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Alkaline Trio From Here To InfirmarySe flere produkter fra AmazonPunk with a satisfyingly vicious snarl, From Here to Infirmary is the sound of Blink 1 82's truant-playing next-door neighbours breaking into dad's drinks cabinet and drinking it dry. Chicago's Alkaline Trio are three boozers, abusers and all-round losers that crank out the sort of perfectly deformed, hair-tearingly angstful pop-punk tunes that made Green Day's Dookie such a mainstream punk landmark. That time-honoured comedy punk album title (see also: NOFX's Punk In Drublic, Blink 182's Enema of the State and countless others) is shot through with a certain black humour, because these are all songs about hitting the gutter, and hitting it hard. The opening "Private Eye" remembers a New Year's Eve spent alone with the bottle, frontman Matt Skiba singing, "There's no reason to call, I passed out on the floor/ Smoked myself stupid and drunk my insides dry", while the fraught, anthemic emo-pop of "Take Lots with Alcohol" reads like a monologue sobbed straight from the psychiatrist's chair. --Louis Pattison Fragt: Ukendt! |
Pris 75.34,-
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Sufjan Stevens AvalancheSe flere produkter fra AmazonSufjan Stevens' plan to release an album titled after each of the 50 American States goes a little off course on The Avalanche, although it should be noted that this is a collection of outtakes from Stevens' 2005 album, Illinois. Clocking in at an impressive 21 tracks, it's clear this Michigan-born Christian folk-rocker doesn't lack the inspiration to tackle such an ambitious task. Part psychedelic bluegrass, part extra-terrestrial electronic ambience, and part tribal percussion-fest, The Avalanche is every bit as piecemeal and confusing as you'd expect from an outtakes disc. A couple of enjoyable electronic numbers (see: 'Dear Mir Supercomputer') prove Stevens is working on another dimension from more traditional folkies like Devendra Banhart or Joanna Newsom, but what's really startling here is how so many excellent, lyrical songs have been carried over for this disc: the elegant, minor-key 'Springfield, Or Bobby Got A Gadfly Caught In Hair', or the serene, acid-folk vision laid out on the title track. Meanwhile, fans of Illinois should be delighted by three mischievous alternate versions of 'Chicago' - a acoustic version, a syrupy, Coldplay-style version titled 'Adult Contemporary Easy Listening Version', and the electronic-tinged 'Multiple Personality Disorder Version'. -- Louis Pattison Fragt: Ukendt! |
Pris 94.22,-
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PJ Harvey DrySe flere produkter fra AmazonDry is the cornerstone of the 1990's "women in rock" movement. To paraphrase what Lou Reed said about the Velvet Underground: Not many people bought the album, but those who did formed a band. The attraction is unmistakable: bluesy riffs played with punk-rock energy suddenly crash to a hush, while Harvey's desperate wails become fatigued moans. What is she so hung up about? Well, in the spirit of the Rolling Stones, love and hope and dirty dreams and sex and sex and sex. Through the raucous "Oh My Lover" and "Joe", Harvey airs her laundry quite loudly but never loses her wit, as "Sheela-Na-Gig", which features the mantra "I'm gonna wash that man right outta my hair / I'm gonna take my hips to a man who cares," attest. --Bill Crandall Fragt: Ukendt! |
Pris 84.78,-
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Depeche Mode Black CelebrationSe flere produkter fra AmazonDepeche Mode's most foreboding album, leaning toward the gothic, is DM at their most bleak, black-armband and nihilistic--no doubt played over and over by countless self-loathing teens as they dyed their hair black behind locked bedroom doors. The tracks are tastefully minimalist, yet the few sounds that dominate each song have a consuming, even overwhelming feel--like a big, heavy black cloud that descends upon and surrounds listeners until their knees buckle from the weight. Rhythmically, songs like "A Question of Time" are driven with moderately paced 16th notes pounded out on synths filling out the low end. Other tracks follow the path of "Stripped", an all-out lamentfest powered by David Gahan's overproduced baritone. -- Beth Bessmer Fragt: Ukendt! |
Pris 117.91,-
