Generalizing, Dexessus might be the Russian answer for Rammstein. Metalic, heavy riffings, electrifying sampler layers, deep and strong male vocals mainly spoken and spiting the words and as a nice addition, some smoother female vocals, and this dialogue offering them a special sound, makes the difference. Marching tempos, aggressive guitars, colorful textures and the catchy themes full of adrenaline are the winning schemes of Dexessus. It reminds me – obviously – of the collaboration of Rammstein with t.A.T.u.. “Ðакажи Ð¼ÐµÐ½Ñ Ð»ÑŽÐ±Ð¾Ð²ÑŒÑŽ” (Punish Me with Love) is an absolutely correct industrial metal album from this band from Odessa. Read more Dexessus – Punish me with Love (2011)
Mr. Pan[k]sament – The Ghost of the Absent Father (2011)
Marcus Miller once said: “that one of the problems with making contemporary music is that you never know how it will be judged in the futureâ€. That’s true, but still, I believe it really doesn’t matter what anybody think about it, who and how judge it. I’m conscious that I disappointed most of my fans from the 90’s, but I always felt like I have to move on and I’m kind of pathologically scared not to repeat myself. Under the moniker “Mr.Pan[k]sament” I’m exploring extremely different areas of musical expressions from electronica to metal and from punk to jazz, it might be confusing, I’m aware of it, but this is who I am. Writing recently about Queensrÿche and reading some of the fans comments about their latest release I was thinking about one more aspect: a band should play what their fans demand or what they actually feel? Some great artists such as David Bowie with each release moved on in some other direction while bands like AC/DC played the same riff for decades but both are just great exactly for what they did. So, it’s no “right” or “wrong” answer. On the other hand, thinking about music exclusively in genres, I think it’s definitively wrong and leave us with a very narrow horizon… Read more Mr. Pan[k]sament – The Ghost of the Absent Father (2011)
Garage Days
Today it’s a nice, smiling Sunday. And I felt like I have to smile back. 🙂 So, I dig out some tracks that were send to me by Grigore (Oedip Piaf) with one of them songs: “Detentie” (Detention) , and I cut off Serban’s guitar track, I used some parts of it and other parts were re-sampled and I write a brand new theme for them, give life to a new song. 😀
It’s always exciting to work on something and re-arrange it to become something totally different, to give birth to another thing. That’s the reason why I – still – insist on my collaboration without frontiers idea. And the doors for it are still wide open.
“Garage Dayz” is kind of dirty, dusty blues rock song, I’m not actually into blues at all, but this one feels alright. 🙂 Read more Garage Days
Pat Metheny – What’s It All About (2011)
This is a beautiful, quite acoustic album. As it’s written on Metheny’s official web site: “The new acoustic solo guitar album from Pat Metheny called “What’s It All About” features classic tunes from songwriters like Paul Simon, Lennon & McCartney, Burt Bacharach, and Henry Mancini. Pat describes it like this: “I wanted to record some of the music that was on my radar before I ever wrote a note of my own, or in a few cases, even before I played an instrument. Every one of these tunes has something going on that is just hip on a musical level, no matter how you cut it. They have all stuck with me over the years.” While Matheny played with John Scofield, Charlie Haden, Jim Hall, Ornette Coleman, Brad Mehldau, Jaco Pastorius and Bob Moses, Charlie Haden and Billy Higgins, Dave Holland and Roy Haynes, Joni Mitchell, Jack DeJohnette, Chick Corea, Herbie Hancock, Bill Stewart, Kenny Garrett,and his older brother, Mike Metheny, a talented jazz musician and a trumpet player, among many others, it’s almost strange that “What’s It All About” actually it’s his sixth solo album while his first, “New Chautauqua” was released by ECM back in 1979. Read more Pat Metheny – What’s It All About (2011)
Marcus Miller – Tutu Revisited (2011)
Released in December 1986, 25 years ago, “Tutu” divided the world of jazz: some loving it, others labeled as “not jazz” and quite hating it. As Marcus Miller said in a recent interview: “I bought a Downbeat magazine when I was 15 years old and they were arguing about that. The last time I looked at Downbeat, they were still arguing the same stuff.” Thinking of music in genres, I believe, it’s a quite stupid approach. And there’s not even “good” or “bad” music, eventually there’s music we like or we don’t. It’s about the vibe I guess. And about our perception and not at least it’s about the moment and the mood, not to mention the contradictious matter of taste. I won’t definitively play Morbid Angel or Slayer when I’m in mood for sex. I admit, I discovered Miles Davis through “Tutu” and for years I did paint exclusively on Miles Davis and Jan Garbarek’s music. And still, I prefer to paint on jazz.
