Pretty. Odd.

I'm a huge fan of The Beatles, first off. I love everything from their beginnings to Let It Be. I've got shirts, cds, posters, etc. I love em! Unfortunately, they broke up after recording Abbey Road, and there's definitely some songs that we've yet to hear from those sessions. Well, luckily, Panic! At The Disco's sophomore effort brings that to us.

I've known Panic! about as long as I've known Fall Out Boy, My Chemical Romance, and the like; a good five or six years. I've only recently bothered REALLY listening to Panic! however, as before I'd only heard a few songs here and there. I picked up their latest album Vices & Virtues, and this one here, Pretty. Odd. So with that being said, let's jump right into this one.

Well to start with, this is no ordinary record. The title Pretty. Odd. is as captivating a title as can be, bringing the question "Why the punctuation?". Well, I quite like it. The cd itself is pretty, and odd, and the title captures that perfectly. The album starts out with a nice intro leading right into the single Nine in The Afternoon. This one is a bit more pop-fodder but nice nonetheless. From that moment on, it's an amalgamation of practically all The Beatles had to offer. Yes, I am serious. Each song on this cd is just bursting at the seams with the feel of John and Paul's writing, instrumentation, all of it. You can't help but think that some of these tracks were actual writing by the Beatles themselves, and we're just hearing them through Panic! at The Disco. I'm not sure how these guys did it, but they perfectly captured the Abbey Road sound, right down to the crunchy guitar sound found in most Beatles songs in the right channel. They've got a nice 70s' production sound to this record, and it was even mixed and partially done in Abbey Road studios, where the orchestration was recorded. All of these things make for a nice, calm, fun album complete with Fab 4 harmony sounding choruses, clever guitar work, and amazing vocals. If you like The Beatles, I really recommend you check this one out. **1/2

Tron: Legacy

I acquired this one back when it first released, and only just listened to it not once, but twice the other day. Created from within the master minds of the French house duo Daft Punk, a soaring blend of synths and strings become a musical idea that which I'd never conceived in my mind let alone a working idea. After hearing just the first two tracks, I had become hooked on its sound. From Derezzed, to Sea of Simulation, there's something here to be enjoyed by everyone. It's no surprise that they could create something as perfect as this, given their background. Every piece of music here gives you a certain feeling; dramatic, light, soft, etc. Everything going on in this soundtrack blends perfectly with the visuals from the film, which is a given considering the movie was made around the soundtrack as opposed to the normal way. Well, there's really nothing more I can say to express my love for this. In conclusion, if you get this, download it from a torrent site that provides all 31 tracks, as they are meant to be heard as one. Otherwise you will be stuck buying at least four different versions to get each track. My final score? **** of ****.

The Black Crown

I love metal. But every now and then, I do tend to get burnt out on it, as some people do with any genre. But then I turn on some Suicide Silence, and bam; back into it all. I like my fair share of metal, from that good ol' thrash metal from the 80s, to glam metal, and then to today's modern metal trends like death metal, hardcore metal, and etc. I'm not too big on death metal, but I like a few bands i.e. Chelsea Grin, Suicide Silence and Killwhitneydead. But it was SS that really started me on it. I remember dabbling in a few tracks from The Cleansing and No Time to Bleed a few years back and I enjoyed what I heard but wasn't huge on it. Then a few months ago I picked up the new album, The Black Crown, and got the full versions of their previous efforts, and I am glad I did.

Everything that these guys did on the last two cds was solid. Grinding guitars, seriously badass drum work and an amazing singer. But when the Black Crown came along, everything from those two cds was perfected even more somehow. Mitch's vocals really come screaming and growling into your eardrums, but with such a force that he could be rivaled by Chris Motionless from Motionless in White, or the singer for Chelsea Grin. The guitar work is fantastic as usual, combining deathcore riffs with Slayer-esque solos and rhythms, while the drum work sonicly blasts with such force you'd think the drum kit was going to fall apart. While I love every track on here, the only one I dislike remotely is the one featuring Jon Davis from KoRn, but even then some would still love it even if they aren't a fan of SS. Alot of the song's breakdowns are flat-out brain smashing. The one in Human Violence is so badass, it reminds me of Puppets (The First Snow) by MiW. They really took elements from the last two cds and tightened them up, added some more force, and just kick your ass full force. This one is to be reckoned with. *** 1/2.

