Tuesday, 21 November 2017

PAVEMENT



























"wowee zowee"
Year:    1995
Country:    US
City:    New York
Label:    Warner
Format:    CD, LP
Tracks:    18
Time:    60 min.
Genre:    rock
Style:            Alternative Rock









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Saturday, 18 November 2017

VERUCA SALT



























"american thighs"
Year:    1994
Country:    US
City:   Los Angeles
Label:    Universal
Format:    CD, LP
Tracks:    13
Time:    51 min.
Genre:    rock
Style:            Alternative Rock










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Thursday, 16 November 2017

ALICE IN CHAINS




























"dirt"
Year:    1992
Country:    US
City:  Seattle
Label:    Sony
Format:    CD, LP
Tracks:    13
Time:    50 min.
Genre:    rock
Style:            Alternative Rock









In many ways, Alice in Chains was the definitive heavy metal band of the early '90s. Drawing equally from the heavy riffing of post-Van Halen metal and the gloomy strains of hard rock, the band developed a bleak, nihilistic sound that balanced grinding alternative rock with subtly textured acoustic numbers. They were hard enough for metal fans, yet their dark subject matter and punky attack placed them among the front ranks of the Seattle-based grunge bands. While this dichotomy helped the group soar to multi-platinum status with their second album, 1992's Dirt, it also divided them. Guitarist Jerry Cantrell always leaned toward the mainstream, while vocalist Layne Staley was fascinated with the seamy underground. Such tension drove the band toward stardom in their early years, but following Dirt, Alice in Chains suffered from near-crippling internal tensions that kept the band off the road for the remainder of the '90s and, consequently, the group never quite fulfilled their potential.





Staley formed the initial incarnation of the band while in high school in the mid-'80s, naming the group Alice N Chains. Staley met Cantrell in 1987 at the Seattle rehearsal warehouse the Music Bank and the two began working together, changing the group's name to Alice in Chains. Cantrell's friends Mike Starr (bass) and Sean Kinney (drums) rounded out the lineup, and the band began playing local Seattle clubs. Columbia Records signed the group in 1989 and the label quickly made the band a priority, targeting heavy metal audiences. Early in 1990, the label released the We Die Young EP as a promotional device and the song became a hit on metal radio, setting the stage for the summer release of the group's debut, Facelift. Alice in Chains supported the album by opening for Van Halen, Poison, and Iggy Pop, and it became a hit, going gold by the end of the year. As the band prepared their second album, they released the largely acoustic EP Sap in 1991 to strong reviews.





Prior to the release of Alice in Chains' second album, Seattle became a media sensation thanks to the surprise success of Nirvana. As a result, Alice was now marketed as an alternative band, not as a metal outfit, and the group landed a song, the menacing "Would?," on the Singles soundtrack during the summer of 1992. "Would?" helped build anticipation for Dirt, the group's relentlessly bleak second album that was released in the fall of 1992 to very good reviews. Following its release, Starr left and was replaced by Mike Inez. Dirt went platinum by the end of 1992, but its gloomy lyrics launched many rumors that Staley was addicted to heroin. Alice in Chains soldiered on in the face of such criticism, performing successfully on the third Lollapalooza tour in 1993, which helped Dirt reach sales of three million. Cantrell basically released Boggy Depot because he couldn't get Staley to work, but its very existence - and the presence of Inez and Kinney on the record, not to mention Alice producer Toby Wright - seemed to confirm that the group was on moratorium at best, and defunct at worst. Staley, for his part, stayed quiet, conceding his spot on Mad Season's second album to Screaming Trees singer Mark Lanegan. In 1999, Sony put together a three-disc Alice in Chains box set, Music Bank, divided between the group's best work and assorted rarities. At the turn of the new millennium, Columbia Records issued Live, which plucked material from bootlegs, demos, and festival shows covering the years 1990, 1993, and 1996.
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Sunday, 12 November 2017

FUCKED UP



























"hidden world"
Year:    2006
Country:    Canada
City:    Toronto
Label:    Jaded Tree
Format:    CD, LP
Tracks:    12
Time:    60 min.
Lyrical themes:    social issues, politics
Genre:    rock
Style:            Prog Punk










