| | Warmachine Beginning Of The End CD Warmachine Discography of CDs
Beginning Of The End Music Warmachine Beginning Of The End Songs | 1. | Betrayed |
| 2. | Empty |
| 3. | Beginning Of The End |
| 4. | Safe Haven |
| 5. | Fate |
| 6. | Eternally |
| 7. | Forgotten Demise |
| 8. | Taunted Souls |
| 9. | Eye For An Eye |
| 10. | Dust To Dust |
| 11. | Apocalypse |
|
Beginning Of The End Review
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FOLK is a 2001 release from British trip-hop musician/producer Howie B., including "Watermelon Sugar" and "All This Means To Me."
Folk, the album on which Howie B doesn't go for the electro gusto and channels his energy into outward bound gear, seeking the organic, the international, the mysterious, and the mental is a more curious affair than anything he's issued previously. Essentially, it is a slew of disparate stories from a musical burn case who keeps one of his personalities focused firmly on the mixing deck and the other fluidly appearing and disappearing in space -- outer and inner. Folk is still very much a human record, maybe even more so than Music for Babies or Turn the Dark Off, in that it is far more intimate. Fans of the cozy Howie B will dig the hell out of "Making Love on Your Side," the album's opening track, with it's glistening, noir-ish gypsy blues ambience, or the over-the-edge desperate love song with Robbie Robertson on "All This Means to Me." Here, as Roberston makes an actual attempt to sing his part, Howie goes for a greasy little trip-hop groove that is more smoky and seductive than in your face. But they're strange, too; there's a high-tech kind of eeriness at the heart of the mix that undoes itself and makes the protagonist come off as obsessive -- which he is. Proving that the Middle Eastern voices and the borrowed international themes are part of a bigger picture, B proves that he sees his role more ...
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The third album from San Francisco's Unjust starts with a brief, moody fake-out, "Paper Planets," an instrumental that would not sound out of place on a mid-period Cure album, before launching headfirst into "Throwin' Pennies," a by-the-book blend of emo and nu-metal that sounds like it was created in a Clear Channel focus group. That sound continues unabated -- and nearly entirely unchanged -- throughout the rest of Glow, making it an album of remarkable emotional and stylistic consistency but a tiresome, deadening listening experience. The band is not without its strengths -- singer Paul Mendoza at times recalls Faith No More's Mike Patton, no mean feat, and the rhythm section of bassist Eric Wong and drummer Brian Palkowski packs a solid alt-rock wallop -- but the songwriting never shows more than occasional flashes of strength. ("Falling," for example, has the album's catchiest and most memorable chorus.) Individually, you might not turn these songs off if they came on the radio, but as a whole, Glow is simply kind of boring. ~ Stewart Mason
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