And All That Could Have Been

Unless you live under a rock, you should know by now who Trent Reznor is. His introduction to the scene, Pretty Hate Machine launched a career fueled by utter hatred and despair, but hey, it's damn good music. Of course those aren't the only subjects of his music, but it's the most prominent one here on The Fragile. The Fragile follows off the heels of The Downward Spiral, starting Somewhat Damaged and ending Ripe (With Decay), which to me is a perfect formula. Spanning between these two tracks is one smasher of a record, with some pseudo-DnB style, Industrial grinding, and ethereal soundscapes, this album will always find a listener who enjoys at least one song on here. The story behind the album follows a person down in a hole, and only falling further and further as he tries to get out. This journey is documented through tracks like The Day The World Went Away, The Wretched, Even Deeper, and Where is Everybody?. The nice part is that every track compliments the one before it. You become immersed in it after listening enough times. And that's the beauty of an album; being able to immerse yourself in it. Much like Abbey Road, this cd is a landmark in music, for both what it is, and it's diversity and innovative sounds. Reznor really layers on the guitars over subliminal beats, and drags his voice along over it, adding a perfect touch that the song needs. Some songs don't even have vocals but still speak to the soul in a way, making it that much more pleasing to listen to. Of course we can't forget about the other contributors, who do amazing work on drums, piano, and whatever else their respective instruments may be. However, Reznor really steals the show here with his brilliant, yet simple (at times) lyrics. Each song helps bring the story together and can really put visuals into the listeners head. I also really like the format he chose to make this album, himself commenting that "You can't listen to the Left, until after hearing the Right, but you have to hear the Left first to understand the Right.". Sure, it's confusing, but makes perfect sense. The discs compliment eachother in a way that I haven't heard since The Wall by Pink Floyd. Nine Inch Nails took a dramatic turn after this record, and only got better with age. **** out of ****

Endgame

Finding a good metal record is no easy task. Especially in the modern age, what with the genre being plagued by death metal, deathcore, hardcore metal, etc. It wasn't like that in the eighties. Back in those days, Megadeth, Metallica, Slayer, and Anthrax ruled the metal scene. And now, twenty-some odd years later, Megadeth STILL kills it.

I first heard this record a few months back, but easily dismissed it. I was heavily into some other stuff at the time, and yet now I can't stay away from it. Since 83' Megadeth has been the go-to band for off-the-wall, in your face thrash metal, and they still got it. The record opens with the duo Dialectic Chaos + This Day We Fight! and it's very reminiscent of So Far, So Good, So What? from their early days. The track opens with some standard classic record-opening style, but then the band drops quite a sonic bombshell on your ears. Dave and Chris unleash a furious fret assault, dueling out crazy-fast notes and licks, all while some badass rhythm section forms the backing basis. This IS metal, and it's never been better. The track segues into TDWF! and the badassery only continues from there. Dave's sharp vocal delivery and the crisp, relentless guitars back him perfectly. It feels like the eighties all over again, when Metallica was at their prime busting out Fight Fire With Fire and Battery. But that's not only it, as the rest of the record delivers numerous songs for any metal head to love. Sure, there's an acoustic ballad.. but you know what comes next: the shred. And it delivers. I really enjoy Dave's "..." songs because they're two-parters. They contain numerous changes in tempo and style, and that's what I love in Megadeth: these guys got their chops, and know just how to show it off the right way. The solos contain actual melody, Shawn Drover on drums blows my mind with every double-bass hit, and I'm amazed. I enjoy my fair share of metal, but I have to say that Megadeth's drummer and Angelo Parente of Motionless in White are probably some of the best drummers I've ever heard. In all, Endgame delivers, and shows that Megadeth is back, and ready to melt your face! **** out of **** (borrowing my good friend Ryan's star system :) Hope you don't mind buddy!)

