Counting crows meet on the ledge mp3 rocket

joz-norris | Albums

counting crows meet on the ledge mp3 rocket

Vocally, he reminds me of an older-sounding Adam Duritz (Counting Crows). .. I meet every release with great anticipation, and then just never quite love it. . Maybe a little poppier than past releases, it still has a good edge to it. having played with bands like The Donnas, Scared of Chaka and Rocket From The Crypt . Edwin Collins- Never Met A Girl Like You avesisland.info3 amulet - Life On The Edge Of avesisland.info3 Counting Crows - Hangin' avesisland.info3 Iron Maiden - Fear Of The Dark - Rock In Rio 3 - Rocket avesisland.info3 (: [+Lyrics]{&Lot's of Pictures}"], ['Meet Uncle Hussain - Lagu Untukmu', 'AJL 23 N' Roses - Patience", "Guns N' Roses - Rocket Queen - Live At The Ritz 88"], ' Carly Simon - Coming Around Again (Live)', "Carly Simon - That's The Way I ' FATHER FORGIVE ME'], [], ['2 Unlimited - Get ready for this', 'counting crows - i.

For What It's Worth. Across the scope of this list as a whole, I'm trying to be quite tough on albums I basically think aren't very good but which have one great song.

But it just so happens that in two such albums came out with songs I'm so fond of that they've cajoled me into being lenient. I promise to be more strict on these sorts of albums in future. Considering he basically just sang backing vocals and never even really wrote anything, Art Garfunkel was either very lucky that Paul Simon was generous enough to grant him equal billing, or Paul Simon was a control freak who wouldn't let him have any influence over anything and liked doing everything himself.

The Sound Of Silence. One of the naffest album titles ever. Sounds like an album of lullabies for Grandma. Misleading, because the songs here are genuinely quite innovative and interesting.

Paul Simon's already stepped up his songwriting a lot from the previous record. There's nothing here quite as great as "Gloria," but this is another fun slice of raw, snarling blues rock, with the occasional hint of the more pastoral vibe Van Morrison would develop on his subsequent solo work. For years record label execs had been saying "We're pretty certain that if we let female singers choose which songs to sing, and let them play some of the instruments themselves, and even write some of the songs themselves, the paying public will have no interest in that.

counting crows meet on the ledge mp3 rocket

I just find bossa nova such a funny genre. I don't know if that's culturally insensitive of me, because it is a part of Brazil's cultural heritage, but I just find it inherently frothy and silly and feelgood and adorable.

This record is one of the sweetest, silliest albums ever recorded, particularly the track on which Astrud "The Girl From Ipanema" Gilberto duets with her own five-year-old-son. Pepper's Lonely Hearts Club Band I get the hype of course - the songs are mostly fantastic and the whole thing still sounds weird and unpredictable even today - but to pretend that there isn't a section in the album's second half where the quality dips and your attention wavers is just being wilfully obtuse.

A Day In The Life. Buffalo Springfield never made a truly great album. The general quality here is higher than on their debut, though there's nothing quite as good as "For What It's Worth. God's first attempt at making Tom Waits goes pretty well at first and results in this bizarre, snarling, psychedelic monster of an album.

God decides to have another go at making Tom Waits in the 70s. The big single from this is about a nasty boss. There's another song about a lovely dog and a nice granny. I'm usually fairly dismissive of 60s pop, but when someone can embrace the naffness of the genre like Cat Stevens can, it warms my heart. Also I really like that pseudo-orchestral vibe you get on a lot of lates pop. I Love My Dog. I have a sneaking suspicion these guys were on drugs.

I just have funny feeling that they were. Probably the best psychedelic rock album of the decade. At this point in time, John Martyn was pretty much just a man with a lovely voice and an acoustic guitar. He would get more innovative and unusual in the 70s, but already here he acquits himself as a brilliant songwriter and a wonderful interpreter of traditional folk songs. Probably the word "troubadour" applies well here.

One of the loveliest voices, too. Don't Think Twice, It's Alright. Nico's vocal delivery is fascinatingly unsubtle - every single syllable gets exactly the same treatment, to the extent that even the prettiest lyrics end up sounding like a shopping list.

On the truly beautiful songs, this creates a genuinely compelling counterpoint to the music, whereas on the longer, more drawn-out, tuneless ones, it gets pretty wearisome. Fairest Of The Seasons. But hey, the guy can really sing.