Marcus Miller wrote and produced “Tutu” at the age of 27 while by age of 13, Marcus was already proficient on clarinet, piano and bass guitar, and already writing his own songs. Miller soon became a top call session musician, gracing well over 500 albums, a short list of which includes Herbie Hancock, Mariah Carey, Wayne Shorter, McCoy Tyner, Frank Sinatra, Dr. John, Aretha Franklin, Elton John, Grover Washington Jr., Donald Fagen, Bill Withers, Michael Jackson, Luther Vandross, Roberta Flack, Carly Simon, Bryan Ferry, David Sanborn, Billy Idol, Chaka Khan, LL Cool J and Me’shell NdegOcello and Flavio Sala. Read more Marcus Miller – Tutu Revisited (2011)
The Lollipops – Hold! (2011)
Available in many flavors and shapes, mounted on a stick and intended for sucking or licking, the lollipops are hard candies. Chosen as band name is not quite inspired, plenty of artist/bands all over the world use it in different forms. This time, this “The Lollipops” are from Olsztyn, Poland and “Hold!” is filled up with smooth, kind of retro and tasty rock with gloomy indie flavor mixed with some blues, pop and punk spices, reminds me mainly of the good-old days Blondie combined with the doo-wop taste of the song “Blue Moon” in the version of The Marcels from ’61. Kasia Staszko – vocals, Jacek Ruczko – guitar, Romek BaÅ‚tuszka – guitar, Jakub Roszkiewicz – bass and Wojtek Zamaro – drums put 12 (plus one bonus) on this “Hold!” and it’s actually a nice, extremely listenable album. Read more The Lollipops – Hold! (2011)
SIN-atra – The metal tribute to Frank Sinatra (2011)
Butchering disaster. I became skeptical back in January right after I listen “New York New York” covered by Devin Townsend, an absolutely genius guy otherwise, but not even his talent and powerful voice could bring out something exciting from this project. The idea itself might be alright, but the result is horrible. Eagle Rock thought to give another shot to the team that put together “We Wish You A Metal Xmasâ€, the supergroup made of Richie Kotzen – guitar, Bob Kulick – guitars, Doug Katsaros – keyboards, Billy Sheehan – bass and Brett Chassen – drums and putting to the microphone legendary rock singers such as Glenn Hughes (ex-Deep Purple), Geoff Tate (Queensrÿche), Dee Snider (Twisted Sister), Tim “Ripper†Owens (ex-Judas Priest, ex-Iced Earth), Devin Townsend (Devin Townsend, Strapping Young Lad, etc), Robin Zander (Cheap Trick), Eric Martin (Mr. Big), Joey Belladonna (Anthrax), Doug Pinnick (King’s X), Jani Lane (ex-Warrant), Franky Perez (Scars on Broadway) and Elias Soriano (Nonpoint). So, only and exclusively a line-up made of (rock) super-stars. Read more SIN-atra – The metal tribute to Frank Sinatra (2011)
Of Mice and Men – The Flood (2011)
For a year or two I’m at least suspicious if not directly sick only when I hear of “indie” or “alternative” labels, this year I got myself a new syndrome, I get sick when I hear of “metalcore”. Too many faceless bands does the same kind of shit and it becomes pretty boring. Fortunately there are always few exception, and talking bout metalcore, Of Mice and Men are still manage to put on the table exciting materials.
The band was formed by Austin Carlile – original vocalist of Attack Attack! – and bassist Jaxin Hall during mid-2009 after Carlile’s departure from his former band. After reaching 1,000,000 plays from their Myspace profile in just two months since its launch, the band uploaded a cover of Lady Gaga’s song, “Poker Face” and a copy of the demo was sent directly to Rise Records.
The band released their self-titled debut album in March 2010. On “The Emptiness Tour” in 2010 Carlile fell in to a conflict with the other members and the band and Carlile decided to part ways. The group thereafter invited Jerry Roush – vocalist for Sky Eats Airplane and American Me – to front Of Mice & Men. But after nine months the group confirmed in January 2011 that they reached a decision to have Jerry Roush leave Of Mice & Men in favor for former vocalist and founding member, Austin Carlile to return to the group. Read more Of Mice and Men – The Flood (2011)
Versailles – Holy Grail (2011)
This is the third album by the Japanese visual kei metal band Versailles – also known as Versailles -Philharmonic Quintet. Pretty strange combination of classic heavy and power metal with sometimes theatrical, opera-like vocals, other times pretty typical Japanese, pop taste vocals. “Visual kei”, literally “visual style” or “visual system”, is a movement among Japanese musicians,that is characterized by the use of make-up, elaborate hair styles and flamboyant costumes, and Versailles key characteristics are their rococo-esque costumes, correlated musically with dueling guitar sounds – Iron Maiden’s trademark – and heavy but melodic arrangements.
The band was formed in 2007 by Kamijo (ex-Lareine), Hizaki (ex-Sulfuric Acid), and Jasmine You (ex-Jakura). Later, Teru (ex-Aikaryu) and Yuki (ex-Sugar Trip). Read more Versailles – Holy Grail (2011)
The Last Elephant
Yesterday was the last time when I released a new song, here we go again, I’ve got another one: The Last Elephant. Maybe I’m not a creative genius, but still, I’m at least productive. 😀 Written for the same album, “The Ghost of the Absent Father”, this is a more darker song with kind of aggrotech/EBM resonances, industrial textures. It has a slow-grinding passage colored nicely with a gentle piano and a string orchestra, but still, this is pretty intense I guess. Not too sophisticated, straight and pumping. Read more The Last Elephant
