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Toruń ( KN ) - Pologne
Administrateur des artistes : Vomitt ...and nobody cared
Site web : http://www.galaktycznyzwiad.blogspot.com
Date d'inscription : 14 juillet 2007
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That’s the nice record, one that sticks with you from the first chords to the end of the album. The content is basically, a guitar-based, new/dark wave melancholic songs. It reminds me of an early Radiohead (the intro in It Would Be Fine for that instance), Editors (just listen to the vocalist style in Smile That Smile), the Smiths (their hypnotic mode - Christian), Interpol (the riff in Psych) or even Arcade Fire (an extremely catchy and in the same way obscure and melancholic guitar work in Emily Scott). Ok... Even with the comparison, because in a way it is degrading for the band. I think that Light In Your Life has its own style, and it seems that if they play their cards right and put a bit of diversity into their arrangement, there is definitely future ahead of them. As for now, I give 8 out of 10, because the cover is a bit amaterish.
Stay cool,
gz.
This Josh’s release is one of his finest – very much keeping up with the style and efficiency of Not Quite Connected and Dirty Wings. The mood on Breadcrumbs is very switfly balanced between folk/americana melancholy and more alternative (maybe even a bit, but really, just a bit experimental) energetic moments. I suppose people that enjoyed earlier albums from this artist would love most of the tracks here, but my top three favourites are: Overthrown wioth a beginning very much similar to Kings Of Leon compositions (that would be something, Josh Woodward in a KOL style), but later on going into this familiar Josh’s soft storytelling, and two last pieces: Ghosts with a really great, dark atmosphere and one of the best guitarwork from this musician and I’m not Dreaming which is in fact a zenith of Woodward’s melancholy. If the whole LP were that way songs mentioned above, it would be definitely a top jamendo album. Now, it’s nine out of ten for me, and I’m still waiting for this Josh Woodward definite record.
Stay cool,
Gz
This is definitely an album to recommend. Diablo’s mixture of classic, heavy-metal, swing and whatever comes handy is an extraordinary thing even for such a boiling place as jamendo releases. Butcher’s Ballroom is an almost hour of really professionally produced and skillfully performed music. I feel Mike Patton’s strong influence here, but in my case, it’s more an advantage than a vice. All of the songs are worth mentioning, but my favourite is D’Angelo - a short tune in an almost opra mode. I also loved Rag Doll Physics chorus and extremely energetic Infralove. Every little aspect of the record, beginning from the sound, through the composition and lyrics is very much close to perfection, so do not hesistate to get accustomed with this amazing journey Diablo Swing Orchestra invites you to.
take care,
gz.
I do enjoy the latest CIRC release, because it’s a very neat example of an artist’s progress. His previous albums were very much in the same mode as Anatole Joy is (namely, an abstract electronica/melodic IDM clash), but more recent LP’s have richer production and much complex compositions. As for Anatole Joy, one may expect nice downtempo, a bit psychotic but also engaging instrumental trips. My favourite tunes on the record are abstract bizzoff with trance, drilling bass and lile it litl dat, where the rhythm section is very professional and the composition doesn’t bore a listener though the whole piece is generally based on the breakbeat treat. The biggest musical disappointment was angels needs pollution to breathe that strats up extremely nice, with great distorted human choir sample, but than keyboards and rhythm gets predictable and spoils all fun. It could a highlight of the material, but it simply fails to do it. The next remark I have is the cover. The donkey here is simply ridiculous and it spoils an overall positive impression.
Summarizing, it’s definitely a thing to check. A next step in the music history of the composer that can really achieve something in the future.
Take care,
Gz.
I’ve got to tell you. That thing ain’t no blues ;-). Maybe I’m wrong, but I’ve got an impression that death metal bands avoid Creative Commons and focus more on the good old underground zine-net and gigs ways of promoting their music, so two thumbs up for Mental Killing Spree for bravery! About the music. There is a quite engaging mixture of a harder side of thrash and a lighter side of death metal here. Riffs aren’t extremely melodic (it’s not Metallica, and no Amon Amarth either), but they’re melodic enough to keep a listener interested. Even the longest composition on the record, Odd Pathos, avoids monothony though it is nearly 8 minutes. However, my favourite track here is twice shorter but as much engaging Desentized, a tune that reminds me of Suffocation or the early Slayer. The other composition are also worth checking, so don’t hesistate! Become a Mental Killing Spree victim! ;-)
P.s. My only annotation is about the length of the album. It should at least two tracks longer! However, as it is Mental Killing Spree first release I forgive and hope that the next one is much more packed.
