| | Indie Translations Of The White Stripes CD
Tributee: The White Stripes.
Recording information: 2006. Indie Translations Of The White Stripes Music Indie Translations Of The White Stripes Songs Indie Translations Of The White Stripes Review
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Purchase Indie Translations Of The White Stripes CD To buy, Click on price to add to cart | Flaming Lips Embryonic CD (2009)
Indie Translations Of The White Stripes
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CHRISTMAS ON MARS might be the Flaming Lips' bona fide sci-fi epic, but EMBRYONIC is the musical equivalent of the final scenes of 2001: A SPACE ODYSSEY: transformative chaos that results in a new start. From THE SOFT BULLETIN onward, the Lips seemed focused on tidying the loose ends of their earlier work, almost to the point of constraining themselves. Their wilder side is unleashed on Embryonic's 18 tracks, and the band sounds more off-the-cuff than it has in years -- some tracks are barely longer than snippets, others are rangy epics, and it all holds together so organically that listeners might wonder just how much these songs were edited. Musically, EMBRYONIC is the least polite the Flaming Lips have been in nearly two decades, mixing in-the-red drums, blobby, dubby bass, squelchy wah-wah guitars, and sparkling keyboards into a swirl of sounds that are strangely liquid and abrasive at the same time. Occasionally, the band uses noise in an almost ugly way, as on "Convinced of the Hex," which scrapes eardrums with static and distortion before falling into a loose but driving Krautrock groove that adds to the song's tribal pull (complete with growling and wailing in the background). The Miles Davis-inspired "Aquarius Sabotage" opens fuzz bass and keyboards so chaotic, it isn't just free jazz, it's free-for-all jazz, while "Your Bats" is as soulful as it is noisy, piling roomy drums ...
| | Pelican What We All Come To Need CD (2009)
Indie Translations Of The White Stripes
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One had to wonder what Pelican's signing to Southern Lord could possibly mean. To be truthful, while the band did write and perform more structurally formal material on 2007's CITY OF ECHOES, they retained their trademark post-metal aesthetic -- percussive repetition, overtone basslines, and nuanced guitar riffing. On WHAT WE ALL COME TO NEED, they have taken it not a step further, but a step more inside that aesthetic. The concentration here is ...
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If there was any flaw with Brandi Carlile's second album, THE STORY, it's that it was perhaps a touch too austere, painted in amber tones by producer T Bone Burnett. Its 2009 sequel, GIVE UP THE GHOST, opens up and breathes, perhaps partially due to swapping T Bone for Rick Rubin, who retains the spooky, serious vibe but makes things a little less chilly. This isn't sealed off; there is room for guests here, including such L.A. linchpins as Benmont Tench and Red Hot Chili Pepper Chad Smith, but also Elton John and his arranger, Paul Buckmaster. Tellingly, their presence is felt more than heard, as they never remove the spotlight from Carlile, who remains a singularly powerful singer/songwriter. When the setting is spartan, her voice is haunting and gripping, wrenching ...
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This 1999 reissue contains three bonus tracks not included on the original release.
Between the early 1970s and early '80s, Kansas made a long musical journey, starting out as complex prog-rock merchants, deeply indebted to the technically dazzling, epic works of Yes, Genesis, and Emerson, Lake & Palmer. A decade on, the band had trimmed its sound to the bare bones, pounding out relatively straightforward, hard-edged AOR. THE BEST OF KANSAS ably illustrates how Kansas ...
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