Forum Klix.ba

Altsa wrote:victory ima li negdje Nick Cave album B-sides i rariteti (1 i 2 CD)

The title might suit the aura of faltering romanticism but Here Comes The Tears will offer nothing but a happy ending for Suede disciples who once mourned the avoidable loss of a glorious future. Unarguably one of British rock music’s most eminent severed alliances, low-rent hedonist Brett Anderson and recalcitrant guitar deity Bernard Butler permanently parted company during the fractious recording sessions for 1994’s smouldering masterpiece Dog Man Star. Like Strummer and Jones, Lennon and McCartney and Morrissey and Marr, the Anderson Butler union belongs to a distinguished line of brilliant but volatile songwriting partnerships acrimoniously (and often prematurely) ripped apart under exacting circumstances. Finally, the estranged pair conclude their dignified silence and pick up the torch where the aspirational Dog Man Star adjourned a generation ago. Naturally, Here Comes The Tears - while not attempting to atone for any might-have-beens - sounds instinctively like the best record Suede or the solo Bernard Butler never made and duly rewards by attaining some kind of ego-balancing equilibrium between the chemical rush of Anderson’s decadent glam pop expression ("Lovers", "Refugees") and Butler’s more stately and wide-angle production landscapes. Modesty being a virtue, it’s interesting to contrast the elephantine brass bombast of Dog Man Star's (admittedly wonderful) finale "Still Life" with the manner in which "A Love As Strong As Death" asserts its grandiosity with a reticent mulling of harp, piano and Hawaiian guitar. There’s simply too much genius here to mention but "Beautiful Pain" (cold turkey agony with a truly euphoric pop chorus) and the refracting, rain-soaked atmospherics of "The Asylum" simply beg acquaintance. A stunning comeback.

Not metal -- not remotely. So why did they get written up in Terrorizer magazine? Well this German four-piece isn't exactly a jazz band either, even though they utilize such instruments as Fender Rhodes electric piano, vibraphone, double bass, and saxophone. No, they're actually really really heavy though it's always hard to explain how something this quiet and this pretty can be "heavy". But you'll feel it when you hear it. Their special brand of Teutonic, minimalist, noir-jazz influenced "heaviness" is not to be denied. And so it makes sense that they like grim black metal and that people who like grim black metal like them. A very special band, certainly unknowable to some, but very well liked 'round here. So I was pretty excited to hear that the release of this new album Geisterfaust ("Ghostfist") was impending. And it does not disappoint. Five tracks for the five fingers of the Ghostfist (skeletally represented in the cd digipak). Almost one full hour.

Thusly, a Bohren album cannot be properly absorbed in little snippets. The time frame within which their compositions work is not conducive to quick scans or distracting environments -- even the shortest of the five tracks here isn't much less than eight minutes in length, and the opening track "Zeigefinger" is a 20+ minute experience. So, when I got my copy of this (oooh) I took it home and drew the curtains, lit the candles (well, ok I didn't really light any candles, but could have), and assumed a relaxed pose in order to let the music of Geisterfaust infiltrate my consciousness. Which it did. At Bohren's usual glacial pace, which utterly starts to alter one's perception of time. The long songs are endless...then over. Eternity telescoped. So spare and melodious. Like magnified drops of rainwater, falling on the petals of a shivering flower. The vast space of Bohren's music makes the listener concentrate, and gives each and every note (a vibraphone chime, perhaps, surrounded by a nimbus of a gentle cymbal-strike's shimmer) extra weight and meaning. The Bohren aesthetic certainly holds that less is more. Even though there's guests -- a tuba player and a choir, even -- augmenting the basic Bohren quartet on several of these tracks, you're never overwhelmed with sound, but with silence. And the sheer *subsonics* that a band with two bassists can generate. Geisterfaust flows exquisitely, the listener's pulse rate slowing. Calm. Cool. Bliss. Stupor. So gorgeous, soo heavy. There we go again. This IS heavy. You'll see.

Basically it's like some utterly slow crushing doom band (the Melvins at their most monolithic -- Khanate -- Caspar Brotzmann Massaker -- Corrupted -- Gore) with their instrumentation transposed into the "jazz" realm. The snare only brushed. The distorted electric guitar replaced with the tinkle of a Rhodes piano. Notes not riffs. Played like a dirge, with hints of drone, sombre and sad, but beautiful. There's only a smidgen of saxophone (dreaded by some) that is brought in only at the very end of the last very track, one that is almost speedy by Bohren standards, to act as the light at end of the tunnel, the sun's rays just over the horizon...

Yo La Tengo's 10 albums have never been faithful to a genre. But after getting sweaty with punk rock, intimate with sonic terrorism and cuddling up to a retro surf sound, the trio have decided it's time to settle down.

On Summer Sun, their combination of aloof art-school pretension and frothy melodic thrill proves to be a marriage made in heaven. It's not quite a case of John Cage meets Kylie, but at heart this is a filmic pop dream, with brooding undercurrents and colourful, slippery melodies.

