is something you can enjoy even if you detest the band's style. Beginning with an excellent guitar solo, the song mostly consists of a fantastic bass solo by Dan Briggs, which any aspiring bassist should certainly listen to. The piece carries a feeling of loneliness, and primarily acts as a calm break before the awesomeness that is White Walls.

White Walls - Oh dear. The longest song on the album acts as the ultimate finale to this masterpiece of an album. And it does deliver. The guitars lead the way into one last song full of all sorts of vocal excellence, incredible guitar riffs, and several untouchable drum fills. After a softer segment that mirrors the end of Viridian, the band kicks into high gear for the big finale. After the final chorus of "white walls" finishes, the guitars build up to crushing chords that give way to what I consider to be the greatest guitar solo in the band's history, and one of my favorite ever. A perfect blend of emotion and technical excellence, the solo brings the album's heaviness to a close. As the music dies down, the journey ends where it began: with a soft piano part that brings the entire thing to an end.


I perhaps was a little preachy on how good they sound, but I promise if you listen, you're sure to find something you like here. Even I had doubts about these guys at first, but they're the real thing.

My grade: A+. If you don't have this album, you should get it immediately.

 

[Luigitoilet]

Don't forget to check out the rest of BTBAM's work if you like Colors. It is all much more heavy but every album is an incredibly unique experience.

 

[z00ted]

Very nice reviews here.. I'm starting to really like the Media Metropolis, some of the reviews are overated but eh, it happens - I almost have every single one of these albums haha.

I'll write reviews later.

 

[MCSR]

The Ultimate Hardstyle Collection 2010 Vol. 2

I'm not going to take the time to review every single track considering there are a TOOOOON.
But this is the largest on disc collection of Hardstyle/hardtrance that I know of, and every song is definitely amazing.

 

[@TKbreezy]

Can you guys also put the genre of the CD in question

I might wanna start listening to some new artist but want a jist of what im getting into

 

[Wretched]

Album: Kezia
Artistrotest the hero
Genre: Progressive Metal/Mathcore/Prog (they're kinda like dream theater+megadeth+metalcore)
Overall rating: honestly, I don't think I should judge. anybody who listens should just figure it out. Really. But if I have to give it a rating I say..
Song writing: C, because while they do write generally good music, the songs are cluttered.
Lyrics: A, the lyrics are written by the bassist. They are prolly the best lyrics I've heard, but not necessarily the best in general
Vocals: B, Rody (lead singer) is okay in this album, but he improves later on.

Summary: This is my favorite album. While the songwriting is technically mediocre, I find it to make a bigger impact on me than if it was compiled with more coordination. Kezia is a concept album based on a woman (kezia) who has been imprisoned for whatever reason. There is a lot of confusion on the story, which I believe is intentional (And I will not elaborate). There are 10 songs, 3 of each told from one person's perspective, and 1 summary song.

Individual songs: I'm not going to elaborate on any of the songs. There is too much to say.

1.No Stars Over Bethlehem
Rating: 7/10
meh

2. Heretics and Killers
Rating: 8/10
This is probably their most famous song from this album.

3. Divinity within
Rating: 3/10
This is the worst song on the album. They tried really hard to make themselves sound really different, and it failed, utterly.

4. Bury the Hatchet
Rating: 9/10
My second favorite song from the album.

5. Nautical
Rating: 5/10
This one is just neutral, really. There isn't anything outstanding but it's solid.

6. Blindfolds Aside
Rating: 8/10
This is their most famous song. Its not my favorite, but its up there. If you want a big mixture of softcore and hardcore, this song will be your best friend.

7. She Who Mars the Skin of Gods
Rating: 7/10
meh

8. Turn Soonest to the Sea
Rating: 10/10
My favorite song of all time. The lyrics have a lot of meaning so really, if you are reading this, look into this song. The guitar work is great, especially since this was their first album.

9.The Divine Suicide of K
Rating: 6/10
This one is like Divinity Within except not to such an extreme.

10. A Plateful of our Dead
Rating: 6/10
meh

 

[Zook]

Here Come the Fleece Geese

Artist: Billy Childish & Sexton Ming
Genre: Outsider
Rating: A

I've listened to two albums which have really changed my outlook on music as an art form: In the Aeroplane Over the Sea (Neutral Milk Hotel), and Here Come the Fleece Geese. Fleece Geese is an absolute masterpeice, flawless in every way. I really can't urge you enough to listen to it. It will change your perspective on music, much like Aeroplane did for me.

Muscle Horse was in the War kicks off the album with a short spoken introduction, which sets the tone and mood for the album. It is shortly proceeded by the majestic sound of an instrument I can't determine; it sounds a bit like a cross between a horn and a keyboard. Accordian, maybe?When you hear this noise kick in, you know you're in for something special. The rest of the song tells the heroic tale of muscle horse, a veteran and his experience in the war.

Next up is Here Come the Fleece Geese. Its haunting lyrics stick to you for days. Every time I hear Childish declare "Here come the fleece geese / Here come the fleece geese / Heeeere coooome the fleeeece geeeese," a shivver runs down my spine. This line really puts the simplicity of life into perspective.

Days and Numbers is the next song. It makes several insightful observatons about numbers and days. Really, once you hear this song, you'll never think of 8 or Tuesday the same way again.

