Year : 2013 to 2016
Genre : Modern Metal/Black Metal
Label : Independent
Origin : Finland
Official site: > - here - <
Black metal has numerous fields of operation that it could work supremely well on, and one of these production commitments deliberately seek to engulf the listener into the mere remnants of what once might have been a perfectly valid set of instruments, but THEN came The Black, and took most of the volumetric essence with it.
This approach emerges excellent at conveying a sense of the nietzschenian superloneliness, as you most often feel that there is something to intently behold and secretly scrutinize beneath the layer of black, but you, as listener, should not be entirely comfortable at the prospect of the veil being removed. Finland-based Twelve of Confusion is a firm admirer and practitioner of said sub-genre of voyeuristic soul-torment, and their monster length double CD effort "Worldsun" comes to burn some well defined holes into Carl Sagan's fabric of the cosmos AND into your soul, if you think you happen to have one. Let us see the temperature posthaste - read on to know more.
Read more!
Unleash TACSF!
Click !HERE! to unleash the Alphabetic Content Selector Feature!
tagrack
2004
(1)
2010
(6)
2011
(110)
2012
(137)
2013
(49)
AM Music
(1)
Australia
(9)
Belgium
(1)
Canada
(11)
Candlelight
(3)
Century Media
(10)
Cruz Del Sur Music
(2)
EP
(13)
Finland
(11)
Frontiers Records
(3)
Germany
(16)
Italy
(9)
Listenable Records
(2)
Massacre Records
(2)
Metal Blade Records
(6)
NoiseArt Records
(2)
Nuclear Blast Records
(11)
RoadRunner Records
(13)
Russia
(2)
Scotland
(1)
Season of Mist
(3)
Southern
(3)
Southern Lord
(2)
Sumerian Records
(3)
Super Retro Thrash
(2)
Sweden
(15)
Switzerland
(3)
Symphonic
(4)
United Kingdom
(30)
United States
(181)
alternative metal
(16)
alternative rock
(12)
avant-garde
(4)
black metal
(20)
blackened death
(1)
blackened sludge
(1)
blues rock
(5)
compilation
(3)
country
(8)
cyber
(3)
cyber metal
(1)
death metal
(22)
deathcore
(5)
djent
(20)
doom metal
(14)
experimental
(66)
gothic
(3)
groove
(5)
groove metal
(18)
hard rock
(9)
hardcore
(3)
heavy metal
(7)
hip hop
(34)
independent
(46)
industrial
(7)
instrumental
(15)
math metal
(4)
melodic death metal
(6)
meshuggah metal
(6)
metalcore
(8)
penis metal
(2)
pop
(17)
power metal
(20)
progressive
(7)
progressive metal
(20)
progressive rock
(9)
psychedelic
(20)
punk
(5)
records
(6)
relapse
(6)
review
(367)
shoegaze
(8)
sludge
(11)
soft rock
(22)
southern rock
(2)
stoner rock
(6)
technical
(4)
technical death metal
(5)
thrash
(8)
thrash death hybrid
(4)
thrash metal
(24)
Showing posts with label 2013. Show all posts
Showing posts with label 2013. Show all posts
Saturday, August 26, 2017
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.
Read more!
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.
Read more!
Labels:
2013,
ambient,
Canada,
experimental,
Fauxtown Records,
glitch,
mindfuckery,
review
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.
Read more!
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.
Read more!
Labels:
2013,
glam metal,
Norway,
power metal,
review,
United States
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 übergrowl 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!
If you want, check out my music
and / or
Buy me beer. Read more!
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 übergrowl 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!
If you want, check out my music
and / or
Buy me beer. Read more!
Labels:
2013,
Avenged Sevenfold,
comment,
Hail to The King,
review
Monday, December 30, 2013
Figures of Light - Drop Dead review
Year : 1970 to present day
Genre : Proto-Punk / Psychedelic
Label : Norton Records
Origin : United States
Official site : > - here - <
Image source : > - here - <
The Figures of Light formation - the now-duo had an initial onset with more members to its acumen before dissolving to "just" two elite level silence massacrers - have played their own variant of quasi-punk - proto-punk, as they call it - well before Sid Vicious and Johnny Rotten had a chance to produce their first collective successful nervous breakdowns worth bursting out in nostalgia about a week later. (If you are under exploitation, the rules of time are rearranged.)
The FOL formation offers a considerable body of work, given that they are in the business since 1742 - no, not really, it is the year of 1970 that bears the burden of having to contain not less of an apocalyptic constellation than to give full value space-time to the ruthless planetary machinations of Figures of Light. To these men, music is "just" a tool, a metaphor to reveal a school of thought represented in consequent fashion since the beginning days of the project. It is not hard to rebel if the government won't fuck you up for it. But, if you read the Wikipedia page of Figures of Light, it turns out that they pulled off quite ballsy moves to express their radical discontent towards how television handled/portrayed the Vietnam war, for example, and ran amok while there were good chances to be put down like a rabid dog via the system. Antiestablishmentarianists for life AND beyond.
