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Registered: 04/02/02 Posts: 10,137 Loc: Exile Last seen: 5 years, 9 months |
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http://www.sendspace.com/file/x8
The Axis Of Perdition - Deleted Scenes From The Transition Hospital In this culture of litigious consumers, the staff of MetalReview would like to assist The Axis of Perdition and Code666 Records by providing potential consumers and the public with the following Public Service Announcement: The following statements are warning signs that a loved one is becoming dangerously effected by Deleted Scenes From the Transition Hospital, the new album from The Axis of Perdition: 1) Upon initial exposure, he is simultaneously enthralled and horrified. (It is not unusual for new listeners to be forced to take measures such as burying the disc in the backyard at night in order to be able to sleep without fear and intrusive thoughts.) 2) Your loved one has developed an unnatural and uncontrollable fear of elevators. 3) He becomes obsessed with the appendages of dismembered mannequins. 4) You catch him cutting out the eyes of people in photographs. 5) After weeks of being wracked with fear and concern, you go into his room at night, only to find that he has dug an underground tunnel that connects to a secret chamber filled with mechanical torture devices. If you recognize these behaviors, you need to know the following information about Deleted Scenes From the Transition Hospital, and how it works its dark arts on the unassuming minds of metal fans. The Axis of Perdition is a relatively new entity, having previously released their debut album, The Ichneumon Method, in 2003, and last year’s bulging EP, Physical Illucinations in the Sewer of Xuchilbara, which was originally to be a split with Blut Aus Nord. Like the recent work of Blut Aus Nord, The Axis of Perdition assaults unsuspecting listeners with icy atmospheres of futuristic black metal with industrial overtures, which TAOP use more prominently than their French counterparts. Few bands are able to sculpt and construct such palpable and tangible atmospheres that are at once engrossing and entirely horrific. It’s as if the listener is immersed and transported to an actual different location via some kind of aural virtual reality. The Ichneumon Method was a nightmarish glimpse of the underbelly of the most vile and base natures of the deviant human condition. Although Deleted Scenes From the Transition Hospital continues that theme, TAOP has evolved its style by eroding human elements into a more coldly mechanical sound. The dialogue samples of confused and terrified people only serves to further the sense that an unearthly entity is victimizing humans with an apathetic cruelty. Both albums leave the listener feeling greatly unsettled and considerably scandalized. “Deleted Scenes I-In the Hallway of Crawling Filth” opens the album with a lengthy intro consisting of ambience and unsettling sound effects, before transitioning into a heavy awakening of riffing and growls. Although DSFTTH is as heavy as you’d like, it is somewhat more varied than The Ichneumon Method. The persistent blast of percussion has been varied this time around, and the album includes more tempo variation in general. The outro of “Pendulum Prey (Second Incarceration)” even contains the odd inclusion of a jazzy piano and guitar interlude, albeit covered with static. Combined with the increased reliance on industrial and ambient methods, TAOP have created a horror movie for your ears that shows evolution from their prior work but still contains their indelible stamp of identity hammered into the music. “The Elevator Beneath the Valve” is three minutes of ambience and sound effects that call to mind a long descent into another world on a freight elevator unlike any you’ve seen. These “ambient” passages are more active than that descriptor usually brings to mind, but on occasion they run too long. “Isolation Cubicle 312” is the most engaging of these. Now that you have been made aware of the dangers of this cantankerous new album and its damaging effects, there is only one thing you can do to help your loved one afflicted by Deleted Scenes From the Transition Hospital—visit Code666 Records or your local shop and pick up your own copy. This thing is too big to go through alone
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Registered: 07/11/99 Posts: 8,399 |
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JIVE, I've been on vacation for two weeks and now most of your recent sendspace links are dead already.
Could you use megaupload instead? The links last for much longer... Thanks anyway for the uploads, I'm sure more people are enjoying them than we know.
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Registered: 10/30/07 Posts: 202 Last seen: 25 days, 12 hours |
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Unexpect - In a flesh aquarium
A must for every avant-garde metal fans.
