At 38 minutes and 52 seconds, being 12 songs long, one could not call this a long album by any stretch of the imagination (granted, it still beats punk and grindcore albums in length). The thing is, this album doesn't need to feel longer. It has so much going on within it, 39 minutes is plenty.

First off, I want to discuss that this is another one of those "theme albums" that you have heard so much about. I must admit, I have a soft spot for theme albums, but I am always quite skeptical. Most theme albums turn out to be boing, cheesy, cliche, etc. There are but few theme albums that turn out great [Leviathan by Mastodon is a shining example of this, themed after Moby Dick]. Into Eternity's newest album really is none of these. It is tough to think of a metal album as a theme album if it's theme is death, disease, etc. as this album's theme is supposed to be. Quoting an interview with blabbermouth.net, "The incurable Tragedy was inspired by the deaths of [Tim] Roth's two best friends, brothers who succumbed to cancer within two months of one another." While I am not trying to take away anything from the fact that this indeed is a theme album, it would really not be too far-fetched to say that this deals with pretty normal subject matter for the genre they are in.

The second thing to address, and easily the most noticeable, is the incredible musicianship on this album. As always, Into Eternity delivers on all fronts as far as performance goes. All those long years (about 11 years now) of constant touring has really paid off in this department for the band. Each performance only gets better. Roth's guitar work is above and beyond, and the vocals, as always, are enormous. Arguably the best vocals in the business are found in Into Eternity's music (check out Stu Block's wail, and tell me it doesn't blow you away - you won't, unless you're lying of course). The new addition to the overwhelming musicianship are the interludes found on this album that were in very short supply on previous efforts, these interludes being the "Incurable Tragedy" series. THese are very ballad-like songs that follow the same general melody, then the weepy guitar chimes in, followed by the big vocals. These interludes are the emotion that this album needs to keep the "theme" in tact. Overall, the instrumentation is over the top and out of control in most cases. They tug on the reigns here and there just a little to keep the whole thing from just plain running away from them.

The biggest weakness of this album is quite easily it's lack of originality. As I have discussed in previous reviews, this can be a double-edged sword. It helps some bands while it hurts others [sellout v. classic, losing fame v. evolving/improving]. In this case, it hurts the album a little bit, because the sound that Into Eternity has always had is not very cohesive, and changed pace quite often, with the pieces of each song jutting out. Trying to put together anything with this band is like having only square blocks to put into only round holes. Because they have so many influences, and play in so many styles, it gets to be a little much at times, and the dramatic and fast switch of styles and sound certainly adds to the fact. I happen to enjoy what it is they do, but it is a point in which deserves heavy criticism and notice. It is very much a love/hate point of discussion.

Because of this style, it is really tough to create a very cohesive album with your less-than-cohesive songs. Think of it in the way that grindcore is. Grindcore is typically all songs built section by section, with no real chorus or repeated sections, just stacking riffs and breakdowns end to end until it is a series of stuff that the band thinks sounds good. In a less extreme way, that is what Into Eternity's sound is like. Because of this, the first couple of listens are sort of tough until you get used to what is going on, but then it quickly grows on you. The first instance in which I heard Into Eternity, I simply had no words to describe what I had just experience, none good nor bad - I was utterly speechless and confounded, sonically and aurally assaulted. THe more I listened, though, the more I love it.

All in all, the album is great at what it is good at, and awful at what it is not good at - typical over-the-top album style.

Track picks: "Diagnosis Terminal" and "Prelude to Woe"

Overall Score, first listen: 5/10 devil horns
Overall Score, second listen: 7.5/10 Devil horns

I suggest you give it a listen just to experience the pure sonic power and diversity that this album brings to the table. Overall, it's nothing spectacular, no matter how much I love it (and for the record, I REALLY love this album after my fifth listen through).

