PLEASE HELP – VISIT S*P*O*N*S*O*R*S

ONLY TAKES A C*L*I*C*K TO HELP

Feb 272011
10 Touch RADIOmusic Remix (Vol 51)
MULTIupload Link:

10 Touch RADIOmusic Remix (Vol 52)
MULTIupload Link:

10 Touch RADIOmusic Remix (Vol 53)
10 Touch RADIOmusic Remix (Vol 54)
10 Touch RADIOmusic Remix (Vol 55)
10 Touch RADIOmusic Remix (Vol 56)
10 Touch RADIOmusic Remix (Vol 57)
10 Touch RADIOmusic Remix (Vol 58)
10 Touch RADIOmusic Remix (Vol 59)
10 Touch RADIOmusic Remix (Vol 60)

Feb 272011
Travellers

Early morning mist lingers over the calm oceans as we push our handmade wooden boat into the icy depths. We softly drag our oars through the placid aquatic field, pushing the water and the land behind us. We leave our homeland knowing full well that we may never see her again, that the families we leave behind may never lay eyes, lips, flesh to their husbands, brothers, and fathers again. Yet we steer our craft through the vast seas in search of trade partners in our material goods and our cultural ideas, and we are at peace with our decision to leave the comforts of home firmly nestled amongst the bosom of our Earth Mother. If we return to these shores, then it was meant to be.
I have no idea if that imagery was the intention of Nucleus Torn when they crafted the four-part acoustic epic “Krähenkönigin I – IV”, but that’s the feeling I got as I sat back in my office spinning the first part of the Travellers album. I’ve come to find out that the song title roughly translates to “Crows Queen” in English. The songs are seamlessly strung together and come across as if they were treatments or exercises for the classical guitar, and then they got morphed into a romantic acoustic instrumental piece of music. Coming from Prophecy Productions, I somewhat expected Travellers to be on the ambient side of the musical spectrum, but I also expected it to dip a big, gnarled ugly toe into the miasma of black metal. Those tendencies arise, but for the most part, this album is sparse of superfluous sounds and instrumentation. Amazingly, I never find the music of the first four songs tedious or boring . . . in actuality; I’ve often found myself leaning forward, on the edge of my chair waiting for the drama to explode before my ears. Alas, Nucleus Torn never jump all over your face like an enraged monkey, it’s more like they infuse tons of emotional drama through carefully thought out notes and exquisite tones. One minute, it’s easy to get lost paddling across the great plains of the oceanic landscape, the next minute find yourself trudging through some overgrown hillside, and through it all, you’re embracing nature, feeling the wind blowing across the skin, the sun pulling the moisture from your flesh, the rain dowsing the fires of hope that once roared within you. Bleak, but never depressing.
The opening four-part track is laden with so much imagery and emotion that I can’t help but want to load up my backpack and hike to Bakersfield (it’s not the end of the world, but I hear you can see it from there.) These tracks have more to do with classical and folk music than any black metal that I’ve ever heard, and I’m perfectly fine with that. As Travellers continues on, more hope and uplifting moments creep into the music. “Silver” is a beautiful quasi-classical romantic piece, also played on acoustic guitars . . . sounds like nylon string . . . and in its short, abbreviated manner, ushers us listeners into the next part of the musical journey . . . the darker, electric, and narrated portion of the program! “Witness” is a beautiful track that starts off mellow and somber, acoustic guitars accompany the morose vocals, and then the song ultimately opens up in volume and electric tension. This is a truly fine execution of song craft!
For the most part, Travellers is a Spartan and barren album. But that’s not to say that there isn’t tension built in the songs. It’s more of an organic and natural tension, though . . . made more impressive and imposing by the lack of studio effects. Almost like there’s something inherently spooky about that twisted tree outside your window that you’ve been begging Dad to chop down coz’ it casts those freakish shadows on your wall during a full moon. Rather than chop that sucker down, embrace its natural and creepy beauty, regale in its frightening aspects, and sleep fitfully through the night. Unless you starred in Poltergeist, you shouldn’t have anything to worry about.

