Αμέ, αμέ! Μαθαίνω!
Πολύ ωραίο κομμάτι!Μου άρεσαν πολύ τα φωνητικά, οπότε θα τσεκάρω και το δίσκο!
Θα λιώσει το πρώτο Luca Turilli…όλο το σκ:):!:
και ξανα και ξανα και παντα.
Γενικα παντως δεν εχει τοσες κιθαρες οσο μπορει να νομιζεις! Πιο πολυ ξεσπασματα παιζουν σε μερη του. Μ αρεσε πολυ ομως η ολη ατμοσφαιρα, ακουω κατι τετοια περιεργα δλδ, ανα καιρους.
Agharta (1975)
Often derided or misunderstood during the time of their original release, Miles Davis’ numerous releases following BITCHES BREW are now recognized for their startlingly unconventional beauty. Drawing on rock and funk, Miles unflinchingly followed his muse into the subtle dynamics to be found in hypnotically relentless repetition overlaid with fiery soloing. This hundred-minute, two-disc set was recorded live in Japan in 1975 and finds Miles trading solos with saxophonist Sonny Fortune over an undulating rhythm thicket of two guitars, electric bass, drums and conga/percussion. Miles punctuates the proceedings and takes the ensemble on abrupt turns in the road with organ stabs and swells. Not for the faint of heart, this is as bracing and dazzling as waves breaking over a spit of shoreline, or fireworks exploding on all sides of you at once.
Pangaea (1975)
This is the second of two performances from February 1975 at the Osaka Festival Hall in Japan. This is the evening show; the Columbia release Agharta was the afternoon show. If there is anything that’s consistent in this free-for-all, as everybody interacts with everyone else in an almighty dirty groove & roll while improv is at an all-time high, it’s the rhythmic, or should we emphasize “polyrhythmic,” invention. And while it’s true that this set is as relentless as the Agharta issue, it’s not quite as successful, though it’s plenty satisfying. The reason is simple: the dynamic and dramatic tensions of the afternoon session could never have been replicated, they were based on all conditions being right. Here, while the moods and textures are carried and the flow is quite free, the dramatic tension is not as present; the mood is not quite so dark. And while the playing of certain individuals here may be better than it is on Agharta, the band’s playing isn’t quite at that level. That said, this is still an essential Miles Davis live record and will melt your mind just as easily as Agharta.
Dark Magus (1974)
By the time Miles Davis recorded this album, many jazz purists had written him off long ago. Elecric Miles was seen as commercially compromised, a crass cash-in on the popularity of rock and funk. Give me a break. This multi-headed funk hydra was just as bewildering to the kids as it was to jazzbo snobs. This was undoubtedly Miles’ tightest group of the 70’s. The “Dark” in “Dark Magus” doesn’t only refer to the highlighted Africanisms that the intense focus on writhing, mutating rhythms had honed in on by this point; this is torment, passion, testosterone, and sweat. In short, this music has muscle. This group is amazing it’s ability to maintain focus, drive, and coherence while structure shifts on a dime and at every turn. Hendrix-meets-Sharrock avant bluesrock guitar squall snakes through the quaking, swinging, stretching, spiraling rhythms laid down by the Henderson-Mtume-Foster groove factory, while the horn lines of Miles and Liebman skate the surface, divebomb, bounce, and wail. The whole thing is tied together, in a macrostructural sense, by Miles’ planes and throbbing waves of organ, to say nothing of his near-telepathic bandleading. Electronic bleeps, splats, and an occasional, textural use of hyperfast drum machines fill in the infrequent spaces in this endless mutational moment. It all sounds so natural and instictive; anything but the chops-fetishist wankeroo that gave fusion a bad name. Less than a year later it would all be over. Almost 30 years later, music still hasn’t caught up with some of the most avant-garde, yet some of the funkiest, work of one of the 20th century’s great artists.
…και μαζί μαυτό, ότι διαθέτω από Accept:):!:
Road Salt-Pain of Salvation
Shadow Gallery-Digital Ghosts
Grand Magus-Hammer of the North
Anathema-We are here…
Coheed and Cambria-Year of the black rainbow
(απο τοτε που κυκλοφόρησε το καθενα τους)
και τις τελευταιες μερες το νεο Maiden
Tα καινούρια Accept και Grand Magus αλλά και το The Empire Strikes First από Bad Religion καθώς περιμένουμε την καινούρια τους δουλειά.
Killswitch engage-the end of heartache
Καινούρια Accept+Iron Maiden:):!:
Φοβερος δισκος!!!
Τρελο κολλημα τελικα!!!Καποια κομματια κολλησαν στο μυαλο μου απο το πρωτο ακουσμα!!!Ντραπικα που τους ανακαλυψα τωρα!!!
άψογος ο μικρός.
Μη ντρέπεσαι. μουσική είναι, μικρός είσαι, χρόνια μπροστά σου έχεις…
οντόπικ: Στα 26 μου, χάρη στο Γράκχο, ανακάλυψα αυτό και λιώνει:
den mas lete k emas ti einai auta???
sorry gia greeklish alla exo provlima…
Το πρώτο είναι Wheel, γερμαναράδες που παίζουν doom metal. Φετινός δίσκος. Αν γουστάρεις Reverend Bizarre θα σ’ αρέσει κι αυτό.
Το δεύτερο είναι Sun of Nothing. Έλληνες που παίζουν κάτι σαν sludge με μπόλικο blackmetal στην αισθητική. Αυτοί πάλι δε νομίζω να σ’ αρέσουν.
to deutero sigoura den tha mou aresei alla k to wheel an einai poli vari doom pali den tha mou aresei… tha to tsekarw…
thanks…
Ε γι’ αυτό κι εγώ ανέφερα ενδεικτικά τους Reverend Bizarre. Για να ξέρεις πάνω κάτω για τί μιλάμε. Ξέχασα βέβαια να διευκρινίσω ότι σε σχέση με τους συγκεκριμένους, οι Wheel όντως είναι λιγότερο βαρείς και πιο “υμνικοί” και επικοί. Δεν ξέρω αν βοηθάω περισσότερο.
Intronaut - Prehistoricisms
Ναι, τους είχα χαμπάρι, αλλά δεν είχα εμβαθύνει. Δεν πειράζει, μάλλον για καλό ήταν, αφού έπεσε καρφί σε μια μεταβατική ακουστικά περίοδο, για να πέσω κάποια στιγμή με τα μούτρα όπως τώρα. Τεραστιότατος δίσκος, ίσως οι καλύτεροι “συνεχιστές” των Cynic και των Atheist, με διαφορετική αφετηρία και κατάληξη όμως. Τρομερά ηχοτόπια και ατμόσφαιρες.
Pantera - Cowboys From Hell…etc:):!: