Preporuke

It is now more than ten years since Stone Sour formed and it truly is incredible to look back and see how far they have come. The band's debut was clearly more commercial than the output from front man Corey Taylor's and guitarist Jim Root's other band, Slipknot, but still retained some of the nu-metal influenced carried over from that band. Despite this the band still strived to calve out an identity for themselves instead of hinging around ripping off the sound of their member's other band, and allowed Corey to focus more on clean singing than the open-throat screams that dominated Slipknot's most recent album at the time. The band then went on to evolve that sound a little further with Come What (Ever) May, the album where they geared toward a more straightforward hard rock sound and then things took a turn for the worse on the recycled mainstream garbage Audio Secrecy. Thankfully the band returned with their fourth studio album, House Of Gold And Bones Part 1, with a more than solid album and were set to continue this with the second half of this release.

House Of Gold And Bones Part 2 continues much of the aggressive rock sound that the first half took but with a harder edge to it. As soon as the second track, Black John, kicks in it will be clear to many that the band has really pushed themselves to make an angry and rather brilliant release. The riffing is simplistic and chuggy as with all Stone Sour albums but the riffs are better thought out than on any of the band's prior releases. This album has a very dark atmosphere created by the low-end guitar work that could not suit a band fronted by Corey Taylor better. If only Slipknot knew how to create this sound then maybe All Hope Is Gone would have been more listenable. The drumming is rather varied, with the faster moments to some songs being carried by a lot of snare and cymbal abuse but it is the slow paced moments of the tracks that really stand out. The album opens in a slow manner, almost sounding like the sort of song you would mourn a fallen friend to, and this agonizing, torturous mood is carried through to the soft introduction to choice cut Sadist. This song opens up with some really soft instrumental work that draws up the image of somebody going through real heart ache and Corey captures these feelings brilliantly with his clean voice. Then the song gets a lot heavier during the chorus whilst still moving along at a slow, deliberate pace that is used to maximum effect here before a very heavy riff comes in around the two thirds mark. Following this comes an emotional and well placed solo that shows off just how much Jim Root has grown as a guitarist. On here there are none of the shoehorned-in solos scattered throughout his third release with Slipknot but every solo is placed very well. If there were ever a Stone Sour song that almost everyone should check out, let it be Sadist.

Corey Taylor could well be the most improved member of the band during their decade-long career. He has grown leaps and bounds as a clean singer over the years and once again shows a degree of improvement here, although the curve in improvement is considerably smaller here. His clean singing is heart-melting during the softer moments of the album where he is free to hold notes for as long as he pleases and pour his soul into his vocals. During the heavier sections where he is singing, he shows that he has a powerful bellow that can carry the band forward very well. His screaming has actually improved a little since the last two Slipknot albums and here sounds rather intense, as Red City displays once it picks up around halfway through. Haters of Corey Taylor will still love to hate his screaming but he has definitely recovered some of the intense sound that carried Slipknot's debut. On Peckinpah he delivers quite a lot of the lyrics with screams during the heavier sections and is rather fantastic on that particular song, especially at the "I'm dying for release" section which may well be the best vocal snippet on the album. His lyrics are not the best out there but are light years ahead of the swearing-flooded nonsense that his other band uses. Red City has one or two rather questionable lines but aside from that this is actually a decent album for lyrics, and is a suitable conclusion to the concept double-album.

Part 2 of this double-album is considerably darker and more aggressive than the first half, as Corey Taylor promised, but is definitely not devoid of its beautiful acoustic sections, and even the first few seconds to Stalemate are nice to hear. The overall tone of this release is one that is a lot heavier than the first half, and it suits it as the story progresses. Black John, Peckinpah and Stalemate contain what are arguably some of the heaviest sections of songs that Stone Sour has ever put out and they are handled masterfully. Every instrument has their place in the mix to make for a fantastic wall of sound, from the varied drum performance to the low-end rumbling of the bass guitar in the back ground (that is actually more audible than before). Nowhere in sight are there moments of pointless guitar chugging as was the problem with sections of songs like Gone Sovereign from the first part, but instead every song feels relevant and necessary for this release. Sadist and Stalemate are probably the best things here, with the latter being an uncharacteristically fast-paced number that feels very refreshing among the slower songs that this album is flooded with. In my opinion this topples what the band accomplished on the first half with ease and is a great listen.