Und immer wieder auf's Neue bedauere ich sämtliche Angestellten – und seien sie noch so unfähigfreundlich – die sich durch die Liebe zur Musik für einen Hungerlohn arbeitend über den Tag retten.

Vergangenen Samstag war ich nach langer Zeit einmal wieder bei Musik Produktiv in Ibbenbüren. Die Mitarbeiter blasen zum Gegenangriff:

Was mich alten Rocker eigentlich wieder dazu animiert, mal wieder Wayne's World zu schauen:

(Mike Figgis wrote and directed Leaving Las Vegas. Ozymandius is both a poet and a famous poem set in the desert by Shelley about how the works of men decay over time. Tipota is a writer who writes surreally often in a very filmic way. Ben Gazarra starred in "Tales Of Ordinary Madness", a film based on Charles Bukowhiskey's book "Erections, Ejaculations, Exhibitions and Other Tales Of Ordinary Madness"

So this is a poem about landscape, both the physical landscape of the desert and a cultural landscape the theme of which is similar to Shelley's. Our efforts to defeat time. An iconic image of a man in sunglasses staring into the sky over a deserted landscape can be found in all these references in various forms.)

Cette chanson est en réalité une reprise du riff d'Heartbreaker de Led Zeppelin, sur laquelle Mike Skinner a posé sa voix. Ce délire est vraiment a prendre comme une chanson non officielle et donc non sérieuse.

De plus, Matthew Bellamy a affirmé qu'une collaboration avec The Streets au V festival cet été était envisageable, donc Wait and See.............

Pour Télécharger la chanson c'est ICI

Perso je trouve la chanson vraiment sympa,on sens bien le groupe se faire plaisir ! Seul bémol, matthew bellamy ne lache pas un gramme de voix, chose très inhabituelle mais sympa quand même :)

(It won't take time to load, so feel free to hit play)

The music video is slightly offensive, so I had to settle for this version by someone who apparently learned english from internet chat rooms.

The initial riff is famous, and I've definitely heard it atleast a thousand times before. The only other place I've been able to locate it precisely is on The Specials' "Little Bitch". I'm not sure whether the riff was created by those guys or they flicked it off someone else in their turn.

I read the other day, at least I think I did, that if you are approaching fifty, male and childless the chances are really good that you're gay. Which puts me in a tiny minority, a middle aged heterosexual white (and I say that because in the world into which I was born and through no fault of my own that was of distinct benefit. In fact, a sane person looking at my life would say, "Why? You have thrown away every advantage including an elegant and complex education. You own nothing, no property, no wife, no children." My hair is literally turning grey and I am a large and shambling beast. I am an exile where ever I am.

No, I cannot be more literally true for fear of implicating the innocent since I was drunk a lot of the time, (insert link="the complete unreliability of memory" and like any drunk include the sober) some balding man in rags, a woodgnome in a clearing giggling through his moustachioes with his arm around the plumpest sweetest smiling one. We all heard music whenever she moved. Haha, amoral you see not immoral, in that in life one must first survive. Everything else is a surplus which you are free to give away and in doing so offer hope to those around you. It is a small sacrifice. As your society fragments, which it is right now inside these lunatic machines which exaggerate every effect, which are literally changing the way thought occurs, you will need to remember the things which were fundamental to the survival and success of the little pink people. Similarity becomes far more important than the bizarre twentieth century cult of the personality. (Though you must remember to celebrate diversity amorally, in that it is fundamental to your survival. It was one of our first assets and mirrors the tao.) People would call you names, attach words whose meaning is long dead as if in an archaic language, communist, anarchist and antichrist, atheist, subversive, arrogant and insidious. So I am childless by choice.

From Led Zeppelin II, Heartbreaker was a cornerstone of the album, showcasing the talent of all members of the band, and provided a taste of what was to come.

