Søgeresultat: hella 3000
Various Artists Chicago Boogie: Paradisco 3000 Presents

Various Artists Chicago Boogie: Paradisco 3000 Presents

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Release Date: 2004-05-03, Audio CD, Eskimo
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Various Artists Chicago Boogie: Paradisco 3000 Presents
Schneider TM Skoda Mluvit

Schneider TM Skoda Mluvit

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Dirk Dresselhaus, aka Schneider TM, has long been adept at bringing together the worlds of indie and electronic music. His most famous moment to date was `The Light 3000', a cover of The Smith's "There's A Light That Never Goes Out", though he is also responsible for a plethora of other interesting experiments and hybrids. Skoda Miuvit - a phrase his Czech grandmother apparently used to say to banish anything disagreeable - sees the producer draw on everything from pop, blues, glitch, electronica, hip hop and indie rock to create a series of charming, if unpredictable, sonic vignettes. As with most Schneider projects there's a surprise around every corner, though his capacity to write compelling songs is more manifest here than on anything he's done before. Guests such as Berlin MC/poet Max Turner, Icelandic cellist Hildur Gudnadottir and regular collaborator Kpt. Michi.Gan all help keep the odd assemblages of sound engaging with vocal contributions that range from the funky to the profound. It's not to be recommended to fans of Madonna or Kylie, but Skoda Miuivit does boast plenty of deviant pop moments. --Paul Sullivan
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Schneider TM Skoda Mluvit
Original Soundtrack Practical Magic Ost

Original Soundtrack Practical Magic Ost

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How do you put together a soundtrack for a comedy about witches, 1990s style? Well, if she's young and her name is Sabrina, you compile an album of relentless teen pop and R&B hits. But if your witches are a little more mature (and, perhaps, suburban), as in Practical Magic, you use a different formula. And the brew found here is actually a good mix: Faith Hill gets as much play (one track) as Nick Drake and Joni Mitchell. Mitchell's "A Case of You" is simply great, and Bran Van 3000's "Everywhere" fits the folk-pop mould nicely, as does upstart Michelle Lewis's "Nowhere and Everywhere". The guys are the oddities here: Elvis Presley's "Always on My Mind" and Harry Nilsson's "Coconut" give this disc some fun quirks. Michael Nyman's two scoring tracks are light fare, but at least they're kept at the end of the disc. --Jim Young
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Original Soundtrack Practical Magic Ost
Led Zeppelin Presence

Led Zeppelin Presence

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Presence is one of Led Zeppelin's more overlooked albums, languishing in the monstrous shadow of its predecessor, Physical Graffiti. It's more noted in Zeppelin mythology for the circumstances in which it was recorded, in double-quick time with vocalist Robert Plant's leg in plaster after a car accident. The lack of time does show--much of the album feels like generic heavy rock, bigger on volume than variety. It's worth the price of the album, however, for the ten and a half minute long "Achilles Last Stand", a crashing, galloping epic with John Bonham sounding like he's eschewed drumsticks in favour of tree trunks--and "Nobody's Fault But Mine", a Blind Willie Johnson blues standard regenerated with a 3000-watt boost by Jimmy Page. Led Zeppelin's contribution to rock was primarily physical--raising its heat and density levels, heightening its sensual force. --David Stubbs
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Led Zeppelin Presence
Tracy Chapman Where You Live

Tracy Chapman Where You Live

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Tracy Chapman's seventh studio album, Where You Live, is not only a reflection of the issues concerning her own domicile but of the wider tribalist rancourings--class, race, religion and the economic divide--which fracture human accord. She's no ribbons and bows girl. Her spiritual (at least in a humanist sense) folk muse has often appeared hostile to window-dressing and affection (didn't Boyzone really miss the point by a mile with "Baby Can I Hold You"?) and the naked but steely-resolved material on "Where I Live" requires a commitment from the listener to eek out the essence. There's the terrifying personal assault tale of "3000 Miles" ("Soft skin against the cold concrete...i'll die here soon if i don't leave") and on a less individual footing the disgusted, martial-booted "America", like some nightmarish resurrection of Bob Dylan's "115th Dream" for the neo-conservative generation. Equally blessed are "Change" (surely Chapman's most mainstream-friendly venture since "Fast Car") and the ruefully blue "Don't Dwell", a timid unsentimental shiver of a warmer past. -- Kevin Maidment
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Tracy Chapman Where You Live
Led Zeppelin Presence [VINYL REPLICA]

Led Zeppelin Presence [VINYL REPLICA]

