Monthly Archives: October 2012
Featuring 13 remixes of some well-known artists such as Blood On The Dance Floor, Chester French, Dynasty Electric, Chrystian, Ca$hin’ Out, Matisyahu, Byzant At Sunset, Daniel Bedingfield, Civil Twilight, Serj Tankian and Cypress Hill, “Lovageddon Suicide” it’s the new collection of completely re-shaped and own-flavored remixes by Brushvox.
This time in the first half are featuring the more dance/club oriented tracks, but this is still quite an underground taste-like, self-labeled Doomstep, and not that fancy, trend-rider Dubstep which is so-pushed by the media lately.
The second half, including 3 Civil Twilight, and one of each, Serj Tankian, respectively Cypress Hill remixes are even further experimental and dark takes on the originals.
Actually, most of these so-called remixes have very little to do (amd share) with the originals and are mainly completely different re-interpretations of the originals using mostly exclusively the vocal track from them.
Free Download – Enjoy! (more…)
Incoming search terms:cypress hill remixes
Formed in 2004, VS it’s a French band playing a mixture of atmospheric and electro fueled Post-Rock. It’s hard not to compare it to Sigur Rós, but simultaneously, VS it’s quite different from the leading band of Iceland and their foggy, still soulful music.
“One” kicks in like a modern electro Rock anthem, it’s more related to Filter then to the nowadays fancy Shoegazer obscurity. VS manage to mix smartly electronic layers with acoustic instruments and the result it’s a very gentle, but groovy, pulsing music rooted back to very different genres.
Surprisingly, “Industrial”, the second track is a much quieter, mood and not groove oriented track. It’s a dark, but gentle track nicely coloured with strings and samplers.
The following “Exp” have a strong late Smashing Pumpkins taste and vibe, even Billy Corgan would be proud of it. (more…)
To be brutally honest, at the first two or three listening, I wasn’t quite impressed by this third installment of this tumultuous, but brilliant, experimental, whatever-core band from Sheffield, England. While their debut, 2008′s “Hysterics” shake my world and blew me away, the following, 2010′s “Cosmology” was a fair, but less shocking follow-up.
After the 2011′s departure of two of their founding members, bassist Joseph Thorpe and guitarist Joe Nicholson, Rolo Tomassi bring two new spirits into the band, guitarist Chris Cayford (current vocalist/former guitarist of No Coast) and bassist Nathan Fairweather (who plays in Brontide); and band leader James Spence stating that the new members “breathed new life” in the band, while the music was already 70% complete when they had come.
Ethereal, chill and large spaces are nicely interlaced with the bands disturbing and brutal grindings – and this seems to be the key to decoding “Astrea”. Very groovy, extremely smartly build-up and throughout tensioned, the 10 tracks of “Astrea” will keep you focused and connected. (more…)
Chaotic, contorted and extremely noisy, Birds In Row sounds to me like a desperate protest. Listen throughout several times this “You, Me, and The Violence” and – honestly – still don’t came through anything else then anger and – eventually – bitterness. Without reading the printed lyrics, this raw fury seems lost in the hurricane of the noise.
The first three tracks are running through like a night train, “Guillotine” it’s their first track where they leave the tempo slower and the riffs with the screaming vocals finally making some – but not too much – sense. The following “Walter Freeman” is also a slower, but still weighty enough chaotic Hardcore piece while surprisingly, the very next “Last Last Chance” it’s an experimental dark Blues, in a very post-everything sense which blows directly into the explosive title track. One of their best butcheries throughout.
And like in a nightmare or a loop, everything comes back to rape your ears all over again starting with the slow grinding “Grey Hair”, through the fastest “The Illusionist” and the almost anthematic “Police & Thieves” (The Clash [dis]connection?). Then again, the closing “Lovers Have Their Say” it’s an escapade into smooth chords, acoustic teasing, counselor softness, being humanly gentle even when things are getting a little bit rough. It’s an almost 13 minutes long trip, a Shoegaze kind of closing with large, foggy spaces for a brutally disturbing material. (more…)
Incoming search terms:birds in row you me violence
Growing up from the solid ground of Technical Death Metal and from the sonic neighborhood of murderous bands such as The Dillinger Escape Plan and Converge, Promethee is a five-piece Metal band from Geneva, the heart of the Swiss metal scene.
Founded in the spring of 2008, and after only a few months of writing their first songs, the band started to play as many shows as they could, gaining quickly loads of local support from bands, friends and promoters.
Gathering experience, the band found it’s own personal sound in order to record a full-length album. Promethee doesn’t have a particular political, religious, philosophical message of any kind, but writes about the things that touches and effects them in this world and through their lives with the music they create.
Recorded at Conatus Studios, mixed by Vladimir Cochet and released on October 13th, 2012 through Bad Mood Records, the 10 tracks of “Nothing happens, nobody comes, nobody goes” will grind you into the ground without mercy. (more…)
Incoming search terms:swiss metal bands
After a quite long break and the announcement of Thomas Wyreson quitting the band back in 2008, Tiamant’s tenth full-length studio album, “The Scarred People”, is expected to be released on November 2, 2012 through Napalm Records.