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Registered: 04/02/02 Posts: 10,137 Loc: Exile Last seen: 5 years, 9 months |
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http://www.sendspace.com/file/ir
Refused - The Shape Of Punk To Come It's pretty creepy isn't it? Refused named their album this and for some strange reason, it came true. Without this album, I'd doubt there would be a lot of what has become post-hardcore. To help you with this for the general reader, post-hardcore is like a modern hardcore sound. I'm not exactly a super-nazi to the genre but I'm getting there. With this album you don't think of it as a great album, it's more a revolution. Refused probably never meant it, they probably just wanted to make a great album that showed their political stands. This album is immense as a musical experience but also as a main influence for today's post-hardcore bands. Refused is what Minor Threat did for the original hardcore. They completely made a new sound which wasn't around at that time taking some influence from their fathers. Warning right now, the album is very political so if you are offended by opinions or you think lyrics should be based on dragons and Satan then stay away right now. It is pretty obvious that the band are pretty opinionated because as soon as you open the small booklet which came with the CD then you are suddenly showered with quotes and words that barely anyone on this site would know the meaning to. Refused don't care what other people think, they are their own minds by not getting influenced by any outside sources. They really stick to their guns here. When this type of music comes around then the gentle minds of today's youth will lap up the lyrics and their opinions which is amazing considering that a lot of music today doesn't really speak to young ones. That was how big this album is but at this point it seems I'm repeating myself and ranting off-topic'. The band originated from Sweden and though they did create a new sound, they never really had a full life with only 2 CD's and a DVD. This one is more about post-hardcore while the one before this was a raw hardcore album. One thing you might find strange is the synths in the songs. They use it in breakdowns or anywhere they feel is necessary. I even remember a fellow Mxer calling the band industrial hardcore. I'm not making fun or anything but this could be true in some ways. The synths do play a big part which is common in industrial and there is no denying this is a hardcore album. So yeah, this could be true but they were so much more than putting them into a specific genre. Every time I listen to this, I get a weird tingly feeling. Every time I put the next track on I think, 'I love this song so much'. If you are a hardcore fan then I'm sure you're the same. While the band used their minds 50% of the time, the other 50% belongs to what they can do with their fingers and their voice box. Dennis is a terrific vocalist but what probably turns people off the band is the vocals. Dennis has a very strong scream, not some low growling scream but a high one. It's true to say, without Dennis, the Refused wouldn't be the same. His mastermind lyrics and his vocals to scream the word into you are a major part of what they had but it'd be pretty unfair to say Dennis was the band as I don't think they'd be the same without any band member to be honest. The guitars are pretty simple to the metal guitarist but they without a doubt work. The distortion is up full blast and it is pretty simple parts and riffs here and there, on paper it doesn't seem that exciting but oh boy, it does. "Faces like angels, licking our fingertips We don't have the patience to deal with it With battered bodies & puckered lips We don't have the patience to deal with it. Yeah!" So we have the vocals and the guitars but what's next on our 'Describe The Instruments 4000'? Why none other than the drums which don't do fills but they are powerful and as the featured album blurb says, 'It's like throwing a brick out of the Empire state building'. I couldn't have said it better myself. The drums sound like they are battered the hell out them. They provide some good beats and rhythm and don't go to the point where he's showing off. The bass is chunky and clean, it is quite clear when you're listening to it and I'd recommend some intermediate or even some beginner bassists to try some of the songs out. We have the basic band set-up but Refused had to take one step more again. There is cellos, violins, tambourines, double bass and the usual synths. It is really crazy however there is always the usual band members playing them which has the theory the band are real musicians. Every song is vital in the making of this album but I feel that some stand out more than others. From when I first heard the album, Worms of the Senses never really stood out to me and even now I don't really listen to the track but the second track Liberation Frequency grabbed me the moment it came on. It starts with a clean guitar part with Dennis not screaming for a change and then it goes into chaos until changing back to the quiet part which sounds like they recorded it in mono. That sounds bad but that improves the song loads I think. Halfway through it might seem to be repeating but I assure you it's supposed to be like that. Anyone that's heard the Refused is probably because of New Noise which takes ambient noises and heavy as hell parts and creates it into a 5 minute digestible song. It starts with some palm-muting on the G string and then it has a massive build-up only to trick the listener by playing with the synths again. Dennis then shouts, 'Can I scream?' Of course you can Dennis, do you really need to ask us that in your song? The song has various pseudo build ups and breakdowns until the almighty climax comes in. It is one of the most breath-taking experience in my life. To be honest, I could go through every song and say how great it is but I recommend those I mentioned. I also recommend The Shape of Punk To Come, The Refused Are F***ing Dead and Protest Song '68. This is not for the mainstream listener but if you are open-minded then this could be the best decision of your life buying this. You shouldn't really need a review telling you how great this album is because it should already be in your collection and if not then shame on you. This is a modern classic so get this, I don't care how. Buy it, download it, borrow it off a friend etc. just get a hold of it some way as it could be the album you've been waiting for and indeed it is.