Buy here: Travellers
Buy here mp3: Travellers

Andromeda Awaiting

After listening to Travellers over and over and over again, I found myself spinning the follow up album, Andromeda Awaiting. This is where things get strange. I was somewhat expecting to hear a continuation of Travellers, and in some way, I guess you could say that’s what I got. But it’s not a continuation in the sense of lack of bombastic emotion, it’s more like a linear continuation . . . where the musical ideas are given more instrumentation, more texture to convey even greater breadth of emotion. Where Travellers is sparse in sound, Andromeda Awaiting is lush in sonic richness.
Broken up into six parts or chapters, Andromeda Awaiting is a strikingly gorgeous record. It gets a little proggy in a symphonic nature, and I find that to be perfectly perfect. The incorporation of the various woodwinds, horns, strings, voices . . . it all builds on top of one another to create a sparkling tower of sonic splendor. As for the underlying meaning of the album . . . no clue. I haven’t the foggiest notion as to what this album is about, and I don’t care. With this particular album, I’ve found myself listening purely for the emotion of sound, not keying in on any lyrics or potentially hidden meaning within the words. Throughout the record, I’ve found myself uplifted; other moments, I’m hunched over preparing myself to weep.
The “bookends” of the album, part I and VI, are the most dramatic, and also the longest portions of the program. Part I clocks in at over fifteen minutes and is like sitting in the cockpit of some interstellar spacecraft as it’s hurtling through the depths of the cosmos. Brilliant lights shows exploding into the visions, streaking stars criss-crossing the crafts path, all of the radiance from the heavenly bodies surrounding us acting as an exclamation as to how insignificantly small the human race truly is. The female vocals leading the first track feel so vulnerable and fragile, ready to crack at the slightest bump . . . and conveying an emotion of sad loneliness. The song weaves through some ethereal passages, ultimately falling into the lap of what I can only describe as choir music without the choir. The male voice that enters the song makes me feel like I’m sitting in a pew during a Catholic mass. It’s gorgeous and engaging, and oddly enough, makes me want to go to church once in awhile. The final chapter of the album is much like the first, sprawling and elegant in its instrumentation, always drawing some emotion from deep within. And sandwiched between these two songs are four tracks that take the listener on a journey that won’t be forgotten. In particular, I’m a big fan of the Middle Eastern modes that these guys use in the latter half of the album . . . every time I hear these tones, these particular scales, I get lost in the romantic world of my minds design.
Pope

Buy here: Andromeda Waiting


Feb 272011

Queen’s 40th anniversary is now upon us, and the band plans to pull out all the stops to celebrate this historic occasion. “2011 is an important year for Queen,” said Brian May “and there will be a lot of activity.” Adds Roger Taylor, I can’t believe it’s been that long and that we are still around in such a big way. I’m amazed and grateful!” This yearlong event will be marked by a series of releases, re-releases, special limited-edition items and events around the world.

As the centerpiece in the 40th anniversary celebration, Queen’s entire 15-album studio catalog is being reissued in a series of deluxe editions. Every note is being tweaked, every piece of artwork is being cleaned, freshened up and resourced, wherever necessary, with the legendary Bob Ludwig doing the remastering, working from the original source material. The albums will be released in three waves, staggered over the next year, with the first wave—comprising the first five LPs—coming this spring.

Each studio album will be released in a new two-CD edition, the first containing the updated, remastered original LP, the second disc packed with rarities—and we don’t use the term lightly. Some of these gems have never before seen the light of day, even in crappy bootleg form. To cite a particularly fascinating example, five first-album demos recorded at London’s De Lane Lea Studios in December 1971 were pulled from the only existing copy on the planet—an acetate from May’s personal archives. Not even his bandmates had a copy.

