Søgeresultat: mew mew
Mew She Came Home Home For Ep [Import]

Mew She Came Home Home For Ep [Import]

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Mew She Came Home Home For Ep [Import]
Mew And The Glass Handed Kites

Mew And The Glass Handed Kites

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Pris 129.00,-

Mew And The Glass Handed Kites
Mew A Triumph For Man (2CD)

Mew A Triumph For Man (2CD)

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Mew A Triumph For Man (2CD)
Mew Half The World Is Watching(re-release)

Mew Half The World Is Watching(re-release)

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Pris 169.00,-

Mew Half The World Is Watching(re-release)
Mew Live In Copenhagen

Mew Live In Copenhagen

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Mew Live In Copenhagen
Bi-2 Mew Kiss Me [Import]

Bi-2 Mew Kiss Me [Import]

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Bi-2 Mew Kiss Me [Import]
Mew Frengers: Not Quite Friends But Not Quite Strangers

Mew Frengers: Not Quite Friends But Not Quite Strangers

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Even the title of the first track of Mew's debut album, Frengers, is a statement of intent of sorts. They may ask "Am I Wry?" but listen closely and it's obvious that being "wry" is something Mew just don't do. Frengers is not an ironic album in any sense of the word; it's an authentic and heartfelt record which has seen the young Danes compared to Mercury Rev or Sigur Ros after releasing only a couple of singles. The comparisons aren't that wide of the mark either: there are occasional touches of the epic in the lush, slow-burning "Symmetry" with Stina Nordenstam and in "Comforting Sounds", which really ought to be overlong at nearly nine minutes but far from outstays its welcome. Other tracks, such as "Am I Wry? No" or "Behind the Drapes", with its plaintive chorus "Why are we so alone, even in company?", are more straightforward, borrowing heavily from American college rock bands like Superchunk. Frengers delivers on its promise of a passionate and occasionally breathtaking album that it's very hard to be wry about. -- Chris Blenkarn
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Mew Frengers: Not Quite Friends But Not Quite Strangers
Mew Triumph for Man

Mew Triumph for Man

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Release Date: 2007-02-06, Audio CD, Exilibris
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Pris 252.13,-

Mew Triumph for Man
Mew Half the World Is Watching Me

Mew Half the World Is Watching Me

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Release Date: 2007-09-18, Audio CD, Evil Office
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Pris 216.73,-

Mew Half the World Is Watching Me
Mew Frengers

Mew Frengers

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Even the title of the first track of Mew's debut album, Frengers, is a statement of intent of sorts. They may ask "Am I Wry?" but listen closely and it's obvious that being "wry" is something Mew just don't do. Frengers is not an ironic album in any sense of the word; it's an authentic and heartfelt record which has seen the young Danes compared to Mercury Rev or Sigur Ros after releasing only a couple of singles. The comparisons aren't that wide of the mark either: there are occasional touches of the epic in the lush, slow-burning "Symmetry" with Stina Nordenstam and in "Comforting Sounds", which really ought to be overlong at nearly nine minutes but far from outstays its welcome. Other tracks, such as "Am I Wry? No" or "Behind the Drapes", with its plaintive chorus "Why are we so alone, even in company?", are more straightforward, borrowing heavily from American college rock bands like Superchunk. Frengers delivers on its promise of a passionate and occasionally breathtaking album that it's very hard to be wry about. -- Chris Blenkarn
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Pris 97.17,-

Mew Frengers
Mew And the Glass Handed Kites

Mew And the Glass Handed Kites

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Not a lot of bands make records like And The Glass-Handed Kites anymore. Grandiose in conception and epic in scope, it puts Mew in a rarefied circle of bands--Sigur Ros, The Mars Volta--pushing at rock's glass ceiling in the hope of breaking through to some brave new plane. Those looking for a quick fix may be frightened off by the opening "The Circuitry Of The Wolf", tangles of Sonic Youth guitar and distorted drums synchronised into sinister, driving riffs. Persist, though, for it's not long until the ice begins to crack: "Apocalypso" is rent by bursts of spectacular tunefulness and glimmering xylophone passages, before melding imperceptibly into "Special", one of the album's more delightfully restrained moments. "The Zoopkeeper's Boy", meanwhile, imagines Mercury Rev holidaying within the Arctic Circle, chiming guitars and curiously zoological lyrics melding into something quite unique. If there's a problem to And The Glass Handed Kites, it that Mew constantly seem to reaching for the stars--a noble aim, but one that, across 55 minutes, can be quite wearing. Like Sigur Ros, they're a band for a time and a place, the peak of slow-moving glaciers, the honeymoon suite of the ice hotel. Don't overplay them, or they lose their magic. -- Louis Pattison
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Pris 52.83,-

