Juliane Jones - The Space Between The Telephone Lines review

Year : 2014
Genre : Folk
Origin : United States
Official site : > here - <

For extensive background information on Juliane Jones' identity and musical/artistic/linguistic background, please consult her site and read her biography. This text, on the other hand, will be a review of her latest work to date, "The Space Between The Telephone Lines".

The language used in the disc is a flamboyant mixture composed of constant interchange between English and Chinese Mandarin, while the stylistic/rhetoric/narrative demeanor and songwriting is hyperoptimally-ultra-naive and ultra-tender, primarily targeted for an awareness that I feel is yet-to-be-immersed into the ordeals and intriguing challenges of the casual physical realities - in other words, it sounds like kid's music to me, and I of course have zero problem with this. Read on to know why.

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Ted Brown - An Unwide Road review

Year : 2013
Genre : Massively Acoustic Folk/Soft Rock
Official site : > - here - <
Origin : United States

Playfully morose and relentlessly self-reflective, LA based Ted Brown brings you the music that casts orthodoxly behaved-, yet inventively spirited lights on sonic domains showing equal amount of polite compatibility with traveling sessions, stove-based private socialization and public bonfire events. What's not to like out of the three? At surface level inspection, the disc dares to summon and present extremely wide volumetrics in its generic behavior, mapping out all key segments of intensity of the timeless acoustic guitar charms - although, as you will see and hear, decisive favor is observable in the context of ultra-mellow "me and my guitar will make you FEEL!"-statements, the bulk of things to come on this tastefully paced and soberly presented full length.

Brown, luckily enough, does not satisfy easily via simply throwing guitar lesson 101 chords around, and, oftentimes manages to surprise/entertain the ears with thoughtful and muscular harmonic structures that invite all the superb anatomies known to women and men to revisit their inner images of what is possible with the utilization of "mere" moods. These moments truly are magical, and are showcased primarily in the pre-climax segments of track number 4, "Blue and Grey" : a perfect example of Brown's adept inner image of chords and how to throw those around like they mean a thing OR two. Because they do, you know. Listen to this song from 1:15: it is like a badass Nirvana song, now arranged to an odd retirement home intensity, for which it submits for entertainment. Read on to know more about the disc.

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Human Behavior - Golgotha review

Year : 2013
Genre : Folk with a tame psychedelic fascination
Label : Folktale Records
Origin : United States
Official site : > - here - <

Golgotha brings forth soulful folk music with a predominantly positivistic and contemplative attitude fueling the respective tracks. The release is a well focused and polite - in the most optimal sense of the word - effort that has a flawless understanding of its premiere charms and all the boundaries that this particular type of covert silence assassination - don't worry, silence always returns somehow, for some time, ultimately - should respect, courtesy of the prime emotions and moodsets that are about to be expressed. As noted, the music is positively and delightfully harmless and calming, and, despite that you'd be even free to challenge it for the rampant/beautiful simplicity it seeks to offer, the field of submission eventually will ensue and command you as its mere possession, and you will be - secretly, at least - grateful for it. Read on to know more about this.

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TesseracT - Altered State review

Year : 2013
Genre : Teenager Folk Djent Pop
Label : Century Media
Origin : United Kingdom
Rating : 5.0 / 10

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The new TesseracT LP spells out the submissively stale stagnation of teenager folk pop djent, all written with pink and magenta on the withered/saggy tits of pseudo-intellectual folk allures and hyper-emotional shoegaze nonsense.

Picture the image of music put forward by Periphery, strip it off of the exceptionally strong melodies and substitute those with polite folk ravings, deprive it from most of its intent to experiment, and deny its manic intricacy - premiere traits not even a latex troll can take away from Periphery's credit in the context of their latest outing to date - and you find yourself in the painfully predictable company of this particular TesseracT record, delivered in the form of play-it-safe-product-art by the eminent UK based teen folk pop djent practitioners. Read on to know more about the disc.

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Eluveitie - Helvetios review

Year : 2012 
Genre : Folk, Viking Metalcore
Label : Nuclear Blast Records
Origin : Switzerland
Rating : 6.0 / 10

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Right away I'm going to tell you that this very disc might be a splendid choice if fighting Krakens and zombie Valkyries is Tuesday for you. Some claim this disc to be a folk death metal release, a notion which made my curiosity skyrocket, yet, this music, in my opinion is a rather self-indulgent galore of family safe Viking (?) orthodoxies that are more than enough to put me to Alpha at the third of this disc. Luckily, I could kept my awareness intact with a book while listening to this monster-length 1 hour+ LP. The cause of my highly terrible fear of this delivery is the simple fact that the data on it is heavily fixated on the power metalish stance of fantasy related fighting, and there is fighting in it, too. Sometimes, the fantasy fighting is interrupted by lamentations of fighting. It's the backing track for live fantasy, arranged throughout very standard metalcore verse structures.

Indeed, Swiss Eluveitie combines Viking (!!) metalcore with a very superficial rendition of folk, seeking to imbue the music with the feeling of Irish fairy tale music. The production is quite sterile and traditional metal at its core, - SIC! - with no desire to spice up the flow of things with notable high frequency detail. This music BEGS for epic solos, and you won't get a SINGLE instance of them. Yet, you have exotic folk pipes, capable to produce one sound, but there is a "short" and a "long" variant of that note. Everything is pretty straightforward mid frequency guitar warfare, sometimes rode by Irish folk violins. Read on to find out more about this.


The fray sometimes is spiced up by a much welcomed female singer with a nice timber to her pipes. Sometimes she is forced to move out of her comfort zone, and she looks much worse there than in it. Her participation is much less frequent, unfortunately, than I would have had prefer, and the majority of this one hour affair is narrated by a Viking angry metal guy who sounds to be occupied by themes of seeking spiritual solace and function amidst the community, and wielding melee combat and spilling gallons of generic enemy blood. I claimed not so much long ago that the compositions are prone to exhibit metalcoresque verse structures. You know the methodology : bang on the open strings, and sometimes interrupt the chugging by a pattern of notes seeking to exhibit intimidating qualities. This technique is a super-persistent tendency herein. The only pseudo-deviation from these pastimes is equivalent with the Michael Flatley fairy tale music that seeks to color up the shape of Viking metalcore affections. The ingredient in question comes with shallow anatomy, and is super-hasty to peak in with its limited top capacity. Irish folk music, you know : three seconds of pure magic, then, the next already is the start of full blown high fantasy retardation. By the 10th second mark, I'm a caught in the terrible act pedophile gnome with a penis for a nose, running from a Viking band of bards, cheered by a pack of valiant high elves and morally eloquent village people. No thank you.

Rating : 6.0 / 10

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