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The Velvet Underground The Bootleg Series Vol.1 - The Quine TapesSe flere produkter fra AmazonDespite the black market vibe of the title ( Bootleg Series Volume 1: The Quine Tapes), these grainy but historically significant live Velvet Underground recordings--taken from poorly attended shows in San Francisco during November 1969 (the post-John Cale and pre- Loaded era)--have never been made available before, illegally or otherwise. Furthermore--and unlike most other bootleggers--avid young fan and tape recorder operative Robert Quine (an apprentice disciple of Lou Reed's savage guitar style and a future founding member of punk combo Richard Hell and the Voidoids) didn't have to suffer the personal indignity of standing furtively at the back of the hall with a microphone stuffed down his trousers. Quine's recordings--initially made on cassette tape but later (and rather fortuitously) transferred to the more durable reel-to-reel format--were made with the band's blessing and enthusiasm but have remained hidden away ever since. Consisting of three CDs, the Bootleg Series Volume 1 set is further forensic proof, if needed, that the Velvet's seedy, dissonant, lurid, violent, anarchic pop was well out-of-step with the times but has remained decidedly in-step ever since. Specifically, these shows capture (courtesy of the mute audience philistinism) some kind of culture-clash between the West Coast's "flower in your hair" optimism and the Velvets' "spike into my vein" subterranean nihilism. With sheer bloody-mindedness, the Velvets' treat their audience to 38 soundboard-splintering, pornographic minutes of "Sister Ray", as well as kooky School Concert takes on "After Hours" and "I'm Sticking with You" and a "Venus in Furs" which--in the absence of John Cale's whiplash viola glissandos--creeps and crawls with Doug Yule's spooked Doors' organ. As Jonathan Richman once enquired, "How did they make that sound, Velvet Underground?". Dunno. But they did. And things have never been the same since. --Kevin Maidment Fragt: Ukendt! |
Pris 136.70,-
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Lugubrum Albino De CongoSe flere produkter fra AmazonRelease Date: 2008-06-09, Audio CD, Old Grey Hair Fragt: Ukendt! |
Pris 94.31,-
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Chris Isaak SilvertoneSe flere produkter fra AmazonIn 1985 synthesizers and big hair were in: reverb-laden rockabilly guitars and smooth-as-silk vocals were not. Yet Warner Brothers took a chance with this unique debut from an unknown singer and his band, Silvertone, from San Francisco. While the rest is history, this is where it all started--the brooding "Talk to Me", the pained yearnings of the stunning "The Lonely Ones", the sensuous gyrations of "Dancin'", and the haunting "Voodoo". Guitarist Jimmy Wilsey coaxed wonderfully retro yet fresh-sounding atmospherics from his guitar, and Chris Isaak's Roy Orbison-styled crooning and matinee-idol looks created an undeniably sexy vibe. Isaak's love affair with the music of Sun Studios is evident on nearly all tracks, but shines on the rave-up "Gone Ridin'" and the beautiful ballad, "Western Stars". --Lorry Fleming Fragt: Ukendt! |
Pris 84.87,-
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Wynton Marsalis Standard Time Vol.6: Mr. Jelly LordSe flere produkter fra AmazonWynton Marsalis's century-closing series of jazz and classical recordings isn't nearly the pulse-quickening excursion one might expect, what with all the fanfare and all the years the vaunted trumpeter has spent in the limelight. That said, his nod to Jelly Roll Morton is probably one of the better Marsalis recordings available. It's got enough rules built in--compositional economy, instrumental variation--that it disciplines the trumpeter's more ambitious tendencies. In the liner notes, Marsalis describes Morton dually as a jazz intellectual and a streetwise hustler, and anyone familiar with Morton will know the characterisation is apt. Marsalis's read of Morton, however, skips the street hustle and instead focuses on cleanly drawn portraits that amount to fine repertory pieces, works akin to chamber music in their ultimate impact. That's not so much of a putdown as it might seem, as African-American composers are so rarely treated the way European and Euro-American composers are. Morton knew this and wrote his way around it, much as Duke Ellington and Charles Mingus did. And Jelly Roll's stomping-good-time melodies are here to show his knowledge of both his audience and his compositional chops. But if you're expecting something innovative or hair-raising in the way of Marsalis rediscovering an untapped Jelly Roll vein, you'll be greeted instead with full-bore, horn-rich charts that swing strongly. And that ain't half bad. -- Andrew Bartlett Fragt: Ukendt! |
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Art Garfunkel Some Enchanted EveningSe flere produkter fra AmazonThe angelic half of Simon & Garfunkel may seem predictable in following Rod Stewart and other Baby Boomers on a romp through the Great American Songbook, but Art would have us think his foray is more inspired, more poetic than that, as he sprinkles the inside of his CD jacket with a series of confessional statements. In the first, he informs us he made the album under the "sway" of Chet Baker and Johnny Mathis, and in the second gives even pretentious novelist Jeanette Winterson a run for her money: "It wasn't Monet, it was France; It's not what we say, but the dance we're in." All right, then, but Some Enchanted Evening should also come with a warning sticker: Do not play while operating heavy machinery. In a cotton-soft voice, Garfunkel, whose famous hair now looks like a giant dandelion gone to seed, moves