One of the most influential albums of Indian classical music of all time, and also the only one I've ever listened to. Apparently before this album people in India thought the santoor was a low, vulgar instrument, sort of like a kazoo, but after it came out everybody decided it was brilliant, like a piano.

As far as I'm aware, an equivalent western record that reclaims the kazoo hasn't been made yet, but we live in hope. Anyway, the music is beautiful. Having listened to all these albums in chronological sequence, I'll say this for the Velvet Underground - they sound totally unlike anything that came before.

There's more cynicism and snark here, more grim attitude and more off-kilter strangeness than anything that preceded them. Even when it sounds beautiful it sounds a bit like a piss-take of the concept of beauty.

I don't unreservedly love every song here, but I have to hand it to them for being game-changers. This is a lot of cartoonish fun. It's all edited to sound like a pirate radio broadcast, with silly nonsense commercials interrupting the songs. The songs themselves are sort of middling, but do include two of my favourite hard rock anthems of the 60s. I Can See For Miles. As such, it's over-long and inconsistent but, as any true artist can attest, if you throw shit at the wall for long enough, eventually you WILL write "Back In The U.

There's a story that Peter Green desperately wanted to be one of the blues greats, but knew he never could be because he was a well-off, well-educated, middle-class white English man, so it would always be inauthentic. Supposedly, this thought made him so depressed that he got the blues and became one of the blues greats. I love this story so much. Certainly the weirdest album yet to feature on this list, and a strong contender for the weirdest album of all time.

There's a minute song written from the point of view of a single-celled organism. I also find it very difficult to imagine these guys in a recording studio, everything sounds like it could only ever be played in a wood.

Tull's down-to-earth, rootsy debut is a bit of an anomaly in their wider discography - it's more straightforwardly bluesy and less quirky than their later output, and Ian Anderson plays almost as much harmonica as he does flute.

Nonetheless, the seeds of their future brilliance are already sown here. He's obviously an amazing, pioneering guitarist and a great singer, but I find he's sometimes guilty of psychedelic rock's preponderance to meandering without a strong musical hook to attach his talent to. All Along The Watchtower. Most of Joni Mitchell's debut consists of haunting, mysterious, pretty folk ballads but isn't necessarily the obvious work of someone who would become one of the greatest singer-songwriters of all time.

But then there's "Cactus Tree," one of the most beautiful songs ever written and possibly, in my opinion, Joni's best. You hear that one and go "Oh yeah, she'll probably go on to be absolutely brilliant. I only started listening to Leonard Cohen last year before he died, as it happens.

I'm not big on grief bandwagonsso he's not yet had time to burrow under my skin and convince me he's an all-time great. I'll concede that he's great at writing very sad, mournful, melancholic little songs, but some of this is a bit too dry and lifeless for me. Some of it is excellent though. Mothers head honcho Frank Zappa got frustrated with the record label while editing this, so just went mad in the editing room and chopped it to bits.

As such, many songs last only a minute or so and are randomly interrupted by fragments of other songs, or by weird, unsettling noises or snatches of sinister whispering. An odd listen, but a fascinating insight into a guy's strange creative process. I don't know much about the Brazilian Tropicalia movement, but if Os Mutantes are a decent representative of it, I'd like to know more.

This album is loads of fun, and deeply bizarre. Like listening to a lucid dream set at a carnival. For me, it trails off a bit towards the end, but it's been a really fun ride up to that point. You find yourself listening to this honey-voiced 60s crooner singing brilliant theatrical interpretations of Jacques Brel, or beautiful orchestral ballads, all the time knowing that there's a real mania in his brain somewhere.

After the solid groundwork he'd laid with Them, Van Morrison's solo debut was a bit of a forgettable stumble. So, so, so, so good. I do genuinely enjoy this album, but most of it sort of for novelty purposes. Then "Time Of The Season" kicks in at the end and reminds you that these guys could also write a really cool song when they put their minds to it. So a bit of everything here. Time Of The Season. The most arrogant name for a band ever.

I'm sceptical about Bob Dylan at the best of times, so you can imagine my scepticism when it comes to the independent releases by Bob Dylan's backing band.

