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Dakle ameri odlepili 100%, u prvi mah pomislih da su yaista Bosanci.

Bosnian Rainbows is an American alternative rock band from El Paso, Texas, formed in 2012. The band consists of former The Mars Volta members, Omar Rodríguez-López (guitar, backing vocals) and Deantoni Parks (drums, keyboards), alongside Le Butcherettes vocalist Teri Gender Bender and Nicci Kasper (keyboards).

Initially billed as a variation on the Omar Rodriguez Lopez Group, the band was formed following Rodriguez-Lopez's putting his primary project, The Mars Volta, on hiatus......

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For a long time after I first heard it, I wanted to write a review for Letlive’s Fake History. I’m not sure why I never did, but it probably had something to do with the apologist tone that I would have inevitably taken. I love Fake History, even at one point giving it a classic rating. But whenever I would think about how to start a review, I would mostly try to come up with defensive explanations. “They don’t even sound like Glassjaw!” “Given some more time, I think that Jason Butler could have something really unique and hard-hitting to say about racial and social issues in America!” And for whatever reason, I imagined myself then making some sort of comparison between Letlive and velociraptors. Like, velociraptors, in your head, are sleek, badass predators built to hunt and kill. But they were actually covered in feathers and looked ******* absurd.

The point, then, (I guess) would be this: can’t something still be cool even if it’s a little ridiculous?

But first, a word about those aforementioned Glassjaw comparisons. The single similarity I hear between the two bands is the tone of the clean vocals. To compare them in any musical sense is to either drastically overrate Letlive or drastically underrate Glassjaw. The things that Glassjaw were able to accomplish in both tone and texture are so far beyond most other bands in the post-hardcore genre that it’s almost unfair to compare anyone to them, let alone a relatively young, unproven band like Letlive. I think I heard more Paramore in Fake History’s choruses than anything else, and I guess people will see that as a negative, but I don’t. As for specific post-hardcore comparisons, they’ve always had more in common with the Alexisonfire-Hopesfall brand than anything else.

I think it’s appropriate then to ask what it is about Letlive’s music that causes people who dislike them to compare them to a pinnacle of the genre like Glassjaw when they really don’t sound too much like them. Letlive clearly have aspirations that are apparent even to their detractors: they shoot for big choruses, they write lyrics about big topics, and they deal, at times, in an intensity that is almost suffocating (if you don’t believe me, it’s possible you didn’t listen to “Casino Columbus” and “We, The Pros Of Con” enough). The Blackest Beautiful attempts to coagulate its predecessor’s strengths into a cohesive statement that makes sense from start to finish and, perhaps, by its end, has said something. Whether Letlive succeeded in that particular sense is up to the individual listener, but I can say that this album sounds much more mature to me than Fake History, which I had already thought was pretty forward-thinking for a young band. Jason Butler, in particular, has gone for nuance rather than overt catchiness in his melodies, and the band as a whole is stronger for it. Songs on Fake History sometimes sounded like they were simply vehicles for Butler’s frenetic performances instead of complete songs. That isn’t the case here, which means that most of these songs aren’t as immediate, but lack of immediacy is generally a good indicator of an album’s longevity, especially in post-hardcore.

Not that some of these songs don’t hit hard right out of the gate; the one-two punch of “The Priest And Used Cars” and “Pheromone Cvlt” comes to mind first. The former combines the nonstop riffing of earlier Letlive songs in the verses with a restrained chorus that features one of Butler’s best vocal performances, while the latter is all restraint. It’s probably the most personal song on the album, by which I mean it deals with relationships, something that Butler doesn’t write much about. But a careful listen to the lyrics will reveal just how self-aware he is (“To all the girls who would be perfect for me/Break my jaw so we can’t talk about me”), which is a good counterpoint to those who feel that his constant vocalizing equates to selfishness. Sure, songs like “Banshee (Ghost Fame)” that feature rapped vocals can sound a little preposterous at first, but when you think about it, haven’t punk and hip-hop always sort of walked side by side? Butler certainly thinks so, and the more I listen, the less inclined I am to disagree with the way he chooses to present his message.