Youtube link:

You can buy it here:
Amazon
iTunes

now there are some of you who dare to presume it is some earthly pleasure we desire, some booty or bounty, bliss in some port of call but we are pirates, the slow fuse suicide bombers of our times, it is freedom we fight for from all the hypocrisy of ordinary lies. If we sin let us sin in some real and grandiose way and throw away our lives simply for the experience of being and believing,

you cannot measure the morality of your actions by their consequences since you can't possibly predict how many lived or died as a result of your butterfly. Kings are thieves all of them and the complete unreliability of memory if pondered makes knaves of us all. We are completely adrift, you drunken scoundrels, in a sea of instinct and only those who read the tides survive,    
       
 
(The link above goes to a letter by Ernesto 'Che' Guevara de la Serna hosted by Message in a Matrix.)

The upclose of first marks on a canvas can be kind of exciting.  When everything is possible still...

[Top of the post:  detail of a Koi picture (see Anne Sophie Mutter and her Opposite) by Aletha Kuschan]

There's an episode of Seinfeld called "The Understudy" where one of Jerry's many girl friends gets her big break in a Broadway musical only to flub her opening number.  The very whiny girl friend turns to the audience and pleads with them to let her start over.  Violinist Anne Sophie Mutter would be the opposite of that.  I had a chance to watch Mutter perform once at the Kennedy Center in Washington thanks to the generosity of a friend (artists are way too poor to afford tickets to Mutter's recitals).  Anne Sophie Mutter's performance was so perfect, it's hard to believe she's human.  She is angelic or something. Oddly enough, she gets a certain amount of flak for her virtuosity.  Her performance is so perfect that people imagine her music lacks emotion.  The music is full of emotion!  It's just that we've almost come to equate emotion with imperfection!

I have a violin and started "fiddling around" with it some years ago, and when I'm very well warmed up I can play some jazz by ear that's not too shabby.  (It helps if all the planets are perfectly aligned.)  I doubt I could ever have been a performer even if, like Mutter, I had begun at age four.  In that area of life where I have the most freedom and fluency, I make mistakes all the time.  Big ones!

Maybe artists are just clumsy people.  One artist here at wordpress has the picture of a Julian easel toppling over in a stream as a kind of logo.  And I'll bet that WR Jones has some stories he could tell you.  I have painted things en plein air, thought my picture magnificient, stood back for the better view, and watched the whole thing go SMACK face down in the dirt by an ill-timed gust of wind.  I cannot count the unfortunate bugs I've picked out of other en plein air productions.  And I'm always dropping stuff, brushes and whatnot.  Or losing things (the precise photo, drawing, whatever, that I need for the project at hand).

What I absolutely love about painting, the reason why I know it was meant for me, is that painting is a performance that takes place in utter secrecy and the only notes that count are the ones visible on the top layer.  You can make a tangled mess of the bottom, you can change your mind a thousand times, you can miss your cue, falter on the first note, sing out of key, forget the words -- as long as you recover in that thin top layer -- you win!

[Top of the post:  First layers (learning the riff) of the latest project, by Aletha Kuschan, oil on canvas]

Album Name: Heathan Agenda

Review Date: 04/07/2008

Star Rating: 4.2

Should you buy?: Yes

For fans of: Dimmu Borgir, Old Man’s Child, Emperor, Early Cradle of Filth

Buy here:

Album Name: In Cold Blood

Review Date: 03/07/2008

Star Rating: 3.5

Should you buy?: Yes

For fans of: Diecast, Fear Factory, Spine

Review: This album suffers only from the strange choice in drumming styles, whether intentional or not. The slightly off beat, almost out of time, style is quite apparent once you first notice it. Apart from this the vocals are strong there are nice chunky riffs and the general feeling coming from the music is energy which would probably make them a brilliant opening act.

Buy here:

El disco que contiene la canción, Origin of Simmetry, está producido por John Leckie, y combina magistralmente instrumentos comunes con otros no tanto dentro del género.

Disfruténla.

Click here to check it out.

