| QUOTE (speedking @ Feb 8 2006, 07:15 PM) |
para vos será... para mi queen es un embole..... y lo de mejor o peor es una cuestión de gustos.... si vos te creés capacitado para decirlo objetivamente, a mi no me vas a convencer.![wink.gif](http://1.<a href="http://www.forumer.com">forumer</a>.com/html/emoticons/wink.gif) |
![laugh.gif](http://1.<a href="http://www.forumer.com">forumer</a>.com/html/emoticons/laugh.gif)
![tongue.gif](http://1.<a href="http://www.forumer.com">forumer</a>.com/html/emoticons/tongue.gif)
| QUOTE (speedking @ Feb 9 2006, 04:40 PM) |
| evidentemente sos bastante boludo como para entender que lo que a vos te divierte no es lo que le debe divertir (o en todo caso, emocionar) a los demás.... no voy a andar dando razones de por qué a mi Sonic Youth me resulta una banda muchísimo más interesante que Queen. es al pedo... sólo me resulta simpático como intentás establecer una jerarquía para hacerte el loquito y decir que escuchás buena música.... ay... la adolescencia..... |
| QUOTE (speedking @ Feb 9 2006, 03:39 AM) |
| aca les va mr. beast de mogwai los mp3's nomás... después si me vienen ganas y encuentro un par de boludeces más (caratulas, etc.), agrego. 1 Auto Rock 2 Glasgow Mega-Snake 3 Acid Food 4 Travel is Dangerous 5 Team Handed 6 Friend of the Night 7 Emergency Trap 8 Folk Death 95 9 I Chose Horses 10 We're No Here |
| CODE |
| For all the fans of Mogwai and Explosions in the Sky. Great release;) "God Is An Astronaut was formed by brothers Niels and Torsten in 2002. Hailing from Dublin, Ireland the band released their debut album "The End of the Beginning" on their own label Revive Records in march 2003. Their video for "The End of the Beginning" received plays on MTV U.K.'s 120 minute show and their second video for "From Dust to the Beyond" which has a heavy Anti war-theme received plays on MTV UK and most European MTV networks. "All is Violent, All is Bright" is God Is An Astronaut's second album. The video for their single "Fragile" taken from the album got plays on MTV2's 120 Minute show and MTV's "The Comedown". This album trademarks their intense build ups from serene ambience to searing intensity. Torsten and Niels who are joined by new drummer Lloyd Hanney who was trained by the late jazz drumming legend Johnny Wadham, makes this album a closer representation of their live sound. They are considered by many to be the most intense live act to emerge from Ireland in recent times due to their controversial live audio/visual shows. |
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| "And if music could be used in chemical warfare, God Is An Astronaut would flatten cities." BBC Radio Ulster (Oxegen gig review) |
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| Christopher Crisci, Aaron Pillar, Nathan "Junior" Richardson, and Marc Young form The Appleseed Cast. Those familiar with the late 90's Midwestern indie-rock scene have probably seen the band travel through their town a half-dozen times at some point. Just writing this brings back memories of basement shows in Lawrence, KS, house shows in Blue Springs, MO with The Casket Lottery, Coalesce, Reflector, Boys Life, TGUK, Recess Theory, Eiffel, The Faint, 238, Brandtson, The Excuses, etc. It feels like 1998 is finally coming into fruition and we'll finally have our day. It's been a long a time coming for The Appleseed Cast and this feels really good. I was first introduced to The Appleseed Cast in 1997 by Jake Cardwell (Reflector, New Ams, The Belles) who implored me to stay for the next band. What I witnessed was a wall of sound of guitars and drums that resonated with passion and melody. It quite frankly blew my mind. I had never heard a band sound that loud and beautiful. Chris and Aaron have never written the same album again and are consistently moving in an onward an upward direction. Every album explores new ideas, new textures, and new avenues which only build upon their signature guitar sound. The addition of Nathan 'Junior' Richardson (The Casket Lottery, Unwed Sailor, Coalesce) on drums and percussion makes for a wonderful line up. |
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| When a band's name is a complete sentence, there are typically some things that one can expect: angst, antisocial lyrical content, and a mountain of pretensions. As you may have already guessed, She Wants Revenge's self-titled debut has all three. From Los Angeles, SWR are Justin Warfield and Adam 12. Warfield is the frontman with the Ian Curtis baritone and Adam 12 is the bass player that probably didn't have to compromise much when he picked an email address. Their music is dark, dance-y, and foreboding, recalling Manchester circa 1988. According to their press materials, the band's stated goal is to make girls dance and cry, and they may very well succeed: Songs like "Red Flags and Late Nights" and "Out of Control" stand a good chance of inducing