Crash Love (Deluxe Edition with Bonus Tracks and Exclusive Video Content) Review

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(More customer reviews)Alright, for starters I have been into AFI for years and years. As most people have stated: with each new album, AFI has "progressed" or "grown" (or "sold out" or something else negative). Crash Love is nothing different. AFI sounds completely different here compared to december underground which was released a little over 3 years ago. So, let's kinda hop to this...
This cd is one that is either going to grow on you, or you'll end up absolutely hating it. I have listened entirely through a few times and there are definitely some stand out tracks.
Let it be know here and now, Davey does NOT scream on this album. For me, that was a pretty large disappointment. (I haven't kept up on the news with these guys lately, but did he screw up his vocal cords again? I knew that happened before decemberunderground and he had to change the style of screams he uses). Anyways, with that being said, I believe he was trying to prove he still has chops when it comes to singing. And he definitely does. At times though, the vox get a little tiresome and seem forced. Lyrically, well-I don't believe this is Havok's strongest album for lyrical content. For a real treat, I recommend Black Sails or else Shut Your Mouth and Open Your Eyes for some great vocals and lyrics from Havok.
When it comes to the guitar- Jade is in his own league. I am not saying he's the next SRV,Hendrix, or Satriani or anything- but WOW. On this whole cd, really listen to the layers of guitar work here. Personally, I think his work towards this album is what kept me from giving it a 2 star rating. Really, Jade's riffs and solos on this disc are fantastic. No matter what happens to AFI, this guy should always be able to find work. Yes, the single "Medicate" has good work, but listen to the whole album. One little thing that I kinda thought was weird, on this album there is a distortion effect he uses occasionally that is very similar to the distortion The Ataris use in EVERY song (practically). I am not saying it's bad, but just listen for it, and if you have heard The Atari's you will see what I mean. (Not that this has anything to do with the review, I was just sayin.)
Drums...what can I say? This disc has Adam actually DOING MORE. I thought it was great! The beats he plays are ridiculously awesome and it shows he is able to more than previous efforts. (I was not doubting his talent before, but let's be honest-they downplayed his skill and kept his drumming less "showy" on earlier releases).
Hunter...ya know-I met him once? Really nice guy. But, all that's a story for another time. Anyways, this album disappointed me greatly because Hunter is a great bassist. Really, he's one of my fav's. Someone could tell me he knows nothing of music and I couldn't care less. The work he's done on past albums was nothing short of great. Typically, I could care less about the bass,if it were any other band. But I take my AFI like my rap, BASS UP! (That comment is weak, "bass up"? What was I thinking?) Anyways, between Black Sails, Art of Drowning, and All Hallows E.P Hunter was untouchable. But this disc, this one let me down. I feel they didnt really let him do what he does best. Change isn't always bad, but more bass and bass solos, and I would have given this disc 5 stars. No lie.
Overall, this disc is a step in a different direction again for the guys. It is not exactly a bad step by any means. But it wasn't five stars hands-down. Personally, I'm still getting a feel for it. Maybe I'll change it to a four star later. But for right now, the lyrics haven't won me over, and that bass is good, but not on par with what they used to have.
OH! Before you go, I forgot something I have to admit loving about this album and something that made me cringe. 1.) They were way less "atmospheric" on this disc. I personally wasn't a huge fan of the layers of effects on decemberunderground. 2.) It's a sad day for AFI when they throw intro's to the album out the door. Really, when it comes to the start of a new album they are KINGS! Untouchable,man. No lie. Scope Black Sails, Art of Drowning, Sing The Sorrow and Decemberunderground for a fine history of kick@$$ intro's.
If you are an AFI fanatic, go ahead, get it, absorb it like we all do!
If you're an "AFI should go back to punk rock" fan, avoid this. You will not like it. It's much less punk.
If you're a "decemberunderground was the bestest album ever" uhh, this is different, maybe you'll dig it, maybe you wont...but Black Sails was better :P