It’s not what I’ve expected. The tag said it’s a experimental darkambient kind of music, so I wanted something more like Aphex Twin than Jarre Jr., but maybe I just lifted my expectations too high. The arrangements on Cycle are limited to keyboards, and that’s the first disappointment. What’s more, compositions are not really convincing, I mean, there is nothing very sophisticated there, and sounds lay in the sphere of the basic bank-sound of midi equipment. Even the ambient samples at the begining of Reve d’evolution are pretty pre-packaged and what happens next is a cheerful amateurship.
Generally, it’s not a thing to publish, just some sort of not exactly sound music experiment.
Stay cool,
gz.
I must say this is one of the most engaging ambient records I’ve heard for a long time. There is undoubtedly a Kraftwerk-inspiration in this record, always a good recommendation for me. The mood is extremely ambiental (a stupid thing to say, but it is ;-), with a very professionally arranged sounds and samples, creating sentimental and cold (but not hostile) atmosphere that neatly corresponds with album’s title and an overall concept behind it. As the mood of the record is similar and each piece is a part of whole it’s quite difficult to single out the best composition here, but I pretty enjoyed female (are they female?) voive samples from Bernauer Strasse, and I was also pretty impressed by Nordbahnhof, which is eight-minutes long, but not for a second boring!
In summary, I love the whole record. The sound, the cover, the idea, everything. It’s 10 out of 10 for me. Maybe there are hundreds of similar ambient records out there, but I don’t there. I truly enjoy this one.
Stay cool,
gz
It’s a record you won’t play once. This is a good quality electronica with a funky vibe (sometimes too plastic for me, as if in the Francesco Malti), but other ways pretty danceable. It’s quite difficult to point out one definite hit from the album because every song is professionally crafted, but I liked the bass and the old school minimal-techno feeling of Don’t Stop and pretty the same in Rework. I didn’t hovewer like too soft-jazz atmosphere of Mood for December Rendered (just to much saxophone and other corny stuff, I’m afraid), though it may be only my humble opinion.
In general, it’s a record to remember and an artist to look for when he’ll release some other stuff. However, there are little drawbacks it doesn’t hinder a positive opinion I have about Back to the Source. I’d also listen to Tradmark’s live act as well. It could be some pleasure.
Overall, it’s an eight for me.
Ok. Stay tuned,
gz.
This record is quite interesting, though it’s not a masterpiece. Every song has good electro wave dark mood, but it’s so similar to others in the genre, that it’s quite hard to point out the highlight of the record (Broken Toy perhaps, but it’s an instrumental one). Two of the pieces annoyed me: Everyone’s Girlfriend – because of lyrics’ crudeness and Today, more or else for the same reason. Regardless of the negative things I have just written, there is quite a potential in the band, they just need to find this subtle thread of originality that would single them out from hundreds and hundreds electro-industrial ensembles. I see a light at the tunnel, In the Wonderland has an engaging, luring atmosphere and Red Blood Running is almost Nine Inch Nails-like, so I can only wait for one more record to change my mind totally in favour of this band.
Stay cool,
gz.
I need to say that this record what quite a surprise to me. Sometimes it’s hard to find a record that sounds really modern at jamendo, and I’m not surprised that major major’s tune has landed up at the top spot of jamendo best hundred records recently. As it sounds, the guys have done their homework well. One may recognize the sound of Muse, The Mars Volta or Franz Ferdinand here. Moreover, the songs are quite neatly composed and very professionally performed. Almost every tune here has a nice ring, and it’s hard to choose once favourite, but if I have to I’ll point up some of the highlights. I loved the first moments of Chinese Drop, sentimentally reminding me of Roxy Music songs, and I pretty much enjoyed the energy of Blind – which reminds me some of The Jets recordings. I have to mention also the end of the record, Undone, a very nice piece with the piano and At The Drive-In like guitar blast.
Taking all under considerations it’s 10, although I’d give 9 and a half, because I miss a wall of sound here a bit. The songs are a bit underproduced, but well... it’s not a professional album, and in times before the web 2.0 if one would hear such demo he would judge it as great.
Stay cool,
Galaktycznyzwiad.
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