| | International Noise Conspiracy Capitalism Stole My Virginity CD - Import International Noise Conspiracy Discography of CDs
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The (International) Noise Conspiracy: Jonas Kullhammar, Markus Olsson (saxophone); Björn Yttling (horns); Jari Haapalainen (percussion).
This three-song EP is a great introduction to those who are unfamiliar with the (International) Noise Conspiracy. The first song is the title track as well as a single from A New Morning, Changing Weather, released on Epitaph. The other two tracks, "Ever Felt Cheated?" and "United By Haircuts," are both unreleased. "Ever Felt Cheated?" has some great grooves to it, and with the saxophone parts, it is reminiscent of early third-wave ska. Dennis Lyxzen's voice is much better than earlier efforts, and he doesn't even sound like he used to when he was in the Refused. Overall, this EP is a great, short blast of garage punk energy and worth the investment from both those unfamiliar with the work of the (International) Noise Conspiracy and fans alike. ~ Kurt Morris
Full performer name: The International Noise Conspiracy. Capitalism Stole My Virginity Music International Noise Conspiracy Capitalism Stole My Virginity Songs | 1. | Capitalism Stole My Virginity  | |
| 2. | Ever Felt Cheated? - (previously unreleased) | |
| 3. | United by Haircuts - (previously unreleased) | |
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Capitalism Stole My Virginity Music Capitalism Stole My Virginity Review
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Dutch pomp-metal band Epica, fronted by classically trained mezzo-soprano Simone Simons, released their second album for Nuclear Blast only a year after their label debut, the more unique The Classical Conspiracy. That two-disc live set found them performing a mix of classical works and their own songs with backing by a full orchestra ...
| | Winans Return CD (1990)
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The frustrating truth about a lot of R&B and soul that's being made today is that everything tends to be so identi-kit that it's difficult to tell one label from another, one act from another. A soul act on Motown sounds like one on Epic sounds like one on Qwest -- all twinkling synthesizers, obnoxious drum machines doing the same programmed beats, all low smooth bass, all the same neatly arranged vocal harmonies. It's all very professional, all very formal, and one wonders, even with gospel acts like the Winans, whether there's any soul left after the gloss has leeched out the interesting wrinkles. It's a sad truth that most of the technology that's been developed since the introduction of MIDI has wound up backing up either R&B acts or new age performers. That major gripe aside, what about this new Winans album, Return? Well, it's a nice enough affair, despite the fact that they open the album with one of those mutant rap songs that's also meant to be a forceful number about it being time to stand up and be counted. After that it's a not-too-obnoxious mix of standard-sounding modern R&B and Isley-flavored ballads in which the floating harmonies of the Winans are a constant key. They're just about rough- edged enough still, and forceful enough, that the vocals carry through the synthesizer barrages. On the whole, though, the best numbers here are probably the ballads, such as "When You Cry" and "Together We Stand," in which a real human band interacts nicely with the voices. It's an interesting example, in fact, to listen to the juxtaposition of "Together We Stand" and the following track, "This Time It's Personal" -- the latter is a cool, ticking number that does a fair bit of bible-thumping, and has the voices buried under or fighting against a harsh backing track. It's a rather annoying example; the song itself isn't particularly inspiring, and the way in which the performances end up struggling against each other is something of an indictment of the technology in use. The same problem crops up with just about all the tracks produced with machinery -- the high end is harsh and brittle, and the rhythm arrangements, never mind anything else, are extremely irritating. Musically, trying to mix gospel with modern R&B is tricky at best, frustrating at worst, and the half-and-half mix here is truly annoying. One hopes that the next time will see the Winans taking their admittedly solid songs into the studio ...
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Plantation Harbor is a dated sounding, but decent, collection of light and airy late 1970s/early 1980s rock. Long-time musical partner Joe Walsh guests on the album, as do a bevy of other similarly styled musicians, including Timothy B. Schmidt, Don Felder, Stephen Stills, ...
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On the remarkably vulnerable "I Can't Quit," the second track on his sophomore release, TRAP MUZIK, T.I. observes "I'm this close to being a star and just this close to quitting." His 2001 debut, I'M SERIOUS, seemed a powerful can't-miss record with a title single featuring an ace turn by Beenie Man. While it didn't wholly miss, the single which should have been pumpin' around the world barely saw a lick of airplay, and while the album sold modestly, it didn't even approach the platinum level lesser talents achieved with ease.
No matter though, T.I.'s back with a vengeance on TRAP MUZIK, an appealing melange of subtle beats and easy flows which belie the Georgia rapper's vast lyrical intellect. While there are aspects of the Dirty South in T.I.'s style, his world and his style are distinctly his own--incredibly unself-conscious but confident, observational, insightful, rough, and raw. This odd mix is best represented in the starkly honest "Doin' My Job," a cry for tolerance noteworthy for its lack of either cliche or treacle. The following track, the sexually laced banger, "Let's Get Away," could easily descend into a morass of silliness, yet somehow manages to remain organic. Hopefully, T.I. will not miss success again with TRAP MUZIK, but either way, the record makes it clear that quitting should not be an option.
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