As I write this, I haven't seen it, but I'm sure it's going to include a few listings that make me think "Oops, I left that one out." Because that's what this list business is all about. I write it up and then YOU remind me of the obvious ones I SHOULD'VE included. And I thank you for pointing out my stupid omissions. It won't improve my grade, but it makes me a better person and that's what this is all about.

According to the calendar hanging in my room, Keith Richards, the semi-living guitarist of Rolling Stones, Ltd., came up with the guitar riff for "Satisfaction" in a hotel room on May 6, 1965 and then fell back asleep. How Keith Richards could actually remember the exact date is a little suspect. If he hadn't played the riff into a tape recorder in the first place, it might've been lost forever.

But to celebrate, List of the Day undertook the task of picking out 25 infamous guitar riffs that depending on your era were among the ones you mangled when you joined your first band. I often got stuck on the organ, so I was always pushing for a little "In-A-Gadda-Da-Vida" action. Because, believe me, "Kick Out the Jams" sounds lame on the organ.

Some picks were for variety's sake. I could've picked 10 Hendrix tunes without pause. Or 10 Zeppelin. And the Ramones played mostly chords, so that sent them to the back of the line.

I haven't yet seen what RS.com picked. And I'd really like to see what your lists would be like. So feel free to throw your faves in the comments!

25) "Enter Sandman"--Metallica: "Master Of Puppets" or "For Whom The Bells Tolls" or even "Fight Fire With Fire" might make for better overall riffs, but "Enter Sandman" has a presence that everyone in the room feels and I've seen some pretty bad bar bands tackle this one and still come out sounding as if they knew something about music.

24) "Sweet Child O' Mine"--Guns n' Roses: This is one of those Pavlovian riffs. You hear it start up and the entire song starts to play in your head. Whether you want it to or not. It's the equivalent of someone yelling the song's title and then 1-2-3-4, except it sounds better.

23) "Black Dog"--Led Zeppelin: Jimmy Page figured out the 1970s before anyone. As a guitar player he wasn't about to let a lead singer score all the girls, so he made sure that his band based their tunes not on quaint little pop hooks, but guitar riffs that would send every teenager in America back to their bedrooms to woodshed and to scrutinize how it was done. Then he gave the songs titles that no one could figure out.

22) "Freebird"--Lynyrd Skynyrd: There's a reason people still call out for this song and it goes beyond just because everyone always does. There was a time when this lonesome, whiny riff actually could make the hairs on the back of your neck stand up. That year was sometime in the 1970s and ever since it's become a cliché, but there's a reason certain riffs become a cliché. They're as natural as breathing.

21) "Jumping Jack Flash"--The Rolling Stones: Less a riff than a conglomeration of chords, but the Stones mastered the art of the chunky riff. Some would take "Brown Sugar." I'd prefer "Gimme Shelter" by a hair. But of this old beast's catalog, this still sounds fresh to me, while many others have grown tired thanks to the conspiracy of classic rock radio.

20) "Roadhouse Blues"--The Doors: The Doors were never known for their guitar riffs. "Five To One" is a great two-note buzzsaw, the rewrite of the Kinks for "Hello, I Love You" was nice, but this is the one sliding riff that every bar band in America has done to death usually at the request of a very inebriated audience member who refuses to shut up until it is played.

19) "Johnny B. Goode"--Chuck Berry: Considering how many songs have been written based on the "Chuck Berry" school of guitar and considering how many songs Chuck himself wrote based on this riff, tells me this is one immortal, undying riff. I've played it wrong for years.

18) "Kick Out The Jams"--MC5: Whether or not these revolutionaries actually had the catalog to be the great American wunderkinds of the ‘70s is debatable. Album productions, flawed concepts, inter-band squabbles, politics all rendered them a mess. But their signature tune and its signature riff never lost an ounce of momentum.

