Noviteti (singlovi, albumi...)

Lakonac

Veoma poznat
Poruka
14.265
Tema za zaista vruće vesti i najave.

- - - - - - - - - -

Spin Doctors novi album, zanimljivog naziva If the River was Whiskey

The Spin Doctors have always been bluesy, which isn't the same thing as being a blues band. From the outset, they were a bar band that happily dabbled in blues-rock, hippie pop, elastic funk, and classic rock, anything that would satisfy a crowd, and that eagerness to please came through on their breakthrough 1991 debut, Pocket Full of Kryptonite. When The Spin Doctors were touring the 20th anniversary deluxe edition of the album, they discovered their fans wanted to hear the obscure, bluesier tunes in their repertoire, so they decided to do the only natural thing -- to record their first all-blues album. They holed up in drummer Aaron Comess' studio and quickly cut If the River Was Whiskey, a collection of original blues numbers that feels like an unapologetic throwback to classic Chess records from the '50s and '60s. That immediacy is striking, as The Spin Doctors have never sounded so alive on record, nor have they demonstrated such muscular chops. Comess and bassist Mark White lay down thick, fluid grooves that give guitarist Eric Schenkman plenty of room to spill out solos, while, at his best, vocalist Chris Barron's phrasing can recall the languid, laconic drawl of Levon Helm. But for as much as The Spin Doctors recall certain parts of the past or certain idols, this is neither an homage nor mimicry: instead, they've dug into the DNA of the band and reworked it, revealing the blues band that lies at their core. The result is shockingly satisfying: The Spin Doctors have never sounded as relaxed, as loud, or as good as they do on If the River Was Whiskey.

whiskeyz.jpg


upravo ga slušam, na prvu klasični Spin, ali ima nečega novog. Sutra dobijete link za ceo album.
 
Novi album grupe The Cat Empire. Planirano za 17.05.2013. Za prošli album su na ebay nudili i 250 dolara, imam osećaj da će biti isto i sada. Album se zove Steal the Light i za sada je dostupna samo jedna pesma. Tha Cat nikada nisu imali ovakav spot, na momente mi se čini dobar a na momente krajnje kretenski.

 
Poslednja izmena:
Buckethead
Rock, Progressive, Funk

The enigma known as Buckethead has confused many a person. Even as an avid fan-boy, I can honestly say that I understand why people are so off-put by him. It's a freakishly tall man with long curly hair wearing an upturned KFC bucket on his head and a Michael Myers-esque mask. While he is known as a very talented multi-instrumentalist he's just as prone to manic, high energy solos as he is to breaking out his nunchuks and robot dancing. A lot of people just know him as the ex-guitarist for the 'new' Guns n Roses. If one looks deeper, however, they'll find that Buckethead's not just incredibly technically talented but he's also one of the most creative, versatile, and quirky musicians out there today. I beseech all of you to keep an open mind. If you've heard one of his albums and have been turned off by it, keep reading and give an album that sounds more your style a chance. If you only know him from Guns 'n' Roses, keep reading and step into his world. If you've only vaguely heard of him, keep reading as you might find something that you love. Plus you can act pretentious when people have never heard of him! High-fives all around.

Not much is known about the boy who would grow up to don the white mask and chicken bucket. We know that he was born Brian Carroll in Southern California, close to Disneyland. At an early age, he developed a penchant for horror movies, martial arts, and comic books. This minute detail is nonetheless important as these become some of his biggest inspirations. During his teenage years, Brian began teaching himself the guitar. He set out to learn everything he could about the instrument, not only technique, but how to express himself through it; How to make it sing. Some of his idols at this time were Randy Rhoads and Yngwie Malmsteen. Like his heroes, Brian begins to incorporate many elements of classical music. Eventually, he moved onto jazzier players as well. The late, great Shawn Lane was a spiritual mentor to Brian and heavily influenced him.