Give Up Your Ghost

I waited three years for this. I remember my first Radiohead cd was In Rainbows, my grandmother bought it for me at Target in the summer of 2008. From there, I picked up the un-official compilation album Best Of. I grew to love this band, their lyrics, music, everything. I've listened to all their albums a few times at least. And this one, The King Of Limbs, was no disappointment. Much to my surprise, I was on the bus home from school a few weeks ago and I checked my email on my phone. Sure enough, there it was from W.A.S.T.E. itself; a notification of the new album being released in five days. I was ecstatic. I could NOT stop smiling. Now, a few weeks later, I've listened to it tenfold. Maybe more. Thom Yorke's vocals are simply amazing, and his lyrics are great, as always. It seems to mesh together with the instrumentation of this album beautifully, and his falsetto just gives shivers. Whilst being a much slower album, it in no way hinders it's magic. It sounds a tad like In Rainbows, Kid A, and some of The Eraser all meshed together to form a wonderful, haunting album. And at a short 8 tracks, it is well worth the money. Notable songs are Codex, Separator and Give Up The Ghost. 10/10. Check it out.

Me, I'm Not

Hey guys.
I just remixed a nine inch nails song. check it out :)

The Worms

So here's a list of my new reviews I'm going to work on soon.
The Beatles - Abbey Road
Radiohead - The King of Limbs
Nine Inch Nails - The Fragile

maybe others.

undergoing changes

I've changed the look of the blog and the name, in case you couldn't tell.
I'm going to write a review of the new radiohead record soon. I have to get the cd first. In the meantime, expect a Beatles review. Probably tomorrow.

The King of Limbs

February 19th.

A Quick Update

Hey anyone still reading. Sorry I've not posted anything in a while, I've been pretty busy with my band and schoolwork. However, I recently saw Roger Water's The Wall Live 2010-2011 tour and it was great. One of the highlights of my life, to be honest. My band is recording a demo soon, for anyone who cares. Anyways, there'll be a new post maybe Monday if I have time. Thanks, peace out.

() Review

Sigur Rós. You haven't heard post-rock until you hear () by them, their third album. I've just picked it up, so I figured to make it my newest review.

Now. Sigur Rós is not an ordinary band. Their singer uses his own form of singing (dubbed 'Hopelandic') and leaves the booklet blank for fans to write their interpretations. But this style of singing blends beautifully with the music. Using techniques like bow guitar (guitar playing with a bow from a cello or violin), and effect pedals all over the place, they create landscapes that you'd hear if you were in a cave, cold, yet warm. They can bring out your deepest emotions and memories. They are a truly amazing band. However, the () album presents no track names, instead using Untitled #1, etc. This doesn't matter however, as either way, you'll enjoy the music if you're into melodic things. I highly recommend tracks 3, 4, 6 and 7. 

Even though this is my first venture into Sigur Rós, I gotta give this album an 8. There are some songs that could do without vocals, but other than that, this album is flawless to me. It's great for getting into them, so check out some tracks.

Quickie: Green Day live in Phoenix

So I just saw Green Day live again in Phoenix last Monday. Now, last year, I saw them in Phoenix as well, so this was my third concert. It was an absolutely spectacular show. Included among the setlist, were two jams, both consisting of classic rock like: Led Zep., AC/DC, The Beatles, Black Sabbath, Van Halen, and many more. Just like last year, their music sounded somewhat BETTER than the studio version. Green Day's shows are always a blast :)

New review on Monday as well.

All You Touch and All You See

First audio review ever! This is the long-awaited DSotM review with Colby Yerxa

...And The Machine is Bleeding to Death

They don't do interviews. They usually omit their name and track listings from their album covers. Their music is largely instrumental and and contains almost no words. They are Godspeed You! Black Emperor, one of the best instrumental bands I've ever heard. They originated from Montreal, Quebec in 1994, and since then have kept a low profile and are shrouded in secrecy, as per their request.

F♯A♯∞, the band's debut album, was released in 1997. It contains only three tracks, no traditional vocals, and is, in my opinion, the album of the apocalypse. (Not to mention, an edited version of East Hastings is featured in 28 Days Later)

The first track, Dead Flag Blues, is about sixteen minutes long, and contains an excerpt of a scrapped film script thing one of the guitarists was working on. Its doomy tone and melancholic sound make the opening track, a great one. The second track, clocking in at seventeen minutes, is called East Hastings and man is this one awesome. Its tempo changes and different sounds keep you into it, and it's completely amazing to listen to. The final and longest track, at twenty-nine minutes long, Providence, is a great closer. Its powerful, beautiful, and all-around just another perfect song on this record.