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Deluxe edition includes four bonus tracks and exclusive video content! Video includes footage of the band on tour and behind the scenes. This content will be updated frequently. Crash Love, AFI's eighth full length studio album, due out September 29, 2009 on DGC/Interscope, is indeed informed not only by the ever-evolving chemistry between the musicians in the band but also by the members' personal lives and perhaps most of all by the always intense relationship between AFI and its fans. The latter has intensified considerably over the most recent of AFI's 18 years as a band, with 2006's decemberunderground entering the chart at #1 with first week sales of nearly 200,000 and subsequent sold out shows at the Long Beach Arena and Bill Graham Civic as well as appearances on Saturday Night Live and at Live Earth--not to mention 2003's Sing The Sorrow going platinum. These experiences were bound to have an impact on four kids from Ukiah, California who formed a rudimentary punk band in 1991 with aspirations of playing in the SF Bay Area and possibly releasing a few singles and an LP or two.
Track listing:
1. Torch Song
2. Beautiful Thieves
3. End Transmission
4. Too Shy To Scream
5. Veronica Sawyer Smokes
6. Okay, I Feel Better Now
7. Medicate
8. I Am Trying Very Hard To Be Here
9. Sacrilege
10. Darling, I Want To Destroy You
11. Cold Hands
12. It Was Mine
Disc 2
1. Fainting Spells (From Decemberunderground Sessions 2006)
2. We've Got The Knife (Demo from Crush Love Sessions)
3. Where We Used To Play (Demo from Crush Love Sessions)
4. 100 Words (From Sing The Sorrow Sessions 2003)

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Duke (W/Dvd) Review

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(More customer reviews)"Duke" is the 4th post-Peter Gabriel album, originally released in 1980. I never bought the album when this came out as I preferred the prog-rock sound of the band and this alvum continued their evolution into a more commercial, mainstream band. But the temptation of the 6 CD/6 DVD box "Genesis 1976-1982" was such that I just had to have it, and so now I have "Duke" finally.
As to the CD, "Duke" (12 tracks, 55 min.) is, now listening to it 27 years after the facts, quite a surprise to me, and a pleasant one. No, I still don't like the "Misunderstanding" or "Turn It On Again", the album's big hits, all that much. But I discovered quite a few other tracks I really like, starting with the majestic opener "Behind the Lines", the reflective "Man of Our Times" and "Alone Tonight", and then of course the massive 11. min. ending of "Duke's Travels/Duke's End".
As to the DVD, it first brings the album in a terrific 5.1 surround mix, and it sounds fantastic if you have the proper music set-up at home (which I do). As to the visuals, it comes with the videos for Duchess, Misunderstanding, and Turn It On Again, nice but nothing earth-shattering. The "Reissue Interviews 2007" brings about 20 min. of the guys bringing their perspectives on the album, quite entertaining. But the real gold nugget is a 45 min. excerpt of a 1980 London concert where the band showcases several Duke tracks (including a great "Behind the Lines") and then delves into the past and delivers outstanding performances of "In the Cage", "Dance On a Volcano" and "Los Endos". The video and audio quality is tops. Any Genesis fan will want to have this, period.
If you are considering buying any of the reissued CD/DVD albums, you really should look at buying the 6 CD/6 DVD "Genesis 1976-1982" box instead as it offer far more "bang for the buck" (only $69 here on Amazon), and on top it comes with a bonus CD/DVD of assorted B-sides, EPs and other hard to find tracks from that era.

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Wind & Wuthering Review

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(More customer reviews)Music: 5 stars; DVD material: 4 stars
"Wind and Wuthering" is the 2nd post-Peter Gabriel album, originally issued in 1977. It continued the unexpected success of "A Trick of a Tail" album with Phil Collins stepping in for Peter Gabriel as lead singer. I got the 1994 reissue but the temptation of a bunch of DVD bonus materials was such that I did buy the "Genesis 1976-1982" 6 CD/6 DVD set.
As to the CD, "Wind & Wuthering" (9 tracks, 51 min.) remains a fabulous listen 30 years later. From the opening "Eleventh Earl of Mar", the band sounds on top of their game. The 10 min. epic "One For the Vine" is in my book the best track that Tony Banks has ever penned, period. Mike Rutherford's beautiful ballad "Your Own Special Way" was the unexpected hit (in a shortened version), and foreshadowed things to come ("Follow You Follow Me', and others thereafter). "Wot Guerilla" is the "Los Endos" of this album. Other highlights include "Blood on the Rooftops", Steve Hacket's last main contribution before he left the band. The instrumental mini-set of "Unquiet/In That Quiet Earth" is just terrific, before giving way to the catharsic ending "Afterglow", what a way to end the album, wow!
As to the DVD, it first brings the album in a terrific 5.1 surround system, and it sounds fantastic if you have the proper home music set-up (which I do). As to the visuals, the "Reissue Interviews 2007" brings about 20 min. of the guys bringing their perspectives on the album, quite entertaining. The other video materials are somewhat disappointing: a US bootleg of Your Own Special Way and Afterglow (from a TV show) and a Japanese bootleg of several albums tracks, but the audio and video quality leaves to be desired. Couldn't they have found anything better to include here? That said, I saw Genesis on the "Wind & Wuthering" tour in Brussels in 1977, so this has a lot of sentimental value for me.
If you are considering buying any of the reissued CD/DVD albums, you really should look at buying the "Genesis 1976-1982" box instead as it offer far more "bang for the buck" (only $69 here on Amazon), and on top it comes with a bonus CD/DVD of assorted B-sides, EPs and other hard to find tracks from that era.