Solo Career Buckethead's first solo album, Bucketheadland was released in 1992 on John Zorn's Avant imprint. It's an odd concept for an album, an amusement park that's based around Buckethead's twisted mind. Even in this album Bucketheadmixes dirty funk, shred, and obscure horror movie references. Though it's a rough album, a tough listen really, it perked peoples' ears up and he had many early fans, some of whom would show up on his sophomore effort, Giant Robot.

Colma and Monsters and Robots came out in 1998 and 1999 respectively. Colma showed his tender side. All acoustic, Buckethead shows his typical prowess and dexterity in a different setting. 'Machete' is pure, unadulterated acoustic energy. The latter album still stands with Buckethead's best. It's like an amalgamation of all of the albums leading up to it in that it incorporates all of the good elements. Les Claypool guests on 'The Ballad of Buckethead' and Brain drums throughout the album, the beginning of a bond that still remains today. The closer, 'Nun Chuka Kata,' remains as one of his finest moments.

A string of solid, if not revolutionary, albums followed. Of them, 2002's Electric Tears is the only one that is worth getting if you're not a die-hard Buckethead fan. It features 'Sketches of Spain (For Miles).' He reworks Rodrigo's 'Concierto de Aranjuez,' most famously performed by Miles Davis on his Sketches of Spain. Delicately finger-picked, 'Sketches' showed flashed of Buckethead's versatility to come.

In 2004, Buckethead released his most well-rounded, well-written, and conventional album to date. Population Override is one of the most perfect instrumental albums I've ever heard. His guitar playing is never over the top here, it's tasteful and soulful. It has a very bluesy feel and his tone isn't the acidic, barbed-wire tone of Bucketheadland or Monsters and Robots. It's smooth and has many textures and layers. I can't praise this album enough. If you were to get only one Buckethead album, this would be it.

Not content to stay idle for long, Buckethead has released 5 new solo albums since Population Override. Cuckoo Clocks of Hell is Buckethead in speed-metal mode once again. This is his heaviest album, though not his most creative or sonically interesting. Still some great stuff on it. Enter The Chicken was released late last year and is Buckethead's attempt at a morecommercial sound. Produced by Serj Tankian of System of a Down, Buckethead's guitar serves more as a vehicle for his song writing skills and support for the multiple guest vocal spots. Tankian himself appears as does rap-poet Saul Williams, and Death By Stereo vocalist Efrem Shulz. Kaleidoscalp, Inbred Mountain, and The Elephant Man's Alarm Clock are all only available for sale on his tour.

One cannot comprehend everything Buckethead offers from merely his solo career and these next sections are my attempts to sum up his various other projects.

Praxis Praxis is a super-group compiled Bill Laswell. In 1992, their debut, Transmutation (Mutatis Mutandis) came out. The line-up for the album is a stunner. With Buckethead on guitar, Bootsy Collins on bass, Brain on drums, Bernie Worrell of Funkadelic and Parliament fame on keys, and Afrika Babybam from the Jungle Brothers on the turntables, this album couldn't possibly fail. And it does not disappoint in the least. A mix of electronica, thrash-metal, and funk, the album is a highlight of Buckethead's career. There's no shortage of anything on it. Metatron came next with only the core band of Buckethead, Brain, and Laswell. Not as strong as the debut but an excellent showcase for Buckethead's ability. Following this, they released Sacrifist featuring guest vocals by the Boredoms' Yamatsuka Eye. Sacrifist is heavier than its predecessors. It's pure sonic assault and is a very solid release. By Warszawa the band was merely a shell of what it used to be but were still pushing boundaries. Recorded live, Warszawa is more hip-hop oriented. Still only the core three members, the group is fleshed out by three DJs who add their own twists to the sound.

Deli Creeps Buckethead's first group was the Deli Creeps. Based out of San Francisco, the band gained early supporters, among them was Mike Patton. I'm going to be honest and say that I have never heard this band. It's extremely hard to find material by them. The band is comprised of Buckethead, Pinchface on drums, and Maximum Bob on vocals.

