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Tears for Fears Everybody Loves a Happy EndingSe flere produkter fra AmazonFew people would think to match the synth-heavy Tears for Fears who lit up the '80s, to the new material on Everybody Loves a Happy Ending, the band's first since 1989. The vocals of lead singer Roland Orzabal, powered by some all-cylinders thing, still squash all traces of irony in their path, and there's a moodiness to the music, minus a lot of the old broodiness, that borders on the masterly. Yet the sound has changed completely. Old-school overproduction has fallen away in favour of real guitars, pounding pianos, and a melody-driven, Beatles-y sensibility. It's there on the title track and first single "Call Me Mellow," and only slightly eclipsed by something pleasantly Bacharach-ish on "Secret World." Everybody who loves a happy ending will find one here: Tears for Fears skirts the has-been trap impressively, translating years of experience into play-it-again, sophisticated modern pop worth paying attention to. --Tammy La Gorce Fragt: Ukendt! |
Pris 165.96,-
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Johnny Cash At Folsom Prison / At San Quentin (Remastered / Expanded) (2CD)Se flere produkter fra AmazonJohnny Cash had been breaking new ground for a decade when At Folsom Prison suddenly made the world at large take notice. The interaction of a volatile prison population starved for entertainment and a desperately on-form Johnny Cash was electrifying: his somber machismo finally found a home. The songs, which included every prison song Cash knew ("I Got Stripes", "The Wall", "25 Minutes to Go", "Cocaine Blues", plus his own "Folsom Prison Blues"), were tailored to galvanise the crowd. This set is all about atmosphere. Live at the Grand Ole Opry this ain't. The current version has been coupled with its de facto sequel, recorded three years later at San Quentin and nearly Folsom's match. -- Colin Escott Fragt: Ukendt! |
Pris 66.23,-
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Dubstar DisgracefulSe flere produkter fra AmazonDubstar operated in the same terrain as The Beautiful South and Morrissey--there's a very flat sense of Northern melancholy about them, all high rises and low self-esteem. This is especially so on "Not So Manic Now" about a girl unable to leave her flat since she was assaulted and "Just A Girl She Said", a cold study of an emotionally abusive sexual relationship delivered in authentically numb tones by Halifax-born vocalist Sarah Blackwood. Whereas The Beautiful South revel in semi-detached greyness, however, and Morrissey is prone to lyrically provocative gestures, Dubstar match the deadpan restraint of their lyrics with a sparkling techno-indie soundtrack, courtesy of Chris Wilkie's janglepop guitar and programmer Steve Wilkie's layers of synthesizer. The sumptuous "Stars" and ska-flecked "Elevator Song" in particular hint at a backdrop of teasing glamour and neon lights against which disappointingly ordinary lives are led. -- David Stubbs Fragt: Ukendt! |
Pris 75.72,-
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![Chemical Brothers Push the Button [VINYL]](http://img.kelkoo.com/dk/small/159/967/17254237558357464947866825271647967159.jpg) |
Chemical Brothers Push the Button [VINYL]Se flere produkter fra AmazonHaving marked their 10th anniversary at the top of British dance music with a greatest hits collection, it would be easy to write the Chemical Brothers off in a genre that requires a certain freshness. However, Push the Button is a spectacular jump back to the top of their game, intensified by the rise of dance music in 2005. First single and opening track, "Galvanize", features Q-tip on vocals. It's a little more downtempo than the brothers of late as they got wrapped up in a need to produce a dancefloor killer to match the heady days of "Hey Boy, Hey Girl"--it's not too different, not too clever, but has enough of the necessary "oomph" to make it an excellent start to the album. In terms of classic sounding tracks, there are "Come Inside" and "The Big Jump", the former a big-beat spectacular and the latter a definite tune to be heard "out", replete with enormous slidey bassline and sticky acid stabs. A standout in a similar vein to "Galvanize" (although possibly better) is "Left Right" featuring Anwar Superstar. It's got a bold hip-hop swagger and politically charged lyrics over a chunky riff that wouldn't sound out of place in a seventies TV cop show. There are only two of the customary chillout tracks (think Beth Orton), there's "Hold tight London", an upbeat soca-styled song that's okay but not nearly as beautiful as sweeping epic "Close Your Eyes" featuring the Magic Numbers. Closing Push the Button are two more guitar-based tracks, the country-rocking loop of "Marvo Ging" and the brilliant mish-mash of styles that is "Surface to Air", a sort of rapturous amalgam of the brothers' own "Golden Path", the Strokes and festival favourites Dreadzone. A fantastic end to a consistent album that easily outshines its predecessor, Come with Us, and will hopefully herald a great year for electronic music.-- David Trueman Fragt: Ukendt! |
