| | Misery Index Discordia CD Misery Index Discography of CDs
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On its second full-length release, the Baltimore grindcore outfit Misery Index brings a unique high energy thrash to its potent mix of metal, hardcore, and punk. Influenced by genre pioneers like Assuck and Napalm Death, the quartet's second full-length combines the full-on assault of cuts like "Unmarked Graves" with the crushing attack of "Breathing Pestilence."
Recording information: Hairy Breakfast Productions, Atlantic City, GA (01/15/2006-02/04/2006).CMJ (p.24) - "[They] topple death metal's steadfast genre walls by seamlessly mixing the blast-beats that the shoe-gazing death metal kids love with the dirty, low-end grooves the hardcore kids kickbox to."
Kerrang (Magazine) (p.66) - "[S]lamming riffs and grooves, delivered at grindcore pace, alive with grimacing commitment and passion..." Misery Index Discordia Songs Discordia Music Review Average Rating: (5 out of 5 stars)  Smash your enemies!!!!!!
If you think this is noise pollution, think again! If you have an interest in that punk/metal/thrash/hardcore scenery, well I've looked no further than what more can stomach. How many LPs can barely last over 33 minutes? Not too many, whoo boy! This is another best slice of metal palette since Mastodon's Leviathan was on this label. Doesn't cut close to Dillinger Escape Plan's Miss Machine though. Not bad. I haven't heard anything like this in a long time!
Submitted by Hmmm ... (Edmonton, Alberta, CANADA)
Was This Review Helpful? Yes No Punishing...
Well, it was a choice between this or Soilwork's latest offering (I was on a tight budget), so I took a chance picking this up instead, and I don't regret it for one second. This album is brutal from start to finish. I'm hardly a fan of death metal, and I still think this is incredible! This is death metal played to perfection...at an unthinkable speed. This band owns...that's really all I can say. \m/ \m/
Submitted by megadeth1981 (Lakeland, FL, USA)
Was This Review Helpful? Yes No | Have you heard this album? |  |
Purchase Discordia CD To buy, Click on price to add to cart | Decapitated Organic Hallucinosis CD (2006)
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Move over, Luther ...
| | Reba Mcentire Sweet Sixteen (Mca Special Products) CD (1989)
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Reba McEntire's 13th regular studio album Reba shocked some fans and critics by taking a distinct pop crossover direction after several years during which she maintained that she was a neo-traditionalist country artist. On Reba, the fiddles and steel guitars were banned from the studio as McEntire made like Aretha Franklin singing "Respect." The album topped the Billboard country charts for eight weeks, but McEntire seems to have felt that she should reassure her country base, and so Sweet Sixteen (which is her 16th album only if you count her Greatest Hits and Merry Christmas to You) welcomes the fiddles and steel guitars back as she returns to the neo-traditionalist fold. This is an album on which McEntire doubles back to a formula that worked for her in the past. Kendal Franceschi and Quentin Powers wrote her 1986 career song "Whoever's in New England," and they are back for two selections here, both of which have some of the melancholy of that ballad, but aren't as good. "It Always Rains on Saturday," for which McEntire claims a co-writing credit, takes too long to get to the point of its story, that the narrator is a divorced mother made lonely when her young son goes off to spend the weekends with his father. "Little Girl" (which became the LP's third country Top Ten hit) has the singer confessing to being overanxious and to having failed at love again. McEntire once coaxed a major hit, "Somebody Should Leave," from legendary country songwriter Harlan Howard. She hasn't obtained another one from him, but she has crossed pens with another heavyweight tunesmith, Don Schlitz, co-writing "Am I the Only One Who Cares," a too-cute story song about a fight between a mother and her teenager daughter that is mediated by a talking moon (!), and "You Must Really Love Me," a bluegrass workout in the style of Emmylou Harris. Another genre exercise is "'Til Love Comes Again" (the record's ...
| | Enid Tears Of The Sun CD (1999) (Import) Import; United Kingdom
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Tears of the Sun doubles as both a marvelous introduction to England's the Enid and as a worthy voyage through this talented band's repertoire. Although the Enid have been making albums since the mid-'70s, Tears of the Sun collects 13 of the best tracks from all points in their career, showcasing their evolution through progressive rock from their debut album In the Region of the Summer Stars to their 1995 release entitled White ...
| | Gene Watson Then & Now CD (2005)
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Soulful South Texas honky tonk singer Gene Watson never seemed to take his career all that seriously -- even through his period of greatest success, when he was having a string of hit singles in the early '80s, he kept his day job as an auto body repairman ...
| | Bruce Dickinson Balls To Picasso CDs (1994) Bonus Tracks; Remastered; Deluxe Edition
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Iron Maiden lead singer Bruce Dickinson presents his second solo album, with the aid of guitarist/co-producer Roy Z. Away from his "day job" with Iron Maiden, this is where Dickinson gets to experiment a little, engaging in some very different yet engaging moves, including hard rock, acoustically driven songs, grunge, and even a bit of rap. Tracks include "Hell No," "Cyclops," and "1000 Points of Light."
Immediately following his departure from metal legends Iron Maiden, singer and jack of all trades Bruce Dickinson signed a new deal stateside to Mercury Records and went to work on his second solo effort. Notwithstanding some dreadful artwork, his Polygram debut, Balls to Picasso, is somewhat of a disappointment and, for the most part, an ill-conceived project. Eager to get away from the classic galloping we'll-march-to-the-war Maiden sound, the singer joins forces with a band by the name of Tribe of Gypsies. The band (which managed to generate quite a buzz on its own but alas never found a home for itself) features Roy Z, Dickinson's chief collaborator/songwriting partner for this album. Eddie jokes aside, if Dickinson wanted to get away from the classic Iron Maiden sound, he sure does a good job on this album. Unfortunately, the singer fails to come up with anything truly groundbreaking or even interesting here (save for the album closer, "Tears of a Dragon"). Balls to Picasso gets underway with the messy, seven-minute "Cyclops." Following it is "Hell No," which, again, makes a valid argument for the singer's newfound musical freedom and prerogative to shun a sound that he once helped create. Not only is "Hell No" not Maiden-ish at all, it gives way to the über-heavy, down-tuned rumblings of "Gods of War" -- which takes flight like some sort of ode to Pantera gone New Wave of British Heavy Metal. The end result? Nothing substantial. Maybe a good idea on paper but definitely lost somewhere along the way in the execution. Moving forward, "1000 Points of Light" is another faux pas. Nicking its main riff from, of all places, Living Colour's "Cult of Personality," the cut erupts into a bizarre Queensr˙che-meets-Prong ...
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