Jim O'Rourke - Halfway To A Threeway EP
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Started by
De De King
, Jun 27 2003 07:46
26236 replies to this topic
#1532
Willow
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- 680 posts
Posted 15 January 2004 - 08:26
nešto da razmrda moju snenu zadnjicu u ovo prekrasno lirsko jutro...
Voivod : War and Pain
1. Voivod
2. Warriors of Ice
3. Suck Your Bone
4. Iron Gang
5. War and Pain
6. Blower
7. Live for Violence
8. Black City
9. Nuclear War
Voivod : War and Pain
1. Voivod
2. Warriors of Ice
3. Suck Your Bone
4. Iron Gang
5. War and Pain
6. Blower
7. Live for Violence
8. Black City
9. Nuclear War
#1533
voja i
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- Members
- 3,917 posts
Posted 15 January 2004 - 09:21
ma slobodno, nismo na "politici".sto se tice muffinsa...khm...khm...nesto mi grlo...(da se ne patriJotisem)
a to za grlo, nije ni cudo na -30º
#1534
Hella
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- Sleepers
- 6,199 posts
Posted 15 January 2004 - 10:51
auuuu brateeeee...nešto da razmrda moju snenu zadnjicu u ovo prekrasno lirsko jutro...
Voivod : War and Pain
već sam bijo zaboravio na ovaj ultramegahiperphenomenon od kanackog treša!
mada sam više volo/slušo Nothing Face.
/obrada Astronomy Domine rrrrrrraaaaaazbi-ja!!!/
idem slskujem i skinem da uživam prekomerno/divim se/mučim firmaške gnomove
#1535
Hella
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- Sleepers
- 6,199 posts
Posted 15 January 2004 - 12:10
nije da BAŠ preporučujem, više dajem warning, alpošto je ovo nauplejing i kako sad ide ovo, evo:
Bow Wow Wow - "Wild in the U.S.A."
Cleopatra 1998
One would not often recommend putting a selection of remixes and live songs on the same album, but Bow Wow Wow soldiers forth with that concept for Wild in the U.S.A.. The remixes lead the pack with six alternate versions. Their biggest song, "I Want Candy" (featured in the "Girl Eats Boy" remix), is given a totally deconstructed mix that works well. "C30 C60 C90 Go!" features a totally funked-up take by Kevin Haskins of Love and Rockets, and Wayne Hussey of the Mission UK uses his trademark guitar sound for the remix of "W.O.R.K." Much of the drumming that was so predominant in the original versions is buried in these versions. While the remixes in no way stand up to the originals, they do create a fun, mixed-up romp. The live portion was culled from their 1997-1998 American tour and features an eclectic selection from their repertoire, including everything from the rare "Giant Sized Baby Thing" to the popular "Go Wild in the Country." The band shows a tremendous amount of energy, but Annabella Lwin's vocals come across weakly, and she often seems out of breath. These live shows would have been better experienced first hand. Many of the dynamics that make their studio work so compelling are missing here. While the remixes work, the live songs drag this album down, making it of interest only for serious fans. For the more casual fan, you'd be better off with their earlier albums, such as See Jungle! See Jungle! or their collection The Best of Bow Wow Wow.
Simon Cantlon
i laže papak, remiksi ništa ne valjaju, svaki party bi se urušio u sekundi.
lajv part daz d džab mač betr...
Bow Wow Wow - "Wild in the U.S.A."
Cleopatra 1998
One would not often recommend putting a selection of remixes and live songs on the same album, but Bow Wow Wow soldiers forth with that concept for Wild in the U.S.A.. The remixes lead the pack with six alternate versions. Their biggest song, "I Want Candy" (featured in the "Girl Eats Boy" remix), is given a totally deconstructed mix that works well. "C30 C60 C90 Go!" features a totally funked-up take by Kevin Haskins of Love and Rockets, and Wayne Hussey of the Mission UK uses his trademark guitar sound for the remix of "W.O.R.K." Much of the drumming that was so predominant in the original versions is buried in these versions. While the remixes in no way stand up to the originals, they do create a fun, mixed-up romp. The live portion was culled from their 1997-1998 American tour and features an eclectic selection from their repertoire, including everything from the rare "Giant Sized Baby Thing" to the popular "Go Wild in the Country." The band shows a tremendous amount of energy, but Annabella Lwin's vocals come across weakly, and she often seems out of breath. These live shows would have been better experienced first hand. Many of the dynamics that make their studio work so compelling are missing here. While the remixes work, the live songs drag this album down, making it of interest only for serious fans. For the more casual fan, you'd be better off with their earlier albums, such as See Jungle! See Jungle! or their collection The Best of Bow Wow Wow.