Pris 237.13,-
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Shostakovich: The String QuartetsSe flere produkter fra AmazonThe Fitzwilliam Quartet is English by birth but shows a lot of Russian soul in these works, which were recorded in consultation with the composer. Their technique is flawless, their immersion in the music total, their interaction with one another and with the music spontaneous and intense. Priced competitively with the Borodin Quartet, they do not have any added attraction to match the Piano Quintet in that set, but this close-up stereo recording is significantly better. Highlights of the set include the relaxed, folk-flavoured No. 1; the tense, autobiographical No. 8, which recalls the terrors of World War II, quotes a lot of Shostakovich's earlier works, and mourns for the "victims of fascism and war"; the contrasts of quiet beauty and fierce intensity in No. 10; and the bold structure of No. 15, Shostakovich's last quartet, in which he looks at death, steadily and without blinking. -- Joe McLellan Fragt: Ukendt! |
Pris 194.24,-
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Sergei Rachmaninov Rachmaninov: Piano Sonata No.2Se flere produkter fra AmazonHere is the 1913 version of Rachmaninov's Piano Sonata No. 2, a work steeped in the same gargantuan romanticism as the Piano Concerto No. 3. The sonata offers colourfully intense and heartfelt music, very Russian, clearly descended from Tchaikovsky, but more akin to Scriabin's dazzling Piano Sonatas. The second set of Etudes-tableaux are nine pieces of grave and rapturous beauty, mainly composed in the winter of 1916-17, and thus the last music Rachmaninov completed before leaving Moscow for America. The Russian Revolution was less than a year old, and the composer's own father had died recently. Little wonder that such passionate music resulted, yet what astonishes is the lyrical warmth and sunlight amid the darkness. The brilliant young British pianist Freddy Kempf, who played a Mozart piano concerto with the Royal Philharmonic Orchestra aged 8, is a great favourite in Moscow. It is easy to see why, for he takes hold of this immensely demanding work with great confidence, has the technical ability to match his emotional commitment, and gets so far inside the music as to really bring it alive in a way which is at once epic and intimate. -- Gary S. Dalkin Fragt: Ukendt! |
Pris 123.26,-
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Nancy Wilson A Nancy Wilson ChristmasSe flere produkter fra AmazonHas Nancy Wilson ever made a public move in her four-decade career that wasn't tasteful? Aside from a couple of small-print notices, purchasers of A Nancy Wilson Christmas would never know that Wilson intends to donate her royalties from her first full-length Christmas disc to the Pittsburgh-based Manchester Craftsmen's Guild, an arts and education centre for lower-income residents. Wilson moves here between quietly felt moods with astute shifts in arrangement size; her trio, the Dizzy Gillespie alumni orchestra, and a chamber group are among the varied settings. As a choice for a houseful of family on Christmas Eve, this could hardly be better. A seemingly unpromising match between Wilson and the supremely fussy quartet New York Voices on "Carol of the Bells" ends up as one of the album's most sustained performances. --Rickey Wright Fragt: Ukendt! |
Pris 123.26,-
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Garbage Version 2.0Se flere produkter fra AmazonAs its title suggests, Version 2.0 is no great departure for Garbage from the sound that made their eponymous 1995 debut such a hit. While much was made of the various band members' chequered pasts (drummer Butch Vig produced Nirvana's Nevermind; singer Shirley Manson was in dreadful Scottish agit-goths Goodbye Mr. MacKenzie), Garbage actually don't sound anything like what these previous projects might have led one to expect. One of the few truly modern rock bands--although for some reason this is often described as being contrived by reactionary critics--Garbage blend traditional rock instrumentation with samples, programming and the close to unlimited possibilities presented by late 1990s recording technology more naturally than many of their "Look at us! We're so contemporary!" peers. While this album fails to match the quality of the debut, it nevertheless has a number of cool moments, including the singles "Special", "When I Grow Up", "I Think I'm Paranoid", and the Beach Boys-quoting "Push It". --Ronita Dutta Fragt: Ukendt! |
Pris 75.82,-