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Registered: 04/02/02 Posts: 10,137 Loc: Exile Last seen: 5 years, 9 months |
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http://www.sendspace.com/file/s6
Alchemist - 2003 - Austral Alien My love for ALCHEMIST started in a rather bizarre fashion. Back in 2002, I was really trying to get my hands on the out of print ATHEIST albums. I had “Unquestionable Presence” at that point and was looking for “Elements”. I was at a CD store, checking out the used CDs, when I saw a band name that started with the letter “A” and ended with “ist”. Plus the CD had a one word title. Unfortunately, it wasn’t ATHEIST’s “Elements” but ALCHEMIST’s “Organasm”. I was a bit disappointed, but then after reading up on the band, I was interested. I took a chance with them and was really blown away. It was a very unique sounding album, with the emphasis more on creating a very ominous atmosphere and having melodies that are “out-there” than in beating your head in. The album sounded like you were in outer space, watching a civilization grow and go through technological and social advancements. After 3 years, that album is still fresh to my ears. “Austral Alien” is the follow-up album. The band has expanded ten-fold on the style that is featured on “Organasm”. Well, the music is very hard to describe accurately. It is somewhere between having the clean guitar sound of U2 distorted, mixing Death Metal vocals and riffing with 70’s Psychedelic Rock (something a bit like PINK FLOYD) and the end result coming up with some very science fiction sounding melodies and feel. Hell, the best way to describe the feeling on this album is that you are witnessing first hand nature’s evolution, with the fauna and flora evolving, mutating or being extinct. The album has a very organic feel to it. This isn’t an album you put on if you just want to have a good time or to just “chill out”. This is something you listen to if you want to be taken away and go on a trip. It’s an album for the type of people that just like to sit down in a corner and just try to grasp every single last detail. The album is very layered and subtle in its execution. Nothing hits you head on, but everything just seeps into you and grabs a hold of you. Listen to the sampled track, “First Contact”. It is basically the gist of their style and a better indication of their sound than what I tried to describe. This album (and its predecessor) is a very unique approach to Metal and it’s fresh to hear bands being more concerned about writing something different than just following in the footsteps of their predecessors.
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21st Century Sch Registered: 04/29/06 Posts: 836 Loc: Canada Last seen: 10 years, 10 days |
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Props for the Refused.
Rosetta and Tides are highly, highly suggested. Check out some Colour Haze, as well. Definitely good for tripping, as well as Los Natas. Neurosis - The Eye of Every Storm is ABSOLUTELY monolithic. Rwake - Voices of Omens is pretty decent Sons of Otis - X. Heavy. Tribes of Neurot - Ambient side of Neurosis Wormwood - Starvation is a mix of the best doomy bands, sans guitars but with two bassists and keys/synths. Heavy, doomy, and awesome. -------------------- We are always acting on what has just finished happening. It happened at least 1/30th of a second ago. We think we're in the present, but we aren't. The present we know is only a movie of the past. Ken Kesey
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Registered: 04/02/02 Posts: 10,137 Loc: Exile Last seen: 5 years, 9 months |
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Thee Maldoror Kollective - A Clockwork Highway
http://www.sendspace.com/file/gj Although I knew I would be reviewing this CD this morning, when I listened the radio earlier today, Pink Floyd’s “Welcome to the Machine” was playing as some sort of historical background to “A Clockwork Highway”. But Thee Maldoror Kollective is not a Pink Floyd clone. They don’t even try to imitate anybody not even themselves! When I got my hands on their previous release “New Era Viral Order” I was stunned by the futuristic avant-gardist musical approach. Two years later and with a completely new line up, except for the drummer, The Kollective has hardly anything in common with the past besides pursuing its musical mission without being influenced by trend or even limited by boundaries and strict limitations. The whole experience is closely related to a surrealistic décor on which evolves a strange world that is almost impossible to described or understand for no lyrics are enclosed. We can only perceive hints of the story or concept by the artwork, song titles and of course the music. The avant-garde edge is still there but this time around, the futuristic side has been transformed into an industrial environment with an apocalyptic mood somewhat reminiscent to Void of Silence . Directed by keyboards, industrial samplings, tribal percussions, heavy guitars, electronic sounds, vocal samplings and effects, those musical painters are portraying some sick and intense scenery commanding attention and reflection from the listener. Aside from the numerous vocal samplings, spoken words, harsh black and screams are appearing throughout this nightmare. Stand out tracks: “The Hills Have Eyes”, “The Gospel According an Exit Solution” and “An Affecter of Change”. This last long number(14:32) has a sick interview with a priest saying things like : “Spike the dead! Demons are still loose in this world… “Babilonia” is a bit different with the sitar as an intro, then followed by a futuristic feel like on their previous work ending with a distant sounding piano and drum. Better grab “A Clockwork Highway” ‘cause you’re not going to hear this type of music nowhere else !