There have been some complaints about the album being underproduced, or at least poorly mastered, but those seem to be based on a bad leak. If anything, the album is too produced. Letlive would benefit from production that is a little more raw; the polished sound present here (and on Fake History) can make Butler’s pre- and post-song ad-libs feel concocted and planned, which again doesn’t jive with the self-awareness that he reveals through his lyrics. And speaking of the lyrics, in closer “27 Club,” Butler cheekily describes himself as “an example, an exhibition,” and that can probably serve as the best available mission statement for him, his band, and The Blackest Beautiful. He knows that in this world full of uncomfortable truths, one of the worst is that our entertainment often spurs more change than anything people see on the news or read in the paper. He knows that people use music and art to shape their views and beliefs even though they probably shouldn’t, and the least he can do is try to turn that into something positive. Who am I to call that ridiculous?

ceo album, jun, 2013

 

25 jul 2013

After four years of touring Shpongle return with a new album, though much has changed. Music production isn't something for just enthusiasts anymore, and the tools needed to make an entire album in your bedroom are becoming increasingly available and affordable... yet this just makes Shpongle's return all the more welcome. In a time where more and more focus is put on commercialization and churning out quick hits Simon and Raja's latest work is a welcome breathe of fresh air wedded to nostalgia, and proves that the group isn't ready to become stagnant anytime soon.

With their long history of DIY techniques when it comes to almost every aspect of their music (the singing on Ineffable Mysteries was recorded live in India, the singer was found via their rickshaw driver), listening to a Shpongle album truly becomes more of an experience and less an act of just listening; the variety and amount of layered sounds is wonderfully engrossing even when not under the influence. One of the more immediately noticeable aspects of Museum Of Consciousness is the emphasis on the bass lines; the entire album is far more driven and upbeat when compare to its predecessor. This is a most welcome change, providing heft and even more of an inclination for the listener to dance or just let go (as well as even more replay-ability). The opening moments of “Juggling Molecule” are prime examples of this, with the tracks layered claps and vocal repetition complimenting this emphasis on bass perfectly and adding a sense of urgency that just seemed lacking in the groups previous album. Ambiance isn't forgotten however, “The Aquatic Garden Of Extra-Celestial Delights” should make longtime fans feel right at home as the duo channels moments from “Around The World In A Tea Daze” and “My Head Feels Like A Frisbee” to create a song that, while familiar, is poised to be a listener favorite.

Museum Of Consciousness is a surprising album, whenever I started to think that the band had begun to go back to their old ways or retread the same ground and structure something would appear to wash away my concerns; the rather funky guitar section on “Further Adventures In Shpongleland” completely changes the nature of the track, and when combined with the deep bass line later on the song really steps into its own. This also sets up the audience for some signature Shpongle moments that they may have not seen coming, and should have many fans smiling from ear to ear when they occur. Small changes like these, combined with the larger ones (the startlingly dark horn and string intro on “The Epiphany Of Mrs Kugla”, the almost trance-like vibe on “Tickling The Amygdala”) really cements the fact that while the duo really care about making each experience differ from the one they've created before. Coming after the predominantly laid back Ineffable Mysteries From Shpongleland, Museum Of Consciousness is a welcome change of pace and easily carves its niche in the Shpongle catalog; this is an album I highly recommend to old and new fans alike.
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The day would eventually come. It was both expected, yet unexpected. Last year, Robert Fripp had announced that he would be retiring from the music industry. After years of what we knew as "King Crimson", the Court has been left in what could be disarray, leaving the future of the band uncertain. But had that left without some last words? A year before, one of the most recent Crimson Projekcts, Jakszyk, Fripp, and Collins, released what appeared to be a faint cry of what the projekct was about. This album was called a Scarcity of Miracles. The name itself was necessary, as it could be the last studio album left by Fripp. And if anything, would be appropriate to state it almost as a graceful farewell.