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Faith No More Who Cares a Lot: Greatest HitsSe flere produkter fra AmazonA curious coda from a truly peculiar bunch. Who Cares a Lot is the swan song of the most engaging band to come to the fore when the late-'80s and early-'90s funk-punk hordes defiled the land. What set the San Francisco-based quintet apart all the lukewarm Chili Peppers of the time was powerful musicianship (few hard-rock bands could match them onstage in their Real Thing prime) and a contrary disposition. When the sweeping "Epic" briefly transformed FNM into MTV darlings, they responded by recording their most challenging work, the jarringly unpredictable Angel Dust, a commercial lapse from which they never quite recovered. Then there was their unsettling taste for easy-listening sounds, rather too generously evidenced on this best-of package by Lionel Richie's "Easy," Bacharach and David's "This Guy's in Love with You," the Bee Gees' "I Started a Joke," and "Theme from Midnight Cowboy." Their adrenaline-drunk fans never knew whether to cry or laugh. Of course, their trademark extreme alt-rap-metal forays are also in evidence, from 1987's "We Care a Lot" (a puncturing parody of altruistic star sing-alongs) to the half dozen turn-out-the-lights tracks from 1998. Ultimately, no one ever found solace in Faith No More, but, as Who Cares a Lot affirms, they were often beyond belief. --Steven Stolder Fragt: Ukendt! |
Pris 251.36,-
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Tears For Fears Everybody Loves a Happy EndingSe flere produkter fra AmazonFew people would think to match the synth-heavy Tears for Fears who lit up the '80s, to the new material on Everybody Loves a Happy Ending, the band's first since 1989. The vocals of lead singer Roland Orzabal, powered by some all-cylinders thing, still squash all traces of irony in their path, and there's a moodiness to the music, minus a lot of the old broodiness, that borders on the masterly. Yet the sound has changed completely. Old-school overproduction has fallen away in favour of real guitars, pounding pianos, and a melody-driven, Beatles-y sensibility. It's there on the title track and first single "Call Me Mellow," and only slightly eclipsed by something pleasantly Bacharach-ish on "Secret World." Everybody who loves a happy ending will find one here: Tears for Fears skirts the has-been trap impressively, translating years of experience into play-it-again, sophisticated modern pop worth paying attention to. --Tammy La Gorce Fragt: Ukendt! |
Pris 28.28,-
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Kenny Chesney When the Sun Goes DownSe flere produkter fra AmazonWhen the Sun Goes Down is the sequel to Kenny Chesney's 2002 release, the multi-platinum No Shirt, No Shoes, No Problems. For that album Chesney found a batch of songs that perfectly captured the scary no-man's land between adolescence and adulthood, precisely where the bulk of his followers happened to live. On When the Sun Goes Down the protagonists are older, with kids on the way and hectic jobs that rob them of leisure time. In fantasising about those college keg parties and hedonism after dark, they search for a sigh of relief. Chesney understands this, and his own changes, too. Emotionally he's more at home in his own skin, and since his voice has become deeper and wider, he sounds increasingly confident in the studio, besting guest artist Uncle Kracker on the title song, a warmed-over Jimmy Buffett vibe. He's also matured as a writer. The majority of his four songs, two co-written with others, are no match for "There Goes My Life", the powerful unwed father ballad that served as the album's first single, or even "When I Think About Leavin'", another tune about standing at the crossroads. But his memorable "Being Drunk's a Lot Like Loving You" will burrow deep in your psyche and prove Chesney a fine guide to confronting pain. Better keep this one handy. --Alanna Nash, Amazon.com Fragt: Ukendt! |
Pris 66.23,-
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Original Soundtrack Tea With Mussolini OstSe flere produkter fra AmazonThe tea being taken is unquestionably English, despite the Italian setting. At times building from St Trinian's comic lightness into a sort of Merchant-Ivory carnival ("Ordinanza"), the listener might catch themselves pondering where a line may have been drawn between sincere genre conformity and pastiche. The piano dominates the score from the second cue, "Ladies". Mixed so prominently, some cues play out as mini spotlight concertos ("Camicie Nere Agli Uffizi"). In stark contrast are two darkly dramatic pieces, which are jarringly at odds with the cues before and after. "Luca In Biciletta" is the easier going of the two, with the other score voice--woodwinds--bringing out some warmth. "Autobus", however, is a moment of high drama straight out of the Batman franchise (with a motif to match). Another unscheduled musical stop is "No John", a raunchy zoot band number suited to leg-kicking stage artistes. When it's all over there's the lingering feeling of having attended a nineteenth-century garden party, but like yourself, there have been some inappropriate gatecrashers. --Paul Tonks Fragt: Ukendt! |
Pris 85.31,-