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Registered: 04/02/02 Posts: 10,137 Loc: Exile Last seen: 5 years, 9 months |
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http://www.sendspace.com/file/4z
Subarachnoid Space - Also Rising Also Rising marks the seventh dispatch from the deepest realms of Subarachnoid Space’s galaxy, and their first for the like-minded travelers at the Portland-based Strange Attractor’s Audio House label. While one could be forgiven for expecting a band this far into their existence to fall back on previous ideas and releases and merely sleepwalk through another album, the San Francisco band’s newest disc finds them with a renewed sense of focus fostered undoubtedly by the addition of bassist Stoo Odom and their newfound home on one of the best up-and-coming experimental rock labels in the country. They’ve been pegged as a space rock band by most, which while adequately describing the overall sound and aesthetic, doesn’t particularly tell the full story. Granted, theirs is a drony and oft-psychedelic brand of music, but it is also one that maintains an enormously welcome sense of purpose that adheres to their own self-prescribed vision. Whereas other bands in this genre can sometimes drown under the weight of their own musings, Also Rising is a taut and complex release, fundamentally rooted in heavy, dark rock rhythmics that serve as a base for more explorative guitar work. Much like their last long-player, the wonderful These Things Take Time, Also Rising is meant to be consumed as one long piece of music. As opposed to other bands who have tried this trick with less than stellar results, one gets the sense that this record is comprised of two distinct pieces of music, each with several subtle movements and portions that establish varying moods and themes throughout the context of the work as a whole. “The Harsh Facts of Life” establishes many of the album’s central motifs pretty quickly – the on-point rhythm section of drummer Chris Van Huffel and bassist Odom laying down a fierce, rippling backdrop for Mason Jones and Melynda Jackson’s guitar wizardry. And yet almost immediately the band goes about distancing themselves from some of their more well-known peers. Jones and Jackson forgo easy riffs, instead transforming their strings into waves of subtly shifting drones with both neat textures and ferocious bites. And rather than simply mirror the work of the guitarists, the rhythm section drives hard against themselves, serving as a crucial counterpoint and a necessary grounding as the track builds in intensity. It’s atmospheric for sure, but powerful and never meandering for one second. This gives way to “Deep End”, a track that features a simpler rhythm against sparse guitars, trading off against basic notes and drones that resemble a viola. It gradually develops into a shimmering haze before becoming more frenetic, trading in the brood for a stab at more chaotic structures. “Untitled” finds the rhythms locking in again, only this time functioning as a backdrop for guitars that sound like bastardized theremins and mutated siren wails, using these often harsh concepts to build a lush and gorgeous bed of sound. “Angel Food” closes out the album’s first half, balancing out introspective guitar melodicism with more experimental figures, allowing the notes to dance into the distance with tones that almost sound like ghostly transistor radio voices. After what amounts to a wonderfully heady first segment, “Burn Shot” establishes a more urgent rock presence for the second half of the disc – a snake-like bass line mingles with pummeling drums as the guitars dangle just out of transporter range with their vast array of white noise, spare chords, and intoxicating drones. “Tuscon” opens things up to allow for more introspective textures. The rhythm bounds from