under-g Recommends - Beck - Everybody's Gotta Learn Sometimes
This track captures the romance betvveen the two lovers in perfect form. Its a classic song to a beautiful story. I love this movie and the soundtrack is pretty awesome too.
Lucinda Williams (Reissue) - Lucinda Williams CD Covers
Under-g Score: 65/100 Average
info: The remastered reissue of the singer's self-titled third release, considered by some as one of the first Americana albums, includes 20 live tracks. Release Date: 2014
info: The remastered reissue of the singer's self-titled third release, considered by some as one of the first Americana albums, includes 20 live tracks. Release Date: 2014
under-g.net returns to under-g.blogspot.com domain name
Under-g.net has returned to its blogspot web address.
Real Estate - Atlas CD Covers
Under-g Score: 80/100 Great
info: The third full-length release for the indie rock band was produced by Tom Schick and recorded at Wilco's studio in Chicago.
info: The third full-length release for the indie rock band was produced by Tom Schick and recorded at Wilco's studio in Chicago.
Beyoncé - Beyonce CD Covers
Under-g Score: 40/100 Bad
info: The fifth full-length record for the R&B pop singer was a surprise iTunes release, with a short film accompanying each track.
info: The fifth full-length record for the R&B pop singer was a surprise iTunes release, with a short film accompanying each track.
St. Vincent - St. Vincent CD Covers
Under-g Score: 60/100 Average
info: The fourth full-length release for the indie artist was produced by John Congleton and includes contributions from Dap-Kings drummer Homer Steinweiss and Midlake's McKenzie Smith.
info: The fourth full-length release for the indie artist was produced by John Congleton and includes contributions from Dap-Kings drummer Homer Steinweiss and Midlake's McKenzie Smith.
These New Puritans - Field of Reeds CD Covers
Under-g Score: 70/100 - Good
info: The third full-length release for the British art rock band experiments with avant garde and classical music elements arranged with conductor André de Ridder and featuring guest appearances by Henry Lowther, Adrian Peacock, Elisa Rodrigues, and Michel van der Aa.
Genres: Alternative/Indie Rock, Electronic
info: The third full-length release for the British art rock band experiments with avant garde and classical music elements arranged with conductor André de Ridder and featuring guest appearances by Henry Lowther, Adrian Peacock, Elisa Rodrigues, and Michel van der Aa.
Marc Almond 2014
Collaborations with Tony Visconti and Jarvis Cocker, “lustrous pop” albums, classical crossovers – and even an ’80s revival… MARC ALMOND’s hectic 2014
PRINCE - Plectrum Electrum Preview
The Purple One and his allgirl band get “guitar-heavy”
DONNA GRANTIS
[GUITAR]:
“3rdEyeGirl is Prince, Hannah Ford [drums], Ida Neilsen [bass] and myself. The process of how songs are arranged is very organic, and often comes come out of us jamming together. Mostly we’re at Paisley Park, but we did spend some time in the studio in London. Sometimes we’ll go in at two in the afternoon and stay ’til six in the morning. We’re usually six days a week, 10 to 16 hours a day. At Paisley, I’m to Hannah’s right, Ida is to Hannah’s left, and Prince is in front of Hannah. We’re set up to record the same way we play live. There is a song out called ‘Fix Ur Life Up’, and that is a good indicator of what the rest of the album will be like: very guitar-heavy, very edgy, sounds huge. There’s a very interesting message behind all of the songs as well. Musically, it’s influenced by classic rock bands, and an older sound, although still combined with a fresh perspective. What really appealed to us was the idea of how bands would record back in the day. Like Led Zeppelin or Fleetwood Mac or Hendrix, where everyone’s in the studio, everyone’s playing together, and it’s about the feel and the performance, rather than the digital sound that’s popular now. We’re definitely a lot more analogue, and it’s about the way the musicians performed a piece, rather than just lighting things up and going through a ton of takes. When 3rdEyeGirl perform live we improvise all the time, so what’s being heard on the record is just one interpretation of the songs. This album is a different style and direction from Purple Rain. But, in terms of how guitar-heavy it is, if you like Purple Rain, then this album is rockin’.”
DONNA GRANTIS
[GUITAR]:
“3rdEyeGirl is Prince, Hannah Ford [drums], Ida Neilsen [bass] and myself. The process of how songs are arranged is very organic, and often comes come out of us jamming together. Mostly we’re at Paisley Park, but we did spend some time in the studio in London. Sometimes we’ll go in at two in the afternoon and stay ’til six in the morning. We’re usually six days a week, 10 to 16 hours a day. At Paisley, I’m to Hannah’s right, Ida is to Hannah’s left, and Prince is in front of Hannah. We’re set up to record the same way we play live. There is a song out called ‘Fix Ur Life Up’, and that is a good indicator of what the rest of the album will be like: very guitar-heavy, very edgy, sounds huge. There’s a very interesting message behind all of the songs as well. Musically, it’s influenced by classic rock bands, and an older sound, although still combined with a fresh perspective. What really appealed to us was the idea of how bands would record back in the day. Like Led Zeppelin or Fleetwood Mac or Hendrix, where everyone’s in the studio, everyone’s playing together, and it’s about the feel and the performance, rather than the digital sound that’s popular now. We’re definitely a lot more analogue, and it’s about the way the musicians performed a piece, rather than just lighting things up and going through a ton of takes. When 3rdEyeGirl perform live we improvise all the time, so what’s being heard on the record is just one interpretation of the songs. This album is a different style and direction from Purple Rain. But, in terms of how guitar-heavy it is, if you like Purple Rain, then this album is rockin’.”