ecstasy, even without MDMA. In interviews, the pair has insisted that their music is not a deliberate attempt at recreating the sounds of any bygone era. She Wants Revenge, they claim, is a personal record that "just happen[s] to be dance music" and they'd appreciate not being associated with the current crop of 1980s revivalists. That's asking a lot, but, in their favor, Warfield isn't just another sad sack with a Morrissey complex. In fact, he used to be a rapper: His 1993 album My Field Trip to Planet 9 was produced by Prince Paul, and his rhymes on Bomb the Bass' standout single "Bug Powder Dust" were among the freshest of the trip-hop era. More so than a Brandon Flowers, then, Warfield might actually know how to make you dance. She Wants Revenge is out in early 2006 on Geffen.- SPIN magazine (para mi la mejor revista de musica.- undenied) |
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| Justin Warfield and Adam Bravin (aka DJ Adam 12) met as kids in the San Fernando Valley in 1986. Growing up listening to everything from Run DMC and Public Enemy to The Cure, Prince and Depeche Mode, they would each develop as musicians, djs and producers, pursuing critically acclaimed careers, each in their own right. They assembled a live band to accompany them, and after only 3 mind-blowing hometown shows, set out on two legs of the North American Bloc Party tour. Since then they have played in the UK, and have begun to amass a sizeable local following in Los Angeles, opening for such acts as The Raveonettes, Moving Units, The Kills, Bloc Party, and OK Go. |
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| Austere vocals. Electronic rhythms and moody bass. Seamless meshing of synths and sexual innuendo. Songs to lure the dark-minded to darkly-lit dance floors. Excuse me, haven't we met? Although distracting in its not-so-vague familiarity, the majority of this Los Angeles duo's debut revels in ominous, angular glory. The club-destined single, "Out of Control," near-perfection of the addictively dour "Sister," and "Monologue," which creeps with night-stalker allure, dare you to keep still while overshadowing rare weaker moments. Justin Warfield's rigid vocals are indeed reminiscent (read: nearly dead-on) of that of Ian Curtis or Paul Banks, and the album's severe, sulky sound only fuels the rampant comparisons to their respective bands, among others. Despite such blatant parallels, they never directly mimic any particular forerunner, and so She Wants Revenge narrowly escapes carbon-copy certain doom. Influences skip from the predictable (Depeche Mode, Bauhaus) to Public Enemy and early Prince, but rather than stale straight-up rehash, it's more like they've lovingly collected parts from their predecessors, welded them together, inserted their own brain, tweaked the vision, and brought the steely monster to life to trample down a path of its own. It's not innovative, but it's mighty, and could very well crush the slew of tinny, insufficiently-armed knock-offs that so eagerly march off the presses by the bandwagon-load. To dismiss them as derivative scenester-bait is tempting, but unfair; yes, we've had run-ins with sound-alikes before, but it's a new hand to shake, and it does scratch an itch. Ultimately, She Wants Revenge has the tunes, confidence, and potential to be remembered as more than that band you listened to while Interpol was taking time off to record another album.- IGN.com |
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| In 1993, Justin Warfield released a soon-forgotten Prince Paul-produced hip-hop debut in which he leapt onto the hippie rap bandwagon four years too late. Now he's fronting She Wants Revenge, a retro goth-pop duo that out-Interpols Interpol, deploying snippets of Joy Division, Bauhaus, the Cure and other dark New Wave acts with a precision that borders on parody. Full of one-note bass-guitar plucking, cheap drum machines, pointed rough-sex poetry and heavily haunted vocal mannerisms, the pair's debut provokes much hilarity, despite the serious intentions of its inspirations: "Just give me the safe word, and take your hand/And smack me in the mouth, my love," Warfield deadpans in "Monologue." But peak tracks like "Tear You Apart" hit their sleazy targets regardless of their obviousness. She Wants Revenge steal from the best, and steal well.- Rolling Stone |
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| This new CD+DVD edition of The Soft Bulletin features the album in Advanced Resolution Surround 5.1, plus videos, outtakes and other recordings and audio rarities. The extensive booklet features words by Wayne describing his experiences writing through the process of the LipsÆ various audio and video projects. One of the most respected and innovative bands in music, The Flaming Lips scored a major breakthrough with 1999Æs The Soft Bulletin, the groupÆs most accessible album to that point. Courageous, accomplished and exploding with intelligence and sonic texture, the album topped more than 60 year-end ôbest ofö lists, helped rank the psychedelic-noisepopsters among the worldÆs most influential bands and led to the bestselling success of 2002Æs Yoshimi Battles The Pink Robots. The Soft Bulletin, in this ultimate version, is a must-have modern classic. |