In other anniversary activity, the gallery exhibition “Storm Troopers in Stilettos” opens in London on Feb. 25, with plans in place to tour the exhibit around the world. According to May, this unprecedented event “will highlight in some innovative ways the growth of the ‘Early Queen.’” On April 12, Hollywood will reissue Queen’s debut single, “Keep Yourself Alive” b/w “Son and Daughter,” on seven-inch vinyl in a limited edition coinciding with Record Store Day. And on April 19, the label will issue the band’s Greatest Hits II for the first time in North America. This classic collection includes the rock standards “Under Pressure” and “Radio Ga Ga,” plus  many other classics from the second half of Queen’s run, including the worldwide smashes “I Want It All” & “Innuendo.” Additionally, the “Queen on Vinyl” reissue program will be completed this year with the release of the final five studio albums.

Bonus Tracks on the First Five Studio Albums:

QUEEN (1973)

1. Keep Yourself Alive (De Lane Lea Demo, December 1971)

2. Great King Rat (De Lane Lea Demo, December 1971)

3. Jesus (De Lane Lea Demo, December 1971)

4. Liar (De Lane Lea Demo, December 1971)

5. The Night Comes Down (De Lane Lea Demo, December 1971)

6. Mad The Swine (June 1972)

QUEEN II (1974)

1. White Queen (Live at Hammersmith Odeon, December 1975)

2. See What A Fool I’ve Been (BBC Session, July 1973 – 2011 Remix)

3. Seven Seas Of Rhye (Instrumental)

4. See What A Fool I’ve Been (B-side Version, February 1974)

5. Nevermore (BBC Session, April 1974)

SHEER HEART ATTACK (1974)

1. Now I’m Here (Live at Hammersmith Odeon, December 1975)

2. Flick Of The Wrist (BBC Session, October 1974)

3. Tenement Funster (BBC Session, October 1974)

4. Bring Back That Leroy Brown (A Cappella Plus)

5. In The Lap Of The Gods… Revisited (Live at Wembley Stadium, July 1986)

A NIGHT AT THE OPERA (1975)

1. Keep Yourself Alive (Long-Lost Retake, June 1975)

2. Bohemian Rhapsody (Operatic Section A Cappella)

3. I’m In Love With My Car (Guitar & Vocal Version)

4. You’re My Best Friend (Backing Track)

5. ‘39 (Live at Earl’s Court, June 1977) TBC

6. Love Of My Life (Live Single Version, June 1979)

A DAY AT THE RACES (1976)

1. Tie Your Mother Down (Backing Track)

2. Somebody To Love (Live at Milton Keynes, June 1982)

3. You Take My Breath Away (Live in Hyde Park, September 1976)

4. Good Old Fashioned Lover Boy (Top Of The Pops, July 1977)

5. Teo Torriatte (Let Us Cling Together) (HD mix)


Feb 272011

Havok are bay area thrash throwbacks/ revivers, i.e., youngsters playing the old stuff: Helstar are old-school power/thrash metal: their new album’s out now.

Both Havok’s Time Is Up and Helstar’s Glory of Chaos have wonderful production: clear, powerful without clipping…. Both have great overall musicianship; speaking as a 25-year guitarist weaned on bay-area thrash metal, thrash can be very difficult shit to play, especially as a group. Both bands do well here, and seemingly easily.

First up: the newbies from Denver, Havok, and their second LP (after 2009’s Burn), produced by James Murphy: Time Is Up drops March 29.

Havok have (the requisite?) generic song titles: for example, “Prepare For Attack,” It doesn’t matter, though:  generic or not, it launches out of the gate with a chorus riff difficult to forget, something like “Motorbreath.” It’s furious, articulate shit.

“Fatal intervention” (see with the titles?) parades some nice double kicks, further showcasing the obviously-athletic musicianship.

“No Amnesty” has a cool Djent riff and is a furious song overall, much like “Scumbag in Disguise” (which also has a nice pre-solo break around 2:00), sounding like Forbidden’s “Chalice Of Blood.” I’ve listened to it over and over– it causes air drums every time. You know what I’m talking about.

“D.O.A.”(with its Tom Araya scream at 2:45) has a chorus sounds like something off Vio-lence’s Eternal Nightmare, and “The Cleric” has an “Am I Evil?”-ish flatted fifth intro. “Scumbag in Disguise” is simply great: furious, technical, groovy– everything you could ask for in thrash metal. They’re experts at near-homage: they’re clearly heavily influenced by bay-area thrash (specifically second generation, like Testament or Forbidden), who were heavily influenced by the NWOBHM.

