Preporuke

Ovo je toliko sveze da nema ni 500 pregleda na YT, dakle Januar, 2013.

Stavljam ovaj metal ovde da se slihtam moderatorki posto ona voli metalizirane stvari. Ja licno pre bih slusao Karleusu. I to uzivo.

 
Nije nešto revolucionaran ali ipak dobar album, 2012. g. Ocena (od 1-5) 3.5, znači prosek.

Black Country Communion Album Afterglow review

A project that overcame the expectations

Black Country Communion is one of those super bands a single glance at whose lineup is enough to know you have to try their new album. Once vocalist Glen Hughes (Deep Purple), keyboardist Derek Sherinian (ex-Dream Theater), Jason Bonham (Led Zepellin) and virtuosic solo-guitarist Joe Bonamassa, you can be sure to expect an extraordinary work from them. Well, this world rock best-of team did demonstrate an extraordinary work after releasing a self-titled album. Enviers and skeptics were quick to speak up sharing speculations that projects like that do not love long, that they have nothing to offer but big names, and that the band would soon be forgotten. Everything turned out … totally opposite. Black Country Communion seem to do everything not like it is done in the contemporary show business. The rockers managed to record three albums in the two years the band has existed. How can it be like that in the times when even the most famous, demanded and trendy performers make new records every two, three and even four years on average! Yet the most encouraging thing is that the band’s third offer, Afterglow, in terms of material and delivery is at least as good as the two before.
Afterglow is the greatest chemistry in the band

Afterglow starts as if there is no hurry and there will be nothing to surprise listeners. The first two tracks of the new Black Country Communion album are just solid hard rock songs breathing the seventies. We feel how great the chemistry is among the musicians, who know what and how they have to do to get the best result. However, when the time comes for Midnight Sun, and Confessor, we get to sense the might and the power of the ensemble. The pace grows swiftly, Hughes gets to more challenging vocal lines, while Joe and Derek take turns playing exquisite solos. Cry Freedom is a highlight featuring the vocal duo of Hughes and Bonamassa. In the middle of the set lies Afterglow, which, like a good film, kicks off moderately, intriguingly, delaying the best part. The quiet intro grows into substantial crushing hard rock with no drawbacks spotted. Speaking of slower material, there is a profound and touching ballad called The Circle. It is a spacious seven-minute piece with the leading part assigned to Hughes. It is no secret ballads are the best when you need to listen through all the hues and shades of the frontman’s singing.
They play classic hard rock, but have a unique style

Afterglow is good from the first to the very last track. It is a wonder how and when the musicians managed to record so much good material! And this is the sheer talent that did it. The ending of the record appears even stronger than the beginning, which rarely happens. Black Country Communion first offer a very tuneful and emotional song called The Giver, and then close the record flat out with a heavy and dynamic smasher Crawl. And now try to decide which the band’s three long players is the best. Probably, there is no need for a question like that. Black Country Communion were quick and clear to chose the style they wanted to play, and they have never walked out of the borders thereof. They play hard rock in is best form, which, on the one hand, has flawlessly performed and recorded parts, and on the other hand boasts that raw sounding it needs. Considering the status and level of the musicians gathered under the flag of this band, we have no right to argue that Afterglow is another walk down a beaten track. The music of these songs indeed call for direct associations with the music of the glorious past, but each of Black Country Communion members contributed something of his own to make this material truly original and a total must have for all fans of this music.

Alex Bartholomew (26.11.2012)

 
Dobar album za opustanje iz 2012. Ono sto sam primetio na YT je da osim sto nije ceo album okacen je i to da su mnoge stvari pomesane i po nazivu ne odgovaraju odgovarajucim pesmama a neke uopste i nisu sa ovog albuma. Dakle donekle fake.

 
Novi album (2013) Boba Dilana alternative.