Colonel Claypool's Bucket of Bernie Brains This super-group was born at the Bonnaroo Music Festival in Tennessee. Les Claypool, one of the most creative bassists in years, brought them together for an unscripted jam. Buckethead, Les Claypool, Bernie Worrell, and Brain all have an equal part in this band, making it my favorite Claypool side-project. They released their first album, The Big Eyeball in the Sky in 2004. It's a very good album. All of the members absolutely shine in it. The solo on the opening track, 'Buckethead,' gives me shivers every time I listen to it.

Death Cube K Death Cube K, other than being an anagram for Buckethead, is his attempt at ambience. Supported by Bill Laswell, they released 3 albums, all of which are solid ambience. Though not ambience isn't my thing, I can respect their intentions.

Cornbugs Buckethead's group with Pinchface on drums again and actor Bill Mosely (Choptop from the original Texas Chainsaw Massacre and Otis in House of 1000Corpses and The Devil's Rejects). Horror-rock with the two musicians setting the eerie backdrop for Mosely's odd spoken-word pieces. Weird stuff.

Moonraker As Mike Patton had been a long-time admirer of Buckethead and both have a penchant for being completely off the wall, it was only a matter of time before they collaborated. With no officially released material, one would have to search bootleg sites for this. They performed one show at California's The Knitting Factory. Patton makes weird noises with his voicelike only he can while Buckethead plays his ass off. I wish they would release an album together.

Jazz For the sake of your attention-spans (too little, too late I know) I'm compressing three of his side-projects into this final section. Arcana's Arc Of The Testimony is one of the last recordings of the amazing jazz drummer Tony Williams. It is atestament to Buckethead's skill that he was invited along forthe ride. He plays on three tracks on the album and absolutely rips it up. Like his idol Shawn Lane, he melds metal tones and playing and jazz sensibilities and feel.

Mike Shrieve, the original drummer for Santana (he was also the youngest musician to perform at the original Woodstock),decided to go in a different direction than his former group. He went into jazz-fusion. He began collaborating with notorious 'punk-jazz' bass virtuoso Jonas Hellborg in the 90's. In1995 they brought Buckethead along to play on the album Octave of the Holy Innocents. With only his acoustic guitar, Buckethead floats away from shredding solos and instead melds with his two companions to create an excellent ambient jazz album. Those looking for outright guitar insanity will be disappointed but those willing to open their minds to a slightly more sophisticated Buckethead will be pleasantly surprised. I know I was.

Lastly, Thanatopsis is a bit rockier than the two bands I just mentioned but still retains the jazz feel. With Travis Dickersonon synthesizers, Buckethead explores all sorts of auditory possibilities. It's moody, it's unpredictable, and it's all around good stuff.


Nije čudo što album dobija vrhunske ocene uzimajući u obzir o kakvom vrhunskom majstoru je reč. Trenutno nisam formirao ubedljivo mišljenje, ali čini mi se da će biti "tresla se gora, rofio se miš" ....

 
Airbourne
Hard Rock

Airbourne is an Australian hard rock band originating from Warrnambool, Victoria, Australia, where they gained a steady following with their pub-rock sound. Their independent eight track EP 'Ready to Rock' was released in 2004. In early 2005, the band relocated to Melbourne. Later that year, the band signed a five album record deal with Capitol Records and have since supported Mötley Crüe and The Rolling Stones, as well as playing in several summer music festivals. Their first album, titled Runnin' Wild, was released in Australia on 23 June, 2007. So far, three singles have been released from the album,


 

Queens Of The Stone Age certainly stirred up quite a lot of hype when they announced their return to the public eye. After all, it has been 6 years since they've released Era Vulgaris, and within that time frame, Josh Homme appeared so preoccupied with his other musical endeavors that it seemed as if he had lost all interest in what is 'supposed' to be his primary band. Though to say that hadn't accomplished anything major within that state of hiatus from Queens Of The Stone Age, would be utterly fictitious. In fact, for a time, it seemed as if Josh Homme was finally becoming acquainted with his own creative potential, releasing two critically acclaimed albums such as Eagles Of Death Metal's Heart On and even joining forces with musical juggernauts like Foo Fighter's Dave Grohl and Led Zeppelin's John Paul Jones to record Them Crooked Vultures' debut album. Josh Homme even found some time to guide the Arctic Monkey's through their journey down the rabbit hole in Humbug. Of course, in retrospective, each of those aforementioned albums were nothing more than a rehash of the machismo-fueled rock and roll that is encountered throughout his entire discography, but one can't argue with the fact that Josh Homme has a knack for writing rock tunes that are as thrilling as they are infectiously catchy. And so, after spending 6 years showing off his seemingly boundless bag of tricks, one could only anticipate what he had in store for the next Queens Of The Stone Age album.