All in all, it's hard to describe this bands music. But fans of Explosions in The Sky and Mogwai will most likely like this music. I give it an 8.7/10 and recommend it to hardcore fans of instrumental music. It's a great record, and it's certainly going to have a place in history if it already doesn't.

Scream At Me Until My Ears Bleed

You're a punk rock band from East Bay, California. You've put out two records so far. You're gaining popularity. It's 1993 and you're recording your third album for a major label. And you are considered the Kings of Punk in America at the time. You've a big fan base. A signature sound. Three members. And your name is Green Day. 

Green Day was formed in 1987, in California and was originally usually seen at 924 Gilman Street in Berkeley, California playing shows before being signed to a major label in 1993. In 1990 and '92 they released the albums 39/Smooth and Kerplunk! respectively on the independent label Lookout! Records. Due to this, they gained a large following of fans, and massive amounts of respect from within the punk scene. However, when they signed to major label Reprise Records, they were considered a band that "sold-out" and this alienated most fans from their music.

February 9th, 1994. Green Day is now a worldwide commercial success in the punk scene. Hitting number two on the charts U.S. Billboard 200, charting in seven other countries, and reaching Diamond status (for the first and only time in their discography) in America. With only three members, it's a crazy thing that they could impact the world so much. But then again, hearing Billie Joe Armstrong's whined-out vocals and crunching, fast riffs and Tre Cool's frantic drum fills all mixed with Mike Dirnt's catchy bass lines, it's no wonder they got so famous.

Dookie was popular amongst teens as well, mostly due to the song Longview's overt references to masturbation and getting high. Notable great songs from this record include Burnout, She, Basket Case, F.O.D., and When I Come Around. Needless to say, Dookie met with high praise. I've included a link to the Wikipedia page where the list of "Best-Of lists" is included.  

So what do I think? F*** it. You've probably got money. Buy this record! I've seen rare deals for 10.00-15.00$ and this is one of them. Whether you love them and don't own it, or don't listen to them, I highly recommend this album to any Punk fan or just a casual listener.

Isn't Anything Loveless?

How do I even begin to explain this one?

In 1983 in Dublin, Ireland guitarist/singer Kevin Shields and friend Colm Ó Cíosóig formed My Bloody Valentine, one of the loudest, and greatest bands to emerge overseas. Sometime after forming, the band moved over to London, England, picked up two members and began recording their first album Isn't Anything (pictured above). After three years of pushing out EPs, Mini-LPs and singles, Isn't Anything was finally released in 1988 to the public. Whilst not effect-laden, Isn't Anything was a rather great album. The dual vocal approach and fast, sometimes effected guitar riffs compliment each other greatly. The album spans some dreampop style and a mostly alternative/punk-ish type of music. 
Isn't Anything garnered a few 5-star reviews and some "favourable" ratings. This is nowhere near the success of their next album, but the best was yet to come. Whether you like the band or not, Isn't Anything is a great album, and I'd recommend it to indie/dream-pop fans.

In 1990, the anticpated follow-up to Isn't Anything was finally released after two years of work due to financial difficulties. The album, titled Loveless, is possibly the greatest shoegazer album of all time. This is the album that spawned shoegaze and inspired many musicians. With loud as hell guitar work, heavy with chorus pedals, distortions, layers, and tremolo, looped drums, and ethereal vocals barely audible, and catchy melodies, this album is one for the ages. Around this time, MBV concerts were so loud that some people reported suffering minor hearing loss. :) In order to get the full experience, I recommend you have a nice bass woofer and loud speakers to enjoy this album. Even after multiple listens, I can never get tired of this. Notable tracks like I Only Said, Blown A Wish, and When You Sleep are infectious and great.

Loveless was praised greatly by critics, with NME giving it an eight-out-of-ten and the album being labeled as "the outermost, innermost, uttermost rock record of 1991". In 2003 three, it was even named second to Radiohead's OK Computer in best albums of the 90s. If that isn't an accomplishment, I don't know what is.