Mew And the Glass Handed Kites
Pure Reason Revolution The Dark Third

Pure Reason Revolution The Dark Third

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The debut album from London's Pure Reason Revolution, The Dark Third suggests that progressive rock, long-treated as a pariah in self-respecting musical circles, is no longer afraid to speak its name. Boasting a name inspired by Kantian philosophy, a number of songs in two distinct `movements', and a flagship single - the mighty "The Bright Ambassadors Of Morning" - that clocks in at twelve minutes in length, here is a band unafraid to untether the unicorns of ambition and let them gallop free. This is not always a wise idea. Without the sheer, dazzling proficiency of Yes or the hulking heaviness of King Crimson, affairs occasionally get bogged down in a mire of sub-Sigur Ros atmospherics that drift along with little discernable purpose. There are, however, a number of saving graces: the Beach Boys-inspired vocal interplay of John Courtney and Chloe Alper, voices coalescing in lullaby-like harmonies; or an occasional, sparking heaviness that manifests most clearly on the tricksy, hard-riffing climax to `The Twyncyn/Trembling Willows'. An epic undertaking, and sometimes it feels that way, but fans of new-wave proggers like Mew or Muse ought to be up to the challenge. -- Louis Pattison
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Pris 79.47,-

Pure Reason Revolution The Dark Third
Liars They Were Wrong So We Drowned [VINYL]

Liars They Were Wrong So We Drowned [VINYL]

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Imaginatively witnessed through the zealous eyes of Seventeenth Century Puritanical paranoia, They Were Wrong, So We Drowned is, for want of a better expression, a "concept" album addressing the injudiciousness of witchcraft persecution, finding New York electro-punk deconstructionists the Liars visiting the German pagan mythology of Walpurgisnacht (where Spring's coming of the green triumphs over the penury of Winter and followers of the "old religion" gather for un-Christian celebration in the Harz mountains) in a manner akin to Goethe's Faust meeting the taunting discordancy of the Fall, Sonic Youth or Public Image Ltd at the deepest, darkest abyss of non-conformity. It's an unsettling listen; drums skitter, thunder cracks and cats (or witches' familiars) mew, keyboards screech like distorted stylophones and Angus Andrew's pained strains of repetitious protestation attain ear-clasping levels of mantric rancour. While those of a more nervous disposition would be advised to place a bullock's heart in the chimney breast before playing, more bohemian types will find this music liberal, brave and infuriatingly void of distinct definition. -- Kevin Maidment
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Pris 132.66,-

Liars They Were Wrong So We Drowned [VINYL]
Liars They Were Wrong So We Drowned

Liars They Were Wrong So We Drowned

Se flere produkter fra Amazon
Imaginatively witnessed through the zealous eyes of Seventeenth Century Puritanical paranoia, They Were Wrong, So We Drowned is, for want of a better expression, a "concept" album addressing the injudiciousness of witchcraft persecution, finding New York electro-punk deconstructionists the Liars visiting the German pagan mythology of Walpurgisnacht (where Spring's coming of the green triumphs over the penury of Winter and followers of the "old religion" gather for un-Christian celebration in the Harz mountains) in a manner akin to Goethe's Faust meeting the taunting discordancy of the Fall, Sonic Youth or Public Image Ltd at the deepest, darkest abyss of non-conformity. It's an unsettling listen; drums skitter, thunder cracks and cats (or witches' familiars) mew, keyboards screech like distorted stylophones and Angus Andrew's pained strains of repetitious protestation attain ear-clasping levels of mantric rancour. While those of a more nervous disposition would be advised to place a bullock's heart in the chimney breast before playing, more bohemian types will find this music liberal, brave and infuriatingly void of distinct definition. -- Kevin Maidment
Inkl. fragt: Ukendt
Pris 88.32,-

Liars They Were Wrong So We Drowned
Pure Reason Revolution The Dark Third

Pure Reason Revolution The Dark Third

Se flere produkter fra Amazon
The debut album from London's Pure Reason Revolution, The Dark Third suggests that progressive rock, long-treated as a pariah in self-respecting musical circles, is no longer afraid to speak its name. Boasting a name inspired by Kantian philosophy, a number of songs in two distinct `movements', and a flagship single - the mighty "The Bright Ambassadors Of Morning" - that clocks in at twelve minutes in length, here is a band unafraid to untether the unicorns of ambition and let them gallop free. This is not always a wise idea. Without the sheer, dazzling proficiency of Yes or the hulking heaviness of King Crimson, affairs occasionally get bogged down in a mire of sub-Sigur Ros atmospherics that drift along with little discernable purpose. There are, however, a number of saving graces: the Beach Boys-inspired vocal interplay of John Courtney and Chloe Alper, voices coalescing in lullaby-like harmonies; or an occasional, sparking heaviness that manifests most clearly on the tricksy, hard-riffing climax to `The Twyncyn/Trembling Willows'. An epic undertaking, and sometimes it feels that way, but fans of new-wave proggers like Mew or Muse ought to be up to the challenge. -- Louis Pattison
Inkl. fragt: Ukendt
Pris 163.63,-

Pure Reason Revolution The Dark Third
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