To say …Like Clockwork is just another 'Josh Homme album' would be an accurate description of its content, but the same can't be said for its description as a Queens Of The Stone Age album. It's true that Josh Homme offers us, yet again, his usual brand of desert rock, but …Like Clockwork doesn't quite exhibit the typical Queens Of The Stone Age game plan. At first glance, it may seem like the band is working in a familiar territory, with …Like Clockwork's moody, desert sound being but an echo of an atmosphere once conjured up in Songs For The Deaf and again in Lullabies To Paralyze, but the music is engineered uniquely uniquely different from anything else before it. That isn't to say that Queens Of The Stone Age have suddenly discovered a new style of playing, but instead have taken certain elements from previously written songs; the haunting atmosphere in "Someone's In The Wolf" and "A Song For The Deaf", the slowed down melodies of "Into The Hollow" and "Auto Pilot", and even the quasi-progressive arrangements that was occasionally explored in songs like "Better Living Through Chemistry", to the point where each musical component is broken down, then blended together to simulate the illusion that we're listening to something new.

Although despite my mild cynicism, …Like Clockwork, as I previously mentioned, is not an ordinary offering from that little ol' band from Palm Springs. There's quite a handful of guest stars that have been invited to this reunion party of sorts to help Queens Of The Stone Age renovate their style. Some names are familiar like Dave Grohl, Mark Lanegan, and Josh Homme's latest desert rock protégé, Alex Turner, while others come as a bit of a surprise, such as Elton John, Trent Reznor, and Jake Shears. And as usual, with practically every new chapter that's added into this story of precarious journeys and intractable characters that is Queens Of The Stone Age's career, we again encounter another departure- this time, drummer Joey Castillo, who has been permanently replaced by the talented Jon Theodore. Though despite the various guest stars and the latest change in the band's roster, …Like Clockwork is still reminiscent of the group's signature gritty sound and sinister vibe, but there is a lack of instant knockouts here like "No One Knows" and "Regular John". Indeed, …Like Clockwork isn't quite as seductive as one would assume, in fact, it's a bit of tease. One that demands a serious commitment before unveiling its voluptuous qualities-- and even then, as it denudes itself and exposes all it has to offer, what we witness isn't quite as titillating as we hoped.

Rather than the conjuring up another thrilling onslaught of power and precision, Queens Of The Stone Age went in a new direction with this album, one that's more focused and mildly ambiguous. Songs like "Keep Your Eyes Peeled" and "I Appear Missing", with their mellow demeanors and sturdy melodicism, showcase an agenda that is more preoccupied with providing a mind-bending jam rather than just merely rocking out. Though just because the emphasis here is on melody and coordination, as opposed to heavy guitar riffs and tantalizing solos, doesn't mean these songs lack any sense of vitality. In fact, Queens Of The Stone Age prove to their audience that a layered composition, one that unravels slowly through time and takes the listener through a journey of fantastical ambiences and complex orchestrations, can be equally as invigorating as hard rock anthems like, say, "Go With The Flow". The highlights in …Like Clockwork are certainly much more different than those of its predecessors. Where we once searched through the tracklistings, looking for an instant hit, …Like Clockwork forces us to solely interact with conceptual songs that require repeated spins to fully appreciate. Now, there's nothing wrong with an album striving for artistry rather than appeal, but when the majority of the song tend to follow along the same fabricated arrangement of slowed down grooves and psychedelically-tinged ambiences, one can't help but feel a bit claustrophobic.