Last time Adam Ant released an album, chart success was possible, even expected, so he indulged in his softer side on 1993's Wonderful. Those were different times. Twenty years later, the music biz has fractured and Adam himself hasn't had an easy time of things (the past two decades were littered with tabloid stories of his travails), and he's decided to seize these two events on the wild, sprawling double-album Adam Ant Is the BlueBlack Hussar in Marrying the Gunner's Daughter. Its convoluted title refers to Adam's early persona, pirate torture, and record label machinations and, unsurprisingly, the album addresses all of these problems and more -- including "Who's a Goofy Bunny," an old demo revived as a tribute to the departed Malcolm McLaren -- channeling all these thoughts into something of a concept album portraying Adam Ant as a lone warrior combating the world. Or something. It's hard to tell and ultimately it matters little, because much of the appeal of The BlueBlack Hussar is its mess, how the Adam works feverishly to incorporate any idea he's ever had into one album. He's working with a couple of guitarists -- he fell out with old mate Marco Pirroni early on in its composition -- relying mainly on Morrissey lieutenant Boz Boorer but also finding room for 3 Colours Red guitarist Chris McCormack, who provides the album's harder, steelier punch. At times, there is a conscious evocation of Adam & the Ant's dark, early material but that's often overshadowed by the heavy swing of Boorer, who keeps things lively, swinging, and weird. Adam Ant has never quite flirted with rockabilly or blues here, but this is hardly roots: all these elements are processed, sequenced, and flattened through digital recording, lending a mischievous malevolence and no small sense of artifice to even a simple, three-chord rocker. Honestly, there's nothing quite "simple" here: Adam tells a dirty joke then winks at the audience, he overloads a simple beat with unnecessary accouterments, he laces dread throughout a sweet doo wop "Valentines," joyously salutes old rocker "Vince Taylor," then attempts futuristic industrial on "Hardmentoughblokes." There's too much going on in every individual song and, at 17 cacophonic tracks, Adam Ant Is the BlueBlack Hussar in Marrying the Gunner's Daughter is simply way too much to take in at once...and yet, that's precisely its charm. Adam Ant has never let so much loose, has never attempted so much on one record, has never sounded this ambitious and arty since the days of Dirk Wears White Socks and Kings of the Wild Frontier, and even if not everything works, this is a bizarre, brazen statement of purpose from an artist who has been in the wilderness for far too long.
 
Izasao ispod prese pre desetak dana. Na YT ima samo jedna stvar, ali zato na Grooveshark od danas ima ceo album (hehehe, :whistling:), pa ko voli dobar funk/jazz/rock eto mu link.

rockcandyfunkpartywewan.jpg


http://grooveshark.com/#!/artist/Rock+Candy+Funk+Party/2651472
 
2012. Verovatno njihov naj-naj-najbolji album.


Review Summary: Poupée de cire, poupée the album.

To call Les Fleurs Du Mal ”Therion’s latest effort” would already be giving it far too much credit. Even with their constantly revolving door of personnel, a group with so much vocal, instrumental, and songwriting talent should have no problem taking their distinctive sound and crafting a listenable album.

Despite this, mastermind and founder Christofer Johnsson has managed to create two consecutive albums full of pomp and devoid of substance. Where Sitra Ahra attempted to razzle dazzle with extended track lengths and cheese, Les Fleurs Du Mal opts for focused tracks that are brief but numerous. As a result, when Sitra Ahra ultimately annoyed and grated on one’s ears, Les Fleurs Du Mal instead slips harmlessly by as it is drowned out by the sound of snoring.

Each track is roughly equal in its lack of ideas and its ability to flow into the next harmless snoozer, making no individual song particularly infuriating nor any song particularly enjoyable. I will throw a single bone and nominate Dis Moi Poupée, with its simple yet gratifying progression and the album’s most memorable melody, for as much of a standout track as an album of background noise can produce. However, with one potentially enjoyable track comes an equally obnoxious one in the form of Je N'al Besoin Que De Tendresse with its fast-paced sloppy riffing and high-pitched catawallering.

