March 28, 2009 at 9:56 pm (Pop Rock)
Get one thing straight: Techno is merely the fairy dust sprinkled atop another massive, brilliantly conceived slab of dense, drug-like rock & roll from the only band this side of the Smashing Pumpkins who could pull off such a feat. Mainstream audiences are desperate for something fresh yet familiar, and this Warholian treatise on the plasticity of pop culture expertly mixes new sonic colors with the band’s signature art-rock genius. “Discotheque” is an exhilarating opener, “Staring at the Sun” is their answer to relative upstarts Oasis’s hit “Wonderwall,” and “If God Will Send His Angels” has the makings of a crossover anthem. This is U2 in peak unit-shifting form. --Jeff Bateman
Tracks
1.Discotheque
2.Do You Feel Loved
3.Mofo
4.If God Will Send His Angels
5.Staring at the Sun
6.Last Night on Earth
7.Gone
8.Miami
9.The Playboy Mansion
10.If You Wear That Velvet Dress
11.Please
12.Wake Up Dead Man
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March 28, 2009 at 9:53 pm (Alternative Pop)
Tracks
1.Whispering Glades
2.Poison Summer
3.In Exile
4.Northern Lights
5.Harmona
6.Little Things You Don’t Know
7.Full Cone Excursion
8.Love to Hate
9.Wooden Legs with Real Feet
10.Healing
11.Slow Motion
12.The Game
13.From A Quiet Heart
14.Wooden Legs
15.Farewell
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March 28, 2009 at 9:51 pm (Alternative Pop)
The first album made under the band name Trotsky Icepick was a masterpiece of wry, literate pop. The trio of Vitus Mataré, Kjehl Johansen, and John Frank was augmented by keyboard player Jamie Lennon, who added jazzy touches to compositions that layered harmonies and guitars with startling sophistication. Where the previous album, called Poison Summer and released by the same group under the name Danny & the Doorknobs, had a raw live sound, this one is a beautifully subtle product of the studio. Whether the sound effects that added intriguing double meanings to “Ivory Tour” and “Big Dreams” were added later by engineer Eric Westfall isn’t mentioned, but he certainly did an excellent job recording this album in only two sessions. The lyrics have a bittersweet quality at times, especially on the haunting “Set Still the Time” and “Just the End of the World.” Their later albums rocked harder and had more commercial potential, but on Poison Summer Trotsky Icepick hit a balance between drive and delicacy that is rare in pop music at any time and was extraordinary in a band which came from the L.A. punk scene. Note: The original LP of this album had beautiful graphics and was released on multicolored vinyl, which has made it something of a collector’s item.
– by Richard Foss, Allmusic Guide
Tracks
1.The Gaslight
2.The Commissioner
3.Nightingale Drive
4.Big Dreams
5.Just The End of the World
6.Drawing Fire
7.Set Still the Time
8.Clowns on Fire
9.Clown On Fire (Version)
10.Hit Parade
11.Ivory Tour
12.You Look Like Something Goya Drew
13.Temporary Faith Rangers
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March 28, 2009 at 9:48 pm (Alternative Pop)
Trotsky Icepick kept the same band name for this release, but it wasn’t really the same band. The soft art pop of the previous album is gone, replaced by a more punchy, hard-edged sound. New drummer John Rosewall came from the Last, incoming bassist Jason Kahn from Leaving Trains, and both brought a different character to the music on Baby. The new Trotsky Icepick played a less subtle but still interesting brand of indie rock, with Vitus Mataré’s ironic vocals and arch delivery keeping things interesting. In fact, Baby has some very good moments; the splendid “Mar Vista Bus Stop” paired energetic, up-tempo pop guitar and nervous percussion against an anguished meditation on a crumbling relationship, and it carries a powerful emotional impact. Elsewhere the tone is lighter, as in “Bury Manilow,” a breezy insult to the vapid pop king, and the anti-consumer culture anthem “Don’t Buy It.”
Kjehl Johansen and Mataré were an excellent team of lyricists and arrangers, and their tunes carry the album. Trotsky Icepick never made another album that was quite this good due to personnel shifts and consequent loss of musical focus, but their first two albums show that they had the potential to be a pop powerhouse.
– by Richard Foss, Allmusic Guide
Tracks
1.Incident
2.Dante’s Flame
3.Mar Vista Bus Stop
4.A Little Push at the Top of the Stairs
5.Bury Manilow
6.Pillars of Salt
7.Big Daddy
8.Don’t Buy It
9.Windowpane
10.[ ]
11.And it Goes Like This
12.Barricades
13.Robitussin Rag
14.Bonus track 1
15.Bonus track 2
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March 28, 2009 at 5:30 pm (Gothic Pop Rock)
“Aura” sounds pretty much like all the Mission UK albums from the 80’s and early 90’s. There’s a little less Beatles influence, but overall it’s a good fit for fans like myself. By the fourth track (“Mesmerized”), it sounds like Wayne Hussey has fully rediscovered his crooning style. Jangly guitars, real drums, and some modest industrial touches. If you need a break from totally programmed music, here you go.