As I have researched for an image to include with this article, I have found a review of the overall FOL experience with the following quote included from a lady called Miriam : "you guys haven't improved in 35 years". Given that the quoted review offers a quite extensive and thorough look on the real life connotations and direct precursors of this full fledged studio effort, I will do the following : I will give you my personal percepts on the disc, on the music of FOL, while urging you to check out the review that I have been just telling you about. From that particular body of fine text, you will learn how the members delivered 20 songs in 27 takes in a studio session stretching over no more than 48 hours, while gaining insight of other related points of relevance, too. Read on to know more about the record, and definitely read this review, because it holds extensive information on the duo, information that is better linked than repeated.
Read more!
Genre : Proto-Punk / Psychedelic
Label : Norton Records
Origin : United States
Official site : > - here - <
Image source : > - here - <
The Figures of Light formation - the now-duo had an initial onset with more members to its acumen before dissolving to "just" two elite level silence massacrers - have played their own variant of quasi-punk - proto-punk, as they call it - well before Sid Vicious and Johnny Rotten had a chance to produce their first collective successful nervous breakdowns worth bursting out in nostalgia about a week later. (If you are under exploitation, the rules of time are rearranged.)
The FOL formation offers a considerable body of work, given that they are in the business since 1742 - no, not really, it is the year of 1970 that bears the burden of having to contain not less of an apocalyptic constellation than to give full value space-time to the ruthless planetary machinations of Figures of Light. To these men, music is "just" a tool, a metaphor to reveal a school of thought represented in consequent fashion since the beginning days of the project. It is not hard to rebel if the government won't fuck you up for it. But, if you read the Wikipedia page of Figures of Light, it turns out that they pulled off quite ballsy moves to express their radical discontent towards how television handled/portrayed the Vietnam war, for example, and ran amok while there were good chances to be put down like a rabid dog via the system. Antiestablishmentarianists for life AND beyond.
As I have researched for an image to include with this article, I have found a review of the overall FOL experience with the following quote included from a lady called Miriam : "you guys haven't improved in 35 years". Given that the quoted review offers a quite extensive and thorough look on the real life connotations and direct precursors of this full fledged studio effort, I will do the following : I will give you my personal percepts on the disc, on the music of FOL, while urging you to check out the review that I have been just telling you about. From that particular body of fine text, you will learn how the members delivered 20 songs in 27 takes in a studio session stretching over no more than 48 hours, while gaining insight of other related points of relevance, too. Read on to know more about the record, and definitely read this review, because it holds extensive information on the duo, information that is better linked than repeated.
Read more!
Labels:
1970,
2013,
Drop Dead,
Figures of Light,
Norton Records,
proto-punk,
review,
United States
Friday, December 27, 2013
Nine Inch Nails - Hesitation Marks review
Year : 2013
Genre : Synth Pop / Dark Synth Pop
Label : Columbia / The Null Corporation
Origin : United States
Rating : 8.5 / 10
Buy it now
According to his own words, Nine Inch Nails fronter Trent Reznor has been less than honest about the actual state of affairs the NIN potentialities allegedly been subjected to since 2009, the very year marking the beginning of the hiatus the band embarked on until further notice. A wizard worth calling one does not show up again without a new trick or two up his sleeve, though - and a wizard WILL show up when the trick is ready to be showcased. At the first quarter of 2013, Trent Reznor stated that he was secretly working with his NIN collaborators on new material all the way back from the better part of 2012, - I'd imagine they wanted to make some music yet before the alleged Apocalypse had a chance to be postponed once again in a Universe that reigns in constant salvation and would have no trouble adapting to anything - and the time logically arrived to transmute this now-revealed and simultaneously massacred secret into a mental and emotional construct you, as a randomer fond of Nine Inch Nails can freely relate to : new album was on its way, and now it is here in its full splendor. This review primarily is positioned as a per track inspection, yet later I will share my personal sentiments on the overall experience. Read on to know more about the tracks.
Read more!
Genre : Synth Pop / Dark Synth Pop
Label : Columbia / The Null Corporation
Origin : United States
Rating : 8.5 / 10
Buy it now
According to his own words, Nine Inch Nails fronter Trent Reznor has been less than honest about the actual state of affairs the NIN potentialities allegedly been subjected to since 2009, the very year marking the beginning of the hiatus the band embarked on until further notice. A wizard worth calling one does not show up again without a new trick or two up his sleeve, though - and a wizard WILL show up when the trick is ready to be showcased. At the first quarter of 2013, Trent Reznor stated that he was secretly working with his NIN collaborators on new material all the way back from the better part of 2012, - I'd imagine they wanted to make some music yet before the alleged Apocalypse had a chance to be postponed once again in a Universe that reigns in constant salvation and would have no trouble adapting to anything - and the time logically arrived to transmute this now-revealed and simultaneously massacred secret into a mental and emotional construct you, as a randomer fond of Nine Inch Nails can freely relate to : new album was on its way, and now it is here in its full splendor. This review primarily is positioned as a per track inspection, yet later I will share my personal sentiments on the overall experience. Read on to know more about the tracks.
Read more!
Labels:
2013,
Columbia,
dark synth pop,
review,
The Null Corporation,
United States
Friday, December 20, 2013
Doggystyle Restyled - a Tru-bite to Snoop Dogg review
Year : 2012
Genre : Hip Hop
Label : Engireroom Recordings
Origin : United States
Official site : > - here - <
Doggystyle Restyled - a Tribute to Snoop Dogg marks the 20th anniversary of the release date of the debut of renowned hip hop icon Snoop Dogg. The project is an ambitious asset in the catalog of Engineroom Recordings, a label and enterprise that - among other things - specializes in the insatiable deliverance of well executed tribute spins, dedicated to - you guessed right! - various artists. The album faithfully reflects the perennial structure so powerfully assembled by the tributed party with Snoop himself signifying the tip of the metaphoric spear since 20 years and counting, and the artists expressing their unconditional admiration towards this rap star is rendered through competent, even inventive takes on the tracks Snoop Dogg first established himself as a rhymespiller the era has to reckoned with ... with. Read on to know more about this.