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No Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 15-MAY-2007

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Abacab (W/Dvd) Review

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(More customer reviews)Abacab is the 5th post-Peter Gabriel album, originally issued in Fall, 1981. It continued the rapidly evolving sound of Genesis from prog rockers to more commercial and mainstream-sounding. Personally, I had a difficult time to accept or like that change as it took place 25 years ago. I never did buy either "Duke" or "Abacab" when they came out. But the temptation of a bunch of DVD bonus materials was such that I did buy the "Genesis 1976-1982" 6 CD/6 DVD set, and now I finally have the "Abacab" album proper.
As to the CD, "Abacab" (9 tracks, 47 min.) is somewhat of a revelation to me. I still don't like "No Reply At All" or "Mman on a Corner" as a Genesis song (how can you differentiate it from Phis Collins' "Face Value" album? you can't, as Phil wrote these at the same time and it just sounds the same), but I found a lot of other things here I like a lot. The title track, of course, but also a brooding "Keep It Dark", the epic 7+ min. "Dodo/Lurker", and "Like It Or Not". Abacab will never be my favorite Genesis album, but I enjoyed it better than I ever expected.
As to the DVD, it first brings the album in a terrific 5.1 surround system, and it sounds fantastic if you have the proper home music set-up (which I do). As to the visuals, it comes with the videos for Abacab, No Reply At All, Keep It Dark, and Man on the Corner, nice but nothing earth-shattering. The "Reissue Interviews 2007" brings about 20 min. of the guys bringing their perspectives on the album, quite entertaining. Regretfully, there is no concert footage, unlike most of the other albums reissued, and that makes this reissue of "Abacab" less essential.
If you are considering buying any of the reissued CD/DVD albums, you really should look at buying the "1976-1982" box instead as it offer far more "bang for the buck" (only $69 here on Amazon), and on top it comes with a bonus CD/DVD of assorted B-sides, EPs and other hard to find tracks from that era.

