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Papa Roach Getting Away With Murder

Papa Roach Getting Away With Murder

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Following up a commercial flop is an uphill struggle, but on Getting Away With Murder, Papa Roach seem to be doing everything they can to put 2002's underperforming Lovehatetragedy behind them. The opening "Blood (Empty Promises" is an anguished, dense opener that sees frontman Jacoby Shaddix revisiting old themes and reopening old wounds, but it's performed with the sort of spectacular rock dynamics that mark Papa Roach out as something more that nu-metal also-rans. Elsewhere, the likes of "Blanket of Fear" and "Be Free" find the band moving into more bleak, gothic territory with some success. Shaddix's lyrics still stumble a line between brutal emotional clarity and 6th Form poetry: "Does anyone around me feel the same?/ Put your fist up and vent your pain," he barks, balanced on the edge of self-parody, on "Take Me". Still, it's a neat novelty to find a metal vocalist that doesn't feel the need to dress their lyrics up with all manner of impenetrable psychobabble, and it works just fine on "Scars", the LP's sure-fire hit-single-in-waiting. --Louis Pattison
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Papa Roach Getting Away With Murder
Tom Waits The Heart of Saturday Night [VINYL]

Tom Waits The Heart of Saturday Night [VINYL]

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The Eagles might have covered his song "Ol' 55" but Tom Waits was cut from a different cloth than California's other singer-songwriters--he suggested a scruffy beat poet who'd walked out of a forgotten scene of Jack Kerouac's On the Road. Waits's beatnik schtick could get old and he developed into a much more musically adventurous songwriter in later years, but his second album contains some of his best early work, including the sweet romantic blues of "New Coat of Paint" ("You wear a dress baby, I'll wear a tie"), and his best hipster recitation, "Diamonds on My Windshield". Two songs are enduring classics: the doleful, dirge-like "San Diego Serenade" ("Never saw the morning till I stayed up all night") and the touchingly sweet "(Looking for) The Heart of Saturday Night" ("Stoppin' on the red, goin' on the green, 'cause tonight'll be like nothin' that you've ever seen"). --John Milward
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Tom Waits The Heart of Saturday Night [VINYL]
Blonde Redhead 23 [VINYL]

Blonde Redhead 23 [VINYL]

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As if getting a spread in a popular home decor magazine just a month prior to this album's release wasn't enough of a tipoff, Blonde Redhead have come a long way since their days of mimicking Sonic Youth's brittle art-rock. Clanging guitars have been replaced by warm synthesizers and soft strings, while Japanese singer Kazu Makino's thin voice has become a ghostly moan on the grandiose opener and title track of the New York trio's seventh full-length release, 23. Their last one, 2004's Misery Is a Butterfly, was a lovely throwback to the dream-pop heyday of the Cocteau Twins and Lush. This one presses further down that road, only with a more experimental streak, as cascading guitars, military rhythms, and wobbly melodies shape opulent, otherworldly songs like "The Dress" and "My Impure Hair." --Aidin Vaziri
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Blonde Redhead 23 [VINYL]
Destiny's Child 8 Days of Christmas

Destiny's Child 8 Days of Christmas

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I'd never want to visit Destiny's Child's homes for the holidays, if their nonsensically named holiday album 8 Days of Christmas is any indication of what they've got under the tree. Chilly, forced and overdone, this mixed bag of modern classics, tarted-up traditional carols and a trio of tunes penned by Beyoncé Knowles doesn't conjure up a single warm-and-fuzzy image of chestnuts roasting on an open fire or Jack Frost nipping at your nose. Rather, it's just another forum to showcase the band's Gucci bag of vocal gymnastics and crass materialism. The Texas trio takes seasonal classics such as Irving Berlin's "White Christmas", "Silent Night" and "Little Drummer Boy" and embellishes them with its own trills and off-kilter harmonies, overwhelming the songs so that their simple beauty is totally obscured. "On the eighth day of Christmas, my baby gave to me, a pair of Chloe shades and a diamond belly ring," brags Knowles in the title song--which is a take-off on the "12 Days of Christmas"--without ever explaining why they loped off four days. In addition, the band are shamelessly self-indulgent throughout the dozen songs found here, taking untold liberties, such as renaming the "Carol of the Bells", "Opera Bells" and recasting "Silver Bells" into "Platinum Bells", to reflect their multi-platinum status. But the low point of the record is when Destiny's Child hawk their own Hasbro Toy manufactured dolls in the intro of "Platinum Bells": "Ladies remember long ago we asked Santa to give us Christmas Dolls? But this year the dolls are you and me under the tree". Humbug. --Jaan Uhelszki
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Destiny's Child 8 Days of Christmas
Brahms - Sonata, Op 5; Four Ballades, Op. 10

