Noviteti (singlovi, albumi...)

Wooden Shjips’ rise to prominence from the psychedelic underground to the rock and roll overground has been a steady sojourn. With each consecutive release, the band has found new ways of transforming heady psychedelic rock into minimalist masterpieces, bridging the gap between the woozy freeness of Les Rallizes Denudes and Crazy Horse and the tightly wound simplicity of Suicide and the Velvet Underground. Back To Land, the quartet’s follow-up to West, is the first Wooden Shjips record to be conceived outside of San Francisco. Ripley Johnson and Omar Ahsanuddin moved to Oregon, where the lush climates became a major influence on the songwriting. The band’s scope expanded to include more earthy, grounded tones, such as the acoustic guitar, without abandoning their modernist psych core.

There is an increased brightness to many of the songs on Back To Land, an easiness with which the band has flirted with in the past but never fully realized until now. The nervy urgency of West has evolved into an assured confidence, from the alliterative, interlocking guitar and organ groove of “Ruins” to the languidly compelling guitar solos of “Servants.” The addition of the acoustic guitar to the band’s textural palate is coupled here with some of the most melodically direct songs the band has written.

Still, there are still plenty of signature Shjips songs, with distorted riffs, modal keys, and a steady, crisp drum sound unfolding intensely while the elongated melodic guitar lines drift in and out of the foreground. On Back to Land this energy is captured in clear detail, designed as an immersive experience rather than a passive blasting. Back To Land was laid to tape at Jackpot Recording Studios in Portland by Kendra Lynn and mixed by Larry Crane. It was recorded over an 11-day session, resulting in some of the most detailed and spacious recordings of their career.

Back To Land is a breakthrough record for the Wooden Shjips: nuanced, varied and utterly addictive. The band will be touring extensively in the US and Europe November through February.
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Album je izašao juče.

http://grooveshark.com/#!/album/Back+To+Land/9311084
 
Progressive hard rock, Seventh Key i njihov novi album "I Will Survive". Prvi novi album u osam godina.

http://grooveshark.com/#!/album/I+Will+Survive/9333734

SEVENTH KEY IS:
Billy Greer : Bass, Lead Vocals
Mike Slamer: Guitars, Keyboards, Programming
Chet Wynd: Drums

Special Guests:
David Ragsdale: Violin
Billy Trudel, Terry Brock, Bobby Capps, Barry “The Blade” Johnson: Background vocals
David Manion: Keyboards

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Release date: 11 Nov 2013

This is the second single from Aldershot born Lydia Baylis, and a change of direction from her ethereal debut Mirrors. Life Without You is a more typical modern pop song, with a gentle Pet Shop Boys style backing - and a rasping chorus. There is a moody feel as Baylis tells her former lover that she has moved on. Or has she? The tears have apparently all dried up - but in the video she is still wallowing in the bath!

There is a subtlety to Life Without You that takes a few listens to get but worth it once you do. In the fierce pop market, it is difficult to know if that is a good thing or a bad thing though. Baylis is finalising plans for a UK tour in December, ahead of the release of her third single and debut album, A Darker Trace in January 2014.

So far 2013 has been a good year for the singer - being hailed as the next Lana Del Ray and seeing her hit No6 in the Music Week Up front Club Chart and No 16 in the MW Up Front Pop Chart. She has also had more than 100 radio playlists. Life Without You sensibly builds on that success - and hopefully early 2014 brings that blockbuster single that she has the potential to produce.

Lydia has recently been on a tour of UK universities and below talks about her time on the road and some of the inspirations behind her songwriting.
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After a six year break since the raging and shredding Career Suicide, four since a slightly less than convincing self-titled EP, one would assume that New Bedford, Massachusetts' finest may have been slacking in the new material department when progressing towards 2013. However, just as many thought that a commercially-tainted succession to 2005's Ruiner was in store, an album with several tracks that may have suggested such a progression, the assumption of a loss of songwriting prowess and just plain, good old musical talent couldn't be further from the truth. Instead, what A Wilhelm Scream creates with Partycrasher is a carefully crafted oath to their previous full lengths, while maintaining that cutting edge that keeps them ahead of a legion of other melodic punk bands in the city that they built (with debts and booze).

The aforementioned musical talent is something that the members of A Wilhelm Scream seem to have been born with, as if they were practicing since age two. The duo of stalwart guitarist Trevor Reilly and wicked minion Mike Supina continue to steal the show with their impressive fretboard finesse, releasing a variable torrent of scathing, metal-inspired, catchy licks and incredibly precise leads and solos (see "Ice Man Left a Trail" and the venerable beast that is the closer "Born a Wise Man"). When combined with the magician on bass that is Brian Robinson, who despite not receiving quite as much of the spotlight as on Career Suicide, still manages to deliver his share of flashy, deviant undertones and furious but coordinated kit work from Nick Angelini, the instrumental core of Partycrasher remains as tight as the cables in an aircraft carrier's arresting gears.