Even with its 16 tracks, Les Fleurs Du Mal boasts a welcome 48-minute run time, having all but one track land between two and four minutes in length. The brevity of these rather tame and uneventful songs are their greatest strength, giving the listener a feasible chance to make it through the entire album before walking away or falling asleep. The album is noticeably softer than either Gothic Kabbalah or Sitra Ahra, showcasing a subdued but still-present metal backbone. These aspects makes Les Fleurs Du Mal perhaps more listenable than Therion’s previous blunder, which practically drove the listener away with its obnoxious and unfocused romping. It falls short the most, even more so than Sitra Ahra, by not containing any interesting musical ideas. Where Sitra Ahra haphazardly, and rather schizophrenically, tossed in countless stolen and uninspired scraps from music of all eras and worldly locales, Les Fleurs Du Mal instead sticks mostly to a single uninspired concept of French Romanticism (and thus is sung almost entirely in French). This makes for a slightly more focused album, albeit one that introduces nothing remotely surprising or captivating.

After the nearly unlistenable mess that was Sitra Ahra, the future of Therion was uncertain. Should Christofer Johnsson have put the beast to rest after the respectable, if not a tad laborious, Gothic Kabbalah? Would the new members rebound from their recent stumble to rally a strong follow-up and put fans’ fears to rest? With Les Fleurs Du Mal, the questions have been answered. It seems that Johnsson will continue to lazily lob records to whatever fans remain, collaborating with whoever will work with him and with little regard to the integrity of Therion.

Les Fleurs Du Mal is a forgettable experience that further cements Therion’s trajectory into irrelevance. Don’t expect any of its plain melodies to become endearingly stuck in your head, don’t even expect to have the impulse to gently bob your head to any of its insipid riffs, and certainly don’t expect any galvanizing release from Therion moving forward. When discounting the bonus track, one who manages to make it through this album while remaining conscious will notice that it is curiously bookended by the same song, Poupée De Cire, Poupée The Son. It seems appropriate, then, as Therion’s latest offering is tastelessly bland and, in every way, a poupée sandwich.
 
Poslednja izmena:
Zasto neko ne otvori ili ozivi temu o simfo roku?

Review Summary: An improvement upon an established sound that still stubbornly refuses to progress

There’s no denying that the songs on What Lies Beneath are a stark contrast to the disjointed and ill-conceived tracks that comprised My Winter Storm. As a matter of fact, the majority of the songs on Tarja Turunen’s latest solo effort are interesting enough to hold your attention for the entire running time of the album- an achievement in and of itself considering the highly repetitive and one-dimensional sound Turunen has plastered upon herself- despite the presence of a few questionable moments. The ballads shine, the guest appearances (for the most part) impress, and the aura about What Lies Beneath is distinctly Tarja, from the high points to the low points.

When everything is running as a cohesive unit, the album rolls forth with a whole mountain of momentum behind it, and by the end of the second track “Until My Last Breath” things are looking good for the remainder of the album, despite the truly awful opener “Anteroom Of Death” in which Tarja and the vocalists from Van Canto sing together in a theater-esque piece that sticks out like a sore thumb in terms of both quality and atmosphere. However, the real beauty comes when she sticks to what she does best- use her operatic vocals to drive the atmosphere of the song, instead of using it to compliment an instrumental base. On tracks like “I Feel Immortal”, “Underneath”, and “Rivers Of Lust”, the more controlled pace comes through as crucial, fueling both emotional and harmonious vocals and backing musicianship that doesn’t try to take away anything from Turunen’s singing.