The current line-up consist of Johan Edlund – vocals and guitar; Anders Iwers – bass, Roger Öjersson – guitars; and Lars Sköld – drums.
Formed in Stockholm, Sweden in 1987, Tiamat initially played straightforward Black Metal under the name Treblinka. After having recorded the album Sumerian Cry in 1989, vocalist/guitarist Johan Edlund and bassist Jörgen Thullberg parted ways with the other two founding members, and subsequently changed the name to Tiamat. “The Sumerian Cry” album included re-recorded Treblinka songs and was released in June 1990. Edlund changed the band’s style incorporated colourful influences from different bands such as Mercyful Fate, Candlemass, Pink Floyd and King Crimson, and with Sumerian lyrical themes.
Their 1994′s critically acclaimed “Wildhoney” led to the band’s appearances at the Dynamo and Wacken Open Air heavy metal festivals in 1995. The band mixed raw and clean vocals, slow guitar riffs and synthesizer, their sound moved gradually into the area of Gothic Rock. (more…)
“Roboid 371304″ is a concept album which focuses on the affairs of two aliens who for contrasting reasons, are drawn to mankind. As the story goes on, soon becomes clear that aliens and humans are closer to each other than previously imagined.
The music it’s related as style and approach to bands such as IAMX, Imogen Heap, Cut Copy, and generally to the area of Indietronica, IDM (Intelligent Dance Music), Synthpop, with some Rock colours linked back to the 80′s David Bowie and Depeche Mode.
No wobbling, no contorted noises, no twisted metallic blows and drops, this journey filled with spaces, dark vibe and chilled, sometimes Dream Pop flavored moments might sounds for many pretty out-dated, eventually not enough groove oriented, but this retro electronic taste and the futuristic, scifi story it’s the very essence of this concept. (more…)
Extremely noisy and contorted, settled in the trend of wobbling and killer drops of nowadays raging Dubstep, “Monsters Vol. 3″ will definitively slaughter down not only your wall to wall neighbors, but the whole neighborhood.
We’ve got 15 tracks, a hell of a collection of originals including collaborations with Tommy Lee and Bare as well as sick remixes from the likes of J.Rabbit, Oscillator Z, Alex Sin, Dr. Ozi, and Phrenik.
“The Grave Yard” kicks in first and it’s hard to resist not to jump up and swimming around the room. “The Corpse Grinders” will definitively shaking the dance floor with its mad wobbling and oscillations, it’s incredibly noisy and heavy. “Otis” will bring the cops knocking at your door, it’s just that murderous! “Creepin” it’s the perfect piece showing what “Horrorstep” means exactly and will suck your last breath off. And then comes “Pounds of Blood” featuring MÖTLEY CRÜE’s Tommy Lee on live drums, a totally rocking piece which sounds like a Methods of Mayhem song on steroids. Total killer! And we’re only half way through!! (more…)
The Italian fromSCRATCH Records propose us a noiseful trip to the outer limits of experimental music, two bands, two tracks each, one tape cassette for 6 euro – shipping included -, but available for free digital download HERE.
The opening “Terrori nei boschi” (terror in the woods) delivered by Gli Putridissimi and the following “Paludi Ghiacciatissime” fits quite exactly the self-provided description: “Horns and Palms destruction for a black metal experimental jazz”. Actually, both sounds like an unstoppable Industrial fueled free-Noise-Jazz hurricane. Turbulent, but efficient, this band from Bari knew exactly how to start a riot and put the world on fire.
On the other hand, and other side of the tape, Luther Blissett propose a ride into the more experimental and darker corner of Avant-garde music. While the first “Scaffolding” keeps the spirit and the burning flame of bands such as The Fall and The Ex alive, the following “Staggering” it’s a totally abstract trip.
So, if you’re looking for something different, definitively go for it! (more…)
It’s not strange kind of focus, but rather out of focus. Time and Energy delivering a strange mixture of Afro-beats, Blues/Country/Folk roots and Beck flavored Indie vibes with some Rufus Wainwright taste-like vivid whatever. “Loop Rock”? Eventually. But pretty hard to chew being not under influence and the taste is questionable. And well, I’m quite trained to listening anything, even considering the construction site next to my building a musical revolution. When the 7th track, “Sitting On a Scale” started almost as a classic The Beatles song, it was a release. Up till then, “Strange Kind of Focus” sounded like a mixtape on acid. The very next “O’Molly” have that raw wickedness of some early The White Stripes tracks, it’s that kind of perfect menage of Blues and Indie/Garage Rock – and it’s probably the best moment of the album. And the following “Think it Through” it’s not that bad too, or simply I get used with their layered and sometimes antagonist sound. The closing “Acid Jam” it’s build upon a Latino foundation, but just as its title suggest, it’s an Acid Jam, after a few pleasant seconds the whole thing get out of control and became quite dangerous.
This is an experiment and I do respect that. The result? Well, not really sure of. “Name your price” for the digital download it’s a fair approach and listen first at your own risk. I would start with track 7 or 8. (more…)