through works by Johnny Mercer, George Gershwin, Harold Arlen, and Rodgers and Hammerstein as if he's the spokesperson for Prozac Nation. One may applaud his Everyman's approach to material "owned" by Frank Sinatra, Tony Bennett, and Rosemary Clooney, but he has tried to build a bridge over... well, not troubled, but complex and emotionally swirling waters, and in this framework, he simply hasn't the phrasing or the interpretative moxie to pull it off. When he sings "I'm so in love" on "Easy Living," he's so passionless he might as well be wooing a canary; likewise, his take on "I've Grown Accustomed to Her Face" sounds positively lobotomized. Producer Richard Perry (Barbra Streisand, Carly Simon, Garfunkel's own 1975 Breakaway) tries to compensate by updating the approach--employing synth strings, for example, instead of an orchestra--and tweaking the arrangements with contemporary fusion. But even that is wrong-headed: A pedal steel guitar should not be in the same universe with a clarinet. What were they thinking? --Alanna Nash Fragt: Ukendt! |
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Andrew W.K. I Get WetSe flere produkter fra AmazonOn the cover of I Get Wet, Andrew WK appears as the quintessential New York City rock & roll star: an iconic, bloody-nosed Neanderthal with a mop of greasy hair plastered over his face. At first glance, you'd swear he was the star of some new ad campaign, dabbling in metal's aesthetics for some ironic thrill. But then, you notice that look of steely determination in WK's eyes. And then you hear this debut album and you realise that, miraculously, this 21-year-old has turned out the best old-skool rock & roll record in living memory. It sounds something like Van Halen brawling with the Beastie Boys circa Licensed to Ill, with Elton John hammering away at the piano and Mötley Cr�e spiking the drinks: a 12-track collection of undiluted rock maximalism that owes nothing to any supposed lo-fidelity "punk" ethic, and absolutely everything to the power of a great tune and a crate of beer. The priceless first single "Party Hard" lays out the manifesto, but there's much more where that came from: the rock-operatic "Ready to Die", the decadent blast of "Party 'til You Puke", the last-gasp clarion-call of "Don't Stop Living in the Red"--all stupidly, jaw-droppingly excellent explosions of rawk purity. Shift up, Eminem: the crown of the white-trash hero is up for grabs, and by the sound of I Get Wet, Andrew WK brawls as hard as he parties. --Louis Pattison Fragt: Ukendt! |
Pris 37.48,-
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1 Giant Leap 1 Giant LeapSe flere produkter fra AmazonJamie Catto and Duncan Bridgeman are the co-producers of 1 Giant Leap, although it's the latter who has the hands-on role of multi-instrumentalist, recordist and mixologist, providing each song's backbone. The duo jaunted around the world, snatching vocal performances from mainstream pop artists as well as masters of the more traditionally "purist" folk forms, the policy being to record each guest with a laptop, in or near their homes. There was the obvious danger of Deep Forestation, but at least 1 Giant Leap have engaged in active collaboration rather than long-distance sampling. Most of the tracks are homogenised into a 4/4-beat, programmed backing, with all the ethnic elements arranged neatly around this central pulse. On "My Culture" this results in a frightening face-off between the rapping conviction of Maxi Jazz and the bland pop penetration of Robbie Williams, a perverse presence indeed. "The Way You Dream" risks more, with Bollywood queen Asha Bhosle paving an incandescent way for Michael Stipe's fragile warble, the piece rising through three movements in epic fashion. Other highlights include Baaba Maal's striking call to prayer on the spacey-wafting "Dunya Salam", Arrested Development's Speech intertwining well with Neneh Cherry on "Braided Hair" and the more involved fusion of "Passion", with Michael Franti intoning poetry over massed voices, drums and wooden xylophones. --Martin Longley Fragt: Ukendt! |
Pris 103.66,-
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John Coltrane Ken Burns Jazz Collection: The Definitive John ColtraneSe flere produkter fra AmazonJohn Coltrane spent little more than a decade of his career in the public eye before his death in 1967, but during that time his work was in a state of constant, often turbulent change. In the process, he created one of the most influential bodies of work in jazz. Many of Coltrane's greatest recordings were long, and it's no easy task to create a single CD that reflects his creative range. However, this remarkably good selection manages to include several extended performances, as well as documenting moments both of profound meditative beauty and creative onslaught. On "Giant Steps", Coltrane pressed the boundaries of chordal improvisation, creating a high-speed maze of harmonic extensions. In perhaps his most famous vehicle, he recrafted "My Favourite Things" in the image of Indian music, spinning scalar improvisations