It also has the aberration that is "Jawbone," though, so don't expect me to rave about it. Though not the last Beatles album released, it was the last they recorded and they go out on a massive high. The first half consists of a bunch of songs that are their maturest, most inventive and confident to date, and the second half is an ambitious, elaborate song-suite that ranges from the ridiculous "Mean Mr Mustard" to the sublime "Golden Slumbers.

With absolutely no room for discussion, Creedence's John Fogerty is easily in the top 5 coolest vocalists in the history of rock music - just growling, snarling, gutsy perfection. Creedence's simple, straightforward blues rock is fantastic and made them a bigger band worldwide than the Beatles in Born On The Bayou.

Turns out this does have some great songs in between its blander moments, though I'm not remotely tempted to revise my opinion that Graham Nash is just beyond awful. Big shout-out to "Letter To Hermione," an often-neglected Bowie classic. Dusty Springfield's early stuff is enjoyable enough, but is mostly quite forgettable pop with the odd absolute club banger.

In '69 she said "Enough! I want to honour my soul influences more! Sadly, despite obviously being brilliant, it didn't sell very well and she never bettered it. Son Of A Preacher Man. I'm a fairly recent convert to Fairport Convention, so I don't have much of great insight to say about them. Sandy Denny's voice is amazing, the band sound great and I really like the folksy acoustic vibe.

They're slightly more on the popular side of folk music as opposed to its traditional side here, but would cross that line on the next record. It's just as much fun and still hauntingly beautiful in places, but mostly consists of lengthy traditional folk ballads or instrumental reels rearranged for a full band, so is inherently a bit more exciting and original.

From its traditional blues numbers to its blistering instrumental jams, to the astonishing prog-rock brilliance of "Oh Well," Peter Green's final album with Fleetwood Mac really showcases what a visionary musician he was. After this he lost his mind to LSD and to his own disgust with his success, and faded away from the spotlight. He remains one of music's great enigmas. Zappa's first solo outing separate from the Mothers features a bunch of delightfully odd, colourful, eccentric and intricately arranged jazz fusion instrumentals, with a characteristically snarling guest vocal from Captain Beefheart on "Willie The Pimp.

This is just very nice, chilled-out, folksy blues-rock of the highest order. Admittedly it doesn't yet have any of the killer guitar riffs or catchy tunes that Free would excel at just a year later, but they were about sixteen when this came out, so fair enough, really. Lying In The Sunshine. The music itself on this is a sort of bluesy soul which is really well-played and entertaining but feels a bit familiar, particularly when listening through this list chronologically.

But I think Janis Joplin's legacy isn't necessarily that of a pioneering musician or artist, but simply that of an incredible singer, and boy can she sing. Original Tull guitarist and traditional bluesman Mick Abrahams is out, and the wonderful Martin Barre is in. As such, less shackled by a traditionalist band-mate, Ian Anderson is able to stretch his imagination a bit more here.

It's still bluesy folk rock, but it's starting to feel quirkier and more imaginative - there are more flute solos, for one thing. A New Day Yesterday. From the haunting sadness of "Tin Angel" through the joyous pop of "Chelsea Morning" to the absolute perfection of the all-time classic that is "Both Sides, Now," this is just a truly brilliant record.

Not her best, mind. More yet to come. List, meet Progressive Rock. The first prog album to feature on the list also happens to be one of the very best - squealing guitars, squawking saxes, pompous Mellotron, scary distorted vocals.

It's also noticeable listening to the 60s chronologically how utterly alien this sounds - it's menacing and terrifying and totally unlike any previously existing music. Also the best album artwork of all time. Feel free to skip "Moonchild," obviously. It combines the space and loveliness of lates cool jazz with the restlessness and strangeness of lates fusion to create something that, in places, feels like a prototype for ambient music in the 70s, where the atmospheres and textures are more important than the notes.

After a disappointing solo debut, Neil Young hit paydirt by teaming up for the first time with his best-ever backing band, the raucous, plodding numbskulls of Crazy Horse.

This album features two of Neil's best-loved long guitar jams, "Cowgirl In The Sand" and "Down By The River," but my favourite track is the simple joyful country rock of the title track. Everybody Knows This Is Nowhere. The songs are lovely and Drake has a lovely voice, but I just wish Boyd had reined it in a bit. It's like travelling back in time to a Medieval village and having a right old knees-up among all the ducks and the cabbages.