Nuno Pereira delivers another performance worthy of remembrance spitting his clever, fame-retardant, blue-collar lyrics that have become a trademark of the band's sound. The tri-vocal attacks (support from Robinson and Reilly) that have also become a customary exercise in A Wilhelm Scream's discography are also present, even delivering a few explosive, abrasive screams ("Hairy Scarecrow") that may surprise and are likely more aggressive than anything vocally on Career Suicide. However, ultimately it's the hardworking passion of the band, who produced the record themselves and then shipped it to the fine folks at The Blasting Room to master it and ensure the production mishap that was the self-titled EP never happens again, that ends up tying everything together in a quick-hitting and memorable package of roughly thirty-five minutes.

Despite not having quite the intimidating presence or "wow factor" that Career Suicide lead with, this record is a testament to A Wilhelm Scream's durability and consistency that has yet to see an album that could scarcely be called "average" in their discography. Partycrasher is yet another affirmation that the band are the cream of the crop when it comes to modern punk rock and are here to stay as long as their fingers don't grind down into a pulp from the relentless abuse. So, go and take a walk with Michael Douglas, become a wise man and for the love of all things enjoyable get mad you son of a bitch! A Wilhelm Scream is f*cking here.
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Ovako, ovo zvuči jako zanimljivo i album je dobio visoku ocenu. Nemam sada vremena da preslušavam ceo album natenane, ali ovo na brzinu što sam čula, zavređuje pažnju svakako.

M.I.A.'s fourth full-length arrives nearly a year late in the wake of numerous disputes between the Sri-Lankan artist and Universal. The problem with the forthcoming endeavor seemed easy to decipher as yet another attempt at making the music as commercially viable as possible. After all, Maya Arulpragasam's previous offering was an uncompromising take on the Internet era that baffled many listeners with its abrasive mesh-up of various styles and overall disdain for melody. To everyone's astonishment, though, the main gripe the record company reportedly had with the new M.I.A. output was that it sounded “too positive.” As understandable as Universal's intentions to cash on Arulpragasam as a rebelious, anti-establishment pop icon may be, these circumstances clearly reflect an insatiable desire of large record labels to tarnish any sense of artistic ingenuity and progress. Thankfully, the singer hasn't yielded to Universal's demands, releasing the album that's artistically credible rather than calculated.

Despite the delay, Matangi certainly doesn't sound dated as it relies on contributions from producers in the upper echelon of current pop charts. Most notably, her long-time partner-in-crime Switch is responsible for the disc's most ferocious cuts, while Doc McKinney of the Weeknd smooths over the presentation in its final stretch. Whether M.I.A. collaborates with R&B producer Danja or the hip hop-affiliated Hit-Boy, her signature brand of Hindu-tinged electronica unmistakably shines through. Much like her previous outings Matangi revolves around an off-kilter sonic palette. The album's impressive stew of noises involves trumpeting electronics, hazy synths, jangling rhythms, frenzied bursts of sub-bass and discordant Bollywood samples.

The singer's voice also gets a special treatment, being subjected to the cutting-edge rhythmic manipulation on 'Bring The Noize' which works equally well as a pounding party banger and a subversive mission statement. The militant drum fills propel the fractured onslaught of 'Warriors,' whereas 'Come Walk With Me' deceptively kicks off with a bubblegum pop melody only to burst into a barrage of atonal beats. 'aTENTion' curiously sees Arulpragasam reciting the multitude of words that rhyme with “tent” to the 90s garage inspired arrangement and a series of playful samples to bracing effect. 'Bad Girls' is much more potent thematically with its middle finger pointed at the Saudi Arabian laws that don't allow women wearing a niqab to drive. It's a daring anthem of female empowerment that stands out from the pack owing to its infectious hook and sinister atmosphere. Elsewhere, 'Y.A.L.A,' whose title stands for “you always live again,” is a cheeky repartee to the favored T-shirt acronym. “Y.O.L.O…what that even mean though? / back home where I come from we keep being born again…,” M.I.A. proclaims in the track's finale.

Amid all its bombast and abrasiveness, Matangi ventures into more subdued songcraft that's not only demonstrated in a less hectic sound, but also in a more varied approach to vocals. Instead of defiantly rapping, M.I.A. confidently sings on many occasions, revealing her vulnerable incarnation to a greater extent than ever before. She lends the smooth vocals to the dub swing of 'Double Bubble Trouble' and the coy falsetto to the wonderfully stripped-down 'Lights.' The most affecting moment, however, comes with the hook-laden R&B of 'Know It Ain't Right.' These mellowed-out numbers enrich the listening experience, creating a sense of intimacy that's been largely absent from the artist's previous output. At points her lyrics may be devoid of substance, but the superlative production largely keeps the songs engrossing. The sole exception is closer 'Sexodus' that fails to distinguish itself from the mystical 'Exodus.'

