The Music Thread

[samm]

decoded feedback - lifeless

[Shryke]

dimmu borgir - mourning palace

[CoM_Solaufein]

Rhea's Obsession- Cun Lacoudhir

[samm]

KMFDM - Terror

 

I hope the mention of Terror doesn't get Obsidian into trouble. Bomb.

[Gorth]

What did you think that web crawler pretending to be google.com was doing here?

 

Umm... not listening to anything at the moment. Will probably go and find some Sisters of Mercy.

[Guest The Architect]

The Stone Roses - Fools Gold

[Deadly_Nightshade]

Flame of Passion - Edenbridge

[Deadly_Nightshade]

The Lunatics have taken over the Asylum - Collide

[samm]

The Lunatics have taken over the Asylum - Collide

 

collide - wings of steel

[Guest The Architect]

ABBA - Dancing Queen

[Xard]

Still Alive

 

Still Alive

 

AND Still Alive

[Deadly_Nightshade]

White Rabbit - Collide

[Kor Qel Droma]

David Garza - Discoball World

[Pop]

This L.A.-based band (originally hailing from San Francisco) came along just when they were needed most. This self-produced major-label debut boldly plunders a reverb-and-white noise course previously trampled underfoot by long-gone British bands of the late '80s and early '90s (the Jesus & Mary Chain, the Verve, Ride, the Stone Roses, etc.). It all sounds very British, on many levels, despite the fact that only one band member is an Englishman living in exile in the States. On some songs, however, the driving, over-amped guitars (often buzzing with "VU needles-in-red"-type feedback) and pounding drums have a swaggering primeval feel that rivals solid Detroit rock outfits, both old and new (including the Stooges and the Go, to name two). A few have dark, introspective lyrics, with subjects like impending death ("Rifles" at their heart, while others have a positive, more uplifting feel (cf. "Salvation"), but it's really the group's cohesive, solid production overall that captures a shoegazing, blustery rock vibe not heard for nearly a decade or more. Highlights abound on this astonishing disc, including the bitter opening salvo, "Love Burns," the diaphanous space pop of "Too Real," and the flurry of sawtooth guitar scree that is "Whatever Happened to My Rock n' Roll (Punk Song)," a track recalling the manic intensity of the Stooges circa Fun House.

http://www.sendspace.com/file/fk0fty

Black Rebel Motorcycle Club made an impressive debut in 2001 with B.R.M.C., taking both America and England by surprise while alternative metal ruled the charts. Their psychedelic/space rock/glam-colored blend was hungry to give rock a new face. Three years later and garage rock still reviving the late-'90s pop-soaked scene, Black Rebel Motorcycle Club aims to save a bit of rock & roll with its sophomore effort Take Them On, On Your Own. More gutsy, more aggressive, and more dynamic than B.R.M.C., Take Them On, On Your Own blazes on with an intoxicating presentation from the Brit-American collective; vocalist/bassist Robert Turner and guitarist/vocalist Peter Hayes boasted ****sure appeal on the last album, however Take Them On, On Your Own showcases drummer Nick Jago's powerful presentation, ultimately bringing the trio together. They're fearless and this dozen-track release is all swagger, emotive, and cool. Swanky guitar riffs and Turner's faltering drawl on "Stop" and "Six Barrel Shotgun" is classic BRMC. There's not a lot of sauntering like "Red Eyes & Tears" and "Spread Your Love" or snarly punk-tinged bits like "Whatever Happened to My Rock & Roll." The band gives the impression that the last album was lifeless, therefore, the split in song and craft on Take Them On, On Your Own isn't exactly a messy thing. There's more character to songs themselves and BRMC appears a touch more confident. From the acoustic ballad "And I'm Aching" to the post-punk fire of "U.S. Government" and "Rise or Fall," BRMC offers substance over shtick. Reworking some of rock & roll's natural components for their own brash arrangement highlights the band's overall brilliance. For only a second album, they've got the maturity that most young bands lack on a creative level. Such tenacity will carry them a long way.

http://www.sendspace.com/file/d0owdl

(Includes non-album session tracks released on the Baby 81 tour)

