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Sunday, January 19, 2014

Try Hardz - Try Hard with a Vengeance (On Earth) review

Year : 2013
Genre : experimental, extreme glitch galore, ambient mindfuckery
Label : Fauxtown Records
Origin : Canada
Official site : > - here - <

This review starts out with an information snippet taken from the official site, giving you the heads-up of the characterology of this formation.

Try Hardz consist of Randal-dandy, and his two trusty human sidekicks, Y.C., and J.K. At the behest of mysterious forces, and with the joint-endorsement of the C.I.A. and NASA, these "Try Hardz" have been compelled to make music primarily to create signals which render offworld communiques between a variety of alien invaders useless, or at least harder to understand by any galactic standard. 

I don't know how long this disc is, though I'm pretty sure it elevates the concept of infinity to the very next level. The name of the game is semi-sadistic silence molestation just for the fun of it, with no particular regards or considerations exhibited towards structure, low entropy meaning, or form. Structure and form are inescapable hallmarks owned even by the most complex audio patterns, and the builds that reign deliberately - and oftentimes hypocritically/arrogantly - deprived of these things, oftentimes are the ones that are very easy to catch amidst the most ambitious narrative fallacies, fueled by an intent to showcase themselves to be much more intriguing then they (secretly.) are. Read on to know more.

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Monday, January 13, 2014

Young Coconut - insufficient funds review

Year : 2009
Genre : Psychedelic Soft Rock
Label : Fauxtown Records
Origin : Canada
Official site : > - here - <

In an attempt to convey the related information of the text I'm about to quote - as faithfully to the original as possible, I will quote it verbatim indeed, but will throw colorful rubber circles into a pool of turmoiling pink liquid in the process. SEE? Here is "teh" data I have received from "teh" - logically enough - s(l)ENDER (man) :  

Hi, this is one of my albums, and I'd like you to review it.
Just for fun, a bit of background. I go by Young Coconut and I'm from Ontario.
I'm part of Fauxtown Records, which is an indie label here. What this album is
is my songs, and for each track, I got a different vocalist to tackle to. These singers
are people who are either part of my label, from other bands, or just people I know
that sing (and some people that aren't really singers)... so its kind of a concept album.
Check it out, looking forward to this.

Read on to know more about the release.

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Friday, January 10, 2014

Chaser Eight - At the 426 EP review

Year : 2014
Genre : Soft Rock / Synth Pop Crossover
Label : Independent
Official site : > - here - <

Chaser Eight seems and sounds like a duo - at least - of autonomous individuals, and I'm 100% sure that it features minimum 1 lady and 1 gentleman. I like the fact that the record is misleading. Because no one is sitting on the stairs on the cover. Finally, some legitimate originality and much welcomed spiritual grit. I mean - you sitting on a step of a brief stairway, giving morose face to a crimson sky, and all this on your album cover? Seriously? Based on the first track, you'd assume that Chaser Eight's female lead singer is not yet comfortable with her mixed voice register, but tries to use it/to explore it anyway - this always is very admirable. Later on, when you are about to articulate a silent covert moan, you realize that she was only doing this rendition of an intentionally super-repressed mixed voice delivery, to be kind, so the male singer has a chance to exist on the right channel of the mix. In reality, - AND, "out" of it - she could obliterate the whole build with her singing power. AND luckily!! By the second verse, when she finally showcases full throat power, - which, let's be honest, the only thing you've been waiting for - she comes across as very powerful and efficient. But listen to that "me" in the line "you and me" at the chorus - no one believes that, not even her. This is the charm of it, the male on the right channel accepting that he is in a musical position in which the female is holding back, so he can exist, too. Spiritual, baby! Read on to know more.

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Wednesday, January 8, 2014

VITNE - Neon review

Year : 2013
Genre : Glam Metal
Origin : Norway / United States
Official site : > - here - <

VITNE is a solo artist with considerable experience under his belt both as a frontman of the Norwegian hair metal act "SEKS", and as an enthusiastic popculture-aspirant who is admittedly fascinated by the mere idea behind the aesthetics of American glam. He does not want Dave Mustaine's take on it, see "History of Metal" on YouTube, I'd link you in, but there are multiple episodes, and the Glam Gods demand you watch all of them.