Read more!
Genre : Hip Hop
Label : Engireroom Recordings
Origin : United States
Official site : > - here - <
Doggystyle Restyled - a Tribute to Snoop Dogg marks the 20th anniversary of the release date of the debut of renowned hip hop icon Snoop Dogg. The project is an ambitious asset in the catalog of Engineroom Recordings, a label and enterprise that - among other things - specializes in the insatiable deliverance of well executed tribute spins, dedicated to - you guessed right! - various artists. The album faithfully reflects the perennial structure so powerfully assembled by the tributed party with Snoop himself signifying the tip of the metaphoric spear since 20 years and counting, and the artists expressing their unconditional admiration towards this rap star is rendered through competent, even inventive takes on the tracks Snoop Dogg first established himself as a rhymespiller the era has to reckoned with ... with. Read on to know more about this.
Read more!
Labels:
2013,
Engine Room Recordings,
hip hop,
review
Tuesday, December 17, 2013
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.
Read more!
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.
Read more!
Labels:
2013,
acoustic,
An Unwide Road,
folk,
review,
Ted Brown,
United States
Monday, December 9, 2013
The Yellow Dress - Faint Music Ordinary Light review
Year : 2013
Genre : Soft Rock with a Psychedelic tint
Origin : United States
Official site : > - here - <
This review starts out with a snippet section quoted from the original press release, revealed in Italic.
Read on to know more about the disc.
Read more!
Genre : Soft Rock with a Psychedelic tint
Origin : United States
Official site : > - here - <
This review starts out with a snippet section quoted from the original press release, revealed in Italic.
San Francisco's The Yellow Dress will release their third
and heavily-anticipated album, "Faint Music // Ordinary Light," in less
than a month. Recorded and mixed, entirely analog, at John
Vanderslice's Tiny Telephone Studios, produced by Ian Pellicci
(Deerhoof, The Dodos) and mastered by Paul Oldham (Bonnie "Prince"
Billy, Sonny and the Sunsets), the album features an 8-person line-up of
San Francisco Bay Area musicians, plus guest vocals from several more,
mostly from the underground DIY scene in San Francisco and Oakland. The
Yellow Dress has been called a "supergroup" several times throughout its
6+ year lifespan, which is appropriate since every member has at least
one other local project in which they perform. The band draws much
inspiration from the local literary community and often finds themselves
performing at events for folks such as McSweeney's and The Rumpus; the
name of the album comes from the Robert Hass poem "Faint Music." Preorder digital and vinyl editions of the album from Bandcamp before the official release on January 4, 2014.
Read more!
Saturday, December 7, 2013
Vonairs - Fucamo single review
Year : 2013
Genre : House with a Hardstyle taste
Origin : Sweden
Official site : > - here - <
Stockholm's Vonairs is imminent to release a full scale sonic declaration of subwooffer-doom through an illegal space-time rift opening near you on the probable reality surface, and the ensemble is about to stimulate interest in the upcoming attraction via releasing a single from the impending full length. Read on to know more about this track, or, even better, listen to it yourself while observing some related worded thoughts about it, right after the experience is freshly soaked in.
Read more!
Genre : House with a Hardstyle taste
Origin : Sweden
Official site : > - here - <
Stockholm's Vonairs is imminent to release a full scale sonic declaration of subwooffer-doom through an illegal space-time rift opening near you on the probable reality surface, and the ensemble is about to stimulate interest in the upcoming attraction via releasing a single from the impending full length. Read on to know more about this track, or, even better, listen to it yourself while observing some related worded thoughts about it, right after the experience is freshly soaked in.
Read more!
Thursday, November 28, 2013
Teni - AfroDisiac review
Year : 2013
Genre : Reggae Funk with Jungle Jazz affections
Origin : United Kingdom
Official site : > - here - <
London resident Teni is one contemporary representative of the timeless exotic/afro musical vibes skillfully established and expressed by such artists as Shade in the '80s. Remember the song "Smooth Operator?" Teni surely does, and I suspect it is one of her all time favorites - I might be wrong, of course. (I don't particularly think Shade had any other songs, anyway.)
Nevertheless, Teni elegantly relies on efficient tonalities revolving around the exotic African - tautology? - scale. Africa is only exotic if you are not there. Your host, Teni takes you there, AND back. If you'd prefer to stick around, there is no power preventing you from submitting to the music on a rince and repeat basis, IF you are Tiga' on AfroDisiac enough for that. Luckily, the urge to conform to the suspected expectational tendencies of the Western listener, is almost non-existent on Teni's record, thereby claiming and radiating a legitimate identity. African Gods & Co. save us from Western pop music with exotic mannerisms - this release does not commit such sonic atrocities at all. The first thing you need to get rid of, is your ingrained beliefs about how the exotic music should sound like, and don't you worry (all that much) that the stimulus sounds quite similarly to the conventions you were willing to sacrifice into private oblivion - the data sticks to you with increased efficiency upon multiple listens, and there is just enough movement in the songs to keep you situated between Afro Nirvana and very much physical palm trees with rascal monkeys on it.