Since the release of Take Them on, on Your Own in 2003, things were tumultuous for Black Rebel Motorcycle Club. They were unceremoniously dropped by Virgin in a cloud of bad feeling. They lost their drummer. They bounced back and signed with RCA. They welcomed back their drummer. Somewhere in the middle of all this they completely revamped their sound. In fact, their first record for RCA, 2005's Howl, sounds like the work of an entirely different group. Gone are the insistent tempos, the snarling vocals, and the sheets of guitar noise. Gone is the hostile and often belligerent pose of the first two albums. Gone is the influence of noise rock bands like the Velvet Underground and the Jesus and Mary Chain. The band has embraced classic American music, namely country, blues, and gospel. It's dramatically expanded its sound to the point where you wonder if the albums that preceded this were some kind of reductionist prank. The band has a light touch and sense of drama and arrangement here that seems to have come out of the blue. (Check the credit to T-Bone Burnett for "additional recording assistance" for a clue, though.) In fact, the first thing you hear on the album is enough to have you checking to make sure the disc isn't defective: the multi-tracked vocals of Peter Hayes and Robert Levon Been emulating a gospel choir at the beginning of "Shuffle Your Feet," a rollicking slice of front-porch country complete with strumming acoustic guitars, harmonica, handclaps, and slide. It's no fluke because for the most part the album that follows is built on similarly relaxed, acoustic, and loose underpinnings. Tracks like "Still Suspicion Holds You Tight," "Devil's Waiting" (which features the return of the multi-tracked choir), and "Complicated Situation" have a lightness and ease that they previously could never have achieved. Other songs benefit from the expansion of sound too: "Weight of the World" has an epic, reaching-for-the-stars feel not a million miles from Coldplay and their followers (though it has more gritty soul than that), while "Howl"'s fuzz chamber sound is the closest thing to their previous work, but the circus organ, sleigh bells, and dynamics give the song color where it would have been shades of gray. On these songs and elsewhere the vocals are much more a part of the sound now as they are more upfront and impassioned. Both Hayes and Been have fine voices that are well suited to their new direction, sincere and gritty but never strained. Along with a new sound BRMC seem to have found religion too, as nearly half the songs revolve around God, the Devil, sin, and salvation. "Restless Sinner" and "Gospel Song" (which shows that the band hasn't completely abandoned its old influences, as the song is filtered closely through Spaceman 3's interpretation of gospel) are the most obvious manifestation of this new focus, but much of the record has the exuberance and weight of a band wrestling with heavy emotions. Well, that but without being quite as boring as it sounds. Of course, boredom is relative and by the end of the record you may find yourself wondering whatever happened to your rock & roll. You may feel betrayed by their sudden shift away from noise and danger, confused by the sudden change from a band of sulky post-teens with sex and danger on their minds to questioning (though still young) adults looking for salvation. Understandable, no question. If you want your rock dirty, loud, and dangerous (though BRMC were only halfway believable when that was their image), you had better look somewhere else. If you want it thoughtful and passionate but still alive and realistic, then give Howl a chance. BRMC have grown up and grown interesting.

http://www.sendspace.com/file/o0ksqh

After completely (and successfully) rehauling their sound for 2005's Howl, Black Rebel Motorcycle Club shelved their low-key Americana leanings, reburied their roots music influences, and retreated to a new version of their old, noisy sound. Baby 81 is a big rock record with walls of crunchy guitars, thundering drums, and lots of volume that sounds like a cross between Oasis and the Jesus and Mary Chain at their most conventional. It's also an over-polished, over-thought, and under-inspired record that forsakes everything good that the group accomplished on Howl (subtlety, emotion weight, solid songcraft) in favor of stale melodies, vacant lyrics, and clich

[Draken]

The Lunatics have taken over the Asylum - Collide

Not a bad cover, but the Fun Boy Three's eighties pop version still sends more shivers down my spine.

 

The Jesus Lizard - Then Comes Dudley

[Dragon Lord Jones]

QUIET RIOT singer Kevin DuBrow dead at the age of 52

QUIET RIOT drummer Frankie Banali has confirmed the passing of the group's singer, Kevin DuBrow, at the age of 52. In an e-mail to Spain's The Metal Circus, which had requested a comment from Banali on the rumors of DuBrow's death, the drummer wrote, "Please respect my privacy as I mourn the passing and honor the memory of my dearest friend Kevin DuBrow."

 

Michael Politz of The Vegas Eye reported earlier today that DuBrow was found dead in his Las Vegas home on Sunday, November 25. According to Politz, DubRow

[Pope]

Shpongle - Nothing Lasts But Nothing Is Lost

 

 

I'm in love with this album, and I seem to love it even more than before whenever I hear it again

 

I truly cannot pick a favorite track, as I consider all 20 to be one huge anthem, a psychedelic journey through the infinity of imagination

Edited November 26, 2007 by Pope

[samm]

dead can dance - rakim (on sanctuary radio, of course )

strange, why is dcd considered to be gothic? it's just very beautiful, unique music open to many cultural influences without a real label to attach to it, imho...

[Musopticon?]

Because genreists can't label for ****.

 

Somebody called Melechesh "blackened death" and Orphaned Land "folk metal" lol waht?!

 

Yes - Homeworld(The Ladder)

 

Also, I need to get a freaking avatar.

Edited November 26, 2007 by Musopticon?

[Pop]

NIN - Year Zero, instrumental version. Holds up better without the lyrics, unsurprisingly.

http://www.sendspace.com/file/8er39e

[Musopticon?]

I never liked Trent's voice, so this is pretty nice. Thanks Pop.

[samm]

I like year zero with voice, currently waiting for unvoiced version...

 

While waiting, I listen to "folk metal", apparently

orphaned land - halo dies (wrath of god)

 

bowie with nin - I'm afraid of americans

Edited November 27, 2007 by samm

[Dark_Raven]

Fear Factory "Zero Signal"

[thepixiesrock]

Weezer - Say It Ain't So.

[Musopticon?]

Finntroll - Slaget vid Blods