Beach Party Tonight is a sunstroke-evoking mix of seaside and darkside, Nothing But You and Me sung in ageing but still swinging Sinatra-style against shuddering keyboards and a distant lead guitar fuelled by a youthful anger.

Relationships are dissected with a fearful but thankful sigh as Hawaiian guitar jostles with flute, and both Steve Coogan and chicken stew become metaphors for love. Clever can be beautiful.

On The Coast Is Never Clear, the difficult third-album syndrome only affected San Franciscan pop dreamers Beulah in the studio, where the band came to blows over, say, the importance of a diminished seventh on a trumpet solo. From such a roughneck recording environment, however, comes perfection on their third album, where expansive, multi-instrumental, orchestral pop is underpinned by the sweetest tunes. This album could be precious--and in lesser hands it surely would be--but at the core of Beulah's ambitious vision a pure pop heart beats. Special mention must be made of "Silver Lining," a paean to songwriter Miles Kurosky's first love, punk rock. Introduced by a fanfare of horns, the track races along propelled by a fiery guitar riff and the beaten-up joy of being scarred by punk. A bittersweet, sumptuous, and utterly compulsive collection, all told.

Domestic debut of the Japanese pop/ neo-lounge legends 1998 album. 13 tracks, including the singles 'Such A Beautiful Girl Like You' and 'Playboy Playgirl'.
-------------------------------
On their third full-length American album, The International Playboy and Playgirl Record, DJ Yasuharu Konishi and diva Maki Nomiya patiently escort the listener deeper into the filmic life of the fabulously pop. A resonant, quasi-Stephen Hawking, Japanese-speaking narrator describes the life of "Japan's coolest combo" between tracks, which erupt in exuberant, tambourine-sizzling 1960s French orchestral pop of a purity that reveals a mature P5 sound: these are fully orchestrated tunes rather than DJ pastiche. Konishi plays it straight on International Playboy, and to uncanny effect, as the "la-la-la-la" lyrics of "Week End," the Carpenters-ish "I Hear a Symphony," and the Sgt. Pepper's-inspired "Magic Twin Candle Tale" sweep the gals through airport lounges with vinyl raincoats swinging over their Nancy Sinatra boots. The Bacharach pop of "Such a Beautiful Girl Like You" and the frugging go-go of "Playboy Playgirl" may be built on sequencers, but they sound so much like live instruments on vinyl that it's creepy. Hard-core turntablists will be disappointed at the lack of variety, but the relentless flow of uptempo horn and string arrangements will be heard at every upscale party and art opening.

victory wrote: ----------------

jos jednom



Coldplay - X & Y (2005)

victory wrote:

Altsa wrote:victory ima li negdje Nick Cave album B-sides i rariteti (1 i 2 CD)

ja sam 1 i 2 svojevremeno skin'o sa jednog ruskog servera. medjutim, fajlovi su vec odavno izbrisani.
nisam odavno posjecivao soulseek ali znam da su se sva 3 cd-a mogla tamo pronaci.
ako gdje naletim, prijavim ti
----------------------------------




The Tears - Here Come The Tears (06/06/2005) rar., 73 mb

The title might suit the aura of faltering romanticism but Here Comes The Tears will offer nothing but a happy ending for Suede disciples who once mourned the avoidable loss of a glorious future. Unarguably one of British rock music’s most eminent severed alliances, low-rent hedonist Brett Anderson and recalcitrant guitar deity Bernard Butler permanently parted company during the fractious recording sessions for 1994’s smouldering masterpiece Dog Man Star. Like Strummer and Jones, Lennon and McCartney and Morrissey and Marr, the Anderson Butler union belongs to a distinguished line of brilliant but volatile songwriting partnerships acrimoniously (and often prematurely) ripped apart under exacting circumstances. Finally, the estranged pair conclude their dignified silence and pick up the torch where the aspirational Dog Man Star adjourned a generation ago. Naturally, Here Comes The Tears - while not attempting to atone for any might-have-beens - sounds instinctively like the best record Suede or the solo Bernard Butler never made and duly rewards by attaining some kind of ego-balancing equilibrium between the chemical rush of Anderson’s decadent glam pop expression ("Lovers", "Refugees") and Butler’s more stately and wide-angle production landscapes. Modesty being a virtue, it’s interesting to contrast the elephantine brass bombast of Dog Man Star's (admittedly wonderful) finale "Still Life" with the manner in which "A Love As Strong As Death" asserts its grandiosity with a reticent mulling of harp, piano and Hawaiian guitar. There’s simply too much genius here to mention but "Beautiful Pain" (cold turkey agony with a truly euphoric pop chorus) and the refracting, rain-soaked atmospherics of "The Asylum" simply beg acquaintance. A stunning comeback.

1. Refugees
2. Autograph
3. Co-star
4. Imperfection
5. The Ghost Of You
6. Two Creatures
7. Lovers
8. Fallen Idol
9. Brave New Century
10. Beautiful Pain
11. The Asylum
12. Apollo 13
13. A Love As Strong As Death