I got weirdly obsessed with Peter Sarstedt at uni, considering he only has one song anybody even vaguely knows. It's all very ridiculous, but it's also utterly, utterly charming. Like I said, needlessly obsessed. Nobody needs to listen to two Peter Sarstedt albums, but do you know what, I'm glad I did because this one's great too. He's a bit cheeky on this one too, a cheeky glint in his eye, and slightly less earnest than before.

What a delightful man. I quite like Syd Barrett's quirky psychedelic aesthetic, but generally I find early Pink Floyd too self-indulgent and meandering. It doesn't get enough love. Green Is The Colour. If You Go Away. Walker's first album consisting exclusively of his own compositions, and it's a very theatrical, Gothic affair. Also his last album to achieve much popular success or critical praise, prior to a couple of decades in the wilderness, before fully converting into an avant-garde puncher of meat and visionary artiste in the 90s with the bewildering Tilt.

Sly Stone didn't invent funk music, but I do think he played an important role in bridging the gap between the more familiar, soul-based funk of James Brown and co. Loads of raw attitude on this album's longer jams, but also a lot of sweet-natured fun on the shorter hits. But here they really push the actual songcraft. This is a much less cynical album than the first two, and almost feels like they've sincerely tried to make something pleasant. Beginning To See The Light. One of the first ever concept albums, a rock opera about a deaf, blind, mute boy who's really good at pinball.

Their debut album's best song is a beautiful piano ballad, and it includes covers of the likes of the Byrds and the Beatles. It's all great, and there's still the odd wacky organ solo, but they'd push the boat out further on subsequent albums. Controversial opinion, but I think Cat Stevens from is a better singer-songwriter than Bob Dylan at any point in his career. But for those unfamiliar, Friction was on the cusp of the emo-indie scene, creating songs that are unmistakably their own but with a sound that is reminiscent of such bands as Jawbreaker and Fuel the cool Cali band from years ago, not the new crappy one that's on the radio.

Bob's vocals are absolutely amazing and the skill Friction displays in tune after tune is a tribute to what a three-piece can do. Fans of Don Caballero will appreciate the intricate guitar string picking, which is augmented by sporadic spoken word samples that are political in nature. Some songs are extremely hypnotic, others intensely powerful. The driving fuzz-tone guitars will make you think you found a soundtrack to fit your life at last.

Not as experimental as the last release, this one gets back to all the things that make GVSB one of the best around. These are really short, really angry hardcore tunes.

It does not all sound the same as so frequently happens when you have less than 60 seconds to develop a song. This is hardcore as it was intended. Fast, furious and unrelenting. This, plus much more is what "Presidential Suite" is all about. Of course, most songs feature his infectious rapping style, but those that don't will capture your attention as well. I dare you not to bob your head to "Take Me To Broadway. There is mostly a positive life-affirming message that is at the heart of the album, and some pieces that are an exploration of darkness, but in terms of style, she's all over the map.

She definitely doesn't belong in the "sunny pop chick" category. These eight instrumental tracks are for the most part non-intrusive, perfect as background music while doing other things. The band's original sound, which included keyboards and vocals, is not missed. Opening with a crowd rousing sing-a-long, "It's Time to Rock", this three-piece punkcore outfit goes on a minute assault of your ears and your mind.

The same can be said for much of this thirteen-track album that focuses on such topics as oil wars, school shootings, revolution and wealth. This is snotty and smart with enough melody to satisfy even pop punk fans. Their guitarless synth pop is quite aggressive, like a revved up the Faint. The sound is centered around Steve Bay's unusual keyboards and Matthew Marnik's strained vocals.

Wow is a good start. Whoa might come soon after. Caustic and abrasive and then gentle. Ten studio tracks, five live tracks and a whole lot of hell raising, ear splitting, heart breaking noise going on.

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Track 6 and track 2 will blow you away. Another band that just proves the Immigrant Sun stable has some of the best horses around. Their intense, driving songs are emotional without being whiny and pathetic. Fans of energetic, powerful indie rock will love this "neverending road". J-Live takes you there with live instruments and beats that intersect with his creative, storytelling lyrics. This emcee took full advantage of every minute of disc space, many tracks stand out and this is a solid release with a feel good vibe and originality think Roots, Tribe.