Despite this focus on what Tarja does best, the album suffers gravely from stagnation. With nine of the eleven tracks running between four and five minutes, and only two different types of songs to choose from (either slower ballads or more aggressive, guitar-driven tracks), a sense of deja vu begins to form by the heart of the album, and it doesn’t seem to fade away until the last seconds of “Crimson Deep” tick away. The guest appearances by Phil Labonte, Joe Satriani, Will Calhoun and Van Canto all work to give each track a sense of individuality, but their performances do not drive away the fact that Tarja’s style is still one-dimensional. The screams of Labonte at the tail end of “Dark Star” add a vicious bite to an album that seemed to lack such aggression, contrasting his singing earlier in the same song, and the wailing guitar solo of Satriani is nothing short of impressive, but these moments all take a back seat to the main show- Tarja giving the listener a vocal display that, to be quite frank, has never changed since she first came on the music scene with Nightwish.

In the end, What Lies Beneath is an enjoyable album; nothing more, nothing less. It is certainly head and shoulders above My Winter Storm, and it shows that Turunen still has a lot left in her, despite a motif that has, at this point, been spread far too thin. If, maybe, Tarja figured out a way to use her obvious vocal talent in a way that is more creative and less predictable, then she will release something worth admiring for many years to come. However, as it stands with What Lies Beneath, the music is a cleverly disguised one-trick pony that is undeniably enjoyable to listen to, but is an album that the test of time is sure to swallow in its wake.

Ceo album iz 2010.

 
Poslednja izmena:
Gozu, novi album, 2013, dobar Doom/Stoner.

Gozu have already gained proper recognition for their debut Locust Season released three years ago. Bostonian quartet's expertly performed brand of stoner rock juxtaposed corpulent riffs with soulful melodies, manifesting its unflagging energy in stellar songwriting rather than unfocused jamming. Eagerly anticipated, The Fury Of A Patient Man follows suit and in the process lives up to its title derived from John Dryden's quote. Even though the foursome doesn't really ditch their inclination to tackle adventurous dynamics, the LP feels more accessible than their coveted first full-length packing an equally powerful punch.

The group's sound still revolves around Barry Spillberg's vibrant drumming and Doug Sherman's rollicking riffs which largely settle on permeating groove, but also make for various tempo changes. Aside from densely layered, monolithic onslaughts, there are moments on the album when his playing seems more restrained. “Charles Bronson Pinchot” may recall High On Fire in its relentless trash metal brutality, yet its second half drifts into contemplative atmospherics that have much more in common with post-metal. On the other hand, “Disco Related Injury” benefits from a sudden shift midway through trading bluesy guitar leads for ultra-thick sections with aplomb. The track also brims with soul-echoing vocals of Marc Gaffney, which range from ferocious to wrenchingly emotional. Gaff's penchant for melody has been evident previously, yet his contribution on the new album is often riddled with personal undertones and vulnerability which clearly distinguishes Gozu from their peers.

In comparison with the outfit's debut, the highlights on The Fury Of A Patient Man happen to be even more apparent. “Irish Dart Fight” is an absolute delight and the band's most representative track whose transition from a playful build-up to a blissful, wailing guitar-driven chorus is nothing short of perfect. “Salty Thump” stands out with its joyous, sleaze rock arrangement, being the most hook-laden track on the disc. In contrast, ominous “Ghost Wipe” is an exemplary exercise in releasing tension due to Gaff's infectiously unstable vocals giving way to Sherman's monstrous guitar leads and yet another unforgettable chorus. Although Gozu are at their best when they indulge themselves in short tunes based on massive hooks, they don't totally steer clear of experimentation. Lifted from their self-titled EP, “Traci Lords” contrasts their catchy style with distressing drone that also propels the record's expansive, instrumental closer.

The Fury Of A Patient Man raises the bar incredibly high for every notable stoner rock band that's planning to release an album this year. Its undeniable allure chiefly lies in the foursome's approach to songcraft that superbly balances blistering riffs with haunting melodies. Therefore, these songs are deemed to be embraced not only by ardent heavy rock fans, but also more mainstream listeners. Gozu are still in the course of perfecting and adding new elements to their style though. If they manage to make their presentation even more consistent next time, then their following record may be their magnum opus.


Ceo album je odlican, punog zvuka i veoma ritmican. One najbolje stvari se jos nisu pojavile na YT.
 
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