Why should it be said so? King Crimson has had its fair share of disappointing albums, such as Construkction of the Light, which attempted to recreate a noisy 2nd lineup sound that originated from the 1970s and failed. Unlike most KC material released, A Scarcity of Miracles appears to display more an ambient rock mood, which is fresh and even sounds modernistic in positive manner. Continuing off this archetypical sound is the complexity, distortion, and the abrasiveness that seems to still live and thrive within the band. This shows in songs such as The Other Man, A Scarcity of Miracles, and Secrets, where you can hear the reminiscent sounds of distant past works like The Night Watch, Fracture, Providence, and Fallen Angel. This material that the projekct delivers is the type of music that really flourishes and grows into something wonderful. An advantage that really showcases a nice final movement.

The genre, sound, and colorful mood isn't the only brilliant shining light in this album. The team chemistry on A Scarcity of Miracles is also very important. It shows whether each of the members of this Crimson Projekct could pull it together. And for the most part, they did. While we don't necessarily have bombastic guitar solos, the screaming of an violin, or the grooviest basslines being stoked, there is still some stock of quality virtuosity. You still get the dissonant sound of Mel Collins' Alto/Tenor Sax, the scratchiness of Fripp's guitar, and the melodically beautiful keyboards from Jakko Jakszyk. To add in to that, Jakszyk also delivers some cool, deep, smooth vocals and Gavin Harrison tops it off with short lived "Michael Giles" moments. This still proves that Robert Fripp could make good final decisions to finish the long lived life of King Crimson.

Lastly, a question to consider: what is next for what remains of the KC and its possible last projekct? Who knows what the future provides for the pioneers of progressive rock. While the future of King Crimson is currently in limbo, A Scarcity of Miracles if anything, was an impressive stand for a group that had long gone for over 40 years until the river of creativity ran dry. Even if it was just a projekct, it could still be a fitting finale for the Court of the Crimson King.
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p.s. sada će Komšija pasti u nesvest
 
Danas je veliki dan, čim budem u mogućnosti kačim ceo album na shark


I liken Dream Theater to veteran football players. They innovated when they were young in their careers and long into their stride they brought something new to the game - an x-factor that was unparalleled by others, though often imitated. Yet, towards the end of their career, while they're still fan favorites with a bit left in the tank, they're mostly on the way out. Granted, I liken Dream Theater more to a Tony Gonzalez than a Brian Urlacher - more to give and often requested to knock around for another year for another shot at the title, but if you're looking for the apex of progressive metal, the torch has long since been passed.

That said, Dream Theater, an oddly self-titled affair for a band's twelfth outing, ups the band's game plan considerably from the likes of their previous outings and offers a noticeably brighter outlook on most things since 2005 (or, arguably, earlier, when Portnoy became fascinated with the darker side of metal on Train of Thought). While this can't be welcomed as any brilliant change of direction, since it was foreshadowed heavily by previous (and appropriately titled) outing A Dramatic Turn of Events, it certainly can be welcomed.

Most noticeable and appreciable among those elements on Dream Theater are the forward bearing roles of bassist John Myung and keyboard virtuoso extraordinaire, Jordan Rudess, who have expanded greatly on what felt like restrained roles in the latter half of the Portnoy era. Myung breathes a huge sigh of relief and a massive wind of interest into the group's tried and true sound with a bass sound that pops, fizzles, and grooves all throughout the album, while Rudess leads the light and melodic portion of the band's relatively formulaic approach to anti-formulaicness.

Guitarist John Petrucci continues to show that he can shred like nobody's business and lays down more than a few lightspeed polyrhythmic chugs and uber-technical solos which validate his appearance on the most recent Periphery album, but these are standard fare by now, as are James LaBrie's par-for-the-course vocals. They're not bad, mind you, but if you've heard one Dream Theater album, you've heard LaBrie's performance on this one. Seriously, listen to the end of "The Bigger Picture" - it's exactly the same as the end of "Strange Deja Vu."

Dream Theater as a whole is reminiscent of the Dream Theater from around Scenes From A Memory, but with an even more technical outlook that dips its toes into the pool of meaningfulness more often than on previous albums in recent history. That said, for the acquainted ear, it should be a treat to hear a little more purpose behind the punch of a Petrucci solo and the more atmospheric and, dare I say more prog-oriented (see "Illumination Theory") approach of Dream Theater classify it as a rising action for the previously downward-dipping quintet.