Then "Stir of Echoes" takes it back in a L. With plenty to let out, J-Live spits the soul out of himself. These are indie-folk tunes for those seeking creative music that speaks to the listener. Vocally, he reminds me of an older-sounding Adam Duritz Counting Crows. This is Sunday afternoon, sit on the back deck with a beer and a bowl, chill out and take in your surroundings music. Following up his much talked about concept album with yet another amazing concept album; this time about a boy obsessed with producing home recordings; J.

The music pulls in many directions with uncertainty but keeps a core center that serves as the experimental purpose, which is great stories and accompanied music. Multiple harmonic vocal styles are fused with different drumbeats, acoustics, bass, cello, violin, trumpets and more which are all melted into an electronic delivery.

Their music is reminiscent of the post-punk DC sound with a healthy dose of melodic, melancholy pop mixed in for good measure. Aptly titled, Singing To Your Subconscious grows on you with repeated listens. If they are on this label, you can bet that it is kick-ass music. Killswitch Engage combines metal and hardcore in a seamless blend that never slows down and never disappoints.

This is about as fierce as music can get without losing the sense that you are listening to music. Kind of sung and spoken, where the words sort of fall off the tongue comfortably. Sort of like a pop punk band with a Discord sound, meaning its got some pop too it, but its so much more intelligent. This one comes with a strong recommendation. They are a punk quartet who has a sound familiar enough to be comfortable, yet different enough to be interesting.

They combine strong songwriting with obvious talent. I'd really like to hear a full length by these guys. They have enough catchy hooks to keep me going longer than this EP can provide. It left me wanting more, which is a good thing. I can't think of anyone to compare this band to. They sound at times like the Stray Cats, then they sound like a Brit-pop band and then they start playing Rockabilly.

One thing is for sure: And if they come in concert you should definitely go. Hearing this live has got to be a blast. Artemis has been putting out some really good metal lately and LLK has not disappointed. They sound at times like Cold, then Tool, then Powermanthen Sevendust. And they're just as good as any of them. Hell, I'll recommend solely on this quote from the band: Rawls and the lyrics of J. Smoothed-out drum kicks with a string and key arrangement form the backdrop for the rhymes found within.

Flex, Grap Luva and Asheru. Some of these songs are more than ten years old! Any Bukem fan will want to go out and get this right away. They don't take themselves too seriously while fusing together such raw sounds. Focus here is heavy on percussion and simply jamming out through tracks while experimenting with their approach.

Mostly instrumentals, the layout of tracks on this disc make for an up and down ride. The result is a highly futuristic, robot-voice filled album.

Synths abound, and the beats are mellow, except for the electro tracks. You can tell this record was made in someone's basement, which adds to its charm. Their style isn't revolutionary but they're good at playing solid tunes that have enough energy to not be poppy and enough melody to make them poppy.

What it comes down to is Matthew plays rock that is radio-ready and emotionally charged; it's indie rock that could easily go major again, be that good or bad. The green jewel case all Rykodisc releases come in is actually a "registered trademark of Rykodisc. Hell it's pretty good. It's a little sappy, a little quiet, and a lot indie with a little bit of rural jangle. It will alienate many I am sure, but if you like dive bars, thrift stores, bad haircuts and liking the next obscure sound I'm sure this is the shit.

The title of the album is quite adequate, since some songs are as hostile as any Melvins song gets, and at others, waves of guitars and so-slow drums will have you hypnotized. The hooks are catchy overtop tight instruments that feature piercing percussion and accompanied sounds of basic bass and lead guitars. Milo covers a wide variety of styles on this home-recorded collection.

From the alt-country, Willie Nelson-esque "Open Minds, Open Sores" to the lo-fi punk of "Mirko's Car" to the psuedo-swing of "Love Chained", you're never quite sure what to expect next. Fans of Ween's early, Scotchguard-induced material will dig Smell the Parade. This reminds me of a stripped-down Cult. It's very catchy and tight. You can tell these dudes are pros. Oh yeah, and the song titles are only a glimpse into the lyrics within. For example, the hidden track is a theory of numbers or Harmonial Value written in the early 's by Dr.