Stone Sour's double-album concept release comes to an end with House Of Gold And Bones Part 2 in superb style, from the tremolo picked guitar lines toward the end of Stalemate to the amazing opener Red City, this is a masterful accomplishment from cover to cover. This album is one that comes highly recommended from me who likes hard rock music with a real bite to it.

 
solidan prog rok


Saga’s most recent album, entitled 20/20 marks the return of iconic vocalist Michael Sadler to “his” band. The musical direction is the same of previous albums dating from 1999 onwards. Ever since Full Circle, excluding the great The Human Condition, the band has maintained a constant musical direction that is very close to the sound of this album. The Human Condition itself is way heavier and progressive, personally I consider it the heaviest album ever made by this iconic band and it’s definitely different from the albums that were released since 1999 with Sadler, it was a new breeze in the band’s discography. With 20/20 the group returned to a more artistic and melodic sound that has been traditional in recent albums with Michael Sadler.

Although the album rating is rather low, don’t take me wrong, I don’t consider this album a bad one, I just consider that is weaker than previous albums dating from 1999 that marked a change in the band’s musical direction after a more radio-friendly musical style that started in 1985 with Behaviour. 20/20 is definitely a break-up with the progressive sound and heaviness that the band was able to play with Rob Moratti in the 2009 album release. It’s different than Saga’s previous album, and it doesn’t bring good news. The new album is worst in quality than I expected, generally it contains some good moments with songs like “Six Feet Under”, “Spin It Again” or “Ball And Chain”. In terms of production, this album presents a good sound engineering with no critical mistakes. Technically it contains great moments, mainly Ian Crichton’s magical guitar playing, putting definitely this performance as one of the best of his career with some outstanding riffs and sick guitar solos, if you don’t believe in me just listen “Six Feet Under”, “Spin It Again” or “Another Day Out Of Sight”; drum section also makes some great job, giving a great notion of rhythm and melody; the magical keyboards make exquisite pair with Sadler’s voice; Jim Crichton’s bass puts this album together with great progressive moments in “Spin It Again” or “Anywhere You Wanna Go”; in conclusion Michael Sadler’s voice is in top shape, delivering some amazing vocal performances. His perfect performances are no surprise: I read once in a website that vocally he might be compared with Freddie Mercury and Robert Plant. The analogy, despite being quite fancy and refined, with the passing of the years that I have been listening Saga, I tend more and more to agree with that statement. He’s such an iconic singer! I listened this album over and over again, but still I don’t find it a classic, actually, I think it will never be a Saga’s classic. Although I give big appraise to the technical side of the album, in terms of song content it’s not “my cup of tea”. Despite containing good moments, the album ends up boring me because it doesn’t present nothing new comparatively with their more recent years with Michael Sadler. Lyrically, the band presents a competent job in general, mainly with “Till The Well Runs Dry”, “Spin It Again” or “Six Feet Under”.

I truly feel that it won’t be an instant classic, though it has its moments. My low rating is given due to expectation: I expected a progressive, heavy and somehow different album than this. I don’t feel Saga lost their talent, I just feel this wasn’t a job so well done. They are one of my favorites and are definitely one of the most competent and credible musical minds of the last 30 years. Over the years I have learned to respect their work, and acknowledging their position in the progressive world, I don’t feel they are underrated I just feel they are different and more sophisticated musically. Their discography is so rich and fulfilling, 20/20 isn’t perfect but it is not bad either, it can be added to any progressive rock fan’s collection. Sooner or later they will present us with a very good album, although I don’t feel 20/20 is that album. They have not lost their edge, despite knowing they have not made for many years epics such as Silent Knight, Worlds Apart or Generation 13, I know they will be back with some “over the top” record to enrich their discography. They are one of the few bands that have been improving their technique, trying to present something new with every new album.
 

Review Summary: "All in due time."

While Killswitch Engage [II] asked the question "Can we start again?" (both in earnest on "Starting Over" and metaphorically in its newer, slower, and less metal presentation), Disarm the Descent answers that question with an unquestionable "No, we're going to pick up where we left off." Maybe a bit surprisingly, that point ends up being Alive or Just Breathing, the last time Jesse Leach appeared with Adam D. and company. This might leave some fans scratching their heads, wondering where some of the finer bells and whistles of The End of Heartache and As Daylight Dies have gone in favor of the more minimalistic and bombastic approach fronted by Leach's more aggressive vocals. Even the melodic ballad that became Alive or Just Breathing's signature song and a huge influence on Killswitch's future releases, "My Last Serenade" has been scorched along this warpath, leaving Disarm the Descent looking even more like a highly refined version of the band's eponymous first outing.

