| Genre Garage Punk Indie rock |
year: 03 - review: Ultimately, Fever to Tell might be slightly disappointing, but it delivers slightly more than an EP's worth of good-to-great songs, proving that even when they're uneven, the Yeah Yeah Yeahs are still an exciting band.
| Genre Progressive Post hardcore |
year: 2003 - review: Its only real flaw is that it exists as one complete listening experience rather than a collection of songs and it's easy to lose track of where they begin and end. The variety in each song is such that it cancels out the variety in the record as a whole. This doesn't detract wholly from the album, although it makes the emotional accompaniment far more memorable than the sounds themselves. However, it's a minor fault in a majorly impressive record. For the most part, 'Deloused In The Comatorium' is truly exquisite and well worth the wait.
| Genre Album Rock College Rock |
| Genre Indie Rock |
| Genre Soft Rock Pop Rock |
| Genre Lo-Fi / Indie singer songwriter pop rock |
hnston fronted a band. On earlier works, the spare songs received musical accompanied from either a single keyboard or guitar. Johnson's first recordings were made a available in a series of primitively made self-released cassette tapes. These were later compiled onto several albums, including the highly recommended YIP/JUMP MUSIC. Notoriety paved the way for Johnston's first album (titled 1990), which was recorded in a true studio. For this set, which was recorded in a house in West Virginia, Johnston assembled a six-piece band (four of whom are guitarists). It's a testament to Johnston's own innate musicality that the songs lend themselves so perfectly to the casual accompaniment heard here.
| Genre Grunge rock |
| Genre Indie alternative pop rock |
| Genre Brill Build Pop Singer Songwriter folk rock |
| Genre Indie Rock Post Rock |
| Genre Industrial-Rock Alternative |
| Genre britpop |
| Genre Dream Pop Indie rock |
nk it is. While most of you eat your hearts out with mindless rap and rock music that is the same as anything else in this day and age, Death Cab for Cutie takes music to a different level and gives the sound a unique feeling. Those magazines and websites who rated low, are mostly no-names anyway. So I handclap for them and their senseless taste in music. Death Cab for Cutie: Plans, has a lot of meaning to it, if you really listen to their music. Most of these people who try to 'rate and act important' listen to a song or two once then they go alright time to write my life story about it. No, that is not how it works. For a band who is getting on it's feet just like any band has to start off to into their mainstream of startum, this album is something peple should really appreciate. You can tell they put more than just thoughts of money and idolism into their name, they really give their music meaning and they know they can share it with others who relate.
| Genre Alternative rock/pop |
concentrated on pleasant psychedelic instrumentals with plenty of backward-guitar effects. While some might find the jump from bizarre vocal numbers to atmospheric instrumentals (and the resultant shift in mood) a bit jarring, the two halves do share certain characteristics. Frusciante's singing voice has a fragile, wispy quality that sits well next to the often delicate second half, and the sparse arrangements of the first half help set the stage for the gossamer guitar work later on. Because the whole project has a definite stream-of-consciousness feel, it does fall prey to underdeveloped ideas at times, but overall, Niandra Lades and Usually Just a T-Shirt is an intriguing and unexpected departure from Frusciante's work with the Chili Peppers.
| Genre Hard Rock Garage |
he opener, "Sittin' Pretty," and the wonderfully stupid "Harmonic Generator," the Datsuns rise above their influences and produce some undeniably fun rock, but too often the album falls prey to the indulgences that sank the bands who inspired them. In particular, the second half features too many squealing guitars and vocals and not enough memorable hooks. Though their melodic sensibilities desert them by the end of the album, on their debut the Datsuns prove that they can craft vintage-sounding hard rock like no one else. Whether or not that's a good thing is debatable, but The Datsuns does feature more worthwhile songs than some of the band's inspirations managed in an entire career.