The sub-genre surely is on the rise again courtesy of such acts as the masterfully produced, performed and marketed Steel Panther, taking the fray up to the point of full fledged verbal tit metal. This release is more orthodox and vintage in its ambitions, and this commitment is reflected on the reviewed disc with hefty organic air-pumping iron fist pink panties power, - this is the way it is done proper, if you wonder - and the spin definitely is in a legitimate position to claim optimum similarity level with the pinnacle of the softer side of the genre, as glam metal secretly always stood for promising and delivering spandex pleasantries for neighboring chicks who were excited enough by the binge atmospherics to ravage a night or two through with careful spiritual guidance accessible 24/7. Read on to know more about the disc.

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Sunday, January 5, 2014

Re-discovering Metallica in the context of St Anger and Death Magnetic

Year : early '80s to present days
Genre : Thrash Metal, Doom Rock
Label : Vertigo, Elektra
Origin : United States

The size of the shitstorm Metallica has found itself in with the St Anger album, did not even register in my awareness for ten years, courtesy of me occupying a highly ignorant inner position by which my interest towards the band was pretty much zero, or even worse. I was a snob, a mancunt who considered Metallica's music to be equally necessary and - so to speak - over and done with, I though it is family friendly material in present days, that would not be able to catch me off-guard anymore. Bold - and possibly ignorant - enough assumptions to make me intrigued to see if my above voiced sentiments had any legitimacy to them. So I finally have decided that it would be a very good AND real fucking necessary idea to check out Metallica material in at attempt to re-evaluate my related overall awareness, as a band of this significance definitely demands a chance to kick my ass once again if they can. I wanted to see how Metallica would affect me, having not listened to them for more than a decade, - except for the Lulu album, of which though I have written a review, I block the experience from my consciousness - and having no experience/knowledge with St Anger and Death Magnetic, either. So, for a start I popped in "Holier Than Thou" from the Black Album on YouTube, - though I have my bona-fide, used-by-your-n1-latex-gimp-music-critic-gyz-Black Album CD from 1991, starting bid = $200 - gave it maximum headphone juice power, and waited for the uncensored effect it is able to induce in me after 10+ years of not hearing it. BOY, the effect was tremendous! No, it was not nostalgia. Nostalgia is miserable. The music on the Black Album is 101% legit to this day. Read on to know more about this.

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Thursday, January 2, 2014

Will It Be Avenged Sevenfold? - a YouTube comment on Coverkillernation's Hail to The King review

Here is Coverkillernation's video review of the latest Avenged Sevenfold album : link.

Here is the comment I could not resist to articulate and send :