Simon Cantlon
i laže papak, remiksi ništa ne valjaju, svaki party bi se urušio u sekundi.
lajv part daz d džab mač betr...
#1537
Hella
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- Sleepers
- 6,199 posts
Posted 15 January 2004 - 14:04
end nau, samting komplitli difrnt, džizs krajst!!!
A man enslaved by his own creations — musical robots
Matthew Miller | NOISE
Jay Vance calls himself a prisoner. He says he lives in bondage to robot captors, forced to humiliate himself on stage in front of human audiences around the country.
“It’s like Planet of the Apes,’” he said, “only substitute apes with robots, and I’m Charlton Heston. Damn, dirty robots.”
Vance is part of a one-man, six-robot band called Captured! By Robots. He used to play in human bands. The San Francisco multi-instrumentalist was a founding member of the Blue Meanies. He played bass for the ska band Skankin’ Pickle. But Vance found out he didn’t like people much, band people, in particular. He couldn’t deal with fellow band members. They couldn’t deal with him.
“I don’t have much tolerance,” he said. “All the pot smoking, all the stinky-ass people, all the sitting in a tour van having to be touching other people because there’s no room. That’ll turn anybody to robots.”
It turned Vance to robots in 1996.
“I thought I could build some robots, because they’ll do what I say,” he said, “but I guess I was wrong there, too.”
Vance built two robots, DRMBOT 0110 and GTRBOT666. The way he tells it, he’d figured them for docile. It turned out they were part of the Robotic Resistance, a robot group bent on subjugation of the human race. There was a coffee-related accident. He woke up with his head shaved and a biocerebral chip in his head. Since then he’s been forced to do their bidding.
Their bidding is apparently that he put on chains and a bondage mask and play music, everything from punk to metal to soulful gospel. Vance — he’s been called JBOT since his capture — plays bass, guitar and keyboards. The robots play everything else and call him nasty names while they do.
It wasn’t always pretty. JBOT admits that they “sucked pretty bad” in the years following his capture. But that was his fault, he said.
“I write the music,” he explained. “The robots don’t care. They’re the best. They can play fast and hard and loud and for long periods of time.”
He’s added more robots over the years. He claims he built the Ape Which Hath No Name, a plush tambourine-playing creature, because he needed love, the other robots being so cruel and all. He built others, like the recently added Headless Hornsmen, to fill out the band’s sound.
Which is apparently skewing toward funk on this particular tour. “They say they want to humiliate me even more,” JBOT said, “so they’re playing the funk.”
Humiliation, that might be, but Vance said he’s come to understand that he could be worse off.
“In a way, I’ve accepted my fate,” he said. “I could be working at a Hot ’N Now. I could be digging ditches.
“I don’t really want to be saved,” he added. “I’ve found a better way. I can deal with mean robots. I can’t deal with mean people.”
A man enslaved by his own creations — musical robots
Matthew Miller | NOISE
Jay Vance calls himself a prisoner. He says he lives in bondage to robot captors, forced to humiliate himself on stage in front of human audiences around the country.
“It’s like Planet of the Apes,’” he said, “only substitute apes with robots, and I’m Charlton Heston. Damn, dirty robots.”
Vance is part of a one-man, six-robot band called Captured! By Robots. He used to play in human bands. The San Francisco multi-instrumentalist was a founding member of the Blue Meanies. He played bass for the ska band Skankin’ Pickle. But Vance found out he didn’t like people much, band people, in particular. He couldn’t deal with fellow band members. They couldn’t deal with him.
“I don’t have much tolerance,” he said. “All the pot smoking, all the stinky-ass people, all the sitting in a tour van having to be touching other people because there’s no room. That’ll turn anybody to robots.”