Songs like "Kalopsia" and "Like Clockwork" are some of the most emotive and elaborate pieces that Queens Of The Stone Age have ever written, which makes them all the more welcomed because we get to see Queens Of The Stone Age tapping into their experimental side by applying layers of textures and erratic moods that we rarely see them conjure up. Even Josh Homme shows a sense of maturity in his performance as a frontman. He doesn't reprise his typical 'guitar hero' persona that he often loves to project, instead, we get to see him embrace the performance of a singer rather than that of a guitarist. In fact, it's Josh Homme's singing that carries most of the music rather than an onslaught of riffs and solos, an approach that revitalizes the sensual and hypnotic atmosphere that Queens Of The Stone Age has proven to be more than capable of in the past. "Keep Your Eyes Peeled" is a great example of this. His voice is so mystical and inviting here, but the reason it's such a captivating performance is because he's actually reminiscing about something deeper in his lyrics, something more abstract and philosophical, as opposed to the usual tales of promiscuity and debauchery. In its strive for artistic credibility, …Like Clockwork does live up to its hype. There are no generically fabricated rock tunes here, and in fact, …Like Clockwork hardly ever finds itself making any mistakes, but for some reason, it's just not as captivating as its predecessors. Now, don't get me wrong, this is indeed an accomplishment effort, and one that truly showcases Queens Of The Stone Age finally honing their sound and shifting their best qualities into masterful works, but aside from being able to witness the group deepening their skills, one can't help but miss the days when their music thrived on raw guitar work and a slick bravado attitude. Despite the album's brilliant moments, and it’s mostly skillfully constructed songs, I simply couldn't help but feel underwhelmed by the whole listening experience.

Which brings me back to my initial point, it's true that this album is more coherent and conceptual when compared to most of their previous works. ...Like Clockwork focuses on emotional and sensuous balladry as opposed to the usual machismo-fueled rock and roll, which is a major transition for the band, but a lot of the tracks that are handed down may initially feel like grains of sand slipping through our fingers, rather than something that can be easily grasped. Most of the songs here are growers, and even the one's that are supposed to be immediate tunes like "My God Is The Sun" and "If I Had A Tail", don't quite grab and hold on to our attention like "No One Knows" or "Little Sister" did in the past. I suppose this album is tougher to 'get' because this is the first time Queens Of The Stone Age are not constructing an album that is about individual standouts, but rather a set of songs that together illustrate a greater portrait. It's almost like watching a film, in which the individual scenes mean nothing to us unless we see the movie from beginning to end. Everything here is meant to conjure up a thematic mood and setting, one that takes us away to lose ourselves in a nocturnal, desert scenery.
 
Black Sabbath 13

Nije baš da je juče izašlo, a nije ni neka muzika, ali stara slava je ipak slava

Black Sabbath’s birth is one remarkable event in heavy metal history. Their vision of doom, sludge and sometimes psychedelic created the soil on which many bands stand today. A few hits and several misses later, the juggernaut act led by Ozzy was shelved in the aftermath of “Forbidden”, their most disappointing material to date. Decades later, the announcement of their reunion received some mixed criticism. Ozzy Osbourne was seen as washed out, done and dusted, bound to release average upon average hard rock albums until his inevitable retirement.

Shockingly, 13 is a monstrous journey full of doom, sludge, psychedelic and bluesy prog-rock. The album revisits and recaptures the glory days. Simply put, there is some real quality filth in here.

The second half of the album is its strong point. “God is Dead?” and the intro song are exaggeratingly long with less quality content to account for. All the rest are complete opposites. Juggernauts like “End of the Beginning” and “Age of Reason” enjoy various time shifts, enough to make them enjoyable as they pass the 7 minute mark. "Zeitgeist" unmistakably borrows from Planet Caravan with distorted vocals singing over the bluesy and trippy instrumentals after Iommi pulls out a jazzy solo.

The production is rugged. Rick Rubin is hated by many, but he did a fine job with this record, showcasing a dry and meaty doom sound. Ozzy’s vocals are sometimes irritating, and his lyrics are far from what they used to be, but the music makes up for that downside.