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Presence is one of Led Zeppelin's more overlooked albums, languishing in the monstrous shadow of its predecessor, Physical Graffiti. It's more noted in Zeppelin mythology for the circumstances in which it was recorded, in double-quick time with vocalist Robert Plant's leg in plaster after a car accident. The lack of time does show--much of the album feels like generic heavy rock, bigger on volume than variety. It's worth the price of the album, however, for the ten and a half minute long "Achilles Last Stand", a crashing, galloping epic with John Bonham sounding like he's eschewed drumsticks in favour of tree trunks--and "Nobody's Fault But Mine", a Blind Willie Johnson blues standard regenerated with a 3000-watt boost by Jimmy Page. Led Zeppelin's contribution to rock was primarily physical--raising its heat and density levels, heightening its sensual force. --David Stubbs
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Led Zeppelin Presence [VINYL REPLICA]
Mos Def The New Danger

Mos Def The New Danger

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More than a mere rap album, Mos Def's long-awaited The New Danger combines hip-hop, blues, soul, and rock in an 18-track package that seeks to transcend convention. In that sense, it shares a similar spirit with Andre 3000's The Love Below or Common's Electric Circus, with mixed results. Mos's reputation has been built on the strength of his lyrical charisma, and songs like "Close Edge," "Grown Man Business," and "Sunshine" show that his skills haven't faded just because he's Emmy-nominated. He's already proven that he can cut more than just street heat--best evinced on the soulful, poetic "Umi Says," a surprise hit from his previous release, 1999's Black on Both Sides. Yet, the rock- and blues-inspired songs here, while by no means poor, are acquired tastes, given their tendency to noodle--they simply can't compare with Mos's cutting verbal displays. The album's length and sometimes clunky sequencing can make for challenging listening, especially when so many of his more experimental cuts come early on. New fans might find the album's eclecticism intriguing, although older fans will likely be a bit perplexed. --Oliver Wang
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Mos Def The New Danger
Outkast Speakerboxxx / The Love Below [Explicit Version]

Outkast Speakerboxxx / The Love Below [Explicit Version]

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At a time when experimentation is taboo in most overground rap, that's all Outkast seem intent on executing. Firstly, the double CD Speakerboxxx/The Love Below has no cohesive link, other than the fact that it sounds like a pair of solo albums stitched together to demonstrate exactly how Andre's yin works to augment Big Boi's yang. Andre 3000's The Love Below disc rates as the more eclectic of the two, given that, on it, he's turned in his emcee credentials to become a full-on funk-soul-jazz vocalist who mostly sings about items of love ("Happy Valentine's Day"), carnal lust ("Spread") and female adoration ("Prototype"). Minus the big band schmaltz of "Love Hater" and cheesy cover jobs ("My Favorite Things"), Andre's disc is great. As is to be expected, the Big Boi disc is less arty, more gangsta and worldly, and features the less-progressive guest raps of ATL crunk purveyors Lil' Jon and the Eastside Boyz ("Last Call") and Jay-Z, who rhymes the hook on "Flip Flop Rock". Unlike Big Boi, Andre keeps his collaborations to a minimum, once crooning alongside Norah Jones on the cool yet sappy "Take Off Your Cool", and once with Kelis. Boi fulfils his Dungeon Family duty with flying colours by flipping some dirty southern up-tempo raps over electro beats on "GhettoMusick". By the time Cee-Lo sermonises on "Reset", Speakerboxx and Love Below rate mostly as majestic and inspiring, with the remaining 23 per cent being just plain incredible. --Dalton Higgins
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Outkast Speakerboxxx / The Love Below [Explicit Version]
Soundtrack Practical Magic

Soundtrack Practical Magic

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How do you put together a soundtrack for a comedy about witches, 1990s style? Well, if she's young and her name is Sabrina, you compile an album of relentless teen pop and R&B hits. But if your witches are a little more mature (and, perhaps, suburban), as in Practical Magic, you use a different formula. And the brew found here is actually a good mix: Faith Hill gets as much play (one track) as Nick Drake and Joni Mitchell. Mitchell's "A Case of You" is simply great, and Bran Van 3000's "Everywhere" fits the folk-pop mould nicely, as does upstart Michelle Lewis's "Nowhere and Everywhere". The guys are the oddities here: Elvis Presley's "Always on My Mind" and Harry Nilsson's "Coconut" give this disc some fun quirks. Michael Nyman's two scoring tracks are light fare, but at least they're kept at the end of the disc. --Jim Young
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Soundtrack Practical Magic
Hannibal & Jerry ( CD )

Hannibal & Jerry ( CD )

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01 Paprika Steen: Brug Dit Hjerte Som Telefon 02 Humleridderne: Hængesangen 03 Hella Joof: Kærlighed Er Godt 04 Souvenirs: Hannibal & Jerry 0...
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Hannibal & Jerry ( CD )
Outkast Stankonia