The band formed and played their first shows in early 2001, initial practicing simple and predictible punk rock or hardcore with direct lyrics and basic rhythms. Little by little Fucked Up evoluted to more complicated and original structures, changing rhythms and original guitar riffs, at the same time their lyrics became more intelligent and mature. Since 2006 we can to affirm the band started to play some kind of mix with punk, post-hardcore and progressive rock, also called "prog punk". It offers a meet and greet of classic punk and hardcore like rarely seen before, directs a mesmerizing assortment of instrumentation not normally heard in the genre, and weaves strange tales making interpretation a difficult task -- the only problem being, there's just too goddamned much of it. Highly recommended
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Wednesday, 25 October 2017

THE RUTS



























"music must destroy"
Year:    2016
Country:    UK
City:    London
Label:    Westworld
Format:    CD, LP
Tracks:    10
Time:    40 min.
Genre:    rock
Style:            Alternative Rock









after three decades of experimentation with electronic music and jamaican music (reggae, dub, ska, etc.) The Ruts are living in 2016 some kind of revival of their roots, closer to punk rock with strong alternative rock, indie rock or simply pop influences. For those lovers of The Ruts debut album, here comes this highly recommended recording which can to remind it a lot with better, cleaner and more melodic voices. ten songs album and almost forty minutes of music of a sort of mature, elegant, smart and clean punk rock with intelligent lyrics related to social issues and politics (as usually) but also more personal and emotive lyrics too. The Ruts are come back and give us this greatful suprise. Brilliant
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"rhythm collision vol. 2"
Year:    2013
Label:    Echo Beach
Format:    CD, LP
Tracks:    9
Time:    38 min.
Genre:    electronic
Style:            Dub            Reggae







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"rhytm collision vol.1"
Year:    1982
Label:    none
Format:    CD, LP
Tracks:    8
Time:    36 min.
Genre:    electronic
Style:            Dub            Reggae






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"The crack"
Year:    1979
Label:  Virgin
Format:  CD , LP
Tracks:  15
Time:  45 min.
Genre:  rock
Style:            Punk            Dub






Formed in London in 1978 with an original line up of Malcolm Owen (vocals), Dave Ruffy (drums), Vince Segs (bass) and Paul Fox (guitar) the Ruts were a Hard Punk band. Their first single 'In A Rut' only just missed out on getting into the Top 40, though it did earn them three sessions with BBC Radio One and a contract with Virgin. The next single 'Babylon's Burning' was a hit going in to the top ten, this was followed by a couple more sucessful singles. They began to attract attention from hard-line Skinheads who disagreed with the bands anti-racist stance. This resulted in violence at some of their gigs which caused Owen, who was already having problems with heroin to become depressed. The first release of the 80's for the band 'Staring At The Rude Boys', was sadly also to be Owens last as he died in the July from a heroin overdose. The band continued with Fox taking over the vocals, under the new name 'Ruts DC' although without Owen the band just wasn't the same. They finally split up in 1983 after releasing two more albums.



















































Wednesday, 11 October 2017

COCKNEY REJECTS


























"greatest hits vol. 1" 
Year:    1980 
Label:    Universal 
Format:    CD, LP 
Tracks:    14 
Time:    34 min. 
Genre:    rock 
Style:            Oi!









This is the debut album of Cockney Rejects. Inspired by the critically reviled working-class rock of Sham 69, the Cockney Rejects helped give voice to the street rock subgenre tagged "Oi!", partly thanks to the group's 1980 song "Oi! Oi! Oi!" The Rejects' sound was loud, brash, and crudely performed, with an irreverent sense of humor and an inclination toward mindless anarchy that made them appealing to frustrated lower-class youth and the growing skinhead movement (left-wing and right-wing). The Rejects initial output was voluminous; their first two albums were both released in 1980 and jokingly titled "Greatest Hits, Vol. 1" and "Greatest Hits Vol. 2". In 1981 they recorded a false live concert entitled "Greatest Hits, Vol. 3: Live & Loud", featuring false "live" versions of their best-known songs (actually recorded in a studio with a false audience), and "The power and the glory" still in 1981. The latter album found the group trying to broaden its approach, employing acoustic guitars, keyboards, piano and a more melodic orientation closer to new wave or pop music. "The wild ones" (1982) and "Quiet storm" (1984) marked a shift toward heavy metal; unsure of their direction and the group disbanded late 1984. Cockney Rejects reunited in 1990 for the album "Lethal", a new attempt to suggest heavy metal public which became in a complete commercial failure. In 2000 was the turn of "back on the street", "out of the gutter" in 2002, "unforgiven" in 2007 and "east end babylon" in 2012, these four albums positively acclaimed by followers, public and medias. ~ Steve Huey
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"greatest hits vol. II"
Year:    1980
Label:    Universal
Format:    CD, LP
Tracks:    16
Time:    34 min.
Genre:    rock
Style:            Oi!