While many pop singers settle on the lowest common denominator, M.I.A. stays ahead of the curve. Her career-defining achievement Kala remains unmatched, yet the new album is nearly as appealing with its balanced collection of club-ready jams that dare to be distinctive in the realm of current pop music. At once highly inventive and unabashedly fun, Matangi showcases the trailblazing pop star at her most expansive thus far. M.I.A. adroitly capitalizes on her established style, embellishing it with moments of genuine intimacy. On 'Boom Skit' she implies she was accused of "stealing Madonna's crown" after her notorious Super Bowl performance. I for one have nothing against it.
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Sa ovim malo kasnim. :rumenka:

Consistency has been Avril Lavigne’s forte ever since she exploded onto the pop music scene in the early 2000’s. As she keenly toed the line between high school drama and adulthood, she has always kept a balanced musical persona that would appeal to adults and teens alike. There isn’t a contemporary soft rock station that hasn’t overplayed ‘My Happy Ending’, and everyone who was a teenager in 2006 will half-ashamedly be able to recite to you the lyrics of ‘Girlfriend.’ Lavigne is a staple of new millennium pop, and with that success comes very specific expectations. Avril needs to show flair – the defiant, “my way or the highway” attitude that made The Best Damn Thing irresistible. She also needs to display a sensitive and relatable side, along the lines of “I’m With You.” Perhaps that is what made her 2011 release Goodbye Lullabye such a resounding success. There was a perfect blend of bad bitch rockers and sensitive Swift-esque balladry. With Avril’s freshly minted self-titled album, you can expect more of the same pop sensibility with a punk attitude that has allowed her to enjoy success for over a decade.

It’s clear from the start that Avril Lavigne wants listeners to bask with her in youthful glory first and foremost. The album opens with a pair of irresistible tunes – ‘Rock N Roll’ and ‘Here’s to Never Growing Up.’ Both boast unforgettable melodies and even catchier choruses, with the former recalling Joan Jett and the latter summoning up some of her most anthemic songwriting to date. ‘17’ stays the course, recalling her high school days of “learning how to break the rules.” While the appeal of each song varies across the album, the lyrical content is essentially the same throughout. It may be her most reminiscent album to date; something that is not uncommon for star singers in their late twenties or early thirties who never fully experienced their youth because of the immense pressure they faced at such a young age. Not that anyone feels bad for the young celebrity, but it provides Avril with a platform upon which to construct her more thoughtful lyrics. ‘Let Me Go’ is a prime example of her softer side, exposing vulnerable lyrics and pairing them with Chad Kroeger’s duet. Before you scoff at the inclusion of the Nickelback singer, remember that pop music is the name of the game here – and there is no question that ‘Let Me Go’ hits every nail on the head as far as accessible ballads go. The acoustic guitars and piano notes that act as an outro, in particular, are quite beautiful. From start to finish, Avril Lavigne possesses a tradeoff between uptempo anthem bids and lush pop ballads. Sure, it’s all commercial and it’s all very manufactured – but in the face of those criticisms it’s hard not to notice that it’s also very good.

As with any Avril Lavigne album, her self-titled release has its share of pitfalls. Sometimes, her lyrics will leave you scratching your head. For instance, anyone who has actually listened to Radiohead knows that they don’t make the kind of music that you “sing at the top of your lungs”, as she proclaims in ‘Here’s to Never Growing Up.’ She also isn’t the best at varying her style, as the entire record marches to the same beat as her collective prior discography. She really only has two modes, which was already discussed at length, and she doesn’t try to change that perception at any point in time. Personal weaknesses aside, Avril Lavigne is still an inconsistent record. It’s front-loaded, with the majority of the strongest tracks residing in the first quarter of runtime. This leaves little to look forward to after the waning minutes of ‘Let Me Go’, and at times compels you to want to skip around the CD in order to find your favorite moments. Additionally, some of the album’s attempts to draw in a younger crowd are laughably bad, like the insipid ‘Hello Kitty’ and the rap verse on ‘Bitchin’ Summer.’ Both tracks carry the vibe of someone trying just a little too hard to stay relevant with the young crowd, and Avril would be better off if she just aged gracefully (which she isn’t even that old at 29) and stayed true to herself. Obviously, there’s a wide array of shortcomings – some inherent in the pop genre, and others specific to Lavigne – that anchor this album and prevent it from being lauded as anything other than a good mainstream pop album.

As a whole, Avril Lavigne is an appropriate self-titled album if there ever was one. It is basically the quintessential Avril Lavigne record, featuring the soaring choruses and melodies that made us fall in love with her over the past ten years, as well as the silly (and sometimes stupid) quirks that range from endearing to flat out annoying. This is Avril Lavigne’s me record, and it couldn’t be a better representation of her career up to the present day. It’s fun, easily digestible pop for the masses. In the end, that probably tells you everything you need to know about Avril Lavigne.
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Album je dobio neku srednju ocenu.
 
Rise of the Blue Lotus is the sixty-second studio album by guitarist Buckethead, and the thirty-second installment of the Buckethead Pikes Series. The album was part of a series of twenty-six pike albums that were released in close succession from one another during 2013.

The album was announced as a limited edition on October 27. The limited edition consists of 300 copies of an untitled white album signed by Buckethead himself to be released on November 12. Unlike any of the limited edition albums, Rise of the Blue Lotus was signed with blue ink instead of the traditional black ink used in the previous limited editions. A digital edition of the album was announced for November 5 but got delayed until November 8. A standard edition was announced but has not yet been released.
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