exploratory to thundering at the drop of a hat, while the guitars explore forlorn notes and drones that give way to harder strums, all before engaging the warp engines and heading further into the stars. “Dateland” finds the band swirling towards the end of a glorious wormhole of sound, contrasting a pummeling six-string assault with more restrained go at things, all the while building the fury with matching drums and bass. “Down Nod Out” is the most minimal take on here, focusing on the building tension between more conventional guitar sounds and background noise. “Tigris” serves as a proper end to the second half of the album, closing out this portion of the movement with an initial foray into more deeply experimental territory. The drums scamper and kick while the bass probes around the haywire guitars, looking for a way to lock everything together. The quartet gradually find their loping sense of rhythm, going from nervous to majestic, and with it sending the droning guitar army off to the stars to convene with the heavenly bodies once more – far and away my favorite portion of the album. An unlisted tenth track finishes off the disc. This one, pulled from a boom box in their practice space, is interesting, but of such a markedly different texture that it almost seems superfluous – a dark, dirty recording of a more ominous sounding Subarachnoid Space. My complaints about the album are few and of relatively minor note. Much of the grit that was apparent in the amazing live performance I caught this past fall (after a Terrastock appearance that had people raving) seems to have been stripped clean on this record. While much of it still does sound beautiful, there’s an overall cleanliness to the recording (especially the guitars) that makes me hope for another chance to see them live soon. Also, listening to the record in one’s home means doing without the excellent visual component of their live show, courtesy of video artist Greg Tietz. His loops of found footage and lost B-movies add wonderful layers of effect to the already highly evocative music. If you find this record up to par then definitely see them on a stage when they hit the road in a couple of months. In summation, Also Rising stands as a great triumph. With a complex sound that manages to lack derivation in a genre that is sometimes overwrought with it, it’s a wonder Subarachnoid Space are not a group already on the minds and lips of space-rock connoisseurs everywhere. Space- and psyche-rockers will delight in this hour-long excursion into the most fluid reaches of subspace, while those dedicated to more experimental textures will find a lot to love in the droning guitar figures. And those of you simply looking for a bitchin’ rock record would be advised to give this one a listen as well.
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Stranger Registered: 05/15/07 Posts: 271 Last seen: 15 years, 9 months |
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Quote: Parts of that review could easily be used in a Rosetta review, Space music, etc..Rosetta dubbed their genre "Metal for Astronauts" which is a great description..so i am now downloading this album in hopes that its comparison to Rosetta isnt only in text...
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Registered: 04/02/02 Posts: 10,137 Loc: Exile Last seen: 5 years, 9 months |
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Hope you enjoy it. I'm uploading all other Subanarchoid Space albums eventually.
Here's another one http://www.sendspace.com/file/xn Düreforsög - Knee Basically, I can't find any reviews for this album. It shouldn't be much surprise as it was near impossible to download a copy of this out of print album! This is metal, but it's so damn quirky and off kilter that it'll make you laugh. I've even included the lyrics with the .rar file.