So what do I think of these two records? Isn't Anything gets an 8/10 from me, mainly because it lacks the sound of Loveless, but is a great record nonetheless. As for Loveless itself, 10/10, 5/5, Just absolutely perfect. It's a defining record to shoegaze, and belongs right next to Ride's Nowhere. Definitely check it out if you don't mind effects and dreamscapes. <3

Timiiinnngggg

Ah, I'm trying to figure out a weekly schedule to get postings done. I'm thinking maybe Mondays and Fridays. I'll figure this out. X]

-chris

Edit: This will be during my school year, I'm on summer. Which means I can pump out reviews whenever, and I'm not sure if I'll even have a schedule. I may just write them whenever I'm bored.

The Uprising and its Resistance

Muse-noun b. any goddess presiding over a particular art.
This is the definition of UK band Muse. Listening to anything by them, you can't help but think to yourself, "What musical gods!". Sure, they've been banned from Radio 3 for life for replacing a verse with nothing but variations of the word "Fuck", their drummer has been hit by flying guitars on more than one occasion and they've been compared to the likes of Coldplay and Radiohead, but Muse is a band entirely in its own world. From the hard riffs heard in Stockholm Syndrome and Hyper Music to the quiet and haunting Ruled by Secrecy, the diversity in Muse is vast, but you can always recognize their music. 

In 2009, Muse released their fifth studio album, The Resistance. Sporting a different style of music throughout the album and a rather interesting cover, it's no wonder people are now going crazy over Muse. Sure, they hit it big when Guitar Hero III featured 2006's Knights of Cydonia, but Muse is now played on the radio almost all the time now, and the recent album has spawned four singles so far. But if you take Absolution or Black Holes and Revelations and play them before The Resistance, you'll notice a big difference in the musical approach. It's more theatrical in a way. Fans of Queen will also hear a strong resemblance in one of the songs on this album, and funny enough it's the only track I didn't like from this album.

The biggest thing about this album however, is the closer. A three-track, fifteen minute total symphony, titled Exogenesis Symphony. This has been in the works (according to frontman Matthew Bellamy) for a long time, and it's worth it. It's an absolutely stunning track, and it's possibly on of the best album closers I've ever heard. Its three parts all stand for something different, but all have the same message: We are human, and we are destroying ourselves.

The Resistance met with somewhat mixed reviews, getting mostly four out of five stars, and on one list, a 5.9-10. But I myself would give it an 8. This album is just too good. Its love songs, ripping riffs, synthesizers, and drumming are just wonderful. The lyrics are great, and Matthew Bellamy did an amazing job with Exogenesis.

So if you fancy Muse, go buy this album. If you can, get the edition with the Making-Of dvd, which is pretty sweet. <3

Subterranean Homesick Aliens Have Come

1997. A time where everything may or may not have been in its right place. Yet musically, Radiohead were in their right place. Coming off the success of The Bends, Radiohead moved on to self-produce their next album, OK Computer. While The Bends was mostly acoustic, softer music, OK Computer contrasts that greatly with loud crunching riffs, effect-heavy arpeggios, spacey dreamscapes created by guitar, and almost looped-sounding drum work.

While the album is mostly dominated by loudness, and effects, there are indeed a few songs here that are a bit calmer, but still as good. Take Exit Music (For A Film) for instance. This song was written for the credits sequence to the remake of Romeo + Juliet, and the lyrics are actually a re-telling of the classic story. It's quiet, melancholic, and depressing (but then again, alot of their work isn't what I'd call happy-go-lucky music). But in comparison to say, Airbag or Electioneering, it's a nice change of pace for the album. Another calming song is the closer for the album, The Tourist. Written by Jonny Greenwood about an experience he had in France, it indeed "sounds like the last song on an album".

While The Bends covered topics of isolation and sickness, OK Computer's music spanned themes such as consumerism, social disconnection, political stagnation, and modern malaise. Quite a bit of a difference, both musically and lyrically, as I've already said. But once again, Radiohead cracked the skies. OK Computer met critical success, with countless five-star and ten-out-of-ten reviews, along with crashing into best-of lists once again. Radiohead may not be understood as easily as other music, but they've impacted the world with their words and tones, and OK Computer will definitely be here forever.

I highly recommend this to anyone with a taste for effect-ridden albums, or for anyone who just wants twelve amazing songs for a good deal. It's a great album, with great music, lyrics and themes. <3