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| The crazed genius of the Lips comes to full flower on the sonically massive and majestic The Soft Bulletin. Head Lip Wayne Coyne compounds the band's penchant for psychedelic freak-outs with a symphonic extravaganza. The result is nothing short of magnificent, not only the best rock album of the year, but among the best recordings of the decade. In 30 years, your grandkids are going to think you're pretty damned cool for having The Soft Bulletin in your collection. --Tod Nelson The Flaming Lips' particular and peculiar genius comes to full fruition on the stupendous The Soft Bulletin. Anyone who had the gumption to actually listen to Zaireeka, a song cycle that could only be heard by playing four CDs at the exact same time on different stereos, knows that head Lip Wayne Coyne and his Oklahoma City brethren had it in them. That album, along with the Lips' Parking Lot Experiments, offered proof that Coyne wasn't playing by the same rules as everyone else. He was growing up and away from the splenetic psychedelic freak-outs of earlier albums and emerging as a first-rate composer--perhaps the first alt-rock star to earn such status. The Soft Bulletin is absolutely colossal, a -*test*-('")ament to their position as the vanguard of a movement that includes Spiritualized's Ladies and Gentlemen We Are Floating in Space, Mercury Rev's Deserter's Songs, and Olivia Tremor Control's Black Foliage. As with those albums, Bulletin shares a love of cosmic, vaguely psychedelic pop and a closet full of pet sounds. But the Flaming Lips only uses these as a launch pad for rocketing into ethereal sonic space. Although Bulletin steps back from Zaireeka's over-the-top indulgence, it manages to be symphonic, bombastic, outrageous, and damned catchy--while still oozing the band's unique weirdness. The sound is massive and complex; gongs, harps, grand piano, bells, pipe organ, strings, oboes, choral harmonies, and, strangely, very, very little guitar squall all merge into one wall--no, wall of sound doesn't do it justice. It's a cliff of sound, propelled by drummer Steven Drozd's tremendous pounding. On top of it all, Coyne's sweet but ravaged voice yields tender lyrics that tag a catalog of Lips stalwarts, such as insects, spirituality, and superheroes. One imagines Coyne in front of a full orchestra, urging them to keep up as he sings, "Ooh, those bugs / buzzing 'round..." on "Buggin." But the Lips orchestrated the entire album in their studio, sometimes manipulating more than 200 separate tracks to achieve Bulletin's vast symphonic excess. Each song is a rare gem. "A Spoonful Weighs a Ton" sounds like a collusion of Bach and Tricky. "The Spark That Bled" infuses a fey, Belle and Sebastian-esque ditty with Led Zeppelin-like funky swagger. "The Spiderbite Song" is a shotgun wedding between a tender piano ballad and the industrial noise of things falling apart. "The Gash" is just too singular to adequately describe. It'll be interesting to hear what the Lips do next. If The Soft Bulletin is any indication at all, they can do anything they please. And we can't possibly imagine what it will sound like. --Tod Nelson |
| QUOTE (Fu.zztone @ Feb 9 2006, 08:02 PM) |
| Ahi me estoy bajando el de Mog. Personalmente, me interesa mas las descripciones de los discos. Osea, con el DC los bajo en minutos y por ahi si no es de mucho interes colectivo, es un poco rompe pija ponerse a subir un disco entero. A lo que iba.. el disco de covers que acaba de sacar will oldham (bonnie prince billy) con tortoise el último de belle and sebastian oasis of whispers de hall/ranaldo/hooker one de matthew shipp el compilado que sacó kill rock stars de Delta 5 detrola de his name is alive el syr 6 de sonic youth Que tal suenan??, aun que sea a grandes rasgos.. Gracias nuevamente. Hace poco escuche Push Barman to Open Old Wounds y la verdad me gustó bocha, tranca, pero ni aburrido ni melozo. Ademas la voz de flaco tiene un toque sesentoso muy tentador, los arreglitos de trompeta.. Ademas, no se.. me hacen pensar en una pelicula, ni idea por que, jajaa, pero no se a cual ni tampoco recuerdo haberlos escuchado en ningun Soundtrack. Puede que haya quedado muy sensible despues de Lost in Translation hace un par de dias mas que nada el tema The State I Am In (sublimes esos arreglitos como perdidos de la acustica!) y un par mas que no me vienen a la mente. En fin, relajante. Para una siesta de fasito en invierno. Ahhh, el tema de Soft + Barrett esta grosso, pero se corta de tope al minuto. |