Teni does what she is capable of, - which always is the optimum - yet does this with zero doubt in her singing abilities. This is a good thing, that conveys a sense of self confidence to her overall performance, and even while she explores her current limitations, she remains enthusiastic. A pleasure to behold such precedent. The music has a relative willingness to revolve around its own axis as Teni showcases her favorite note selections of the African scale - and her taste/musical vision doubtless reflects the primordial wilderness with metaphysical efficiency - she, nevertheless, at this point in her career is suspect to overdo some particular tonalities, even though this effect is only observable when you give the album a full facetime. Only 100 times you can slide into an "F" from an "F sharp" without the audience finally noticing it. Read on to know more about this.
Read more!
Genre : Reggae Funk with Jungle Jazz affections
Origin : United Kingdom
Official site : > - here - <
London resident Teni is one contemporary representative of the timeless exotic/afro musical vibes skillfully established and expressed by such artists as Shade in the '80s. Remember the song "Smooth Operator?" Teni surely does, and I suspect it is one of her all time favorites - I might be wrong, of course. (I don't particularly think Shade had any other songs, anyway.)
Nevertheless, Teni elegantly relies on efficient tonalities revolving around the exotic African - tautology? - scale. Africa is only exotic if you are not there. Your host, Teni takes you there, AND back. If you'd prefer to stick around, there is no power preventing you from submitting to the music on a rince and repeat basis, IF you are Tiga' on AfroDisiac enough for that. Luckily, the urge to conform to the suspected expectational tendencies of the Western listener, is almost non-existent on Teni's record, thereby claiming and radiating a legitimate identity. African Gods & Co. save us from Western pop music with exotic mannerisms - this release does not commit such sonic atrocities at all. The first thing you need to get rid of, is your ingrained beliefs about how the exotic music should sound like, and don't you worry (all that much) that the stimulus sounds quite similarly to the conventions you were willing to sacrifice into private oblivion - the data sticks to you with increased efficiency upon multiple listens, and there is just enough movement in the songs to keep you situated between Afro Nirvana and very much physical palm trees with rascal monkeys on it.
Teni does what she is capable of, - which always is the optimum - yet does this with zero doubt in her singing abilities. This is a good thing, that conveys a sense of self confidence to her overall performance, and even while she explores her current limitations, she remains enthusiastic. A pleasure to behold such precedent. The music has a relative willingness to revolve around its own axis as Teni showcases her favorite note selections of the African scale - and her taste/musical vision doubtless reflects the primordial wilderness with metaphysical efficiency - she, nevertheless, at this point in her career is suspect to overdo some particular tonalities, even though this effect is only observable when you give the album a full facetime. Only 100 times you can slide into an "F" from an "F sharp" without the audience finally noticing it. Read on to know more about this.
Read more!
Labels:
2013,
AfroDisiac,
funk,
jungle jazz,
reggae,
review,
Teni
Wednesday, November 27, 2013
Adam Astbury - From Here We Can See Forever review
Year : 2013
Genre : Radio Rock
Origin : United Kingdom
Official site : > - here -<
Adam Astbury's first studio LP is a risk free, polite, soulfully created radio rock effort that is apt and ready to deliver on the field for which it willingly submits to as its premiere-, and exclusive sonic playground.
The harmonic structures, the melodic arcs, the songwriting strategy all reflect an urge to harvest traditional pop/soft rock ear-candies and luscious secondary nuisances with dormant covert op high octane efficiency, and Adam Astbury doubtless managed to create a debut that leaves nothing to be desired when considered solely as a family friendly radio rock spin. Read on to know more about this.
Read more!
Genre : Radio Rock
Origin : United Kingdom
Official site : > - here -<
Adam Astbury's first studio LP is a risk free, polite, soulfully created radio rock effort that is apt and ready to deliver on the field for which it willingly submits to as its premiere-, and exclusive sonic playground.
The harmonic structures, the melodic arcs, the songwriting strategy all reflect an urge to harvest traditional pop/soft rock ear-candies and luscious secondary nuisances with dormant covert op high octane efficiency, and Adam Astbury doubtless managed to create a debut that leaves nothing to be desired when considered solely as a family friendly radio rock spin. Read on to know more about this.
Read more!
Tuesday, November 26, 2013
Yuca - Rebuilding the Fallen Empire
Year : 2013
Genre : Alternative Rock with a tint of Shoegaze
Origin : United States
Official site : > - here - <
Yuca's music is a galaxy better than you would assume by the everyday average textual comparison charts randomer music journalists would put the band amidst a gauntlet with. (Every journalist - including the music critic - has the book of her/his life in her/his OH!, so fanciful soul - which most often is the best place to hold that book as hostage at.)
Yuca is the picture perfect (soft) rock variant of the music of superb Norvegian synth pop band A-ha - believe it or not, Morten & Co. wrote more songs than "Take on me", and their catalog is composed of exquisite sonic imagination and musical vision. Yuca takes this musical ethos all the way though to the more beefy registers of the narrative silence massacre spectrum, as the aforementioned A-ha hardly ever took hold a guitar so far, - or made sure to sedate the guitarist right after - and never even had to. Yuca, on the other hand, takes this trademark gloomy A-ha stance - there are gloomy A-ha songs, and there are even gloomier A-ha songs - and arms it with guitars. The effect sometimes indeed reveals a tint of Muse - minus the hypertranssexual "look I got no balls, mommy!" affectations, luckily -, or outright copies it without shame in an attempt to appeal to the Muse audience, more on that later.