Old Horse of the Nations Tea Party follows DnN, and brings in a new instrument to the album; a guitar. It definately gives this song a unique feel; it sticks out from the rest of the album. Ming offers the listener to "Come and have some yogurt," and goes on to describe what else is going on at this party.

Up next is Tractor of the Cosmos, bringing back that weird instrument of the prior tracks. It tells the mythos of a great cosmic tractor, which created the universe. It ends rather sadly.

Then it cuts into Torment the Insects, a song which anyone can relate with: killing bugs. This track would be funny, if it wasn't so deeply personal: you can hear how tormented Childish is by killing the insects. It drives him to madness.

Goose of the Moon flies in next, and boy, is it powerful. As you listen to it, it feels as if another entity is speaking to you; something much, much greater than yourself. You can't help but tremble as the Goose of the Moon states what life on the moon is really like.

Next is Arnie - Ice Cream Sargent, another character story. Taking place in the late 80s, it tells the tale of Arnie, a man who gets a job as an ice cream man (or sargent), and what his job is like. The poetry here is what really makes the song, as the actual musical composition isn't anything new. The last 20 seconds a truely breathtaking.

Honk Honk Grey Geese follows Arnie, and is a take on a familiar nursery rhyme. Once again, the poetry in this song is phenominal. You need to hear it.

They Call Me Mr. Tibbs is next. The use of artificial echoes are used in here, and it really adds to it. You can hear the seething frustration in Childish's voice clear as day, and it bores right into your heart.

Up next is what is probably the most powerful song in the entire album: Monkeys in Space. When the space race fist started, scientists would test space suits and ships using dogs and monkeys, launching them into space. At first, this song sounds like a tribute to these animals, but halfway through you see that this is actually a look into the tormented mind of a man who sent off many animals to their deaths. It brings a tear to my eye every time.

The Old Barn Yard follows that, and boy, is it a rockin' song. It isn't quite as serious as the other songs on this album, but rather serves as a nice break after the emotional outpouring of Monkeys in Space.

Afterwards, Smile comes in. Another uplifting song, this time about God rather than good times. Regardless of your religious views, you can't help but smiling after listening to that song.

The album wraps up with Here Come the Fleece Geese (Reprise). It takes you through the journey of the fleece geese again, this time on their journey back home. It makes you appreciate just how important these animals really are, and features a child at some points.

I urge every one of you to buy a copy of this album off of iTunes.

 

[kellidedo]

The album is extremely energy charged, if you listen. And i have enjoyed listening.

--------------
Auto Traffic Hijack Review

 

[Seikend]

Dear Smashboards;

Please stop reviewing all your favourite albums, which you clearly have a bias towards. A review in which you don't call everything amazing would be far more interesting. Listen to something new and write a review for it instead.

Yours sincerely,

Seikend

 

[Zook]

Dear Smashboards;

Please stop reviewing all your favourite albums, which you clearly have a bias towards. A review in which you don't call everything amazing would be far more interesting. Listen to something new and write a review for it instead.

Yours sincerely,

Seikend

Where's the fun in that?

But really, I've thought about doing this before, but haven't gotten around to it. Whenever I start, I end up losing interest.

That said, my review for Here Come the Fleece Geese was sarcastic. Look it up on iTunes, I don't think it's on Youtube or anything. It's awful. Hilarious, though.

 

[Luigitoilet]

Dear Smashboards;

Please stop reviewing all your favourite albums, which you clearly have a bias towards. A review in which you don't call everything amazing would be far more interesting. Listen to something new and write a review for it instead.

Yours sincerely,

Seikend

Dear Smashboards:

Who cares what this guy thinks? Review any album you want to.

 

[DerpDaBerp]

Seikend is from Scotland


~*~SEGUE~*~

Post-rock
Instrumental
Ambient
Bone-grinding
Playful
Impacting

Check it out

 

[DerpDaBerp]

The Black Keys' 7th album, and I think like, the 3rd one to not be recorded in the drummer's (Patrick Carney) basement. Rather, Danger Mouse continues to produce and helps them to meld the grimey guitar and blues that was once all they were about, with some synthesized and slightly glam support and choices for vocal additions and overlaps that make for much fun.
I understand some big influences for this album were bands like The Clash and The Cramps, if that helps to gauge an approach I'm otherswise unendowed to articulate.
Guitarist and vocalist, Dan Auerbach, has a voice that was made for the genre of blues-rock that they are now finally very prominent in after ~10 years of music. His and Partick's chemistry is clear and you can find yourself dancing to almost every song. I'm honestly hard-pressed to find a weak spot. There is a definite style and talented execution.
That being said, the album as a whole I don't think becomes greater than the sum of its parts. Said execution is made well, but doesn't quite vary as much as one might like when seeking an aural adventure from start to finish. I can't say much about the order of songs on the album but that it wouldn't seem to matter much if song x was switched with y, etc.

Dunno if this would help to get some of you to check it out and make your own call, but I'd say that if you like this track, you'll like the majority of the album.
http://www.youtube.com/watch?v=XdkpCdShOsA - Gold On The Ceiling

On a side note, if you're aleady familiar with the band and especially their prior album, Brothers, it's my opinion El Camino is worse (I didn't want to mention Brothers till the end so as to allow their newest to stand on its own). To be fair, Brothers is styled in what I would say is like 60's-70's R&B, so it's nature is of different stuff, making the two harder to compare. As an experience from beginning to end Brother's is more rewarding. But El Camino does not deprive a listener of rich songs.