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National Acrobat - It's Nothing Personal LP Cover Art CD music music CDs songs album

National Acrobat It's Nothing Personal Vinyl LP Record

 National Acrobat Discography of CDs

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It's Nothing Personal Music


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Category Rock/Pop Albums, Rock CDs, Vinyl LP Record, Punk
Label Hex
Orig Year 2000
CD Universe Part number 8005878
Catalog number 3
Discs 1
Release Date Nov 17, 2009
Studio/Live Studio
Mono/Stereo Stereo
Shipping Units 3
National Acrobat It's Nothing Personal Songs


National Acrobat It's Nothing Personal Album Track Listing



1.Of Jeffersonian Thought$0.99
2.I'magine
3.Mexican Movie Stars$0.99
4.National Hymn of the Acropocalypse, The
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With Adam Lambert, American Idol finally got a finalist who was completely, utterly contemporary, aware of what's hip in music and culture and aware of how music is made and consumed in 2009, never seeming to try to follow fads or set trends, just embodying the time. Mercifully, he came in second to Kris Allen, for if he came in first he may have had to tame his self-styled glamazon ways. A second place finish allowed Lambert to come out of the closet and indulge in his penchant for theater on his debut, For Your Entertainment -- which isn't quite the same thing as camp, for if Adam Lambert is anything, he's earnest about his dress-up, never winking at the audience because he doesn't think there's much funny about his glitter and mascara: that's just what pop stars are supposed to do. He's learned that by listening to his stacks of Queen and Bowie records, from watching old MTV videos on YouTube, from living in a present that always competes with the ever-present past, so he takes it all at face value, ...
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Track Listing of songs: DISC 1: JANUARY 17, 1970 FIRST SHOW: Start Of Show; Roadhouse Blues; Ship Of Fools; Break On Through; Tuning/Breather; Peace Frog; Blue Sunday; Alabama Song; Back Door Man; Love Hides; Five To One; Tuning/Breather; Who Do You Love; Little Red Rooser; Money; Tuning/Breather; Light My Fire; More, More, More; Soul Kitchen; End Of Show; DISC 2: JANUARY 17, 1970 SECOND SHOW: Start Show 2; Jim "How Ya Doing?"; Roadhouse Blues; Break On Through (To The Other Side); Ship Of Fools; Crawling King Snake; ...
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The relationship between the calm before the storm and the storm itself is a crucial element of post-rock. The patience and restraint to allow the music to build slowly and organically is an incredible virtue within the genre, and it's a virtue that Russian Circles have been growing into over the course of their career. On GENEVA, their third full-length outing, we find a band that has matured as songwriters. With a larger, more atmospheric set of tools at their disposal, the band crafts songs that are more about buildup than release. Instead of down the usual "build, build, build, destroy" route that's so common, the songs grow organically, with changes unfolding so naturally that the big finish is more of a logical conclusion than an explosion. Brian Cook's (of Botch and These Arms Are Snakes) impact on this record is more apparent than it was on STATION. His gritty, fuzzed-out bass provides a dynamic contrast to the lighter moments, providing a bit of sonic dirt for the more ethereal guitar parts to play in. This influence might also have something to do with Russian Circles' further tempering of their metal tendencies. While GENEVA has its heavier moments (like "Fathom" and "Geneva"), they're not as out-and-out metal as their past work, more reminiscent of Pelican's later work or the sludgy harmony of Zozobra. Given their past work, it would be easy for Russian Circles to simply play it quiet for a while and then absolutely bowl over the listener with huge, metal riffing. As the record goes on, that patience and restraint reveals itself more and more. On the sprawling, eight-minute epic, "When the Mountain Comes to Muhammad," the band allows the song to build slowly and easily, reigning the song in and allowing it to fold in on itself, growing slightly larger and larger without ever getting completely out of control. GENEVA is an album that builds like an old building being demolished, starting out with an explosion and ending with the dust clearing to reveal a changed landscape that's ready for something new. If you weren't already on the Russian Circles bandwagon, this is the perfect opportunity to jump on. The relationship between the calm before the storm and the storm itself is a crucial element of post-rock. The patience and restraint to allow the music to build slowly and organically is an incredible virtue within the genre, and it's a virtue that Russian Circles have been growing into over the course of their career. On Geneva, their third full-length outing, we find a band that has matured as songwriters. With a larger, more atmospheric set of tools at their disposal, the band crafts songs that are more about buildup than release. Instead of down the usual "build, build, build, destroy" route that's so common, the songs grow organically, with changes unfolding so naturally that the big finish is more of a logical conclusion than an explosion. Brian Cook's (of Botch and These Arms Are Snakes) impact on this record is more apparent than it was on Station. His gritty, fuzzed-out bass provides a dynamic contrast to the ...
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