All that said, I'm not quite sure how to classify the involvement of Mike Mangini on this album. It seems my initial criticism of the band's choice in drummers holds true as Mangini proves to be a suitable but safe replacement for Portnoy. Even in crafting his own rhythms, Mangini adds very little to the band that's new or extraordinarily thought provoking and overall, that's how this album can be characterized. Two parts stepping forward and three parts right where they've been. On the whole, it's an improvement, but not enough to move things forward by any order of magnitude.

But after all, with twelve albums under their belts, can we really expect Dream Theater to reinvent the game? Probably not, but heck, it's still fun to watch them catch a touchdown pass here and there.
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Novi album na kome nema ništa zanimljivo osim poslednje dvadesetominutne pesme. U anketama nije ocenjen najboljim ocenama, ali legende su legende, mogu i na staru slavu malo da se voze.

I liken Dream Theater to veteran football players. They innovated when they were young in their careers and long into their stride they brought something new to the game - an x-factor that was unparalleled by others, though often imitated. Yet, towards the end of their career, while they're still fan favorites with a bit left in the tank, they're mostly on the way out. Granted, I liken Dream Theater more to a Tony Gonzalez than a Brian Urlacher - more to give and often requested to knock around for another year for another shot at the title, but if you're looking for the apex of progressive metal, the torch has long since been passed.

That said, Dream Theater, an oddly self-titled affair for a band's twelfth outing, ups the band's game plan considerably from the likes of their previous outings and offers a noticeably brighter outlook on most things since 2005 (or, arguably, earlier, when Portnoy became fascinated with the darker side of metal on Train of Thought). While this can't be welcomed as any brilliant change of direction, since it was foreshadowed heavily by previous (and appropriately titled) outing A Dramatic Turn of Events, it certainly can be welcomed.

Most noticeable and appreciable among those elements on Dream Theater are the forward bearing roles of bassist John Myung and keyboard virtuoso extraordinaire, Jordan Rudess, who have expanded greatly on what felt like restrained roles in the latter half of the Portnoy era. Myung breathes a huge sigh of relief and a massive wind of interest into the group's tried and true sound with a bass sound that pops, fizzles, and grooves all throughout the album, while Rudess leads the light and melodic portion of the band's relatively formulaic approach to anti-formulaicness.

Guitarist John Petrucci continues to show that he can shred like nobody's business and lays down more than a few lightspeed polyrhythmic chugs and uber-technical solos which validate his appearance on the most recent Periphery album, but these are standard fare by now, as are James LaBrie's par-for-the-course vocals. They're not bad, mind you, but if you've heard one Dream Theater album, you've heard LaBrie's performance on this one. Seriously, listen to the end of "The Bigger Picture" - it's exactly the same as the end of "Strange Deja Vu."

Dream Theater as a whole is reminiscent of the Dream Theater from around Scenes From A Memory, but with an even more technical outlook that dips its toes into the pool of meaningfulness more often than on previous albums in recent history. That said, for the acquainted ear, it should be a treat to hear a little more purpose behind the punch of a Petrucci solo and the more atmospheric and, dare I say more prog-oriented (see "Illumination Theory") approach of Dream Theater classifies it as a rising action for the previously downward-dipping quintet.

All that said, I'm not quite sure how to classify the involvement of Mike Mangini on this album. It seems my initial criticism of the band's choice in drummers holds true as Mangini proves to be a suitable but safe replacement for Portnoy. Even in crafting his own rhythms, Mangini adds very little to the band that's new or extraordinarily thought provoking and overall, that's how this album can be characterized. Two parts stepping forward and three parts right where they've been. On the whole, it's an improvement, but not enough to move things forward by any order of magnitude.

But after all, with twelve albums under their belts, can we really expect Dream Theater to reinvent the game? Probably not, but heck, it's still fun to watch them catch a touchdown pass here and there.
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Eto, nađoh malo vremena da ovaj album u celosti podignem na shark da bi mogli da ga preslušate. Na YT ga sigurno neće biti duži vremenski period.

http://grooveshark.com/#!/album/Dream+Theater/1200739
 
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