| | Nodes Of Ranvier Years To Come CD Nodes Of Ranvier Discography of CDs
 (3 Customer Reviews)
Recording information: Cathouse Studios, Sioux Falls, SD.
Nodes of Ranvier: Ryan Knutson (vocals, drums); Nick Murphy (vocals); Jon Parker, Jake Stefek (guitar); Terry Taylor (bass guitar).
Years To Come Music | List Price | $7.98 (You save $1.39) | | Category | Rock/Pop Albums, Punk CDs, Rock | | Label | Facedown | | Orig Year | 2005 | | All Time Sales Rank |  98298  | | CD Universe Part number | 6944901 | | Catalog number | 71047 | | Discs | 1 | | Release Date | Sep 13, 2005 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Mike Dresch; Mike Dresch | | Engineer | Mike Dresch |
Nodes Of Ranvier Years To Come Songs Years To Come Music Review Average Rating: (4.7 out of 5 stars)   Great Album, very heavy
Very heavy riffs. I like the song structures. every song on this album is good. even the one mellow song. If you like their latest cd "Defined By Struggle" you'll like this one. Almost as good.
Submitted by steph (Cornwall, ON, CAN)
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 [too much metal for one hand.]
anyone that is into the hardcore scene should get their hands on this fine collection of greatness wrapped into CD form. this CD has all of your old Nodes catchy lyrics and altogether amazing sound as in the previous two CDs but is much more polished along with a bit darker sound. seriously, buy the CD then see them live. they will absolutely blow your mind!
Submitted by Brittany (Mitchell, SD)
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great cd
awesome cd
Submitted by punkrocker666 (baltimore,md,usa)
Was This Review Helpful? Yes No | Have you heard this album? |  |
Purchase Years To Come CD To buy, Click on price to add to cart | Darkest Hour Hidden Hands Of A Sadist Nation CD (2003)
Years To Come album
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On Darkest Hour's third album, Hidden Hands of a Sadist Nation, it should come as no surprise that the lyrics are as vitriolic as the vocal timbre, decrying and describing a society where guns, violence, and malevolent media rule. The band rolls through twisted grindcore progressions in the background with reasonable aplomb. The album unexpectedly concludes with an uncharacteristic instrumental, "Veritas, Aequitas," whose piano, acoustic guitar, and air-guitar-hero soloing come as nothing less than a total shock after the mayhem of the preceding eight tracks. ~ Richie Unterberger
To be indelicate, the vocal style that's taken grip throughout much punk/metal crossover music might be fairly characterized as the sound of a guy about to vomit into the microphone, amplified to 11 and aimed for maximum trajectory. Even within that narrow genre, the singing of John Henry on Darkest Hour's third album, Hidden Hands of a Sadist Nation, crosses well beyond the bounds of (presumably unconscious) self-parody. The lyrics are printed (in teeny teeny script) in the sleeve, true, but even those who enjoy such sandpaper vocals and don't mind the difficulty in comprehension without a printed guide will be tired of the sound of a man spewing his guts out by the time this disc spins to a close. (And at 56 minutes, it's not a wham-bam-thank-you-ma'am affair.) It should come as no surprise that the lyrics are as vitriolic as the vocal ...
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Though the members of Darkest Hour had been slugging it out for many years before the release of this 2005 effort, their first to crack the BILLBOARD Top 200 charts, their music changed little over time. UNDOING RUIN is tight, uncompromising '80s-style thrash paired with howling metal-core vocals. Furiously speedy double-bass drumming drives virtually every song, with the requisite half-time mosh parts arriving ...
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The vague poetry of Sparklehorse mastermind Mark Linkous is gracefully complex. David Lowery digs him and he is pals with Vic Chesnutt, but he probably won't join the ranks of Leonard Cohen or Woody Guthrie. Having bounced back from a traumatic overdose on Valium and prescription antidepressants which left him clinically dead for three minutes in 1996, Sparklehorse is Linkous' glimmering crystal of artistic emotion. 1999's Good Morning Spider brought him critical acclaim, but commercial whispers weren't enough. Linkous is trying to be a happy man; his folk-rock appeal is sultry and he sings his pain to no one who listens. The six-song EP Distorted Ghost is a collection of live tracks and B-sides encompassing Linkous' music career that began in the early '90s. Highlights include "Waiting for Nothing," which plucks with acoustic beauty and Linkous' sad yet sweet demeanor. "Gasoline Horseys," (from 1995's Vivadixiesubmarinetransmissionplot) is a moving live cut recorded in Bristol, England. In essence, Distorted Ghost allows Linkous to fully expose his heartbreaking ...
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"Let Your Soul Be Your Pilot" was nominated for a 1997 Grammy Award for Best Male Pop Vocal Performance. MERCURY FALLING was nominated for a 1997 Grammy for Best Pop Album.
Since striking out on his own with a cadre of jazz musicians on 1985's THE DREAM OF THE BLUE TURTLES, Sting's nomadic wanderings in search of new musical challenges have been a hallmark of all his solo work. MERCURY FALLING continues in this vein, skipping between genres and musical locales. The appearence of The Memphis Horns on "You Still Touch Me" allows Sting to tap into the Stax/Volt spirit, complete with Dominic Miller's Steve Cropper-like phrasing and some of the ex-Police-man's most soulful singing to date. French lyrics are the only anomaly on the bossa-nova beat of "La Belle Dame Sans Regrets," which brings to mind Antonio Carlos Jobim's arrangements, while the combination of the East London Gospel Choir and Branford Marsalis' restrained playing add a pious atmosphere to "Let Your Soul Be Your Pilot."
The Englishman's greatest leap is into the heart of Nashville with a song about divorce and child custody. B.J. Cole's pedal steel and drummer Vinnie Colaiuta's clip-clop beat add a tear-in-my-beer authenticity to "I'm So Happy I Can't Stop Crying," bringing Sting as close to the Grand Ole Opry as he's likely to get.
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As it is often the case with Francisco López's material, this CD was released without a booklet or tray card and with as the only information available the name of the artist, the title, and the label's address printed on the disc itself. Even for those accustomed to López's art, Untitled #104 came as a surprise. This is one continuous 43-minute piece. It takes 80 seconds before the listener actually hears something: What sounds like a short sample of an electric guitar chord, repeated every ten seconds, slowly gaining in volume and speed. At 5:21, hell breaks loose as the listener is treated to an extreme drums/bass/guitar death metal piece. Is it sampled? Is it real? Honestly, it's anybody's guess, but drums pound ...
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