| | Ask For Joy Endless Space Unfurled EP CD Ask For Joy Discography of CDs
Endless Space Unfurled is a five-song EP consisting of music put to the words of various poems by American lyrical poet Sara Teasdale (1884-1933). Teasdale's ruminations on love, life, death and the unhappiness she felt in her marriage find sympathetic and complementary musical settings in ask for joy's songs. The tracks range from the poppy, densely layered guitar fuzz of 'To-night' to 'Peace', whose gentle two- and three-part harmonies float underneath undulating waltz time guitars and give voice to the tranquility Teasdale identifies in love through the use of water imagery. Endless Space Unfurled EP Music Ask For Joy Endless Space Unfurled EP Songs | 1. | To-night |
| 2. | Peace |
| 3. | The Answer |
| 4. | Jewels |
| 5. | Alone |
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Endless Space Unfurled EP Review
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Purchase Endless Space Unfurled EP CD To buy, Click on price to add to cart | Rosanne Cash List CD (2009)
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After the dark and chilling themes of 2006's BLACK CADILLAC, which saw Rosanne Cash dealing with the deaths of her mother, Vivian Liberto, her father, Johnny Cash, and her stepmother, June Carter Cash -- all of whom passed within a two-year span -- one might assume that her next project would move into an even deeper level of bleakness, but with THE LIST, it's immediately clear that she has instead found a more measured place to stand. It's a lovely and redemptive outing that looks back to go forward. When Cash turned 18, her father, alarmed that his daughter only knew the songs that were getting played on the radio, gave her a list of what he considered 100 essential American songs; Cash kept that list, and now she's drawn on it for this wonderfully nuanced outing that brims with a kind of redemptive timelessness. THE LIST is a renewal and a testament to life, and it belongs to her father as much as it belongs to her, a beautiful restatement of her father's passions, only now, they've become his daughter's treasures, as well. It's an affirming ...
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With its titanic guitar solos, symphonic suites, and multi-layered melodies, Muse's fifth album operates under the assumption that bigger is better. This is the very definition of a super-sized album, an album that takes its cues from Queen, its lyrics from science fiction novels, and its delivery from rock opera. It's also the first time that Muse has truly sounded like Muse, as few bands since Queen have so readily explored the intersection of ...
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The last Stones studio album of the '60s finds the band, for perhaps the first time, accurately reflecting the spirit of its age. The erstwhile bad boy outsiders of rock ...
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Say this for Steve Walsh and his career outside of Kansas: it's not predictable. Well, that, and that he's been intent on rocking much harder on his solo records than he did in Kansas, a band that always favored elaborate dramatics. That was the case with his 1980 arena rock solo debut, Schemer-Dreamer, and that's the case a quarter of a century later with Shadowman, which rockets off with a bracing blast of speed metal riffs and pounding double bass drums. To that sonic assault Walsh marries a heavy dose of prog theatrics and socially conscious lyrics. It's a weird hybrid of big, slick '80s album rock, '70s arena pomp, modern metal, and '90s D.I.Y., all tied together with washes of art rock synths. It's not just heavy, it's bludgeoning, letting up only on the brooding acoustic "Pages of Old" and elegiac closer "The River." So, those expecting a mellow album from this 54-year-old -- a bunch of "Dust in the Wind," perhaps -- should just forget it, because this is an idiosyncratic heavy rock album with heavy drama and heavy issues. Since each track plays like a multi-part epic even when it lacks multiple parts, this can be a bit exhausting to hear. While this may not be easy to listen to -- it's not just too deliberately heavy, but it's too insular, with little breathing room for the listener -- Shadowman is almost admirable: say what you will, Walsh is pursuing his own muse, labels and audiences be damned. There may not be many who want to follow him, but at least he's following his own path. ~ Stephen Thomas Erlewine
Say this for Steve Walsh and his career outside of Kansas: it's not predictable. Well, that, and that he's been intent on rocking much harder on his solo records than he did in Kansas, a band that always favored elaborate dramatics. That was the case with his 1980 arena rock solo debut, Schemer-Dreamer, and that's the case a quarter of a century later with Shadowman, which rockets off with a bracing blast of speed metal riffs and pounding double bass drums. To that sonic assault Walsh marries a heavy dose of prog theatrics and socially conscious lyrics. It's a weird hybrid of big, slick '80s album rock, '70s arena pomp, modern metal, and '90s D.I.Y., all tied together with washes of art rock synths. It's not just heavy, it's bludgeoning, ...
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