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Jane's Addiction StraysSe flere produkter fra AmazonOn Strays, the first Jane's Addiction studio album in 13 years, there's no mistaking Perry Farrell's trademark vocal sound (a nasal goose? a banshee in flight?) and Dave Navarro's ever-adaptable guitar style. But the band--only bassist Eric Avery is absent from their classic line up, replaced by Chris Chaney--hasn't come to party like its 1991. Sure, the balance of hedonism and earnestness, environmentalism and decadence, remains, but the quartet's approach is that of a unit ready to flex a few new muscles. Listeners will notice roof-raisers like "True Nature" and "Hypersonic" first, but some of the quieter tracks ("Price I Pay", with the classic Farrell rationalization "I always do the wrong thing, but I got a good reason," "To Match the Sun") are among the most effective Jane's mood pieces ever. Strays is certainly a much more apt return than 1997's odds-and-sods compilation Kettle Whistle. --Rickey Wright Fragt: Ukendt! |
Pris 104.19,-
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Steely Dan Everything Must GoSe flere produkter fra AmazonIf pop is the music of youth, it's odd to reflect that Everything Must Go sustains the second incarnation of a band that was already feeling its age when it slipped into retirement with Gaucho 23 years ago. When Donald Fagen sang "she thinks I'm crazy but I'm just growing old" on that album's "Hey Nineteen" it seemed like an era was ending. Indeed there are moments in this successor to 2001's Two Against Nature, the first Steely Dan studio album in 20 years, when Fagen and Walter Becker seem to be going through the motions, when familiar routines from earlier albums seem to have been slotted in to produce mix 'n' match productions rather than organically new compositions. In addition, the duo's stylistic range has narrowed, the lusciously saturated and varied arrangements of the 1970s (and Fagen's own 1983 album The Nightfly) mostly superseded by leaner, bluesier frameworks. Also, despite good solos from tenorists Walt Weiskopf and Chris Potter, the all-star line-ups of old are absent. Nevertheless, the clarity, detail and musical ambition are still here and in a musical climate that, more than ever, values style over content, another Steely Dan album is a positive blessing, a reminder of high musical values jettisoned in the primitivist purge that began sweeping through popular music in the late 1980s. Given Steely Dan's distinguished track record, new classics may be hard to come by, but three pieces here compare favourably with the masterpieces of the 70s: "Slang of Ages" introduces Becker's first vocal in Steely Dan's three-decade history and the combination of funky blues shuffle and blooming, lyrical middle-seven (that's right) is a perfect illustration of the transmutation of the blues that lies at the root of many Becker and Fagen songs. "Green Book" has a five-foot deep groove dominated by a vinegary, menacing chord cluster and punctuated by a delicious Headhunters-type unison blues refrain, and "Lunch with Gina" develops a bouncing shuffle vamp into a bright 20-bar blues sequence with a surpri Fragt: Ukendt! |
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Pat Metheny Bright Size LifeSe flere produkter fra AmazonLarger ensembles may have provided Pat Metheny with his most visible successes, but he's repeatedly fired up his most fluid and personal playing in leaner trio settings, starting with this, his 1976 debut as a leader. Bob Moses brings both delicacy and effortless dynamics to his drumming, but it's the late Jaco Pastorius's lyrical electric bass that clinches the guitarist's coming-out party: with Metheny already displaying the liquid tone and exquisite touch that define his sound, old friend Pastorius radiates a sympathetic lyricism and unerring sense of swing. Metheny would match but not transcend this level of interplay in justly celebrated troikas with Charlie Haden and Billy Higgins (on Rejoicing) and Dave Holland and Roy Haynes (on Question and Answer). --Sam Sutherland Fragt: Ukendt! |
Pris 94.70,-
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Motion City Soundtrack I Am the MovieSe flere produkter fra AmazonAs you'd expect from anyone on the Epitaph label, Motion City Soundtrack are no ordinary pop band, and I Am the Movie no ordinary pop album. With their friendly, occasionally edgy rush of guitars and a keyboard that shifts between urgency and wackiness, at their best they echo the classic power pop of the Cars, and occasionally the Murder City Devils at their least fraught and frenetic. Fine examples of this are "My Favourite Accident", "Modern Chemistry" and the closing "A-OK". Just as often, though--as with "Shiver" and "The Future Freaks Me Out"--they recall the near-perfect smart pop of Fountains of Wayne. Their songs, peopled with drinkers and dreamers, dropouts and liars, are usually happily insidious (even the one about suicidal depression), unconvincing only when MCS commit the standard US punk-pop error of failing to match words and music. Towards the end of the album, this poor writing forces them into clumsiness and consequently breaks the spell. For the most part, though, their intelligence, humour and energy are gratifying enough. --Dominic Wills Fragt: Ukendt! |