on his soprano saxophone over a repeating piano figure and the molten drums of Elvin Jones. "Chasin' the Trane", from his great 1961 Village Vanguard recordings, uses a simple blues as the platform for an extended solo that tests the tenor's expressive limits. "Jupiter", a duet with drummer Rashied Ali recorded in the final months of Coltrane's life, finds the same intensity still burning within him, his tone compressed to a tight vibrato and his circular lines spinning in still fresh directions. Along the way are those serene islands that always marked Coltrane's work: he produced some of the most beautiful and direct ballad and blues playing in jazz, from his own "Naima" to an ethereal version of "In a Sentimental Mood" with its composer, Duke Ellington, at the piano. --Stuart Broomer Fragt: Ukendt! |
Pris 79.96,-
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Alkaline Trio From Here to InfirmarySe flere produkter fra AmazonPunk with a satisfyingly vicious snarl, From Here To Infirmary is the sound of Blink 182's truant-playing next-door neighbours breaking into dad's drinks cabinet and drinking it dry. Chicago's Alkaline Trio are three boozers, abusers and all-round losers that crank out the sort of perfectly deformed, hair-tearingly angstful pop-punk tunes that made Green Day's Dookie such a mainstream punk landmark. That time-honoured comedy punk album title (see also: NOFX's Punk In Drublic, Blink 182's Enema Of The State and countless others) is shot through with a certain black humour, because these are all songs about hitting the gutter, and hitting it hard. The opening "Private Eye" remembers a New Year's Eve spent alone with the bottle, frontman Matt Skiba singing, "There's no reason to call, I passed out on the floor / Smoked myself stupid and drunk my insides dry", while the fraught, anthemic emo-pop of "Take Lots With Alcohol" reads like a monologue sobbed straight from the psychiatrist's chair. --Louis Pattison Fragt: Ukendt! |
Pris 75.43,-
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Bat For Lashes Fur and GoldSe flere produkter fra AmazonLook at Natasha Khan, with her Cleopatra shawl and elfish hair, on the cover of Fur and Gold and you'll surely have this half-Pakistani, half-English songstress pegged as the first British riposte to the US freak-folk movement that's thrown up figures like Joanna Newsom, Devendra Banhart, and Cocorosie. In some ways, that's an accurate comparison: Bat for Lashes has a way with mystique, one which elevates even quite simple topics--the break-up tale of "What's a Girl to Do?"--into grand achievements of ghostly trauma: "My bat-lightning heart," she whispers, "Wants to fly away". Dig a little deeper, though, because the music to be found on Fur and Gold has a more complex provenance. "Horse and I", a harpsichord-led track embellished with Theremin and a militaristic drum motif, is the sort of vintage-modern soundscape reminiscent of Bjork at her most restrained, while elsewhere the dramatic tale-telling of "Prescilla" and "Bat's Mouth" suggest Bat for Lashes might yet develop into a songwriter of the poetic calibre of Kate Bush. The debut album from Bat for Lashes is a haunting, richly orchestrated work that, for all its experimentation and intelligence, is emotional and deeply moving. --Louis Pattison Fragt: Ukendt! |
Pris 61.18,-
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The Chemical Brothers Dig Your Own HoleSe flere produkter fra AmazonTo follow up their bombastic 1995 album Exit Planet Dust, the Chemical Brothers fine-tuned their bombastic beats and produced a rock-solid pop album (pun intended). Dig Your Own Hole finds the common ground between rock & roll and techno, both in spirit and substance. Singles like "Block Rockin' Beats," "Elektrobank," and "Setting Sun" (featuring vocals by Oasis's Noel Gallagher) may lack the big hair and pomposity of rock music, but they make up for it in spades, with sampled and real guitars battling for space with sirens and distorted hip-hop drums. The album reeks of pure enthusiasm and energy, evoking a crowd-pleasing exuberance that makes Dig Your Own Hole a Back in Black for the late 1990s. Pure stadium techno. --Matthew Corwine Fragt: Ukendt! |
Pris 47.01,-
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Christopher Young In Too Deep - OstSe flere produkter fra AmazonAction movie scores just prior to this from Christopher Young ( Hard Rain, Entrapment) seemed mired by being too conscious of the genre's musical expectations. This score eschews the almost obligatory swathes of synthesised orchestra in favour of a contemporary electronic fusion that's noticeably subtler. The title cue has a sample-rich urban rhythm with muted trumpet solo that's then taken up by piano. The result is like putting a street rap artist together with a studio orchestra. Surprisingly, these two styles work very well together (e.g. "Missing Vocal"). Young continues the blend through several cues, but it's fair to say that the orchestra gets longer solo play. "Hair Wind Child" is the album's most tranquil piece, with strings and synths laying down mellow chords, while "Bust" is a super action cue in the mould of James Horner's Aliens--lots of rapid string passages and pounding drums--which demonstrates the superior dramatic writing here in comparison with those earlier scores. The fusion of samples, drum loops and live orchestra make for a cooler result by far. --Paul Tonks Fragt: Ukendt! |