Loslo Pronowski and is broken down in a mind bending lecture-like journey. Controversy is abounding within this disc as it centers on you decide - fact or fiction the disappearance of Lif himself due to the outward approach he takes against the majority opinion. The comedy behind it shines at the end of track 3 and the full force is felt in the track "Phantom.

The drum heavy beats keep things up-tempo for this emcee that formerly made music on Grand Royal Records and will grab the attention of many ears this time around. Here is a song bevy of delicious SKA.

Classic SKA that never disappoints. There are some fantastic surprises emerging from the gentle sound; once in a while a piercing electric guitar of Floydian proportions will wail from beneath the surface. The album's vocals are entirely Japanese, and are a perfect match for the mostly soothing backgrounds that invoke a running stream in the mind.

The sound is stripped down in a good way, leaving a raw fleshy sort of sound that conveys the emotions perfectly. I thought of bands like Outspoken when I heard it the first time. The vocals are powerful as a hurricane both during the screams and the vocal breakdowns when some good screamers loose some of their power. The Next Best Thing has the potential to be the next big thing in the hardcore scene.

The good thing is luckily it's not a movie, and I won't have to survive this for 2 hours, these 11 tracks that last a little over half an hour were torturous enough. Sort of a deranged and lost Beatles sound, but for the most part this is sort of it's own original kind of bad. They've got the perfect ingredients for straightforward, simplistic music.

It's the kind of sugarcoated joyride that everyone should take once in a while. The songs vary widely from fast punk driving tunes to slow sad songs to play for chicks when you want to get laid. The amazing part is that whatever style they choose, it is well done. This is one you should add to your collection. A necessity for the NOFX faithful, but the charm will be lost on the uninitiated. Till We Have Faces is the first full-length from this San Diego quintet that's honed its sound in clubs up and down the California coast.

Their aggressive, melodic style is reminiscent of bands like Sunny Day Real Estate. Noise Ratchet's hard work has paid off in an impressive and catchy album. Early on the third track "Backwardz Masking Korruptz Kidz" goes on about drinking a six-pack, snorting cocaine and sending his kid out to get more. The kicker comes in track 13 when the song is played backwards and you get the real intended "subliminal" message of positivity like not being a communist and listening to your parents.

The sarcastic lyrics are laid on top of retro synth sounds accompanied by the guitars and drums of the five-member band. Many music genres are poked fun at from Spanish and country to hip-hop. They also do a cover of "You Fucked Up" by Ween and is one of the 8 hidden songs spread out through 26 tracks.

This disc is way out in left field and a damn good break from the norm. I fucking love this! It has the raw power and musical talent that you search the stacks of CDs for. A sound that will bring some of the Discord catalog to mind, with swirling guitar sounds.

Vocals coming at you from all sides in screams, shouts, and harmony. A rhythm section that never lets things get too far out of hand. A brilliant and ironic band name on top of it all, these Canadians are worth checking out. It's the mid-tempo kind of pop rock that a live audience really digs. And this double CD release is the perfect experience since it's all live.

It's more than two hours of the band performing its hybrid sound that melds pop, ska, reggae, soul and roots rock into a unique and tight package. One Nation Under certainly belongs in the top ten. Mike English attacks the microphone with a voice most death metal acts would kill for. Two guitars, courtesy of Rich Thurston and Jon Willwerth, trade riffs with unparalleled intensity, while Jason Kleinschmidt rips the low end with his bass.

Finally, Robbie Wright's machinegun drumming never misses an opportunity to kick you in the rib cage. The pictures painted by the thought-provoking lyrics are like a battle between good and evil. The dark journey begins with a trippy, static-like in-n-out beat on "Horizon Child" while a female vocal arrangement recites "you can choose your own destiny" before Onedae begins to spit in dramatic fashion.

There is some serious drama within these diary-like lyrics over spaced out, mood-swing production by The Neurologists and The Bronx Monx.

It's always good, but just missing something. I meet every release with great anticipation, and then just never quite love it. I'm left with that "so average" feeling. It's a very ok CD, but with what you know Jonah has and can do, you can't help but wish for more. There is a highly danceable groove going on here, so get going and get this album.

Kona residents Pepper is chock-full of reggae and rock rhythms, perfect for getting in the mood for a surfing session.