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Registered: 04/02/02 Posts: 10,137 Loc: Exile Last seen: 5 years, 9 months |
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http://www.sendspace.com/file/yo
Dirge - And Shall The Sky Descend Holy fuck. Something good is happening in France. The post-metal revolution's tidal wave is threatening to drown all and sweep everything off the classic metal's scene — the one we used to love (and hate) so much. With the emergence of bands such as Overmars, Year of No Light and the Swedish (and utterly amazing) Kongh and Switchblade (the European co-culprits of the revolution's prophets and originators, namely Neurosis, Isis and Pelican) one can notice more and more (not exclusively, but mostly European) bands adopt the "atmospheric hardcore" etiquette, blending American Southern psychedelic rock with sludgy (doom-oriented) metal and shoe-gazing into a very potent, ambiance-heavy, upgraded form of metallic-hardcore played usually slow and heavily concentrated with the ability to conjure a spectrum of emotions as well as induce a reflective state of mind. Many of these, I guess, have just jumped on the wagon of the new style, as there are always those band-wagon jumpers in any artistic field, but some do it quite well — and others are downright amazing. Dirge's And Shall the Sky Descend was actually originally recorded in the year 2004 (released firstly by Blight Records, a label owned by one of the band members and dedicated to releasing albums by Dirge exclusively; three offerings have been released till now, to be exact), so jumping the wagon is not exactly relevant to these guys because that era — when Dirge already had held proud the banner of this stupendous musical excellence in their hands — marked the turning point where the initiation of the new "fashion" and stylistic change in heavy music took place, soon after Neurosis' influential album, A Sun that Never Sets had been unleashed. Dirge were there already (they actually go back a long time before that; established in the year 1994); previously recording this magnificent piece, as above-mentioned, now luckily re-released as a digipak by the French label Equilibre and available for purveyors of rare, elitist and mind-provoking music around the globe. Dirge's music is revolutionary today as much as it was three years ago; they weave subtle, gentle micro-fibers of beauty and majesty into their vitriolic, distortion-driven lunacy and disaster-permeated, thick sonic cloth. Four songs, ranging from twelve minutes (the shortest), to double that time, embody what this album is all about: experimenting with the furthest reaches of emotion, playing the whole spectrum; from the very exquisite to the very pronounced; from sheer joy to utter despair and pain. Pure melancholy and joyous appreciation of life is what this album conveys. Dirge's beauty is captured in every single second of each track; only potent musicians can cram so many colors, sounds and tastes into twenty-four minutes of playing time (the first track on the album) with minimal vocals — ultimately delivering a bewitching joy-ride with not a single moment of filler sounds, redundancy or the dawning of boredom for the fast-food music lovers out there. Not unlike the amazing album Nord by the aforementioned French act Year of No Light (see our review in issue #55), Dirge also employ this all-encompassing warm music that is as alienating due to its crude and aggressive nature as it is humane and soul-caressing, so-to-speak, due to its gentle and overwhelming ability to drown the listener with massive waves of silky, atmospheric dirge-like mushroom-clouds; bright, soft, hot and deadly. However, while Year of No Light stayed mostly on the aggressive side of the coin, almost not enabling the listener to breath and relax, Dirge's massive sound alternates between the aforementioned brutality and a much more laid-back approach; long episodes of pure meditative ambiance, flaked with cello interludes, minimal and sparse female vocals, tribal drumming and many layers of droning guitar harmonies that induce a hazy, almost hypnotic state.
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The Power of the Registered: 08/12/03 Posts: 2,059 Loc: Far Away Last seen: 14 years, 10 months |
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Playing the two discs of Rosetta's Galilean Satellites at the same time is really amazing.
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Stranger Registered: 05/15/07 Posts: 271 Last seen: 15 years, 9 months |
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Quote:
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Registered: 04/02/02 Posts: 10,137 Loc: Exile Last seen: 5 years, 9 months |
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http://www.sendspace.com/file/ft
Nebula - Atomic Ritual Atomic Ritual is unquestionably a bold statement that Nebula are BACK! The band sounds like they are having fun again, and are not afraid to meander a bit into “jam” territory. This record is a good balance between To The Center’s multi-instrumental layering and the straightforward rocking of Charged, with some truly memorable riffs being dealt in the process. The sitar, sadly, has not returned, but I imagine the band wanted to keep things relatively concise for live performance consideration. Perhaps the most exciting facet of this album is the guitar work of Eddie Glass…he really rips it up, soloing like a madman. He sounds like he has something to prove, and I’ll go on record as being very much convinced! The riffs are also HEAVY, among the heaviest they have ever done. And while Nebula have never been known for deep, obtuse lyrics, this is another element that has improved from the last album. This album is a mandatory purchase for any degree of Nebula fan, and would make an ideal purchase for a newcomer. http://www.sendspace.com/file/n5 Broken Hands For Brilliant