The amount of misplaced and unwarranted generosity you approach this record with, is outright appalling and totally out of your - so far - reckless, in-your-face, and optimally blunt character that I always have respected you for. I have been watching your reviews since 1742, and you lost half of your credo with this review in my eyes. I really want to give it back. Indeed, I'm only 1 person, and originally I did not even want to write this comment, - got way too saddened by the approach you relied on in this review - and I can foresee the amount of flame I'll likely have to receive for this comment from the fans. But I write this, because I felt that you have lost your trademark "I don't give a shit, I'm going to say it as I feel it is"-attitude in this video, or, you simply have double standards. Both would be terrible variants that I'd prefer to discard right away, and this very contradiction commands me to write this comment anyway. I always considered you to be a super-knowledgeable metal scholar, and I can't understand how is it possible that I did not witness a much more rigorous stance from you regarding the excessive copy-pasting of song anatomies that is rampant/evident on this release. I mean, its excessiveness is absurd. I thought I'll see an outrage from you - as a start - for the avid replica tendencies 75% of this disc is comprised of, and please do not assume that I merely am whiny and butthurt because I did not have a chance to witness you teeing off on this album, thereby missing my much anticipated entertainment. As you, I too, were open-minded with this release as a listener,  but it seems to me that your impressions of it are deeply affected by an urge not to piss A7X fans off. You should have been much-much more rigorous regarding the song replicas, but, oooh shit, you HAD to give at least an 8, otherwise they would have assmassacred you - this was your train of thought, and deep down you know I'm right about this, which saddens me even more. You basically left your trademark reviewer balls at the information desk with this review. What I have seen herein is a modest, polite, family friendly, dare I say, politically correct review my grandma approves, in which you overlook gestures you normally fucking kill for. You got scared of the A7X fanbase in this review, in my opinion. Had it not been Avenged Sevenfold's recent hit record, you'd tear up a new one on this LP for the frankly, insulting amount of anatomical mimicry and "creative" deceit that it contains. It is blatantly and painfully obvious that "This means war" is an anatomical copy of "Sad But True", "Doing Time" is an anatomical copy of "It's so Easy" - even the singing style is mimicked, as is Axl's trademark ├╝bergrowl from "Perfect Crime", the "Symphony of Destruction" and "Hangar 18" ripoff equally comes across as an inside joke, etc - and you mention some sources yourself, too. The "Number of the Beast" knockoff? How is it possible that you get away with - "well, it definitely is starting to bog down" - it definitely is insulting to listen to these simulacrums as originals, and the only thing more insulting, is to offer them as originals. One does not know whether to be feel taken for a sedated monkey after lobotomy, or feel cheated to the core or feel saddened to the core, or all of these. They impertinently copy the emotional registers the inspirator songs communicate themselves on. It is beyond me how it is possible that Megadeth, Metallica, Guns 'N Roses do not file lawsuits for these ripoffs, but, to be perfectly frank I would not even be surprised if each ripped off band would receive royalty, - and good for them! I swear I had zero problem if the disc would be marketed as "Avenged Sevelfold's Variants on Metal Classics". I swear I would not have a single bad word for the projet. But marketing these songs as originals? This is evolution death 2.0. It is not about influences - the majority of the songs on this album are outright simulacrums of their inspirators, replicas that seek to mimic their sources with submissive servitude. I never would have imagined that it could ever come to me having to write the following to you, but, according to my opinion, you got scared shitless of the fanrage you could have received if to voice an honest opinion, - you should have been enraged by this amount of simulacra-fabrication - so you decided to deliver a polite, modest review that does not offend the Avenged Sevenfold fans of your overall viewerbase. Understandable, but you handled this immaturely, in a way that hurts your credo, at least, in my eyes. What about Robb Flynn of Machine Head? I'm sure you are aware of his humorous rant about the similarities he picks up on the record, and the amount of heat HE is taking for it by the A7X audience, is considerable. 75% of this disc DECEITS its fans. If you love to be deceived, good job! But it is your job, Coverkillernation, to fortify your original standard, by which a band would not be able to get away with this - and you give an 8 of 10. If YOU are compromised, then who isn't? The same critical and uncompromising rigor you have handled Geoff Tate's latest with, were called for in this review, but you refrained from showing balls. This album is an illusion. Anyway, I did not want to challenge any taste with this comment, - as stated, I'd have 0 gripes with this release had it feature "Avenged Sevenfold - Variants on Metal Classics" on its cover - but I had to attempt to express my bewilderment of the "critical" stance you occupy in this review, as I consider this position totally out of character and out of regular conduct from you, based on years of prior consistence and quality. Peace All!

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Wednesday, January 1, 2014

Thomas Schoenberger - Ghost Dance

Thomas Schoenberger is an American music composer who opens 2014 up with unleashing his "Ghost Dance" experience on mainstream public awareness. Since the interconnection between music and imagery is ultra-organic and of the uttermost narrative relevance, this time I will consciously refrain from offering my subjective "opinion", as mine is not anymore, nor any less relevant than the virtually infinite number of that of others, invoked by perfectly legitimate fellow intelligences. What seems to be quite evident, is the following : Thomas Schoenberger aims to summarize the perennial experiences of wo(man)kind, dating back to the plethoras of paradigmic inventions and calamities - the great tragedies of historic significance all included. I know from personal experience that German people are traumatized into hypnosis-grade guilt in the context of WW2, courtesy of the educational system, even though the current German gene bank hardly could held responsible for sins committed by a regime led by ambitions rabid enough to entertain the idea of planetary domination via occult resources. Yes, it is important to remember, but it equally is important to have the will to forgive. This is the most supreme spiritual act you could pull off, so why not take your chances at it? If you prove to be unable to forgive - then this tells quite much about you, too, doesn't it? 

Watch the video below and let it take you where it may.

GyZ at Bandcamp.

If you want, check out my music

and / or

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click on video to access in HD