They call their style "Kona dub rock," and it is reminiscent of Sublime. They've been around for nearly three years, developing their unique style and sound. It's a hard-to-resist blend of skate punk, hardcore and pop punk that is kicked up a notch by their penchant for the scary. Maybe it's just that love for the dark and dead. They have this uncanny ability to blend complicated and sometimes erratic beat patterns with beautiful and playful sounds.

No song is either too mushy or too aggressive. The four tracks on this EP are no exception.

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Also included is the video for "Eyen," the lead single from the Double Figure album. Pop Unknown has a powerful presence and energy in their songs that most bands have trouble capturing in the studio. These songs have the quirky short playful sounds of Mouse on Mars and the glitchy, experimental sound of Autechre except for the final song, "Love You Bring," which is more of a jazzy hip-hop number with out the cut up vocal style Prefuse 73 is known for. PGMG's sound is really something fresh. They flirt with comparisons and genres without really falling into one.

Andrea Zollo's vocals are flawless, and whichever person is backing her up really compliments the sound. This CD is very listenable for those who love female-fronted punk as well as people who simply dig a band that rocks. Creative without obscure alienation and the right mix of everything good. The 21 minute opening track, "?

It's easy to get lost within the slow, morbid and dreary feel of the music. This disc grows to become comfortably subtle, dreamy and mysterious. Solid production is what carries this disc, which is best during times of solitude. A good description of this album is how every track feels like a compilation of hidden tracks from other records.

counting crows meet on the ledge mp3 rocket

It's very stream of consciousness, where many songs lack a beginning or end. Hip-hop shows up here and there, but this is not a hip-hop record. Mostly mellow, his beats sound like live instruments, rather than canned. Like DJ Shadow, he samples obscure recordings to create a unique feel. A nice punk, uptempo, poppy feel and still some great political and personal lyrics that show some teeth. Maybe a little poppier than past releases, it still has a good edge to it.

Yeah, Scratch of the crew The Roots is the mind behind all the music, but he is also joined by a star-studded cast including Black Thought and Malik B both from The Rootssoulful singer Jill Scott and some nice underground cats such as Schoolz of Thought Scratch's old crew. What makes Scratch unique is his ability to vocally mimic a turntable scratching and his fluid beatbox skills.

Scratch says about his quest for these abilities, "I wanted to sound convincing, so people would hear me and be like 'where the DJ at? You will ask yourself that question on numerous cuts. The album flows like a river from hard-edged hip-hop to rhythmatically soothing soul yeah, I made that word up. They say they draw from bands like Devo and late 70's punk. I can see that as well. If you're into that sound, the Tigers will get your tail sorry. Smooth keyboard lines and modified electronic instruments clash with distortioned beats and angry vocals, similar to the Faint, but harsher and more electronic.

This is self-proclaimed destructo-punk and I see no reason to argue. They cover a G. Allin tune and generally rip shit up. This is fast music with unrelenting drive. It's unassuming and nothing that strikes you immediately, but it grows on you slowly till you find yourself wishing you wish you knew enough of the words to sing along. Sort of a melodic power pop punk thing, with a good sound that fits a sunny afternoon. Simon is a guy for all you Neil Young and Bob Seger fans.

He plays good old-fashioned rock and blues. I'm sure he's shut down plenty a bar and drank everyone in it right under the table. Sixty Stories is featured here with seven songs, along with 5 unreleased songs by "Painted Thin," the previous incarnation of the band.

The current one is a three-piece that creates songs built around synthesizer samples, which create a melodic backdrop for some powerful guitar work. These are incisive and passionate songs, driving extremely hard without losing its focus on melody. If you were to have a party and lock members of Hot Water Music and As Friends Rust newest incarnation in a room with good punk records and lots of beer, they might create a band that sounds a lot like this. Equal amounts of punk and rock, and all good.

They're solid and tight and deliver melodic pop tunes with a good bit of jangle and catchy choruses. It's not innovative, but it's a good representation of the genre and 10 tracks of tunes that will enhance any lazy afternoon. These 7-tracks were inspired in part through a car wreck involving the band which prompted emotions along the lines of fortune and misfortune. In essence, the vibe within this release feels as though time is standing still, or slowly ticking away.

The whole disc is good and recommended during times of solitude. The first track sounds like a horror movie soundtrack. This shifts into a 's spy thriller set in Brazil. Throw in some blaxploitation, a little funk and soul, and retro-futuristic electronics, and you've got Ectopia. But while lyrically GBV seems to write about anything wandering through Bob Pollard's mind, Swearing at Motorists are painfully grounded in the reality of everyday existence.