It turned Vance to robots in 1996.
“I thought I could build some robots, because they’ll do what I say,” he said, “but I guess I was wrong there, too.”
Vance built two robots, DRMBOT 0110 and GTRBOT666. The way he tells it, he’d figured them for docile. It turned out they were part of the Robotic Resistance, a robot group bent on subjugation of the human race. There was a coffee-related accident. He woke up with his head shaved and a biocerebral chip in his head. Since then he’s been forced to do their bidding.
Their bidding is apparently that he put on chains and a bondage mask and play music, everything from punk to metal to soulful gospel. Vance — he’s been called JBOT since his capture — plays bass, guitar and keyboards. The robots play everything else and call him nasty names while they do.
It wasn’t always pretty. JBOT admits that they “sucked pretty bad” in the years following his capture. But that was his fault, he said.
“I write the music,” he explained. “The robots don’t care. They’re the best. They can play fast and hard and loud and for long periods of time.”
He’s added more robots over the years. He claims he built the Ape Which Hath No Name, a plush tambourine-playing creature, because he needed love, the other robots being so cruel and all. He built others, like the recently added Headless Hornsmen, to fill out the band’s sound.
Which is apparently skewing toward funk on this particular tour. “They say they want to humiliate me even more,” JBOT said, “so they’re playing the funk.”
Humiliation, that might be, but Vance said he’s come to understand that he could be worse off.
“In a way, I’ve accepted my fate,” he said. “I could be working at a Hot ’N Now. I could be digging ditches.
“I don’t really want to be saved,” he added. “I’ve found a better way. I can deal with mean robots. I can’t deal with mean people.”
#1539
gervasius twinkleminkleson
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Posted 15 January 2004 - 15:26
the good life - some bullshit escape
svidjaju li se josh nekom?
svidjaju li se josh nekom?
#1540
Hella
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- Sleepers
- 6,199 posts
Posted 15 January 2004 - 16:02
ponavljač opet u školi, ko oće da čue po 1. put Residentse, evo mu starting point:
The Residents - "Commercial Album"
Ralph 1980
Here's the concept: The structure of most pop songs consists of only two parts, the verse and the chorus. Since the verse and chorus usually repeat three times in a three-minute song, a pop tune really only consists of one minute of music. Cut out the repetition and you can, therefore, fit 40 pop songs onto a 40-minute record. And that's exactly what the Residents have done on The Commercial Album, the title of which comes from the band's deduction that since pop songs only consist of one minute of music and most advertisements are about a minute long also, ad jingles are "therefore the music of America." Got it? Whatever the concept behind it, this album is not only weird in that special way that only Residents albums are, but it's also surprisingly musically satisfying. A few of its 40 tracks ("Secrets" and "The Simple Song," for example) feel like throwaways, but most of them are surprisingly well organized and complete. The instrumental "Japanese Watercolor" is particularly impressive, as are the songs "Picnic Boy" and "Troubled Man." This album would make a great introduction to the Residents for anyone who hasn't yet been exposed to the band's unique brand of whimsy.
Rick Anderson
The Residents - "Commercial Album"
Ralph 1980
Here's the concept: The structure of most pop songs consists of only two parts, the verse and the chorus. Since the verse and chorus usually repeat three times in a three-minute song, a pop tune really only consists of one minute of music. Cut out the repetition and you can, therefore, fit 40 pop songs onto a 40-minute record. And that's exactly what the Residents have done on The Commercial Album, the title of which comes from the band's deduction that since pop songs only consist of one minute of music and most advertisements are about a minute long also, ad jingles are "therefore the music of America." Got it? Whatever the concept behind it, this album is not only weird in that special way that only Residents albums are, but it's also surprisingly musically satisfying. A few of its 40 tracks ("Secrets" and "The Simple Song," for example) feel like throwaways, but most of them are surprisingly well organized and complete. The instrumental "Japanese Watercolor" is particularly impressive, as are the songs "Picnic Boy" and "Troubled Man." This album would make a great introduction to the Residents for anyone who hasn't yet been exposed to the band's unique brand of whimsy.