But I have good news for you, too! Throughout the verse structures, I would go as far as to mention a Type O' Negative similarity, and that I intend as a compliment. Check out track 2 for this splendid effect - Peter Steele approves of this verse structure. It is his, essentially, and it still is Yuca's, and this is why it is so beautiful. Read on to know more about the disc. You know that story, when U2's Bono started clapping, and told : "Every time I clap, someone in Africa dies." Then someone from the audience : "Then why don't you stop clapping?" Timeless.
Read more!
Genre : Alternative Rock with a tint of Shoegaze
Origin : United States
Official site : > - here - <
Yuca's music is a galaxy better than you would assume by the everyday average textual comparison charts randomer music journalists would put the band amidst a gauntlet with. (Every journalist - including the music critic - has the book of her/his life in her/his OH!, so fanciful soul - which most often is the best place to hold that book as hostage at.)
Yuca is the picture perfect (soft) rock variant of the music of superb Norvegian synth pop band A-ha - believe it or not, Morten & Co. wrote more songs than "Take on me", and their catalog is composed of exquisite sonic imagination and musical vision. Yuca takes this musical ethos all the way though to the more beefy registers of the narrative silence massacre spectrum, as the aforementioned A-ha hardly ever took hold a guitar so far, - or made sure to sedate the guitarist right after - and never even had to. Yuca, on the other hand, takes this trademark gloomy A-ha stance - there are gloomy A-ha songs, and there are even gloomier A-ha songs - and arms it with guitars. The effect sometimes indeed reveals a tint of Muse - minus the hypertranssexual "look I got no balls, mommy!" affectations, luckily -, or outright copies it without shame in an attempt to appeal to the Muse audience, more on that later.
But I have good news for you, too! Throughout the verse structures, I would go as far as to mention a Type O' Negative similarity, and that I intend as a compliment. Check out track 2 for this splendid effect - Peter Steele approves of this verse structure. It is his, essentially, and it still is Yuca's, and this is why it is so beautiful. Read on to know more about the disc. You know that story, when U2's Bono started clapping, and told : "Every time I clap, someone in Africa dies." Then someone from the audience : "Then why don't you stop clapping?" Timeless.
Read more!
Labels:
2013,
alternative rock,
Rebuilding the Fallen Empire,
shoegaze,
Yuca
DraMatiQue - The Burn Mixtape review
Year : 2012
Genre : Hip Hop
Label : Newborn Records LLC
Origin : United States
Official site : > - here - <
This review starts off with the official press release.
West Coast rap artist DraMatiQue(drah*mad*dick )returns with the heavily anticipated follow up to last year's smash debut. " The Burn Mixtape " is hosted by Chi-town's finest...DJ Smoke and includes features from T-Waze The Kid, Ounce, F.A.M.E., Billion Dolla Bill & more along with top-notch production by Ages Beats, Kajmir Royale, Narco Productions, & Beats Planet. Follow on twitter @dramati2ue, @djsmokemixtapes
Following the Kill the Game Mixtape reviewed earlier this year, your eloquent hip hop papi DraMatiQue teams up with local disc wizard extraordinare DJ SMoke in an attempt to deliver you an excruciatingly thorough silence massacre extravaganza on what the contemporary West Coast talent pool has to offer, and that, naturally/luckily, is a lot to soak your awareness into. Contrary to the trend established by the previous effort, this baby here is not at all reluctant to submit to the ethos of extreme compression, - ultra-max-volume-paua, lover! - so, upon popping this devil into the player, your girl(s) and you should be prepared to take a ride on your subwooffer the moment the first kick drum expresses its decibel volumetrics, regardless of what segment of the room you started making out on.
The new mixtape still packs the tremendous charm DraMatiQue is renowned for, and he did not lose anything from his natural flow, nor added anything to it that would harm it. Courtesy of his sensitivity to offer a series of glimpses on the powers and dynamics that are shaping the face of mid-tempo West Coast hip hop - the style the mixtape is abundant galore of - DraMatiQue is here to claim your fandom with extreme cunning, and I can see on your eyes that he is about to, too. Read on to know more about this.
Read more!
Genre : Hip Hop
Label : Newborn Records LLC
Origin : United States
Official site : > - here - <
This review starts off with the official press release.
West Coast rap artist DraMatiQue(drah*mad*dick )returns with the heavily anticipated follow up to last year's smash debut. " The Burn Mixtape " is hosted by Chi-town's finest...DJ Smoke and includes features from T-Waze The Kid, Ounce, F.A.M.E., Billion Dolla Bill & more along with top-notch production by Ages Beats, Kajmir Royale, Narco Productions, & Beats Planet. Follow on twitter @dramati2ue, @djsmokemixtapes
Following the Kill the Game Mixtape reviewed earlier this year, your eloquent hip hop papi DraMatiQue teams up with local disc wizard extraordinare DJ SMoke in an attempt to deliver you an excruciatingly thorough silence massacre extravaganza on what the contemporary West Coast talent pool has to offer, and that, naturally/luckily, is a lot to soak your awareness into. Contrary to the trend established by the previous effort, this baby here is not at all reluctant to submit to the ethos of extreme compression, - ultra-max-volume-paua, lover! - so, upon popping this devil into the player, your girl(s) and you should be prepared to take a ride on your subwooffer the moment the first kick drum expresses its decibel volumetrics, regardless of what segment of the room you started making out on.