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Playing the Angel Review

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(More customer reviews)It was not an incredibly difficult feat for DM to surpass the ironically-titled (yet underrated in my opinion) Exciter, but little did we know that they would surpass most of our expectations to this degree. This album rocks. Overall, it's their darkest album yet, especially following the somewhat sweet and tender mood of Exciter.
I don't normally do this, but here's a track by track:
1) "A Pain That I'm Used To" - A great intro track with definite NIN influence. Soft, dark, electronic beats that explode into a cacophony of loud guitars at the chorus. I heard this is going to be the second single.
2) "John The Revelator" - Influenced by a classic gospel track of the same name, this would have fit beautifully on Songs of Faith & Devotion. A heavy electro beat with Dave's preachy, aggressive vocals and a gospel choir that joins in at the chorus. My immediate favorite. I really hope this one becomes a single.
3) "Suffer Well" - The first of three songs written by Dave Gahan instead of Martin Gore (a first for DM). More than worthy of the Depeche Mode moniker, this is another favorite of mine. It's fast and catchy and very reminiscent of old-school pre-Violator DM. Reminds me of "Behind The Wheel."
4) "The Sinner In Me" - Another NIN-esque track. Dark and moody. Awesome synth line. I love it.
5) "Precious" - The first single. Also reminiscent of older DM - a very catchy song with a nice beat, a cool guitar part, and Dave's smooth vocals. For some reason I like this song a lot better within the context of the whole album. A very worthy first single. Many are saying it's one of the best singles of their career. I can't argue with that.
6) "Macro" - The first of the obligatory Martin Gore ballads. This is actually one of my favorites of his. The verses are kind of odd (which is typical of Gore), but I absolutely love the chorus ("see the microcosm in macrovision / our bodies moving with pure precision / one universal celebration / one evolution, one creation"). Severely underrated.
7) "I Want It All" - The next of the Gahan-penned tracks. It's strange and floaty and quite different from a typical DM song, but really good nonetheless. The beat is similar to Bjork's "All Is Full of Love" (which is one of my favorite songs, by the way).
8) "Nothing's Impossible" - The last of the Gahan-penned tracks, and definitely my least favorite of the three. It has an old-school feel, but Dave's vocals are a bit odd and monotone. It's not one of my favorites, but it's grown on me significantly and now I like it quite a bit.
9) "Introspectre" - A creepy little instrumental interlude. Could have been pulled right off of Radiohead's Kid A. There's not much to it. Eerie sound effects among minimal electronics.
10) "Damaged People" - The other Gore ballad. Slow, slightly creepy circus music with Gore's odd vocals. This has grown on me a lot, too, but is definitely one of the weakest tracks.
11) "Lilian" - An awesome, retro-sounding, fast-paced, catchy song about some spoiled, sadistic woman who likes to break hearts for fun. The sound is not stereotypical of DM, though, and I can't put a finger on why.
12) "The Darkest Star" - Another somewhat creepy slow song that's probably the darkest on the album. I didn't care much for it at first, but now I love it.
Since the release of Ultra, it's been my favorite DM album (even though many fans disliked it for some reason), followed very closely by Violator and Songs of Faith & Devotion. Critics keep saying Playing The Angel is their best since Violator. I really think, though, that it has risen up to possibly be their greatest masterpiece yet. Only time will tell if I feel the same way down the road, but right now that's where I stand.

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The first new album from Depeche Mode in four years, its first since 2001's gold and Top 10 Exciter, Playing The Angel is quintessential Depeche Mode-hi-tech electronic pop with enormous hooks and yet faster paced, more urgent than recent albums. The band has sold upward of 50 million records worldwide during its 25 years, but Playing The Angel sounds as fresh and exciting as any in Depeche Mode's glorious history

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Trick of the Tail (CD/DVD) Review