“(Slave To) Lust”…I’m sorry, but [dirty] lyrics sound goofy coming out of Hussey’s mouth. Doesn’t hurt to try it once, I guess. Even the title of “Dragonfly” suggests how much it sounds like “Butterfly on A Wheel” from about a decade ago. “Happy” sounds like the soundtrack to an 80’s Molly Ringwald movie. Most of the songs are radio-catchy. “To Die By Your Hand” sounds like a disturbed teenager’s love letter. “Trophy/It Never Rains” is pretty cool, and the way the music changes gears midway through gives it some real drama. Cities that have more than 30 goth residents will probably play “Burlesque” in their strip bars. “Cocoon” sounds like Sgt. Hussey’s Lonely Hearts Club Band.
Part of The Mission UK’s strength has been the lyrics. No change, there: “Every blessing ignored becomes finally a curse/ and this war of attrition just makes her feel worse.” “Aura” is standard Ye Olde Mission UK. No law against that when the songs are this good, especially the unlisted track at the end (just piano and voice).
– by Scott Sweet
Tracks
1.Evangeline
2.Shine Like the Stars
3.(Slave to) Lust
4.Mesmerised
5.Lay Your Hands on Me
6.Dragonfly
7.Happy
8.To Die by Your Hand
9.Trophy It Never Rains
10.The Light That Pours From You
11.Burlesque
12.Cocoon
13.In Denial
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March 28, 2009 at 10:31 am (Acoustic, Folk)
Exene Cervenka (born Christine Cervenka; February 1, 1956) is an American musician, writer, and artist, most famous as the co-lead vocalist of the Los Angeles punk rock band X. Raised in Illinois and Florida, Cervenka moved to Los Angeles in 1976, and X was formed the following year. In 1977 she met musician John Doe at a poetry workshop at Beyond Baroque in Venice, CA, and founded the punk band X. They released their debut album, Los Angeles, in 1980, and, over the next six years, five more critically acclaimed albums. Today she continues her musical career with X as well as in solo performances and participation in bands such as The Knitters, Auntie Christ and The Original Sinners. One of her solo songs, Leave Heaven Alone (on the album Old Wives’ Tales), condemned militarism and environmental destruction. In 1982 Cervenka published her first in a series of four books, Adulterer’s Anonymous, in collaboration with artist Lydia Lunch. She has also performed and recorded solo work doing spoken word.
In 2005, her journals and mixed media collages were exhibited in a one-person exhibition titled America the Beautiful at the Santa Monica Museum of Art. The exhibit was curated by Kristine McKenna and Michael Duncan. An expanded version of the exhibition traveled to DCKT Contemporary in New York in January, 2006. The exhibition featured a selection of journals from the collection of approximately 100 that Cervenka has completed over the past thirty plus years, as well as eighteen collages. Cervenka’s journals combine rough drafts of songs and personal reflections rendered in a baroque calligraphic script with photographs, drawings and scraps of ephemera found while traveling as a musician. Similarly, the collages are created from found materials to form an interpretative composite portrait of the country she’s come to know through her life experiences on the road. DCKT Contemporary continues to represent her artwork.