Minds/Dense Vision Shrine Split album Following the success of "As All Die", Clint Listing unleashes the second release of his new project on us. "Broken Hands for Brilliant Minds" has equally as much thrilling promise as any of his previous works, although this one should be somewhat calmer. Clint joins forces with Karsten Hamre's "Dense Vision Shrine" to bring us 8 tracks of gothic beauty. The album opens with "The Trial of Modern Faith", a beautiful piano intro, sombre loops, and very tragic whispered vocals. An Almost Neoclassical feel introduces us to the next track. Sorrowful Synth and basic percussion carry the ominous sounding "Jazz was made by the devil". The inlay to this split cd is a picture of a castle ruins in darkness. Nothing can really be added to this review to express the theme better. So forget that, the review is cancelled! Clint's genius ability to instill newer and darker visions in the mind of the listener shows absolutely no sign of slowing down at all. "Cut your Wings off to enter Heaven" is as much as an intriguing piece of music as the title is. Dark, very brooding, before becoming a gentile bastion of tranquility, before the moment is lost forever, and the brooding bass returns. The Ironically titled "At the End of the World" is the departing contribution for Broken Hands for Brilliant Minds defining release. Just scraping ten minutes, this grinding, bombastic number is a farewell (albeit only a temporary one) to a very unique, very promising sound. Strings, Horns, Percussion. Three words to conclude this half of the CD. To close out this release, Karsten Hamre (also of Arcane Art) starts his four-piece orchestral rebellion with the epically titled "Secret Kingdom". Minimal, Experimental, Dark. Like walking through aforementioned ruins, with a trebuchet firing in the distance, and war drums echoing underneath you. A theme of imprisonment weaves in and out of this cd, no track offers it more so than "Cast in Iron and Stone". Resonating, almost drone-like minimalism. Probably what it would sound like to listen to your heart resignating to the fact that the Iron shackles around your feet are there forever. This theme is only reinforced by "Dungeon Master". Very Similar sounding, but at times drops to a much quieter, almost tranquil escape, before the Iron Cell slams into its precipice, just inches in front of you. Probably one of the highlight's of the album. After unsuspectingly listening to this cd, finding myself taken prisoner after innocently entering the enemy's stronghold, and thenhaving the keys dangled in front of my face before being cruelly snatched away, I'm not sure the departing "Ark of the Seer"can really have any kind of effect on me. My ears certainly have accepted their torment. Yet with 11 minutes of this incarceration still to manifest itself, who knows what can happen? Perhaps someone will shove a file through the window. Or perhaps not. Instead, I get to listen to footsteps, above, below, outside, anywhere. It's too dark to see. Regardless, it doesn't matter, as ten minutes into this final act of barbarism, i get to listen to the door slam to an echoing halt one final time. That's it. Journey over. Sanity, check. Paranoia, check. Truly Inspirational. Well done Clint, for a wonderfully successful contribution, and well done Karsten for a fantastic concept and soundscape. Both bands are definately on the threshold to something much bigger. Their time starts here.
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Registered: 04/02/02 Posts: 10,137 Loc: Exile Last seen: 5 years, 9 months |
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http://www.sendspace.com/file/60
Estradasphere - Buck Fever After a debut album that took the underground by storm, and for good reason, the eclectic NoCal outfit Estradasphere returns with another collection of Zappa-esquely varied songs spanning almost every musical genre invented since early homo sapiens individuals first blew into hollow branches recreationally. Ska basslines and horn arrangements alternate with all-out symphonic black metal ("The Silent Elk Of Yesterday"), video game music, surf rock, central European folk, straight-ahead jazz ("Super Buck II"), various metal subgenres, and too many other stylistic allusions to mention in a review. Their evident kinship with Mr Bungle (whose guitarist, Trey Spruance, signed Estradasphere to his record label) is most apparent in the complex "Meteorite Showers", but the band has a very distinct personality, which shines through in gems such as the metally "Millennium Child" (with Basque-folk-cum-lounge sounding vocals), "Buck Fever" and "A Very Intense Battle". Anyone interested in Mr Bungle, Frank Zappa or John Zorn would be well-served by purchasing half a dozen copies of this album to spin simultaneously throughout their abode so as not to miss a second of it.
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Visual Alchemist Registered: 04/27/06 Posts: 11,181 Loc: Solar Circuit |
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I've got a little
material to contribute. It's Long Distance Calling, a german post rock band based in Münster, Germany.Instrumental rock music, based on heavy guitar riffing and shaking hands with psychedelic and calm elements. As most bands with this description tend to explore dark and depressive moods these guys change between timid beauty and hard boiled reality in a tough play, always based on a driving rhythm section. www.myspace.com/longdistancecall All I'll say is that they ROCK. ![]() If these links become dead, let me know. Dmnstrtn EP http://rapidshare.com/files/7141 Satellite Bay LP http://rapidshare.com/files/7094 --------------------
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Registered: 07/11/99 Posts: 8,399 |
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Good stuff, thanks AA. Please let me know if you find any other instrumental stuff like that.