Outkast Stankonia

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With their fourth-album, Outkast invoke the rebel Southern spirit to full effect. Realising there is something rotten in the state of hip hop, the Atlantan local heroes have staked out their own territory, Stankonia, a Utopian republic representing the best of the Dirty South. As if in tribute to Funkadelic's America Eats Its Young , the album cover finds Dre and Big Boi staring out in front of a black and white stars and stripes. Inside they waste no time in revealing their radical agenda. "Don't everyone like the smell of gasoline?" hollers Andre 3000 on opener "Gasoline Dreams", as he sets fire to the constitution over a scorching electric guitar. The single "B.O.B." (aka "Bombs Over Baghdad") is Outkast's state-of-the-union address, a rousing gothic gospel number that advocates a "power music electric revival" as it approaches the speed of Reprazent's "Who Told You" and the epic feel of "Bohemian Rhapsody". On "Miss Jackson", they assume the role of exemplary southern Gentleman begging forgiveness from their hoochie's mama over a backing with spooky shades of Prince's "When Doves Cry". Elsewhere they eschew tradition (on tracks like "?", "Snappin & Trappin" and the B-Real-guesting "Xplosion") to invest their dirty funk with a distinctly avant-garde afro-sheen. Come election day, just sniff this stank to inhale freedom. -- Chris Campion
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Outkast Stankonia
R. Carlos Nakai Canyon Trilogy

R. Carlos Nakai Canyon Trilogy

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Nakai's free improvisations on this album are based on his impressions of the Anasazi and Sinagua sites, ancient cliff dwellings that were home to communities of Native people thousands of years ago. By using the Roland SDE 3000 Digital Delay system, Nakai is able to play duets with his own echo, in an effort to emulate the echoes of the past that haunt these ruins. On this recording, Nakai's flute sounds even more plaintive than usual, as if the spirits of these forgotten ancestors had entered into the studio to fill his playing with the whispered reverberations of their ancient ways. This is one of Nakai's most deeply felt recordings, one that resonates with a deep, melancholy yearning. --j. poet
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R. Carlos Nakai Canyon Trilogy
Various Artists Rough Trade Shops - Electronic Vol.1

Various Artists Rough Trade Shops - Electronic Vol.1

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London's Rough Trade store has occupied a central and important role in the arena of worldwide electronic exchange for more than two decades. Their compilations are generally well presented and exquisitely put together, and this latest offering is no exception. Spanning over 50 years of electronic enterprise, this collection positions modern producers such as Aphex Twin ("D.C.D.O.A"), Oval ("Kardamon"), Matmos ("Freak N You") and Schneider TM ("The Light 3000") with early pioneers such as John Cage ("Radio Music") and Pierre Henry ("Atelier"), Krautrockers Can ("I Want More"), 1980s industrialists Throbbing Gristle ("Hot on the Heels of Love"), electronic pop bands such as the Human League ("Being Boiled") and New Order ("586") and a host of other seminal electronicists such as Brian Eno, Raymond Scott, Kraftwerk, Non, Aux 88, To Rococo Rot and Fischerspooner. More than any other compilation, this shows the astonishing and near-impossible breadth and range of electronic music in the 20th-century. A must-have for music and technology enthusiasts alike.-- Paul Sullivan
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Various Artists Rough Trade Shops - Electronic Vol.1
Outkast Stankonia

Outkast Stankonia

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With their fourth-album, Outkast invoke the rebel Southern spirit to full effect. Realising there is something rotten in the state of hip hop, the Atlantan local heroes have staked out their own territory, Stankonia, a Utopian republic representing the best of the Dirty South. As if in tribute to Funkadelic's America Eats Its Young , the album cover finds Dre and Big Boi staring out in front of a black and white stars and stripes. Inside they waste no time in revealing their radical agenda. "Don't everyone like the smell of gasoline?" hollers Andre 3000 on opener "Gasoline Dreams", as he sets fire to the constitution over a scorching electric guitar. The single "B.O.B." (aka "Bombs Over Baghdad") is Outkast's state-of-the-union address, a rousing gothic gospel number that advocates a "power music electric revival" as it approaches the speed of Reprazent's "Who Told You" and the epic feel of "Bohemian Rhapsody". On "Miss Jackson", they assume the role of exemplary southern Gentleman begging forgiveness from their hoochie's mama over a backing with spooky shades of Prince's "When Doves Cry". Elsewhere they eschew tradition (on tracks like "?", "Snappin & Trappin" and the B-Real-guesting "Xplosion") to invest their dirty funk with a distinctly avant-garde afro-sheen. Come election day, just sniff this stank to inhale freedom. -- Chris Campion
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Pris 36.58,-

Outkast Stankonia
Outkast Speakerboxxx / The Love Below [Clean Version]