Tracks
1.Slave Labor
2.Clinic
3.Red Dirt
4.Real Estate
5.Curtains
6.A Boy and His Sister
7.Same Denomination
8.Missing Nature
9.It Fell
10.The Ballad of Roberta
11.Just Another Perfect Day
12.Will Jesus Wash the Bloodstains from Your Hands
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Official Website – http://www.exenecervenka.com/
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March 28, 2009 at 10:27 am (Dub, Experimental, Reggae, Trance)
There is always something a bit macabre in creating a collaboration with a musician who has been dead for a decade. This kind of thing is nothing new, of course. The dead are sampled daily–from Nina Simone to Elvis Presley and, most recently, Billie Holiday. But this kind of reconstructive homage reeks of easy opportunism. Nusrat Fateh Ali Khan was the Ravi Shankar, Jimi Hendrix, and John Coltrane of Qawwali singing, the sacred and ancient vocal style popularized in Pakistan and brought to the world by Nusrat in the 1990s. Nusrat himself wasn’t averse to cross-cultural collaboration, having cut three albums with producer Michael Brook–two of them expansive, impressionistic world-fusion works. But Nusrat was sensitive to how his music was employed, even chastising Brook on their first album, Mustt Musstt, when Brook resequenced the singer’s vocal tracks for musical, but not necessarily literal, effect. They worked out their differences on the masterful Night Song. But Nusrat had no input on these tracks, which he reportedly cut between 1968 and 1974, very early in his career. Dub-electronica artist Gaudi takes the Pakistani’s vocals and adds his own reggae and dub backing tracks to them. While Nusrat could send you into a trance state with his upwardly spiraling, almost heavy-metal grooves, Gaudi takes a lighter approach, turning the Qawwali hymns into reggae toasting that subverts much of the original intent. From the lyrical pop drift of “Kahin Mot Se Bhi Na Jao” to the vaguely hypnotic “Dil Da Rog Muka Ja Mahi,” with its sampled sequence from Kraftwerk’s “The Model,” Gaudi chooses the attractive surface over the deeper journey that Nusrat Fateh Ali Khan conjured almost every time he sang. –John Diliberto
Tracks
1.Bethe Bethe Kese Kese
2.Tera Jana Kere Rang Lawe
3.Jab Teri Dhun Main Raha Karte They
4.Dil Da Rog Muka Ja Mahi
5.Ghamgar Bare Ne
6.Abhi Apna Abhi Paraya Hai
7.Ena Akhiyan Noo
8.Kahin Mot Se Bhi Na Jao
9.Mainoo Ole Bai Ke Pee Lain De
10.Othe Mera Yar Wasda
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March 28, 2009 at 1:59 am (Alternative Pop)
If you’ve ever heard songs like “All Star” and “Then the Morning Comes”, you’ve probably wondered “Why are they called Smash Mouth? They’re a good-time pop music band.” Well, pick up Fush Yu Mang and you’ll see why the name of their band is “Smash Mouth”. This CD is VERY different than Astro Lounge, I like alot of others, picked this CD up because of their amazingly catchy music on “Astro Lounge”, but this CD is full of punk rock music with the exception of “Walkin’ on the Sun”. Songs like “All Star” “Can’t Get Enough of You Baby” and “Then the Morning Comes” were done by the band because of how successful “Walkin’ on the Sun” was, so they continued the formula of that song with “Astro Lounge”, but now they have another CD out called “East Bay Sessions”, which continues the formula of “Fush Yu Mang”. Anyways, there are some good songs on here, the CD isn’t completely bad. Of course, we all know “Walkin’ on the Sun is the CD’s best, but you’ll also love “The Fonz” because that song isn’t too heavy punk rock…
Tracks
1.Flo
2.Beer Goggles
3.Walkin’ On the Sun
4.Let’s Rock
5.Heave-Ho
6.The Fonz
7.Pet Names
8.Padrino
9.Nervous in the Alley
10.Disconnect the Dots
11.Push
12.Why Can’t We Be Friends
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March 28, 2009 at 1:54 am (Alternative Pop)
Having outgrown their Stray Cats and Green Day phases, the Living End join forces with Midnight Oil and Silverchair producer Nick Launay for an album that firmly establishes them as Australia’s Great Rock Hope. Like late, great power-pop revivalists Material Issue (to whom the chorus of “Dirty Man” bears a more than passing resemblance), this Melbourne power trio fully justifies their plundering of past musical forms thanks to enthusiasm, chops, and songwriting talent. From the fist-in-the-air populism of its title track to the anthemic “Silent Victory” (which Launay gives the full Midnight Oil treatment), Roll On signals the Living End’s readiness for an international pop overthrow. –Bill Forman
Tracks
1.Roll On
2.Pictures in the Mirror
3.Riot on Broadway
4.Staring at the Light
5.Carry Me Home
6.Don’t Shut the Gate
7.Dirty Man
8.Blood On Your Hands
9.Revolution Regained
10.Silent Victory
11.Read About It
12.Killing the Right
13.Astoria Paranoia
14.Uncle Harry
15.Prisoner of Society (Live)
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December 13, 2007 at 8:43 pm (Alternative & Indie Rock, Pop Rock, Rock)
Elvis Costello kicked off his debut album with a formal device that would also serve his next two long-players well: the first thing you hear is his voice. That opening phrase–”Now that your picture’s in the paper…”–was more than sneakily, if not intentionally, appropriate, since Costello was quickly declared the second coming. It’s become de rigueur to dis the pub-rock backing of U.S. band Clover, but their work here is satisfactorily edgy; guitarist John McFee makes some of the arrangements with his wailingly articulate fills. –Rickey Wright
Tracks
1. welcome to the working week
2. miracle man
3. no dancing
4. blame it on cain
5. alison
6. sneaky feelings
7. (the angels wanna wear my) red shoes
8. less than zero
9. mystery dance
10. pay it back
11. i’m not angry
12. waiting for the end of the world
13. watching the detectives
14. radio sweetheart
15. stranger in the house
16. imagination (is a powerful deceiver)
17. mystery dance (alternate)
18. cheap reward
19. jump up
20. wave a white flag
21. blame it on cain (alternate)
22. poison moon
link
http://sharebee.com/06aede31
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