17) "Pipeline"--The Chantays: Surf Rock goes in and out of style, depending on the whims of fate. But this tune has been covered by enough punk bands and people of taste to ensure that even if you've never heard the Chantays version, you've heard someone do a good approximation.

16) "I Feel Fine"--The Beatles: All said, I'd take "She Said, She Said" or "And Your Bird Can Sing," but we'll stick with the tunes that the band and their record company pushed on the public as hit singles. This one with its use of (gasp) feedback (were people conservative and corny back then or what?) and its string mangling complexity make you wonder why they bothered. I guess they wanted a challenge. This could've been a hit even without the difficult riff.

15) "Walk This Way"--Aerosmith: That this riff worked so well in a hip-hop context just goes to show you don't know what you have even when you have it. I'm sure Joe Perry and Brad Whitford knew they had a decent riff to work off of when they played it back in the mid-'70s, but I'm also pretty sure that they didn't hear it as being revolutionary or probably that much better than many of their other riffs. At this point, you wonder if they ever want to play it again. That is, until the money rolls in and then it probably seems like a good idea.

14) "Day Tripper"--The Beatles: Another one from the Fab Four where the riff is more important than the rest of the tune. And it's a nice tune. But everyone tries to play this for the joy of the riff and who gets around to the rest of the song? Nobody.

13) "Heartbreaker"--Led Zeppelin: Just another great Jimmy Page riff. The only problem with listing any Led Zep riff is you're immediately reminded of all the ones you're leaving behind...so, yes, "The Ocean," "The Immigrant Song," "Living Loving Maid," "In the Evening," "Kashmir," the list goes on...

12) "Smells Like Teen Spirit"--Nirvana: I don't know whether I'm voting for the four chords that run throughout the song or the two notes that ring out when the chords fall away. Either way, it's impossible to explain how weird, unusual and right this sounded the very first time I heard it. And how everyone argued over whether it was too easy to be for real. As a simpleton, I like simple.

11) "Crazy Train"--Ozzy Osbourne: This almost sounds like an Indian music scale if you play it a certain way. Ozzy says Randy saved his career and remembers the man with great reverence and if I met someone who gave me a riff that delivered a career comeback like "Crazy Train" did for Ozzy, well, yeah, I'd be pretty thankful as well. And name a couple of kids after him.

10) "Voodoo Child"--Jimi Hendrix: Another great riff remembered as much for how many other people screw it up. Stevie Ray Vaughan could pull it off note for note, but the guys who show up to woodshed at the local open mics need to stop murdering this legendary lick. It's like a game of "Are You Serious?"

9) "Another One Bites The Dust"--Queen: I didn't include any bass guitar riffs because I didn't want to make things more confusing but I had to include this one. It gave bass players a reason to live. And as readers of this fine column know, I'm well aware that bass players frequently suffer from low self-esteem and feelings that the other people in the band don't think very highly of them. This isn't paranoia. This is usually dead on.

8) "Born To Run"--Bruce Springsteen: I don't usually associate Bruce Springsteen with great guitar licks. He has a few decent ones here and there, but for a guy with a band that now features FOUR guitar players, it's a wonder why. Then again, he also carries two keyboardists (RIP Danny Federici) and sticks Clarence with a tambourine when he doesn't have a sax solo lined up. In all that racket, can anyone actually hear the tambourine?

7) "Back In Black"--AC/DC: It's a tad sad and ironic that AC/DC are considered to be a legendary band with their singer Bon Scott. Yet, the album for which they are most noted is the one made in tribute to him after he died. So, in a sense, most people are more familiar with the less legendary edition of the group, the one that went on to become massively more successful and has lasted many times longer than the original incarnation. Me? I like Brian Johnson as a singer just fine. He sounds like my cat when you step on his tail. What's not to like?

6) "Layla"--Derek and the Dominoes: Eric Clapton has made many regrettable albums and it's easy to forget that he was once a fiery player who could reach true dynamic heights. Duane Allman, on the other hand, died before he could do any damage to his legacy. For practical reasons, I'll always choose living over dying, but immortality is better than anything Clapton's done in years.