The circle is complete with "Dear Father" ending with the sound of rain pouring down, just like their very first album began. And looking past the lyrical hiccups and sometimes irritating vocals, 13 is Black Sabbath’s closest thing to a damn good record in years. Some may argue this reunion was not necessary, but after the slump of “Forbidden”, this album was a must. It’s Sabbath’s swan song and illustrates a modern take on the band's glorious legacy.


 
Scale The Summit The Migration

I heard Scale the Summit’s music described as “adventure metal” the other day, and it-- despite being a pretty ridiculous phrase-- actually does make a bit of sense. The band has always set its goals high each record, and charted where exactly it wanted the journey to both begin and end. This is why each of the band's albums has begun as confidently as its conclusion, and also explains the insurgence of Scale the Summit fans in the last few years. After all, each style of music the group traverses has much to do with this idea of adventure. Metal is a journey into dynamics, rhythms and grooves; progressive is a voyage into irregular song structures and instrumental experimentation; jazz itself is an excursion into arranging particular combinations of notes in innovative ways. So upon looking at Scale the Summit in this manner, it’s no surprise the group has emerged from the instrumental progressive metal scene as the frontrunner lately-- it simply has all the right cards in its hand.

Contrary to the title of the group’s most recent release, The Migration isn’t much of a deviation from what fans are expecting. Don’t get me wrong-- there are quite a few things here that Scale the Summit does differently-- but ultimately, it’s fairly obvious this is from the same band that made The Collective. The album artwork tells a different story upon first glance, one consisting of the fact that all the other albums have focused on barren landscapes, but the lush hills of The Migration’s cover are a more accurate depiction of what Scale the Summit accomplishes with its music.

The core of this album is its acute sense of melodic atmosphere. This particular style has been amped up tenfold from its emergence on The Collective, even serving as the main focus of the album over the guitar riffs. What a pleasing change, too-- we now have multiple tracks that pick up where songs like “Black Hills” left off, like “The Olive Tree.” And I can’t say enough great things about “The Olive Tree”-- it’s a success because of how simple it is, from its straight-forward structure to the basic chord structure. Yet the layers are there, and they always add the sense of depth Scale the Summit’s music has always possessed. When Chris Letchford’s insane guitar lead comes into the song’s true intro and adds a distinct edge to the song, it’s clear Scale the Summit knows exactly what it’s doing. The group plays simple in the most complex way, and creates catchy summer jams by meticulously planning out instrumental parts. And in this paradoxical way, all of The Migration’s greatest moments showcase a band at the top of its game, quelling the anxiety fans possessed during the record’s inception.

One of the most thrilling aspects of this release is how each musician brings so much to the table without stealing the spotlight. Although each band member possesses a breadth of technical skill, it’s always for the song’s sake. See “Narrow Salient,’ a documented and carefully mapped out jam session where the entire group interlocks for a steady line of notes. The drummer focuses on bass and snare drum, the guitarist and bassist deftly move at the same pace, and we're reminded that Scale the Summit is still capable of absolutely shredding when necessary. Most of the time it isn’t, though, and that’s alright. Most of the album is spacious, and this gives each member the ability to flex his muscles when the song calls for it. The songs are also much more emotionally versatile than the group’s previous outings-- “Willows” plays off as the moody stepson of The Collective’s “The Levitated,” while “The Traveler” is the most carefree track the band’s written yet. There’s a palette of emotion here, making the experience much more lasting.

And by the time “The Traveler” closes out, it all makes sense again. After all this time of Scale the Summit writing intimate, but disconnected, music about nature and what to make of it, the group decides to direct its music towards a different angle: that of the listener. Throughout the entirety of The Migration, Scale the Summit is carving this particular journey selflessly, giving back to the fans that have supported them and propelled them to the brink of success in the otherwise dwindling instrumental progressive scene. The group’s having a hell of a time doing what they do, and this much is clear on The Migration. But never has Scale the Summit documented such a meaningful adventure for us, and we fans wouldn’t have it any other way.


 

Back
Top