The new mixtape still packs the tremendous charm DraMatiQue is renowned for, and he did not lose anything from his natural flow, nor added anything to it that would harm it. Courtesy of his sensitivity to offer a series of glimpses on the powers and dynamics that are shaping the face of mid-tempo West Coast hip hop - the style the mixtape is abundant galore of - DraMatiQue is here to claim your fandom with extreme cunning, and I can see on your eyes that he is about to, too. Read on to know more about this.
Read more!
Labels:
2013,
DraMatiQue,
hip hop,
review,
The Burn Mixtape,
United States
Tuesday, November 19, 2013
Scan Hopper - Mariana Bridges EP review
Year : 2013
Genre : Psychedelic Soft Rock
Label : Independent
Origin : United States
Official site : - here -
With its newest extended play to date, "Mariana Bridges", Austin, Texas based Scan Hopper offers fresh status reports from the same psychedelic fields the flamboyant group best enjoys hanging out at - OR, hanging down at, see cover art image for the ruthless justification of this even more terrible pun. These new status reports seem and sound to have a more strict polarity embedded into them in the sense that a song either is total relentless anti-brutal afterparty-chillout, - moments of infinity that openly enjoy how nothing is happening in them in a psychedelically nothing is happening, but nothing is happening psychedelically-way, counterpointed by a consequent track that exhibits as intense characteristics as you could anticipate amidst the tools the directional and stylistic principles do allow without breaking the rules of a rabid conceptual acid ride. Only - prepare for the kind of intensity on which even madness rents a place on. What other party is worth being at, correct? Read on to know more about the disc.
Read more!
Genre : Psychedelic Soft Rock
Label : Independent
Origin : United States
Official site : - here -
With its newest extended play to date, "Mariana Bridges", Austin, Texas based Scan Hopper offers fresh status reports from the same psychedelic fields the flamboyant group best enjoys hanging out at - OR, hanging down at, see cover art image for the ruthless justification of this even more terrible pun. These new status reports seem and sound to have a more strict polarity embedded into them in the sense that a song either is total relentless anti-brutal afterparty-chillout, - moments of infinity that openly enjoy how nothing is happening in them in a psychedelically nothing is happening, but nothing is happening psychedelically-way, counterpointed by a consequent track that exhibits as intense characteristics as you could anticipate amidst the tools the directional and stylistic principles do allow without breaking the rules of a rabid conceptual acid ride. Only - prepare for the kind of intensity on which even madness rents a place on. What other party is worth being at, correct? Read on to know more about the disc.
Read more!
Labels:
2013,
EP,
Mariana Bridges,
psychedelic,
Scan Hopper,
United States
Wednesday, October 23, 2013
BluRum13 - Inverted review
Year : 2013
Genre : Hip Hop with an experimentive Space Opera fascination
Origin : Canada
Official site : > - here - <
Blurum13 might posture in upside down fashion on the cover image of his latest to date full length feature presentation, yet this Canadian rhymerider has considerable chance to perpetuate fresh and relevant patterns into the mere surface of hip hop, Martian face style. Finally! In other words, do not judge the product by the cheesefest cover art, because the music on the Inverted release is about to feed you to an infinite number of singularities just to warm your ears up.
Big words should be reckoned as such, and should not be offered around lightly, yet, in the exact same stone cold sober school of thought, - qwertzuiopőúóüöűáélkjhgfdsayxcvbn - they should be given when the demand for them is warranted and relentlessly claimed. Such is the case right now. The Inverted LP, simply put, is not a disc you can afford to miss out on and call yourself a contemporary rap enthusiast after. The main dynamics the spin takes you with itself by, are the intricately sculpted and super-lengthy - per track, obviously - coalitions between the narration and the sonic surroundings. BluRum13 is quick to zone in on the trademark flow of the effort after a declaration is about to reveal its structural/harmonic nature.
We are talking about a consequently mid-tempo demeanor that always maintains the right to cultivate a desire towards the more upbeat characteristics, and the evident/brilliant hip hop magic happens with top of the foodchain efficiency, courtesy of Blurum13's hilarious ability of simply NOT being able to interrupt-let alone to stop the top tier spoken textcarpet once he finds himself on a roll WITH it, and with YOU, on it. He just took you there, and you two - four, if you include the carpet and the maid - are still moving. This is not propaganda talk, nor propaganda review, ladies and gents, this is extra crispy ultrahip - tukk! - hip hop done in 2013, and you want to hear it. Read on to know more about it.
Read more!
Genre : Hip Hop with an experimentive Space Opera fascination
Origin : Canada
Official site : > - here - <
Blurum13 might posture in upside down fashion on the cover image of his latest to date full length feature presentation, yet this Canadian rhymerider has considerable chance to perpetuate fresh and relevant patterns into the mere surface of hip hop, Martian face style. Finally! In other words, do not judge the product by the cheesefest cover art, because the music on the Inverted release is about to feed you to an infinite number of singularities just to warm your ears up.