Pris 122.63,-
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Gerald Albright GroovologySe flere produkter fra AmazonGroovology is a good title for this project in smooth sounds: Albright uses elements of past instrumental music popularisers such as Lonnie Liston Smith, Kenny G, David Sanborn and Stanley Turrentine, amongst others. He hits his alto and tenor hard and likes a deep groove in his backing tracks. He uses little or no improvisation, preferring well-worn phrases linked together to fit whatever rhythmic and harmonic pattern he has set up for himself. The arrangements are attractive and tasteful, as one would expect on a GRP release, the musical colours bright. Every modern techno-musical device is utilised to good effect. This is music meant to bring a smile to your face as you drive your open-top around the cliffs and coves of the summer coastline, the sun in your hair and the wind in your eyes: an even bigger smile than you'd have anyway in that situation. Like many in his situation, Albright sets aside a page of the CD insert to thank all those who need thanking! , including half a dozen "endorsers". He's not only endorsed; he's endorsed with enthusiasm. That's how it should be in Grooveland. --Keith Shadwick Fragt: Ukendt! |
Pris 122.63,-
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Chris Isaak The Baja SessionsSe flere produkter fra AmazonChris Isaak's Baja Sessions was inspired by a surfing trip the singer took with his band to the Baja California section of Mexico. As the salt in their hair dried in the sun, the four musicians sat around with acoustic guitars and a small drum set, and played some tunes from Isaak's previous albums, some of his unrecorded originals, and some of his favourite old songs by the likes of Roy Orbison, Gene Autry, and Arthur Lyman. The quartet so enjoyed the laid-back, mostly acoustic, Spanish-tinged flavour of these holiday jams that when they got home to the Bay Area, they recreated them in the studio. Baja Sessions is like an Unplugged album, except the sun-drenched, south-of-the-border mood gives these remakes a far fresher twist than most such projects. --Geoffrey Himes Fragt: Ukendt! |
Pris 75.34,-
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Cat Power The GreatestSe flere produkter fra AmazonIndie-folk singer Chan Marshall has a reputation for onstage unpredictability, but some erratic (read: often drunken) live performances won't have prepared you for the full-bodied beast that is The Greatest. Recorded with the help of a few Memphis musicians, including Al Green co-writer Mabon "Teenie" Hodges, his brother Leroy "Flick" Hodges, and present Booker T And The MGs drummer Steve Potts, this is a gentle homage to `70s soul that Chan carries with a sleepy-eyed charm. Element of pastiche or not, though, there's a vitality here that's absent from many of her earlier recordings: "Living Proof" simmers with a just-under-the-surface raunch, Chan cooing "It's not your face/Or the colour of your hair/Or the sound of your voice, my dearÂ?" over the simmering organ, while even the restrained "Where Is My Love" boasts a mini-orchestra of sweeping violin and elegiac, wandering piano. Most importantly, The Greatest doesn't suffer from the rather troublesome sense of genre tourism you get when, say, Will Oldham hooks up with a troupe of Nashville old-hands - perhaps because it's executed so convincingly, or perhaps simply because Chan Marshall's voice could melt your heart under any context-- Louis Pattison Fragt: Ukendt! |
Pris 47.11,-
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Departure Dirty WordsSe flere produkter fra AmazonOn Dirty Words, Northampton's The Departure stake their claim as the elegantly British riposte to The Killers and The Bravery, dramatically coiffeured new-wave dandies with a brace of songs about angst and girls delivered in frontman David Jones' broad, undiluted Midlands accent. While on the surface somewhat reminiscent of a crop of 80s bands - The Cure, U2, and even, occasionally, Duran Duran - as a band, they've got a tight dynamic of their own, the neat, stattaco stylings of lead guitarist Sam Harvey proving a neat foil to the jumpy, elaborate bass lines of Ben Winton on the likes of "Talkshow". For all the passionate spirit of numbers like "Lump In My Throat" and "All Mapped Out", it's hard to shake the feeling that The Departure haven't penned their masterpiece yet, but it's a solid debut from a band with genuine promise. Buy it, and some hair-straighteners while you're at it; we guarantee you'll get some use out of them yet --Louis Pattison Fragt: Ukendt! |
Pris 103.66,-
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