Brahms - Sonata, Op 5; Four Ballades, Op. 10

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Most pianists luxuriate in the full-dress pianism of Brahms' third sonata, but Stephen Hough's way of celebrating it, plus the little-played op.10 Ballades, is the epitome of restraint--with very spare pedalling and shimmeringly translucent textures. In this early work, Brahms takes us on a tour of his freshly created musical landscape: Hough makes the ideal guide, alert to every twist and turn in the journey, and to every compositional caprice. Did Brahms write this passionate sonata during the first weeks of his acquaintance with Clara Schumann? Either way, it doesn't matter: he was clearly in the mood for love, and that is what shines out of the Andante expressivo movement, which is based on a love-poem by Sternau. He was clearly also infatuated with Robert Schumann's work: his debt to his older mentor is evident in many places, to the point--in the third of the ballades--where he seems to have cribbed directly from Schumann's Kreisleriana. But Brahms's fanatical craftsmanship is also everywhere in evidence. Speaking of the sonata, he wrote to a friend: "I have washed it quite clean, so that it can now allow itself to be seen in public." Hough's recording reflects the same scrupulous care. -- Michael Church
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Brahms - Sonata, Op 5; Four Ballades, Op. 10
Kevin Tihista's Red Terror Don't Breathe a Word

Kevin Tihista's Red Terror Don't Breathe a Word

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Don't Breathe a Word is the debut full-length album from Kevin Tihista--one of those songwriting talents who tread a fine line between genius and madness. Kevin lives at his girlfriend's mother's house, refuses to eat in public and spent his formative years in rock bands when he doesn't even like rock. He tried writing rock songs in his 20s but "they would always end up being really mellow". It's that mellow-flavoured rock that permeates this album, making it one of those low-key finds that totally captures your heart. Drawing on the intense romanticism of Nick Drake, the wry, downbeat lyricism of Elliott Smith and the radio-friendly rock sounds of 1970s California, Don't Breathe a Word is the sound of a wallflower opening the curtains in his bedroom and letting the sunshine stream in. "I'm like a film star who's out of control, I'm like a millionaire getting blown in a limo", he opines on the darkly humorous "Lose That Dress". Achingly poignant from start to finish, this is the sound of a great songwriter emerging from the shadows. -- Ben Clancy
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Kevin Tihista's Red Terror Don't Breathe a Word
Like a virgin

Like a virgin

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01 Material Girl 02 Angel 03 Like A Virgin 04 Over And Over 05 Love Don't Live Here Anymore 06 Dress You Up 07 Shoo-Bee-Doo 08 Pr...
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Like a virgin
Belle and Sebastian The Life Pursuit [Jewel Case]

Belle and Sebastian The Life Pursuit [Jewel Case]

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Time has revealed Belle & Sebastian's reputation for a rather wimpy indieness to be more the result of their relative inexperience than any real predilection for twee juvenilia. On their seventh album, The Life Pursuit, we find these errant Scots further building on the surprisingly muscular, Trevor Horn-produced sound of 2003's Dear Catastrophe Waitress, delving into the sound of `70s glam and tarrying ever further from the winsome folk with which they made their name. "White Collar Boy" bumps along on Glitter Band rhythms, vocalist Stuart Murdoch -forget the patchy democracy of mid-period B&S albums; Stuart is the leader here - narrating a tale of petty theft and chain-gang romance with a feisty charisma, while "The Blues Are Still Blue" is a stylish doff of the cap to T.Rex and the Television Personalities, albeit one that evokes the spirit both, but copies neither. And oh! What foul mouths. Whether Murdoch's announcing "They are hypocrites, so fuck them too" before a warm brass break on "Dress Up In You", or telling the tale of a teenage tearwaway on "Sukie In The Graveyard" ("She liked to hang out in the art-school/She didn't enrol, but she wiped the floor with all the arseholes"), it's the sound of a Belle & Sebastian that's matured in the most agreeably immature way.-- Louis Pattison
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Belle and Sebastian The Life Pursuit [Jewel Case]
Drugstore Songs for the Jetset

Drugstore Songs for the Jetset

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Three albums in, and Drugstore remains as impossible to pigeonhole as ever. Though they came to prominence at the height of the Britpop movement, their exotic and off-kilter music never really fit in with the new-trad ways of Blur and Oasis. However, this quirky otherworldliness has enabled them to outlast many of their contemporaries (where are Sleeper and Northern Uproar in 2001?). Songs for the Jet Set is their strongest album yet. In keeping with their Velvet Underground fixation, the twin ghosts of Lou Reed and Nico are still flitting around, capable of sending icy shudders down the spine on songs like the delicately pretty "The Party Is Over" or the music box lullaby of "Allegro Ma Non Troppo". Isabel Monteiro remains an intoxicating swirl of haughty cool and sex-kitten purr that, no more obvious than on the bug-eyed tango of "I Wanna Love You like a Man". Blissfully unaware of any trends or fads that might discolour their own perfect vision, Drugstore are content to produce classic guitar pop music that is as timeless and effortlessly-chic as a little black dress. --Billie Swift
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Drugstore Songs for the Jetset
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