Downside: they’ve got the fairly typical thrash singer: raspy intense talking rather than singing. Think Sean Killian.

Highlights: “The Cleric” (which is somewhat unique musically) and “No Amnesty” (which is totally generic but rocks as hard as anything Testament or Forbidden ever did).

(Also: album cover is perfectly Ed Repka-ish and utterly Metal.)

Next up: Helstar.

For those not in the know, they formed in Texas in 1982. They featured at one time Mike Howe, who went on to front Metal Church, and in return briefly had David Wayne as frontman (who came from Metal Church).

Point: they’ve been around forever, and were at the beginnings of 80s metal. They’re old.

Greatest part: there is no way you could goddamn tell that they’re old: Glory of Chaos rocks like it was 1987. More importantly, Helstar have that something, that uuuh!that Havok don’t.

Havok rock (and they do rock) like they’re great students of the Thrash Metal Experience.

Helstar, however, are the Thrash Metal Experience.

“Alma Negra” (black soul) is fucking awesome, and worth getting if you ignore everything else I’ve written here. A 10 out of 10 power/ thrash metal song. If you’re still interested get “Summer of Hate” and “Monarch of Bloodshed” too.

Metallica: THIS is how you age well. Goddamn.

Singer James Rivery sounds uncannily like Sanctuary/ Nevermore’s Warrel Dane but with more aggression. It’s Rivera that truly makes the album: he can really, completely sing, in all senses of the word, and his articulate voice highlights and accentuates the riffs on Glory of Chaos– when he’s screaming on “Alma Negra” it sounds almost upsetting, like he’s so angry he’s shredding his talented voice to make a point.

Either way, with either album, you’re Golden.

–Horn
 
Buy here: Time Is Up

Buy here: Glory of Chaos
Buy here mp3: Glory Of Chaos


Feb 272011

Tonight in the loft we’re welcoming THE HECTORS & SEASONS to celebrate the release of a split 7″ by both bands. This is the first vinyl release by these highly active local bands. The party gets under way at 7pm!


The Hectors play epic indie rock…the kind meant for arenas. Reminds of Lush meets Pixies.

Seasons play moody indie rock with a smidge o’ brit pop thrown in for good measure.


Feb 272011

Local and newly renamed garage rockin’ 3-piece Dirty Smiles come to rock the loft and play some tunes off their recently released (under the old Cab 20 moniker) LP!

You can check out more info HERE

Joining the band are the blues rockin’ LA band, Wake Up Lucid. You can check out a little teaser of the EP they just digitally release below!


Feb 272011


Feb 272011


Feb 272011


Feb 272011

Track List:
01. Angelique Kidjo / Summertime 04:21
02. Catherine Ringer and The Renegade Brass Band / Les Joyeux Bouchers 03:03
03. China / Lover man 04:47
04. Dee Dee Bridgewater / Watermelon man 03:04
05. Francoise Hardy and Iggy Pop / I’ll be seeing you 04:07
06. The Jazz Passengers with Deborah Harry / Il n’y a plus d’apres 05:28
07. Jacky Terrasson / La javanaise 03:33
08. Patricia Kaas / Black coffee 03:25
09. Princess Erika / God bless the child 04:02
10. Les Nubians / Autor de minuit 03:07
11. Jane Birkin with Jimmy Rowles / These foolish things 06:39
12. Brigitte Fontaine / La caravane 03:25
13. Elli Medeiros / Sophisticated lady 03:55
14. Boris Vian / J’suis snob 00:56

DL:
http://bulletfile.co.cc/?SmF6el9BX1NhaW50X0dlcm1haW5fMTk5Nw==



Fatal error: Call to undefined function phpsuffusion_document_footer() in /home/content/m/e/t/metalmaster7/html/ACOUSTICPROPHECY/wp-content/themes/suffusion/footer.php on line 1