Stephen Malkmus and The Jicks - Wig Out At Jagbags Review
On his sixth album with The Jicks, the ex-Pavement man settles into his role as elder statesman of rock
“We lived on Tennyson and venison and The Grateful Dead”, sings Stephen Malkmus on ‘Lariat’, adding another food pairing to the menu that’s already given us oysters and dry Lancers wine on Pavement’s ‘Shady Lane’ and saag aloo with gin and tonic on ‘Pink Indıa’ from 2001’s ‘Stephen Malkmus’. This time though the 47-year-old is matching his food with the books and records from his past on an album that sees him squinting through rose-tinted specs at “the music from the best decade ever” (‘Lariat’ again), and writing tunes devoid of the sourness and inertia that characterised much of late-period Pavement and his solo career.
“We lived on Tennyson and venison and The Grateful Dead”, sings Stephen Malkmus on ‘Lariat’, adding another food pairing to the menu that’s already given us oysters and dry Lancers wine on Pavement’s ‘Shady Lane’ and saag aloo with gin and tonic on ‘Pink Indıa’ from 2001’s ‘Stephen Malkmus’. This time though the 47-year-old is matching his food with the books and records from his past on an album that sees him squinting through rose-tinted specs at “the music from the best decade ever” (‘Lariat’ again), and writing tunes devoid of the sourness and inertia that characterised much of late-period Pavement and his solo career.
the Kitchen - Hieroglyphics Review
Genres: Rap, Underground Rap West Coast Rap Alternative Rap
Release Date: November 19, 2013
Review: 3rd official Hiero release is a let down. Whatever recipe they were using in 'the kitchen' left a bad taste in my mouth. Listened a few times and it's just not listenable. The production quality is average at best as the vocals are drowned out by the beats at certain points. There just weren't any catchy hooks, beats, or witty lyricism I'm used to. The songs that did have good lyrics like All as above so Below, had the same melancholy music playing in a loop ad nauseum. Possibly the Hiero group needs to filter out some of the members and let the prominent members shine like they did on Souls of Mischief. I found the song talking about "merch" to be a little offensive to the listeners.. that's purely a sales term and to brag about how they are making money off selling t-shirts, preying on the fans was a bit insulting.. that's just me. They had plenty of time to put this album out, I view this as failure.. let's hope they can team up with better producers and work on those lyrics.
Release Date: November 19, 2013Review: 3rd official Hiero release is a let down. Whatever recipe they were using in 'the kitchen' left a bad taste in my mouth. Listened a few times and it's just not listenable. The production quality is average at best as the vocals are drowned out by the beats at certain points. There just weren't any catchy hooks, beats, or witty lyricism I'm used to. The songs that did have good lyrics like All as above so Below, had the same melancholy music playing in a loop ad nauseum. Possibly the Hiero group needs to filter out some of the members and let the prominent members shine like they did on Souls of Mischief. I found the song talking about "merch" to be a little offensive to the listeners.. that's purely a sales term and to brag about how they are making money off selling t-shirts, preying on the fans was a bit insulting.. that's just me. They had plenty of time to put this album out, I view this as failure.. let's hope they can team up with better producers and work on those lyrics.
Verdict: 40/100
The Knife - Shaking the Habitual (2013) Review and CD Covers
It's been 7 long years since the excellent Silent Shout graced our ears
(3 if you count the Fever Ray project,The Knife do what they're good at, and what they're really good at is causing a cacophony of melodic noise and haunting vocals, with a dash of foreboding beats and ominous atmospheres to set the mood. A good portion of this album has some great cuts on it, including Cherry on Top and Full of Fire, while few others are just plain filler and tend to drag out the album to unnecessary lengths (Fraking being the prime example).
David Bowie - The Next Day Review and CD Covers
This is a very good David Bowie album, in my view. It's a great relief to say it, because when some of the
We have had a little time now to digest the track Where Are We Now? and to assess its true merit now that the "Blimey!" factor following its surprise release has worn off a bit. I still think that it's a very good song indeed. I did worry that some of the fragile, almost-out-of-tune vocal wasn't a deliberate effect but the voice of a man who can't quite sing as he used to, but - thank heavens - I was quite wrong. It is followed on the album by Valentine's Day, a track which wouldn't have been out of place on Aladdin Sane and which Bowie sings superbly, and there's plenty of other evidence here that he's still got it.