| Genre Contemporary Singer/ Songwriter |
| Genre Alternative pop rock |
ween stripped-down, folk-inspired material, downtempo pop, and up-to-date productions designed for both home and club listening. Thorn has returned as if she never went away, sounding completely at ease without Watt. She's still, for the most part, singing about love; "A-Z," in which a young outsider, fed up with being beaten and teased, leaves her small town for the city, is the only instance where parenthood might have had an effect on her songwriting. The timely production touches are a more than adequate fit for Thorn's subdued but emotive vocals, just as effective as the drum'n'bass elements on EBTG's last two albums. "It's All True," produced by Ewan Pearson with Darshan Jesrani and Klas Lindblad, is the prime highlight -- bounding synth stabs, sweetened strings, percolating percussion accents, and the kind of near-ecstatic vocal turn that only Thorn could deliver -- utilizing a modernized mutation of the post-disco/pre-house boogie era (as exemplified by Jesrani and Morgan Geist's Metro Area).
| Genre * Dark Ambient * Experimental Dub * Ambient Dub * Trip-Hop * Dub |
al production style has always been heavily influenced by such dubmasters as King Tubby, Scientist, and Lee "Scratch" Perry. But for all of the experimentalism (and sometimes downright abrasiveness) of many of his projects, he has been fairly criticized in the past for getting mushy when he gets into an explicitly dubwise context. Most notoriously, he managed to squander a great opportunity when he turned an entire album's worth of classic Bob Marley material into soupy multi-culti muzak. But the third volume in his Sacred System trilogy (called, confusingly, Dub Chamber 3) is more muscular than some of his other dubwise excursions, and although there's not much here to challenge the mind, the dreamy flavor of this music is consistently fortified by sturdy beats and Laswell's inimitably tasty basslines. The album consists of four long tracks; on all of them, he's joined by guitarist Nicky Skopelitis, and two of them also feature the playing of Norwegian trumpeter Nils Petter Molvaer, whose treated trumpet gives everything a beautiful, eerie sheen. Other guests include bassist Jah Wobble, percussionist Karsh Kale, and pianist Craig Taborn.
| Genre punk rock indie |
by Elektra, they reassembled in London and barely recorded for Columbia, what would become a legendary album and historical blueprint for the punk explosion to erupt just 3 years later. RAW POWER just oozes with that original indie-garage blistering rock experience. From the title track to "Search & Destroy" to "Your Pretty Face Is Going To Hell" to the closing "Death Trip", the album can leave you breathless. The "remastered" Iggy mix delivers the extra punch that the original Bowie-mix didn't have. Anyone who claims to like "punk" music and not familiar with RAW POWER, should do themselves a favor and educate themselves.
| Genre Industrial/Alternative Metal |
m stuck with me and over time revealed itself to be much more. I believe sometimes you have
a choice in what inspiration you choose to follow and other times you really don't. This record is the latter. Once I tuned into it, everything fell into place... as if it were meant to be. With a framework established, the songs were very easy to write. Things started happening in my "real" life that blurred the lines of what was fiction and what wasn't. The record turned out to be more than a just a record in scale, as you will see over time. Part one is year zero. Concept record. Sixteen tracks. All written and performed by me, produced / programmed by me and Atticus Ross, mixed by Alan Moulder, mastered by Brian "Big Bass" Gardner.
| Genre Post Grunge |
| Genre Soft Rock Adult Contemprorary |
| Genre New Romantic Synth Pop |
| Genre Pshychedelic Latin Rock Rock&Roll |
on Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-'90s, an album as eclectic as Abraxas would be considered a marketing exec's worst nightmare. But at the dawn of the 1970s, this unorthodox mix of rock, jazz, salsa, and blues proved quite successful. Whether adding rock elements to salsa king Tito Puente's "Oye Como Va," embracing instrumental jazz-rock on "Incident at Neshabur" and "Samba Pa Ti," or tackling moody blues-rock on Fleetwood Mac's "Black Magic Woman," the band keeps things unpredictable yet cohesive. Many of the Santana albums that came out in the '70s are worth acquiring, but for novices, Abraxas is an excellent place to start.
| Genre Alternative rock |
was first made available in 2005 as an import, however), and once more, the group offers an album that refuses to be pinned down to a single style. It's easy to pick out modern-day bands which sound comparable, such as the Coldplay-ish "7 Days, 7 Weeks" and the Eels-ish "If You Don't Get What You Want," but dEus has been around a heck of a lot longer. Other standouts include the title track, which alternates between calm verses and a grandiose choruses, as well as a tribute to jazz visionary Sun Ra titled, uh, "Sun Ra." Despite the extended break between albums, dEus picks up right where they left off with Pocket Revolution.
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