 

this is the second official album of the band released still in 1980. Despite the jokingly title, it is not a compilation at all, but just the second studio album which contains sixteen new songs in the same style as their debut: simple, basic, short and direct Oi! music with lyrics related to: parodies, sense of humor, saturday night, football, working class pride, etc.
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"the power and the glory"
Year:    1981
Label:    Universal
Format:    CD, LP
Tracks:    10
Time:    30 min.
Genre:    rock
Style:            Oi!










This is the third studio album of the band, released in 1981 and it became softer, slower and more melodic and clean than their two predecessors. A little bit close to new wave or classic pop, but just a bit. There are even some kind of ballads such as: "It's over", "BYC" or "On the streets again", using instruments as acoustic guitars, keyboards, piano and also some kind of electronic effects and sounds, but still keeping their usual lyrical themes: sense of humor, saturday night, football, working class pride, etc.
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"back on the street" 
Year:    2000 
Label:    Victory 
Format:    CD 
Tracks:    16 
Time:    40 min. 
Genre:    rock
Style:            Oi!
 











actually this is a compilation or collection of sixteeen old songs made from 1978 to 1990, recorded again in a new studio, with a new technicians, with new sound and Cockney Rejects musicians, who had a true better technical level than their beggining. The album was issued through three different labels and also different title: "back on the street" (Victory Records), "greatest hits vol.IV" (Rhythm Car Records) and "here they come again (Anagram Records). sixteen old songs which sound better, faster, great and powerful.
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"out of the gutter"
Year:    2002
Label:    CO
Format:    CD, LP
Tracks:    13
Time:    34 min.
Genre:    rock
Style:            Oi!










after three attempts into the field of heavy metal and some periods of inactivity, Cockney Rejects fortunately come back to their roots. After two decades these "new" Cockney Rejects comes with this "out of the gutter" in 2002, their best work since 1981. Here the band finally come back to their roots of pure and simple Oi! music, with perhaps some touches of classic rock'n'roll, besides on guitars, riffs, vocals and chorus. Enough of low cost "heavy metal"... Cockney Rejects are come back!
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"unforgiven"
Year:    2007
Label:    G&R
Format:    CD, LP
Tracks:    12
Time:    36 min.
Genre:    rock
Style:            Oi!







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"east end babylon"
Year:    2012
Label:    Cadiz
Format:    CD, LP
Tracks:    10
Time:    30 min.
Genre:    rock
Style:            Oi!












Perhaps it is not exagerate to say that this album is one of best but the best of their entire musical career since their beggining in 1978. Elaborated and original songs, using keyboards, spoken words and chorus, with a very good technical level and excellent and clean sound production. It continues to be Oi! music, but more mature and well done. Lyrical themes are as always: sense of humor, parodies, saturday night, football, working class pride, etc.
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Wednesday, 4 October 2017

PRIMEVAL SOUP



























"to the great calamity of the inhabitants"
Year:    2017
Country:    UK
City:    Brighton
Label:    Pumpkin
Format:    CD, LP
Tracks:    10
Time:    42 min.
Lyrical themes:    anarchism, pacifism
Genre:    rock
Style:            Prog Punk










This is perhaps the most important hidden gemm discovered this year 2017. An unknown band from Brighton, UK, which mix political lyrics inspired by bands such as: CRASS, Flux Of Pink Indians, Conflict, Icons Of Filth or Subhumans. But strictly music Primeval Soup has their inspiration sources in styles such: punk rock, ska, reggae and progressive rock. Another exemple of that called "Prog Punk"? maybe. The thing is their songs are elaborated, complicated and long, with changes of tempo, intensity and sound, and go from punk to ska to reggae to prog rock. Excellent album
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STONE TEMPLE PILOTS


























"core"
Year:    1992
Country:    US
City:    San Diego, CA
Label:    Warner music 
Format:    CD, LP
Tracks:    12
Time:    42 min.
Genre:    rock
Style:            Alternative Rock









It's been just over a year since former Stone Temple Pilots frontman Scott Weiland died. It was a sad way to herald in the end of the year, but that loss spawned a newfound respect. 2015 was not a great year for Weiland, all things considered. Lots of bad publicity surrounded him throughout the year as Stone Temple Pilots toured with Linkin Park vocalist Chester Bennington and Weiland delivered some pretty nightmarish performances with his own band.