5) "Iron Man"--Black Sabbath: Black Sabbath are another band chock full of great riffs for aspiring guitar players. Guys who can't sing love to play Sabbath tunes because they know as the guitar player they get to be the real focal point of the band. So whether it's "War Pigs," "Paranoid," "Sweet Leaf," "Children Of The Grave," "Hole In The Sky" or "Iron Man," the guy holding the guitar controls the destiny of the band. Such power!

4) "Whole Lotta Love"--Led Zeppelin: Just had to sneak one last Jimmy Page riff in here. His tone alone is shivering. The tension of the little snap-back you hear weirds me out. How many notes are actually happening here? It counts out as two, but feels like five.

3) "Purple Haze"--Jimi Hendrix: I've heard hundreds of people play this lick. No one sounds like Hendrix. And it isn't just a matter of tone. It's a matter of feel. The word genius gets thrown around pretty carelessly. "Oh, look, Jim parallel parked the car today. He's a genius." No, that's luck. This is genius.

2) "(I Can't Get No) Satisfaction"--The Rolling Stones: Here's the proof that sometimes what is simplest is best. Occam's Razor as it applies to music. The extra fuzztone helped, but really writing this lick must now feel like discovering water or having written "Happy Birthday." It's that obvious.

1) "Smoke On The Water"--Deep Purple: I was never in a band that actually played this song. I've never known anyone who's been in a band that's played this song. But I've never met a guitar player who didn't play the opening lick for hours upon receiving their first electric guitar. It's so prevalent, it's more like a catchphrase than a riff.

A revista Rolling Stone fez uma seleção das 100 melhores canções "de guitarra" de todos os tempos. A lista é bem ampla, passeando por diversos gêneros e períodos. Todavia, no topo, só espaço para os "clássicos". Em primeiro, "Johnny B. Goode", de Chuck Berry (1958); em seguida aparece "Purple Haze", do Jimi Hendrix Experience (1967) e em terceiro "Crossroads", do Cream (1968).

Dos anos 1990 para cá, a primeira a aparecer é "Smells Like Teen Spirit"
Nirvana (1991), em décimo. E sim, há "Stairway to Heaven", do Led Zeppelin (1971), que aparece em oitavo. A lista completa você confere aqui.

***

Já a revista New Yorker seleciou os 100 melhores álbuns de jazz. Não é minha praia, mas para quem curte, fica a dica.

Texto relacionado
Os 25 melhores riffs de guitarra

witness the reasons for a lot of girls born circa 1985 called kayleigh and janay...

download here

andre cymone - kelly's eyes

betty everett - lucinda

daniel saluheka - lorraine

father mc - lisa baby

freddie jackson - janay

just ice - latoya

kool and the gang - joanna

le klass - jan

marillion - kayleigh

ray parker jr - jamie

riff - judy had a boyfriend

zakiya - jimmy

El cas és que pense que a la gent li interesa més veure les ties en boles que solen ficar, que no els grups que hi actúen. I no és que hi haja anat moltes vegades, és la primera, peró és la sensació que em va donar amb un ambient molt prometedor, que es va quedar en aixó. Tinc ganes de tornar una altra vegada a veure si realment la gent sempre és tan gelada, amb els músics, per supost, perquè si es tracta de refregar la cebeta... no cal parlar de Sueca. Només heu d´anar a les tiraes...

Va obrir Rapsodes per intentar calfar l´ambient i donar pas a 121 db. Ni el rap, ni el pop (eh, Andreu, que no cal que dones tantes explicacions a vegades) ni després el que siga Bakanal va poder fer que la multitud de persones que passaven per davant l´escenari pararen davant (a no ser que es considere davant la barra on anaven tots a parar), sempre amb l´excepció dels incondicionals.