Big words should be reckoned as such, and should not be offered around lightly, yet, in the exact same stone cold sober school of thought, - qwertzuiopőúóüöűáélkjhgfdsayxcvbn - they should be given when the demand for them is warranted and relentlessly claimed. Such is the case right now. The Inverted LP, simply put, is not a disc you can afford to miss out on and call yourself a contemporary rap enthusiast after. The main dynamics the spin takes you with itself by, are the intricately sculpted and super-lengthy - per track, obviously - coalitions between the narration and the sonic surroundings. BluRum13 is quick to zone in on the trademark flow of the effort after a declaration is about to reveal its structural/harmonic nature.
We are talking about a consequently mid-tempo demeanor that always maintains the right to cultivate a desire towards the more upbeat characteristics, and the evident/brilliant hip hop magic happens with top of the foodchain efficiency, courtesy of Blurum13's hilarious ability of simply NOT being able to interrupt-let alone to stop the top tier spoken textcarpet once he finds himself on a roll WITH it, and with YOU, on it. He just took you there, and you two - four, if you include the carpet and the maid - are still moving. This is not propaganda talk, nor propaganda review, ladies and gents, this is extra crispy ultrahip - tukk! - hip hop done in 2013, and you want to hear it. Read on to know more about it.
Read more!
Tuesday, October 22, 2013
Blacky Kev & QweEzY & Mason Way - Invasion review
Year : 2013
Genre : Hip Hop
Label : Independent
Origin : United States
Official site : > - here - <
Invasion is fueled by a one time (?) supergroup collaboration between the three hip hop performers noted on the cover of the release. The disc sports a length most suitable to lay out a decent EP flow on, and such is the case, indeed : Invasion outlines heavily - and tastily - arpeggiated harmonic structures that reveal the musical moods of the coin op beat 'em up games of the '80s - a brilliant vibe, doubtless - delivering an almost polite-, friendly type of rapping by the contributors. The disc is pretty much free of subterfuge and intimidation, while the main base of operation the flow -ha, ha. - inspects, is sex, and the 'hoes to have it with. When sexism is portrayed through the lens of cartoon comic vibes, your only legitimate fear can not be anything else than that you might end up getting left out of it - from the cartoon sexism, not out of fear. Fear not, or do nothing else, then read on to know more about this disc.
Read more!
Genre : Hip Hop
Label : Independent
Origin : United States
Official site : > - here - <
Invasion is fueled by a one time (?) supergroup collaboration between the three hip hop performers noted on the cover of the release. The disc sports a length most suitable to lay out a decent EP flow on, and such is the case, indeed : Invasion outlines heavily - and tastily - arpeggiated harmonic structures that reveal the musical moods of the coin op beat 'em up games of the '80s - a brilliant vibe, doubtless - delivering an almost polite-, friendly type of rapping by the contributors. The disc is pretty much free of subterfuge and intimidation, while the main base of operation the flow -ha, ha. - inspects, is sex, and the 'hoes to have it with. When sexism is portrayed through the lens of cartoon comic vibes, your only legitimate fear can not be anything else than that you might end up getting left out of it - from the cartoon sexism, not out of fear. Fear not, or do nothing else, then read on to know more about this disc.
Read more!
Labels:
2013,
hip hop,
independent,
United States
Thursday, October 17, 2013
Keenan bros - Blood. Sweat. Tears. EP review
Year : 2013
Genre : Lounge Hip Hop with Soul and Pop affections
Label : Independent
Official site : > - here - <
Rating : 9.2 / 10
The Keenan bros are into the niche of music that was ultra-prominent in the early and mid '90s, popularized mainly by such boygroups as Take That! or Boyz 2 Men. There IS an optimum extra-, a beneficial deviation added to the top, and quite literally so. The Keenan bros are full fledged lounge rappers - no swearing or subterfuge-tendencies - and they spice up these otherwise stone-traditional pop/soul tracks with fluent rapping that renders a continuous, exigently developed layer to catch your attention with. Read on to know more about this.
Read more!
Genre : Lounge Hip Hop with Soul and Pop affections
Label : Independent
Official site : > - here - <
Rating : 9.2 / 10
The Keenan bros are into the niche of music that was ultra-prominent in the early and mid '90s, popularized mainly by such boygroups as Take That! or Boyz 2 Men. There IS an optimum extra-, a beneficial deviation added to the top, and quite literally so. The Keenan bros are full fledged lounge rappers - no swearing or subterfuge-tendencies - and they spice up these otherwise stone-traditional pop/soul tracks with fluent rapping that renders a continuous, exigently developed layer to catch your attention with. Read on to know more about this.
Read more!
Labels:
2013,
album,
hip hop,
independent,
pop,
review,
Soul,
United States
Tuesday, October 15, 2013
Mason Way - The Full Thing mixtape review
Year : 2013
Genre : Hip Hop, mixtape
Label : Independent
Origin : United States
Official site : > - here - <
The Full Thing aims to be an immaculate compilation of the most ripe moments of none less than 7 mixtapes Mason Way came out with in this very year alone. The FUNNY thing about the Full Thing is that Mason Way has developed a full fledged hip hop identity without even realizing it : apart from certain sonic extremes revealed on the disc - some rare cases where a lower volume level of drums would definitely benefit the flow more - the mixtape delivers a ripe, and playful variant of hip hop on the surface level, while the majority of the narration revolves around the most cosmological, the most beneficial man can desire : lamentations about instant pussy vicinity! FINALLY! You will have quite a few declarations fixated on this key subject in an optimal manner - no tastelessness, just the truth. This truth is the following : women are the BEST, but it takes a man to recognize it. Read on to know more about The Full Thing mixtape.