There are times where you need to look beyond someone's faults, though. Yes, Weiland was cursed with drug abuse amongst other things, but that did not lessen his artistry or his message. He was a key voice in the grunge generation, and continued to make something of his signature voice right until the very end. Taking a look at where it all began, Stone Temple Pilots' 1992 debut Core, is just what you need to remind you of what Weiland truly stood for.





The album kicks off with the lo-fi intro of Weiland's raspy voice in 'Dead & Bloated,' one of the band's signature tracks. The groovy, chunky riffs usher you into a true grunge experience, with Weiland's voice melodically yet angrily singing with true rock flair. This album came about at the peak of the grunge scene, and this record really puts the rawest elements of the genre forward. 'Naked Sunday' is much the same, its funky riff electrified by its rebellious nature, particularly a result of Weiland's great vocal performance on the track. Another track that's truly grunge to the core is 'Wicked Garden. The band's debut single 'Sex Type Thing' is what truly set their mark, though. The song's blistering riff and pure grunge antics really set a fire in the genre. There's something intrinsically badass about this song, and it comes in many different forms.






It could be the thick guitars. It could also be Weiland's spectacular vocals, too. Whatever it is, this song really set the bar for grunge of this caliber. The song did spawn some controversy, though; the second verse chants "I am a man, a man / I'll give ya something that ya won't forget / I said ya shouldn't have worn that dress," which many took as an advocation of rape. The song is largely the opposite: it's an anti-rape track about a girl Weiland dated in high school who was raped by members of the football team. Weiland explained the song as being "about control, violence and abuse of power".






You can't have a rock record in general without a slower track or two. This record comes with two, both of which became singles. The first of them is 'Creep' - not a cover of the Radiohead track from the same era, but a different type of slow mover. 'Creep' is a song about being on the edge of suicide amidst drug abuse (ironically), the somber chords creating a moody background behind Weiland as her defeatedly sings about his own self-destruction. The lines "Take time with a wounded hand / Cause it likes to heal / Take time with a wounded hand / 'Cause I like to steal... I'm half the man I used to be (This I feel as the dawn / It fades to gray)" really sets the tone of the track and it's distant but hopeful nature.





The second slower track is the slightly more upbeat 'Plush.' The song is electric and has more drive, but at it's core it's still a pretty sad song. The song's loosely based around finding the body of a dead little girl, as proposed by the lines "When the dogs begin to smell her / Will she smell alone?" The song battles with internal conflict, Weiland singing about feelings of loneliness and a fear of no one caring about him if he were to die. The song resolves in a strange way, the haunting words gaining more strength and confidence, as if he becomes more accepting of the fact. "Life's a wasted go," as the first verse claims, and there's no point pondering over what'll happen after it ends.





Core has some weirder tracks that aren't all about the rock n' roll vibe, but each track still maintains those elements. 'Sin' has a big intro, the song resolving into a sweet bridge that builds up into an electrifying guitar solo to bring the song to its climax. 'Piece Of Pie' adds some groove to its huge grunge tonality, Weiland's soaring vocals full of delay in the backing vocals of the verses and in the choruses. There's a weird ending to 'Crackerman' that leads it into the rolling ending song 'Where The River Goes,' which builds up with drive to form a solid, grungy ending.





Core was Scott Weiland's first mark in the world, and it's a timeless effort. Stone Temple Pilots' debut was a key record in the world of grunge. To this day, the power of Scott Weiland's voice still resonates as something unique and powerful. His life was tumultuous, but his music helped craft the very direction of rock music and, furthermore, stood the test of time to be by each fan's side. No matter what he did in his life, he gave back to the world through the avenue he knew how to, and that's all you could ask of him.
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