Without a doubt, Disarm the Descent is an album that's going to be a dividing line for many. If Killswitch Engage [II] was criticized for being too soft, Disarm the Descent is a counter to that criticism in every way, shape, and form. The crunch and attack have been dialed up to 11 on the guitars, the bass and drums have returned to the frantic pulse they'd maintained on previous Killswitch offerings ("The Call"), and Jesse shreds his vocal cords in a fierce growl Howard Jones simply couldn't achieve ("All That We Have"). And in counter to the group's most Metallica-esque complaints, most tracks seem to feature blistering melodic guitar solos with plenty of spotlight-ready space to shine. Of course, the greatest improvement over the group's previous outing is the return of Adam's vocal harmonies, layering together with Jesse's singing to dial up the aggression with fierce screams and collective chants, fortifying vocal power with his comparatively mellow, clean voice. The result is a vocal concoction that kicks things up a notch in a way unheard since Alive or Just Breathing.

But maybe things fit together just a bit too perfectly. Nearly everything about Disarm the Descent does nothing new for the genre Killswitch will continue to dominate regardless of their new material. Don't get me wrong - the album is fun. The choruses are as catchy as they are aggressive and the instrumental backing is as tight as ever, kicking out a sound that never ceases screaming "headbang along with me!" Yet, while Disarm the Descent is a return to an (older) form for the band and a fun piece of nostalgia for fans, it does little (if anything) to push the boundaries.

To a point, that's to be expected. This is a group that's digging back into their roots to rediscover their synergy and direction. Not simply because of the return of Leach, but because Killswitch Engage [II] really did show the group at a confusing crossroads. Whether Disarm the Descent is an answer to the question of "where do we go next?" is up to the band to decide, but from this perspective it seems more like a feel-good reunion than anything else. The energy's there, the skill is there, and the songwriting, while nothing innovative, is certainly enjoyable. It's an album that's not unlike visiting a friend's house for a party - you know what's going to happen, nearly to the letter, every time you're there, but you still go and you still have fun.

Disarm the Descent proves that there's still plenty of potential with this group, but it also makes it clear that they're going to take their time putting it out there. And why not? With the commercial success they've had, Killswitch can afford to rest on their laurels a bit and provide us with a hard-hitting nostalgia trip like Disarm the Descent while they ready their A-game for the next round. So bask in the light of the prodigal son returning home and rock along with Killswitch on Disarm the Descent, but don't expect more than glad shouts and bear hugs until the next record.
 
Some strong moments, some weak moments. The vocals are solid and mixed well. The poppy moments tend to depreciate the prog moments that we know and love at times but SB still manages to blend them in quite well as these downsides are few and far between. "A Treasure Abandoned" is one of the strongest tracks here and has nice melodies and synths. "Afterthoughts" is also solid as well and contains some fresh riffs and solos. In fact, there's more strong moments than weak and this will definitely keep prog fans coming back for more but it's still just above average and doesn't hold up to true 70's gem due to lack of extreme high points. However, This is worth hearing and is easily at least a 3-4/5 album.


Tracklist for Brief Nocturnes and Dreamless Sleep:
Disc One
"Hiding Out" - 7:13
"I Know Your Secret" - 7:40
"A Treasure Abandoned" - 8:53
"Submerged" (Leonard) - 4:57
"Afterthoughts" - 6:08
"Something Very Strange" - 8:23
"Waiting for Me" - 12:36

Disc Two (Special Edition Bonus Disc)
"The Man You’re Afraid You Are" - 7:11
"Down A Burning Road" - 6:51
"Wish I Were Here" - 6:33
"Something Very Strange / Sanctified Remix" -
5:09
"Postcards From Perdition" - 4:27 (Limited
Edition bonus track)
 
Za ljubitelje dobrog prog roka simple minds poklanja ceo album.

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http://grooveshark.com/#!/search?q=Brief+Nocturnes+and+Dreamless+Sleep
 
Poslednja izmena:
Rummaging through my local library’s CD stash shortly after the new millennium had dawned, I ran across a neon green themed double-disc set with the rotted out husk of a space shuttle on the cover. Intrigued by songs titled “My Insatiable One,” “Where The Pigs Don’t Fly,” and “Whipsnade,” I checked the album out and a love affair was born.

I encountered no fellow Suede enthusiasts, let alone apologists, but I still snapped up all the studio albums. I actually listen to 2003′s A New Morning, and I won’t track past “Positivity” or “One Hit To The Body” when they emerge from a random troll through iTunes library. Given that, I certainly recognize the band’s precipitous decline in quality from their opening triptych to that supposed swan song. The announcement of a new Suede album dropping in 2013 stirred a melange of emotions – the excitement even the most cynical fan feels at the existence of new material; the trepidation even the most optimistic fan feels at the potential of being underwhelmed; and the curiosity that any modern rock music fan would have as to why Suede would even bother? And, of course, that million dollar question – is it any good? In the case of Bloodsports, why, yes, and very much so.