Read more!
Genre : Hip Hop, mixtape
Label : Independent
Origin : United States
Official site : > - here - <
The Full Thing aims to be an immaculate compilation of the most ripe moments of none less than 7 mixtapes Mason Way came out with in this very year alone. The FUNNY thing about the Full Thing is that Mason Way has developed a full fledged hip hop identity without even realizing it : apart from certain sonic extremes revealed on the disc - some rare cases where a lower volume level of drums would definitely benefit the flow more - the mixtape delivers a ripe, and playful variant of hip hop on the surface level, while the majority of the narration revolves around the most cosmological, the most beneficial man can desire : lamentations about instant pussy vicinity! FINALLY! You will have quite a few declarations fixated on this key subject in an optimal manner - no tastelessness, just the truth. This truth is the following : women are the BEST, but it takes a man to recognize it. Read on to know more about The Full Thing mixtape.
Read more!
Labels:
2013,
hip hop,
independent,
mason way,
the full thing
Friday, October 11, 2013
Chris Leigh - Broken Hearted Friends review
Year : 2013
Genre : Country with a Honky Tonk leaning
Origin : United States
Official site : > - here - <
At surface level inspection, Chris Leigh might seem to be a diligent practitioner of stone-traditional - not a negative attribute at all - honky tonk country, yet his eloquent/unrestrained affection towards spicy and hefty rhythm patterns imbues this soberly paced release with a sense of restless-, adeptly presented country exploitation. And, let's be honest, folks : country is best when it is under rabid exploitation.
Leigh offers and maintains steadily constructed harmonic/melodic focuspoints through which he inspects the timeless anatomies of traditional country with the eyes of a true scholar. Sure enough, there are some much welcomed counter-pointings to the more intense declarations, such as the third track, "If You Make It To Heaven" - whereas the very next track, "Ramblin' Man" deliberately takes the intensity of country to hell and back Johnny Cash-on-speed style - even though Johnny has his own history of excessive roadway-speeding, as far as I know.
In the context of these upbeat tracks - which definitely reflect the overall character of this high octane chili barbecue package - Chris Leigh channels the same energies Marty Robbins offers in his classic "Big Iron on His Hips" - narrative musical storytelling, done in - no subtler or more precise words - "badassfull" fashion. If you are not "badassfull" when you are in the middle of narrative musical storytelling along country vibes about loaded guns, hot redneck women and dominant cowboys, then you are doing it WRONG. You have no other choice than to come across as badassfull and desirable to be around - if you can't accomplish this, someone will EAT you right off the stage, and this is how it is supposed to be in the world of country - yeehah, I might add.
Chris Leigh has a perfect understanding and a consorting dormant agreement with these dynamics, I feel, because every single track on this delivery would be a welcome addition to a Fallout New Vegas computer role playing game session, and this is the biggest and most honest compliment I could give to a release of this style. Grab a roll of beer, tiger, and read on to know more about the spin while I think nice things about you. (Honest.)
Read more!
Genre : Country with a Honky Tonk leaning
Origin : United States
Official site : > - here - <
At surface level inspection, Chris Leigh might seem to be a diligent practitioner of stone-traditional - not a negative attribute at all - honky tonk country, yet his eloquent/unrestrained affection towards spicy and hefty rhythm patterns imbues this soberly paced release with a sense of restless-, adeptly presented country exploitation. And, let's be honest, folks : country is best when it is under rabid exploitation.
Leigh offers and maintains steadily constructed harmonic/melodic focuspoints through which he inspects the timeless anatomies of traditional country with the eyes of a true scholar. Sure enough, there are some much welcomed counter-pointings to the more intense declarations, such as the third track, "If You Make It To Heaven" - whereas the very next track, "Ramblin' Man" deliberately takes the intensity of country to hell and back Johnny Cash-on-speed style - even though Johnny has his own history of excessive roadway-speeding, as far as I know.
In the context of these upbeat tracks - which definitely reflect the overall character of this high octane chili barbecue package - Chris Leigh channels the same energies Marty Robbins offers in his classic "Big Iron on His Hips" - narrative musical storytelling, done in - no subtler or more precise words - "badassfull" fashion. If you are not "badassfull" when you are in the middle of narrative musical storytelling along country vibes about loaded guns, hot redneck women and dominant cowboys, then you are doing it WRONG. You have no other choice than to come across as badassfull and desirable to be around - if you can't accomplish this, someone will EAT you right off the stage, and this is how it is supposed to be in the world of country - yeehah, I might add.
Chris Leigh has a perfect understanding and a consorting dormant agreement with these dynamics, I feel, because every single track on this delivery would be a welcome addition to a Fallout New Vegas computer role playing game session, and this is the biggest and most honest compliment I could give to a release of this style. Grab a roll of beer, tiger, and read on to know more about the spin while I think nice things about you. (Honest.)
Read more!
Labels:
2013,
country,
honky tonk,
review,
United States
Subscribe to:
Posts (Atom)