Pris 47.25,-
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Justice CrossSe flere produkter fra AmazonJustice is the moniker of the Paris-based production duo Gaspard Augé and Xavier de Rosnay. Their approach to crazy-quilt dance-pop hybridism is infectious, if a tad off-putting here and there. The duo rose to fame due to an MP3 single and super smart video for the excellent, kiddy-chorused house-pop number "D.A.N.C.E." in 2007, and they soon thereafter signed to the suitably named label Banger. They manage to make really silly and fun music in a way that frequently comes off in a pretentious manner. It's ridiculous to name your album after a symbol, especially if it's �. This is not meant derogatorily. Really. Justice does appear to be that rare breed of dance artist equally capable of stimulating the body and the mind, though neither Richard James nor Basement Jaxx need fear this act. After just one listen to "Waters of Nazareth," it's very difficult to avoid wondering "how the hell did they mix and match noise and pop so beautifully" while also dancing furiously.-- Mike McGonigal Fragt: Ukendt! |
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Original Soundtrack Next FridaySe flere produkter fra AmazonAn Ice Cube-directed film was always going to be a good excuse for a storming soundtrack. For the follow-up to his cult classic Friday, it was an absolute necessity. So the biggest names in rap and R&B--The Wu-Tang Clan, Eminem, Krayzie Bone, Aaliyah (with her supremely soulful "I Don't Wanna") and the director himself (brandishing the ferocious statement of intent "You Can Do It")--have turned out in force, supplying career-defining tunes, to make Next Friday more than a match for its predecessor. Normally such a list, plus Wyclef Jean's funk jam "Low Income" and Pharoahe Monch's sublime "Livin It Up" (up there with Blackstreet's "No Diggity" as a classic) would be enough to ensure a stunning musical accompaniment to any movie. But Ice Cube's used Next Friday as an excuse, as if one were needed, to re-form the mighty NWA, with Snoop Dogg taking the mic for the late Easy E. And while "Chin Check", their first track in a decade, may not be their finest outing, it comes a pretty hard-hitting second and guarantees this as the hip-hop collection of the year. -- Dan Gennoe Fragt: Ukendt! |
Pris 94.70,-
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Paul Desmond Bossa AntiguaSe flere produkter fra AmazonWhen playing alongside Dave Brubeck, the sublime altoist Paul Desmond often played "good cop" (gentle, insouciant, cheerful) to Brubeck's "bad cop" (agitated, cerebral, weighty). In his own, equally fascinating quartets with the august and always composed guitarist Jim Hall, the discord of the Brubeck band is replaced by concord and sympathy. Although the seeds of bossa nova were laid in the mid-1950s, it took two early-1960s Stan Getz records for it to truly blossom: 1962's Jazz Samba with Charlie Byrd and 1964's Getz/Gilberto with Joao Gilberto. Thus, it makes sense that Desmond and crew entered the studio in the summer of 1964 to make their own contributions to the style. Needless to say, the unflappable ensemble and the easygoing style were a perfect match. Atop Modern Jazz Quartet drummer Connie Kay's softly swaying Brazilian rhythms, Desmond and Hall deliver passages that are assertive yet delicate, thoughtful yet breezy, and never ever hurried or forced. --Marc Greilsamer Fragt: Ukendt! |
Pris 90.05,-
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Nickelback The Long RoadSe flere produkter fra AmazonIt's never easy following up a multi-platinum success, yet with The Long Road, Canada's Nickelback seem sure to match the sales of the many-million-selling Silver Side Up. The formula remains pretty much the same. Nothing fancy, just radio-friendly grunge-rock lending an appropriately dramatic backing to the powerful and increasingly confident voice of Chad Kroeger, the undoubted star of this show. Aside from the fast and punchy opener "Flat on the Floor", the tough, staccato "Because of You" and the Oasis-recalling "Figured You Out", the band deal exclusively in soft-rock anthems (soft, that is, by 2003's pulverising standards), the strong vocal melodies encouraging stadium sing-alongs. Indeed, the closing "See You at the Show" seems deliberately designed for crowd interaction. The only real change is in Kroeger's lyrical concerns. Where 2000's The State saw him suffering the frustrations and claustrophobic complexities of small town life, now he's tortured by a heavy touring schedule (the long road of the title, one presumes) that promotes destructive drug abuse and strains his attempted relationships to breaking point. That said, you can't help feeling the ruthlessly analytical Kroeger would turn a visit to the supermarket into a riot of hatred and self-recrimination. For fans of Silver Side Up, Nickelback have delivered the goods once more. --Dominic Wills Fragt: Ukendt! |
Pris 118.42,-
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