Thanks for that Subarachnoid, Sheepish. ![]() Tomahawk - Anonymous
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Visual Alchemist Registered: 04/27/06 Posts: 11,181 Loc: Solar Circuit |
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Maybe you'll find something here.
http://alternativekids.blogspot. I'd recommend checking out Solar Powered People. Based in the center on the central valley, about an hour east of San Francisco, Solar Powered People have been making a name for themselves throughout California and everywhere for that matter. This four piece rock/shoegaze band consists of members: Tony Pennington, Justin Betham, Ryan Coscia and Douglass McKinnon. Over the years these four have played in many different projects, such as Long Division, Scenic Route, Fiver, Apollo Trigger, Jub and Running Riot to name just a few. Now together and feeling the mixture of influences and experiences, they have finally found themselves in Solar Powered People. The music is rich with atmosphere and space; the drums have an exact, hypnotizing drone, while the basslines provide a perfect backbone and regiment which brings all of the elements into one solid beast. Some might say Solar Powered People pull influences from bands like The Cure, Failure, Sunny Day Real Estate, Joy Division and Boards of Canada among others. The first self titled album is set to be released on Three Ring Records in mid 2007. The album was recorded and mixed in Sacramento by Matt McCord (Deftones, Team Sleep, Cake). It's not solely instrumental but the vocals are one of a kind.
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Malicious Puppet Registered: 12/11/07 Posts: 411 Last seen: 16 years, 6 days |
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i love how this thread keeps going and going ^.^ thank you mister
-------------------- "You all are just puppets... You have no heart...and cannot feel any pain..."" you may think thats pain you feel but you must have a heart to feel true pain and that pain wont be yours
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Registered: 04/02/02 Posts: 10,137 Loc: Exile Last seen: 5 years, 9 months |
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http://www.sendspace.com/file/qq
When - Drowning But Learning (Couldn't find a review for this album, so I've posted the general album info for his work off Wikipedia to give you an idea of the sound. Basically, Drowning But Learning is a very unsettling, weird and surrealistic piece of work that is quickly becoming one of my favourite albums). In 1983 Pedersen launched the one-man project Hospital Blimp, which would later become When. The debut album Drowning but Learning, was released in 1987, with When's trademark collage/cut-up technique already apparent. In 1988 When released Death in the Blue Lake, inspired by Norwegian author André Bjerke's psychological horror novel of the same name. The album had a strong atmosphere of fear and mourning, and was quite popular in Norwegian black metal circles. An excerpt from the album's A-side was commissioned as an intro to Satyricon's Dark Medieval Times "Walk the path of sorrows". The B-side of the album is an amalgamation of ethnic music, blues harmonica, coughing, psychedelic pop and glissandi effects. Today it is almost impossible to track down a copy of the album. Black, White & Grey, When's third album, conjured up images of war and urban decay. Chris Cutler (Henry Cow, Art Bears, etc.), who contributed to the album, was also a central inspiration. The album was released on Cutler's RéR Megacorp in 1990. 1992 saw the release of Svartedauen (Norwegian for "The Black Death"), a 38-minute musical description of the ravages of the bubonic plague in Norway around 1349. The album borrows elements from Norwegian folk music, and features a host of disturbing sounds: hearses, moans of the dying, rats, flagellants' whips and a scythe being sharpened, to name but a few. On 1994's Prefab Wreckage, When slowly started moving from the more abstract soundtracks of the earlier albums and towards a more song-oriented sound. The inner sleeve is a painting by Hieronymus Bosch, one of the album's inspirations. In 1997 When released Gynt, which according to the liner notes is a "satiric play on Edward Grieg's Peer Gynt. Inspired by Henrik Ibsen." As Pedersen says: "I tried to put irony into the music. There is a lot of humour in When's music, it's not bloody serious all the time."
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material to contribute. It's Long Distance Calling, a german post rock band based in Münster, Germany.
i love how this thread keeps going and going ^.^
