| | Psycho Key La La Land CD Psycho Key Discography of CDs
 (1 Customer Review)
Recorded at The Cozy Studio, Toronto, Canada.
Personnel: Judas (bass guitar).
Recording information: The Cozy Studio, Toronto, Ontario, Canada.
Psycho Key: Clint Adjodha, Kyra Levy (vocals); Nicolas Jolliet (guitar, sitar, programming); Harold Levy (trumpet); Judas (bass); Mark Murrel (drums).
Psycho Key La La Land Songs | 1. | Zadig |
| 2. | Darling |
| 3. | She Was a Wish |
| 4. | Kyra's Song |
| 5. | Golden Jail |
| 6. | Song B |
| 7. | Keep Your Head |
| 8. | Gourouland |
| 9. | Intro |
| 10. | Regal |
|
La La Land Music Review Average Rating: (4 out of 5 stars)  Fantastic CD
Psycho Key has always been a band I enjoyed. This CD, although not their best, and arguably not the best introduction to Psycho Key (although considering the relative rareness of their CDs in the US, it's difficult to do much better without shelling out more cash, at the moment of this review), is a good choice for anyone looking for a refreshing alternative choice of music or someone who likes Psycho Key. Great instrumentation, good lyricism, good production. It's a solid CD, overall. Worth looking into for someone looking for a fusion of World music and rock with detailings of pop.
Submitted by im.unemployed (Ventura County, CA, USA) 
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Purchase La La Land CD To buy, Click on price to add to cart | Zac Brown Foundation CD (2008)
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Rush is no stranger to best-of compilation albums, they've released a slew of them. They are also no stranger to DVDs. To mark their 35th anniversary, they've released Working Men, which is both; it marks their first best-of live compilation exclusively from the DVD sets Rush in Rio (2003), R30 (2005), and Snakes & Arrows Live (2008). There is also an unreleased cut from R30 -- a killer version of One Little Victory. While fans may simply regard this as a record company cash grab, hardcore fans know how closely Rush monitors each release and controls all aspects of their career. On hearing these tracks without benefit of the visuals, it becomes lucidly clear that in the 21st century, Rush plays more like a hungry act looking to prove themselves rather than as seasoned veterans jaded ...
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The release of 2009's ENDGAME brings with it a startling realization: if first-generation thrash metal fans had been polled about which of the genre's "Big Four" -- Metallica, Slayer, Anthrax, and Megadeth -- would prove to be the most resilient ...
| | God Lives Underwater Life In The So-Called Space Age CD (1998)
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All tracks have been digitally mastered using HDCD technology.
If it wasn't clear enough before, God Lives Underwater fully nailed their colors to the Depeche Mode fan mast in 1998 with not one but two nods to that band's astonishing Black Celebration album. Besides covering "Fly on the Windscreen" for the Music for the Masses tribute album, the group named its full new album after the slogan found in Black Celebration's artwork. Unsurprisingly the record itself had that connection in the music as well -- "Rearrange," the first full track after a brief introduction, has a synth line that's just as obviously in debt to Depeche as the closing synth break on Nine Inch Nails' "Closer," say. None of this is to belittle the album; if anything, rather than simply cloning Depeche's own style in the fashion of bands like Camouflage, the integration of that approach with God Lives Underwater's own murky rock is even better than before. "Alone ...
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Glenn Hughes is the former bassist of Deep Purple and Pat Thrall was voted Best New Talent of 1980 by Guitar Player Magazine.
The fruit of a one-off collaboration between ex-Deep Purple bassist/singer Glenn Hughes and journeyman guitarist Pat Thrall, Hughes/Thrall is full of the energy of early-'80s rock. With lyrics like "You got the power/Turn on the light" sung in best Ian Gillan fashion and buoyed by relentless grooves and Thrall's virtuosic guitar, this album is an overlooked gem. Thrall's use of the guitar synthesizer is very interesting. Throughout the album, he combines the muscle of hard rock with the textures of post-punk and new wave, as if Andy Summers were sitting around jamming with Eddie Van Halen. Take, for example, "Beg, Borrow or Steal." The verse is pure new wave, with its straight-eighth synth chords, but it soon gives way to the sleazy rock of the chorus. Much of this sound may in fact trace its origin to Queen and Rush, but listening to Hughes/Thrall in its historical context places it firmly in the same territory in which Billy Idol was to have so much ...
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