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Harold Budd & Clive Wright - Candylion
The album fits comfortably between the guitarist's monumental work with The Mars Volta, and his prior rock-based solo releases such as 2007's The Apocalypse Inside Of An Orange. Loosely based on the concept of exploitative industrialists and, well, their old money, the album presents a 10-track collection of concise rock compositions, which range from progressive to psychedelic to downright funky...Though clear influences of popular ensembles such as Pink Floyd and Santana can be discerned, a deeper study reveals the cross-continental influence of Israeli garage psych heroes The Churchills, French proggers Ame Son and Magma and Turkish guitar-god Erkin Koray ? amongst others.
The Mars Volta guitarist/producer/writer/arranger first solo album on the Stones Throw label.QuoteThe album fits comfortably between the guitarist's monumental work with The Mars Volta, and his prior rock-based solo releases such as 2007's The Apocalypse Inside Of An Orange. Loosely based on the concept of exploitative industrialists and, well, their old money, the album presents a 10-track collection of concise rock compositions, which range from progressive to psychedelic to downright funky...Though clear influences of popular ensembles such as Pink Floyd and Santana can be discerned, a deeper study reveals the cross-continental influence of Israeli garage psych heroes The Churchills, French proggers Ame Son and Magma and Turkish guitar-god Erkin Koray ? amongst others.http://www.amazon.com/Old-Money-Omar-Rodriguez-Lopez/dp/B001LMVA5UOmar Rodriguez Lopez, old money
Stars - In Our Bedroom After The War
Surfaces of a Broken Marching Band follows the Anticipate mission with masterful precision as Honig beds muted electronic beats with a variety of found sounds and samples. The result is a frigid pulse tinged with austerity like a deserted industrial space station whose mechanical remains shuffle around nervously. However, Honig doesn?t leave us to wallow without relief, a couple tracks like ?Displacement,? which appears in the middle of the album lets the light in just long enough to maintain sanity. Surfaces of a Broken Marching Band is defined by its textures. While the beats and synths glide by smoothly, Honig?s sound samples feel like they have dragged through the trenches of some long forgotten war. Like audio shrapnel, Honig lets these recordings mangle his tracks into a sound collage that is both darkly penetrating and uniquely satisfying.
Quote from: Len_Dreyer on 9 Nov 2009, 07:07 pmStars - In Our Bedroom After The WarI love this album. I first heard Take Me to the Riot on a Paste Magazine sampler and ordered the album. After listening to this album, I bought Heart, Set Yourself on Fire and Do You Trust Your Friends. I am a huge Stars fan
ready for some more weird sounds Bill? QuoteSurfaces of a Broken Marching Band follows the Anticipate mission with masterful precision as Honig beds muted electronic beats with a variety of found sounds and samples. The result is a frigid pulse tinged with austerity like a deserted industrial space station whose mechanical remains shuffle around nervously. However, Honig doesn?t leave us to wallow without relief, a couple tracks like ?Displacement,? which appears in the middle of the album lets the light in just long enough to maintain sanity. Surfaces of a Broken Marching Band is defined by its textures. While the beats and synths glide by smoothly, Honig?s sound samples feel like they have dragged through the trenches of some long forgotten war. Like audio shrapnel, Honig lets these recordings mangle his tracks into a sound collage that is both darkly penetrating and uniquely satisfying.http://www.amazon.com/Surfaces-Broken-Marching-Ezekiel-Honig/dp/B001GZB03YIn more detail: http://www.myspace.com/ezekielhonigmusicEzekiel Honig, surfaces of a broken marching band
If you're unfamiliar with Rosetta, punch yourself. Seriously, I'll wait. Go ahead and punch yourself if you've never heard of Rosetta. Okay now? By now, you're probably asking why you just punched yourself? Punch yourself again for thinking that! After you've finish listening to Wake/Lift, the band's sophomore release, you'll know exactly why...Wake/Lift is an excellent sophomore release, one that will finally bring Rosetta out from under the radar. Whether they are leaning towards the intricate post-rock, devastating with mammoth metal riffs, or bridging the gap between the two, Rosetta are at the top of their game and one of the best things to happen to music.
Rosetta is back with Wake/Lift, a record showcasing many of the band's trademark traits in atmospherics and organic transitions, but also representing a step beyond the more metal influenced style of their 2005 debut, The Galilean Satellites...The opener, "Red in Tooth and Claw," explodes into a rock-influenced wall of sound after mere seconds of intro noise. Their ability to ditch their standard slow-build formula for an immediate sonic outburst is a prime example of Rosetta's songwriting progression on the record, as is their departure from metallic riffing on the whole. And as the track winds in and out of delay-soaked soundscapes and locks into a staccato bass line at about the seven and a half minute mark, it's not hard to realize that this is Rosetta on the top of their game. This is the kind of music that deserves to be blasted at obscene volumes, filling every inch of a room with its natural textures and droning noise...The production is yet another highlight of Wake/Lift. Rosetta somehow managed to find a perfect middle-ground between including electronics and still maintaining great analog sound, as well as having the versatility to be able to capture their wide range of dynamics. All instruments are distinguishable, yet blend together beautifully to produce a mammoth of a post-metal record that evolves and develops over its duration. This record sets a standard in fluid-like sound from which even the major players in the genre can learn.