Outkast Speakerboxxx / The Love Below [Clean Version]

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At a time when experimentation is taboo in most overground rap, that's all Outkast seem intent on executing. Firstly, the double CD Speakerboxxx/The Love Below has no cohesive link, other than the fact that it sounds like a pair of solo albums stitched together to demonstrate exactly how Andre's yin works to augment Big Boi's yang. Andre 3000's The Love Below disc rates as the more eclectic of the two, given that, on it, he's turned in his emcee credentials to become a full-on funk-soul-jazz vocalist who mostly sings about items of love ("Happy Valentine's Day"), carnal lust ("Spread") and female adoration ("Prototype"). Minus the big band schmaltz of "Love Hater" and cheesy cover jobs ("My Favorite Things"), Andre's disc is great. As is to be expected, the Big Boi disc is less arty, more gangsta and worldly, and features the less-progressive guest raps of ATL crunk purveyors Lil' Jon and the Eastside Boyz ("Last Call") and Jay-Z, who rhymes the hook on "Flip Flop Rock". Unlike Big Boi, Andre keeps his collaborations to a minimum, once crooning alongside Norah Jones on the cool yet sappy "Take Off Your Cool", and once with Kelis. Boi fulfils his Dungeon Family duty with flying colours by flipping some dirty southern up-tempo raps over electro beats on "GhettoMusick". By the time Cee-Lo sermonises on "Reset", Speakerboxx and Love Below rate mostly as majestic and inspiring, with the remaining 23 per cent being just plain incredible. --Dalton Higgins
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Outkast Speakerboxxx / The Love Below [Clean Version]
Kelis Tasty

Kelis Tasty

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Kelis's debut album was a phenomenal success, but the muted interest in the follow-up has been followed by low expectations for her third album, Tasty. "Caught Out There", from Kaleidoscope, had her storming the airwaves with a chant of "I hate you so much right now!" and she returns with "Milkshake", a schoolyard taunt for grown-up girls. The minimalist Neptunes production was an obvious first single but the CD hardly stops there. From collaborations with Andre 3000 ("Millionaire", a showcase for the OutKast frontman's falsetto) and Nas (the randy "In Public") and a rap-rock exercise ("Keep It Down") to irresistible updates of early 1980s R&B ("Protect My Heart", "Glow"), the disc offers plenty in the way of potential follow-ups. While less playful than some of her past work, Tasty brings a raised eyebrow and good humour to the 21st century sex-u-up template. --Rickey Wright
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Kelis Tasty
Lil' Wayne Tha Block Is Hot: Explicit

Lil' Wayne Tha Block Is Hot: Explicit

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Despite their similarities, the Cash Money Clique's challenge to Master P's No Limit empire is well founded. Even the Clique's most mundane celebrations of sex, wheels, alcohol, and dollars benefit from sharper, more imaginative production--not to mention occasional flashes of humor. Tha Block Is Hot, which serves as much as a posse showcase as a Lil Wayne statement, is entertaining even when it's just serviceable. Gangsta clichés aside, the disc is marked by a sense of fun strong enough that you may not even roll your eyes at its claim that Cash Money plans to stick around for the year 3000. Let's hope for their sake that they don't base their investment plans on such predictions. --Rickey Wright
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Lil' Wayne Tha Block Is Hot: Explicit
Gwen Stefani Love Angel Music Baby

Gwen Stefani Love Angel Music Baby

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So long, tatty Warped Tour T-shirt, goodbye day-glo pedal pushers: Love Angel Music Baby, the debut solo album from No Doubt's Gwen Stefani, finds this former ska-punk tomboy embracing `80s electro-pop, digital R&B, and the glamorous lifestyle of the international jetsetter. Laden with special guests (Andre 3000, Dr Dre, New Order), name-dropping the likes of Vivienne Westwood and John Galliano, and packed with guilt-free references to conspicuous consumption, tracks like "Luxurious"--a cut of velvety G-Funk that sees Gwen cooing "Champagne kisses/ Hold me in your lap of luxury"--may well be an instant turn-off to fans more familiar with Gwen's punk-rock roots. Luckily, there's some fine pop crossover moments here that should pretty much appeal across the board: "Hollaback Girl" finds Gwen riding a Neptunes beat that's as minimal as anything in their oeuvre, spare boom-crash percussion and wisps of acoustic guitar undercut by floor-shaking bass whoomp, while "Rich Girl" featuring Eve, repaying the favour for 2002's "Let Me Blow Your Mind", raids Fiddler On The Roof and comes out with a great pop hook. As an album, it's not totally devoid of filler, but Love Angel Music Baby will break Gwen to a whole new fanbase, and deservedly so.-- Louis Pattison
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Gwen Stefani Love Angel Music Baby
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