Addressing the inevitable media queries of what the new album sounded like, front man Brett Anderson described a “cross between Dog Man Star and Coming Up.” Intentional or not, this was chum in the waters of the ”best album since” ocean that drowns every “comeback” release. Fortunately, by gum, Brett is pretty spot on. Bloodsports marks a partial return to the grandiosity of Dog Man Star, though leavened by the dollops of glam that have been the band’s calling card since guitarist Richard Oakes climbed aboard for Coming Up. Suede have actually crafted a concept album - ordinarily a species of beast capable of prompting listeners to run for the hills, here it works. A decade and a half removed from the band’s heyday and advancing toward middle age, Brett addresses the foibles found in adult relationships – from the giddiness of the first glance to surveying the bruised landscape of a romance gone awry - rather than retreading the pill-gobbling, creatures of the night escapades of early albums.

The album’s first three tracks launch quite the opening salvo and shove the band’s mission statement right into our faces. A martial tom-tom beat and pulsing synths propel opener “Barriers” until snare cracks burst it open as Brett howls - with more vitality and conviction since the album’s two self-professed doppelgangers – over Oakes’s unmistakable tremolo. Brett skulks through the hook-up anthem “Snowblind,” while Oakes’s quicksilver slashing and endless riffage frames one of their most muscular songs to date. The urgency and immediacy here portray a unit on the attack – loud, confrontational, with airs of danger and a whiff of unhingedness – far from the stilted complacency dogging A New Morning. Even when the album lets up on the gas slightly midway through and turns inward with ”Sleeping Pills”-esque atmosphere – as the “story,” so to speak, moves through the erosion and dissolution of the relationship – Suede never relinquish their determination and dedication.

Having your fears allayed that Bloodsports would be a crushing disappointment could be cause for critical hyperbole – indeed, this album has seen perfect scores. While a rousing, nay, seemingly inconceivable, return to form, Bloodsports is no second coming of the debut or Dog Man Star. Though Brett has avoided the increasingly silly nods to the underground that plagued later releases by opting for a more mature theme, plenty of trite lyrical passages are present throughout. Of all metaphors, “aniseed kisses” appears in both of the first two tracks, the oft-rehashed “stinging like aerosol” pops up in “For The Strangers,” and the typical over-reliance on similes pervades the album. As one might conjecture from Brett’s pre-release chatter, there’s nothing musically novel here, and there are points where the album veers toward hamminess or retread. “Sabotage”s bass-driven creeping melts into Coldplay-like arena rock by song’s end, Brett comes across as the Phantom rowing Christine to his underground lair as “Sometimes I Feel I’ll Float Away” comes to a close, and many my find “Always” a little to close to “The Asphalt World” for comfort. All this said, the Suede sound is distinguished enough that those who have drunk the Kool-Aid will gladly welcome more of the same, particularly when delivered as intently as Bloodsports.

As closer “Faultlines” halts and freezes in mid-air, Brett cries out, “Celebrate!” and assures us “there is no fear now…for us to feel.” It took a decade for Suede to arrive at this emotional juncture, and for that, they have offered us Bloodsports, an album so convincing that we can stow away our fears and celebrate – Suede is back.

 
Strašno kvalitetan fusion

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Project Z is a instrumental jamband featuring Jimmy Herring, Ricky Keller and Jeff Sipe; a musical force manifested from years of mutual admiration, love of music and the power of Z. Project Z is a mysterious, sonic field with no set boundaries or rules. Rawness, elegance, inside jokes, suffering and intensity create a powerful soundscape for their eponymous debut for Terminus Records. This is the dream of three masters who take the listener on a divine, instrumental journey through time. The open-ended opportunity for musical free-reign was a welcome endeavor for two former members of the Aquarium Rescue Unit (ARU,) drummer Jeff Sipe (aka Apt. Q258) and guitarist Jimmy Herring, who teamed up with famed producer/bassist Ricky Keller and organ/keyboardist Oliver Wells for Project Z’s self-titled debut which was recorded in 2000 and released the next year. They recorded their second album, “Lincoln Memorial”, in 2002 live at Zac studios in Atlanta. An audacious album, strictly in-the-moment, full of virtuosic turns from all the participants in this musical free-for-all, with allusions to electric Miles Davis, Ornette Coleman, Albert Ayler, Allan Holdsworth and Col. Bruce Hampton along the way. Wells had been replaced by Jason Crosby and the group was forther joined by acclaimed Blue Note recording artist and producer Greg Osby on saxophone . These recordings were however not released untill 2005.

Ceo album je ovde

http://grooveshark.com/#!/artist/Project+Z/512027
 
Electric

15 July 2013
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The new album, produced by Stuart Price, due for release on July 15th, 2013.

Tracks

Axis
Bolshy
Love is a bourgeois construct
Fluorescent
Inside a dream
The last to die
Shouting in the evening
Thursday (featuring Example)
Vocal
 
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