Rick Anderson
#1541
Rostokovsky
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- Members
- 3,260 posts
Posted 15 January 2004 - 16:10
haha
superiska ti je novi potpis
a da
nocturama, lost in translation.....puno radioinfuzije
superiska ti je novi potpis
a da
nocturama, lost in translation.....puno radioinfuzije
Edited by 3opge, 15 January 2004 - 16:12.
#1542
SAMURAJ
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- Members
- 1,469 posts
Posted 15 January 2004 - 17:38
An assured, relatively loose follow-up to the fraught and frayed Jeopardy, From the Lion's Mouth entrenched the Sound's stature as no mere flash in the pan. It should have shot them directly between spots occupied by the like-minded Joy Division and Echo & the Bunnymen as post-punk legends, but the Fates had something else in mind, and so the quartet took their place right next to touring mates the Comsat Angels in the section marked "Deserved Better." With some semblance of a recording budget, the Sound went into the studio with talented producer Hugh Jones on board to accentuate the band's winning atmospherics. As a result, the sound is fuller, less pungent. And speaking of winning, the snake-charming opener "Winning" is like a dash of cold water in the faces of all the bands that were wallowing and withering away at the weeping well: "I was going to drown/Then I started swimming/I was going down/then I started winning." This, in a sense, exemplifies the point that the Sound were not mopes. They had their problems with life, but rather than just vent or escape from them, they confront them and ask questions and attempt to sort it all out. Most of the record has an effortless thrust to it, and only occasionally — for maximum effect — does the Sound whip out the heavy artillery. If "The Fire" sounds too bombastic and pummeling, listen closer. The bass is the lead instrument, the keyboards are just as prominent as the guitars, and it only sounds like chest beating compared to the rest of the songs. From the Lion's Mouth shifts, glides, winds, accelerates, and decelerates with all the grace and precision of an Olympic downhill skier. And what a great record it is. [The Renascent label's 2002 reissue offers spectacular sound and slyly hides the fair 1982 single "Hothouse" within the last track. Prior to his death, Adrian Borland voiced his wish to have the reissue stick to the original running order with no bonus tracks for purity's sake, so the label's (appreciated) move appears to be a sneaky way of going around it.] — Andy Kellman
#1543
Willow
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Posted 15 January 2004 - 18:07
stari majstori, da mi malo ulepšaju ovaj sramni januarski dan...
Accept : Balls to the Wall
1. Balls to the Wall
2. London Leatherboys
3. Fight It Back
4. Head Over Heels
5. Losing More Than You've Ever Had
6. Love Child
7. Turn Me On
8. Losers and Winners
9. Guardian of the Night
10. Winterdreams
Accept : Balls to the Wall
1. Balls to the Wall
2. London Leatherboys
3. Fight It Back
4. Head Over Heels
5. Losing More Than You've Ever Had
6. Love Child
7. Turn Me On
8. Losers and Winners
9. Guardian of the Night
10. Winterdreams
#1544
voja i
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- Members
- 3,917 posts
Posted 15 January 2004 - 18:19
(kud svi japanci, tu i mali vo-jo
):From the opening blare of "Homicide" -- 999's sixth single and first British hit -- it was apparent that Separates was to be no "ordinary" punk second album. Almost without exception, every other band in the pack had faltered or fallen when it came time to delivering their sophomore effort. 999, however, simply looked back at what they'd already accomplished, then made certain that they repeated it, with added improvements all over the show. So, the tunes are tighter, the riffs are crunchier, the choruses are even more memorable, and the entire album -- released just six months after its 999 predecessor -- stands among the most timeless artifacts in all punk history. Adhering to the same format as Fan Club's 1989 reissue of the album, the Captain Oi! repackaging ups the ante even further with four bonus tracks, with the "Soldier" B-side weighing in among the finest tracks in the band's entire repertoire. Of the others, "You Can't Buy Me" was the flip of the "Feelin' Alright With the Crew" * single, while "Waiting" and "Action" are pulled from a free 12" single given away to fan club members on the band's own LaBritain label. -- Dave Thompson
*zasigurno medju mojim "top 25" sedamdesetih.
Edited by voja i, 16 January 2004 - 00:40.