The duo, whose music consists of guitar, drums, and vocals, has a remarkably full sound much like early Spinanes that adds to the weight and power of the lyrics. Is math rock still cool? You bet it is. These two songs and one remix reveal Heather Thompson as a capable vocalist with a wide range of emotions.

Musically, the rest of the band is just as versatile, with heavy industrialized guitars in "The Ledge," and a sinister pop feel in "Sugar Falls. Then it changes pace again, laying down some downtempo grooves. The one thing all tracks have in common is the use of lush atmospheres that draw you in.

Awesome for headphone listening. It's fairly lo-fi material, which works. The sound is at times melodic and other times noisy with plenty of guitar feedback. This is definitely an entertaining release from a musician who is both skilled and passionate. And the BellRays have the necessary medicine. This LA four-piece belts out soulful rock and roll that will make your ass shake and your body quake. Lisa Kekaula delivers vocals that are undeniably strong, backed by solid, rocking instrumentation.

These guys have opened for everyone from The Muffs to Public Enemy. This release is a re-issue of their first album originally self-released on cassette inre-mastered and released on CD for the first time. Doghouse has found that with The Break. Straight up rock and roll, with only slight hints of a sound that might connect this band to punk, hardcore, or emo. It's not entirely horrible, it's actually a really good disc.

You just get the impression that this band is going to be all over rock radio tomorrow, so why should I like them today. They play super melodic punk rock that combines elements of other Chicago bands such as the Smoking Popes, Alkaline Trio and Lawrence Arms. There are 14 tracks on this fun-filled album, each bound to make you want to dance like a crazy monkey. It has a soothing quality that has the power to make you feel better, no matter the situation. Accompanying her are Jason Shields and Kevin Trevino, whose bass and drumming compliments her guitar playing to create simple pop songs with a swirling, melodic sound.

They wanted to explore more melodic avenues. With Nathan Richardson on drums, the group was born. They can be mellow "Since You"aggressive "Sick"or both "Getting By"but have a decidedly indie sound. Swinscoe is the brains behind The Cinematic Orchestra, recording the other band members playing their instruments, then resampling and resequencing the recording.

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Occasional vocals by Fontella Bass and Roots Manuva add a human touch to the tracks. Take the hooks that worked before, and don't diverge too much and you have something that sounds good but limited. Lyrically they are in the right place with some great songs, songs with some purpose, but you won't get past the stale punk rock sound to notice.

Most of the time anyway. They sound like an unplugged version of The Strokes. I love it even if they are vaguely frightening. This is hard driving rock like yer mom would make if yer mom rocked. Ten songs that start with a bang and keep banging all the way through. These gals are angry and they let it show.

This is a really great disc if you can imagine The Go-Go's making a disc with Motorhead. Those bands are maybe not really comparable, but The Ex-Presidents don't sound the same song after song. They stay pretty planted in hardcore but they also get a little Bad Brains on you every once in a while.

Of course, then on "Johnny Unite-Us" they get plain weird. Both bands got together to perform live on New Year'sand recorded it. If you've never heard either of these bands, you might be put off initially by the chaos. Give it a chance, though, and soon you'll be a fan.

But this doesn't really strike me as a solid Get Up Kids release. I know, bands change, "mature," develop. But I was happy with the punchy emo-rock that this Kansas City outfit had been producing since Their sound has definitely changed over time, but this is the most drastic change to date.

Gone is the punk element. In is a Midwestern sometimes country-ish sound that is at times jangly and very poppy. The vocals are still what you expect, heartfelt and all Matt Pryor. But I really loved the energy and drive of previous releases and that just isn't here. This is fast pop-type punk for people with very short attention spans.

The music is rooted in that pop-punk genre, but is generally a bit faster and fiercer than most of the band's contemporaries The Queers, Screeching Weasel, etc. It is definitely worth a listen if you don't mind the really short songs. This CD is so complete, the music so well constructed, you will find yourself lost in a dizzy amazement. Angry enough to be badass, but not so pissed that song craft has to be sacrificed.

This is a band that knows how to build a song up and keep it going with pop hooks and a well-developed structure.