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The Wire (p.64) - "[They] combine the swelling intensity of formless noise with a kind of anthemic guitar blitz. The sound they make is inescapably huge.". At All Ends Music | List Price | $15.98 (You save $3.59) | | Category | Rock/Pop Albums, Rock CDs | | Label | Load | | All Time Sales Rank |  142910  | | CD Universe Part number | 7512040 | | Catalog number | 71096 | | Discs | 1 | | Release Date | Oct 02, 2007 | | Studio/Live | Studio | | Mono/Stereo | Stereo |
Yellow Swans At All Ends Songs | 1. | At All Ends |
| 2. | Stretch the Sands |
| 3. | Our Oases |
| 4. | Mass Mirage |
| 5. | Endlessly Making an End of Things |
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Purchase At All Ends CD To buy, Click on price to add to cart | Yellow Swans & Birchville Cat Motel CD (2006)
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On 2007's FROM HERE WE GO SUBLIME, Axel Willner's first full-length Kompakt outing under the moniker of the Field, the Swedish electronica artist presents a mesmerizing set of minimalist techno that garnered international raves. Sometimes working in the same dreamy vein as fellow Europeans Ulrich Schnauss and M83 (see the arctic opener, "Over the Ice"), Willner streamlines ...
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If modern day indie music appears to consist of an endless queue of groups that are either bland emo retreads or glitzy disco punkers, it is then that much more refreshing to encounter a band like Battles. With a lineage that consists of some of indie rock's most accomplished musicians, Battles is a veritable neo-prog supergroup, though one that embraces the possibilities of technology used in tandem with instrumental virtuosity.
MIRRORED, the band's debut full-length makes its intent clear from the onset--to ingest 50 years of rock history and regurgitate it as fractilized micro-symphonies. Rhythms bounce whimsically from motorik krautrock beats to glammed up T. Rex shuffles; such stop-on-a-dime surprises seem to be offered up at every turn. Tyondai Braxton's bizarre vocal gibberish--pitched up and looped in real-time--recalls similar experiments by the Animal Collective, while simple, repetitive ...
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In keeping with a tradition unique to them, Boris released this completely different American version of SMILE months after the original Japanese edition. While the two albums have similar tracklists, they contain different recordings and sometimes entirely different instrumentation. Rocking up the more electronically enhanced Japanese tracks for the American audience, the Tokyo trio once again redefine the boundaries of heavy music. Speed metal, noise, drone, pure psych, and grunge all find common expression in Boris's anything-(heavy)-goes ...
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Released in 2008, WHY ARE WE NOT PERFECT? presents three Jesu tracks originally issued on a split EP with the ambient act Eluvium during the previous year. As with the SILVER and LIFELINE EPs, PERFECT finds Jesu mastermind Justin Broadrick (formerly of Godflesh) pushing his heavy aesthetic still further into more melodic territory, with "Farewell" marked by epic synth washes and the title song carried largely by soft vocals and a lopping ...
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STRIPPED is an Enhanced multi-media CD. Its interactive material, playable on any CD-ROM player, includes highlights from the VOODOO LOUNGE CD-ROM, electronic liner notes, photos, lyrics, song outtakes and live videos of "Shattered," "Tumbling Dice" and "Like A Rolling Stone."
As the longest continuously surviving band in rock and roll, The Rolling Stones have become a symbol of staying power, and STRIPPED proves why. Its lean, live, acoustic format draws from their Voodoo Lounge tour, which mixed the band's early material with some judiciously picked covers and a handful of country-blues classics, giving the band more punch as a live act that it's had in the studio in years.
The Stones' clever interpretation of Bob Dylan's "Like A Rolling Stone" finds Mick Jagger asking "how does it feel to be on your own"; some thirty years after the song first hit the charts, the question still rings true. There is no other band like The Rolling Stones, and they are now completely on their own--peerless, that is. The Stones are also armed with a musical catalog that'll never be equaled, and STRIPPED shines because it brings some brilliant, underutilized elements of that catalog back to the forefront. The barroom boogie of "I'm Free" and the subdued country-gospel of "Wild Horses" are steeped in the reverence that makes the delicate blues of Delta deity Robert Johnson's "Love In Vain" so crucial.
It's all in here--everything that makes them The Rolling Stones: Jagger's sermonizing vocals, Keith Richards' and Ronnie Wood's acoustic honky-tonk guitars, Charlie Watt's flawless metronome drums. STRIPPED isn't as naked as it claims to be, but it's the perfect modern way to view the Stones' impressive past, and the band's ongoing strut as leaders of the pack.
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By sticking to the recipe that made SONGS WE SING such a solid debut, Matt Costa plays it safe--unusual for a former pro-skateboarder--on his sophomore outing UNFAMILIAR FACES. With instantly familiar hooks and direct, REVOLVER-esque production choices (courtesy of producer Tom Dumont of No Doubt) the album has many of the touchstones of the Jack Johnson school of indie pop. And while Costa's easy-on-the-ears material ( "Lilacs" ...
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