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(More customer reviews)NOTE: The following review deals exclusively with the sound quality of the new 2007 reissue of the album. For an extensive analysis of the album, see my review of the 1994 edition.
An event recently took place that many of us have been waiting (sleeplessly) for ever since 1994: The entire Genesis catalog is in the process of being remastered, and the charge has been taken up by none other than the masters of remastering, Rhino Records! When I heard this, I was absolutely floored. After all, it has been now 13 years since the Genesis albums have been touched, and while Yes, King Crimson, Jethro Tull, and even Kansas have been available in remastered editions since the turn of the millennium, Genesis has been completely overlooked...until now.
Unfortunately, it's not all rosy and peachy. Unlike some reissues, yes, you definitely will notice the difference between the new and old versions. And that's the problem. By no means were the 1994 Genesis remasters perfect; in fact, some of them are downright pitiful. 'A Trick of the Tail' was one of the better ones, though there were several glaring problems that needed to be solved with the sound. Incidentally, these have been totally fixed in the 2007 reissue. But, alas, it's the other changes that complicate the matter.
Below is an itemized list of what's right with this remaster, and what's wrong with it:What's RIGHT with 'A Trick of the Tail' (1976/r. 2007):
1) Hey! I get it now! - Throughout the album, the vocals are much clearer. Passages that seemed muffled and unfocused are now much easier to understand, even without the aid of already knowing the lyrics. This was a weakness of Phil Collins's vocals all the way up to the 1980 'Duke' release, and I'm glad to say Rhino did a great job maximizing what they had to work with. Listen to "Squonk," for instance, and you can actually follow the tale perfectly.
2) Cutting through the mix - If there was one thing that was lacking in the 1994 issue of the album, it was that the overall sound was very crowded. The 2007 reissue fixes this, though at the expense of a loss of some of the overall feel of the album (see the next section). Vocals are separated from the instrumentation better than ever before, and the guitars in particular are heard loud and clear (again, see below). Complex mixes of instrumental textures are resolved much more nicely than in the 1994 issue.
3) It doesn't hurt anymore - There were some particularly grating siblants ("esss" sounds) in the 1994 reissue, most noticeable in "Mad Man Moon." These have been handily dealt with in the Rhino remaster.
4) Backing him up - The background vocals are more spacious and clear than ever before, and solo and ensemble vocal selections contrast very nicely now. This is best heard, again, in "Mad Man Moon."What's WRONG with this reissue:
1) Where are the bloody keyboards?! - Steve Hackett is a great guitarist. Please don't misunderstand me. But I really don't want to hear *every single note he ever strummed in his life* blasting away with all the subtlety of a jackhammer. Especially when it means that the keyboard parts, particularly the Mellotron, are completely drowned out. For instance, listen to the hypnotic ending section of "Entangled." Most of its charm is from that dark, haunting keyboard solo that proceeds to the end of the piece, backed by deep bass notes and a wash of heavily-processed Mellotron chorus. Many of you were probably not even aware that Hackett does strum a few notes here and there at the end, but if you listen to the 2007 remaster, it is utterly impossible to miss it. Of course, something had to give, and that is the Mellotron chorus, which is so muted that until the very end of the song you probably wouldn't even know it was there. This sort of thing happens all over in these reissues (it's much worse in the following album, 1977's 'Wind & Wuthering'), and it's a jarring and, in my opinion, detrimental alteration to the sonic character of the album.
Say what you will about my comments here; I really don't care. As I said, Hackett was a great guitarist, and Genesis really fell apart as a progressive act when he left. But the music just sounds wrong with his work showcased in the manner of the 2007 remaster. Your miles will vary, and the degree to which the keyboards are muted varies across the album as well, but for me, I say this was a real mistake that undermines the musical cohesion expressed by the band during this time.
2) If I wanted to hear a live performance... - On several of the songs, most notably "Dance On A Volcano" and "Squonk," there is a copious amount of echoing, stadium-style delay applied to the vocals and guitars. Along with the way the drums were EQ'ed throughout the album (a lot of bottom and top end, with the midranges muted), these songs especially sound like the engineers were trying to make them sound live. This just won't do. Apart from being inconsistent with the remainder of the album, the "live" ambiance just doesn't suit this music.
3) It ain't the 80s, guys - Throughout the album, it seems as though the engineers were trying to bring the overall sonic character more in line with the 80s Collins-era albums. As a result, something very special about the pair of albums released in 1976--'Trick' and 'Wind'--is utterly lost. This effect is much more apparent in the 2007 remaster of 'Wind' than on 'Trick,' but it can be heard in "Squonk" and "Dance On A Volcano" in particular. There was a very particular sound about 'A Trick of the Tail,' a more intimate, analog cast, that is pulverized by the cold edge of 80s-style digitization. Again, this is down to personal preference, but I think the 1994 release really captured the warm, analog tone of this album much better.Overall, this Rhino version of 'A Trick of the Tail' sounds *very* different from the 1994 release. Some of the changes were welcome, but more of them (at least in my opinion) were wholly unwelcome. Many if not all the major issues with the 1994 release were fixed, but the new version has many new issues of its own. I can't help but feel that Rhino really dropped the ball here, and I am really disappointed with this work. It looks as though we're going to have to wait another decade or so before somebody comes along and gets it right. The thing that dismays me, though, is that I always had faith in Rhino. I guess I was just proved wrong.
Like I said, opinions will vary widely. My suggestion to prospective buyers is to buy both versions (1994 and 2007) of any one of the classic output of Collins-era Genesis, choose which one you think sounds better, and then complete the set from that version. I will get a lot of hateful comments ("How dare you insult Steve Hackett!"), but my opinion will not change. I have made a compromise with this review by rating the 2007 remasters the same way I have rated the 1994 ones (the ratings are based on the album content), but I have included my exclusive comments on the 2007 reissue quality. My purpose is to serve as an adviser to any who are considering purchasing this edition, either as an upgrade or as your first copy. Whichever version sounds better to you is ultimately your decision, and I wish you all the best with it. Rhino just didn't do it for me here.
Better luck next time.

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No Description AvailableNo Track Information AvailableMedia Type: CDArtist: GENESISTitle: TRICK OF THE TAILStreet Release Date: 05/15/2007

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Pearl Jam Review

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(More customer reviews)It's quite possible that Pearl Jam is more revered in retrospect than for their musical offerings from the last 5-6 years. Their name is legendary. And their initial 2-3 albums are considered classics. But what have they done lately that hasn't sounded tired and stale?
Even though I'd been burned by PJ's albums in the past, I took a chance on this new one, simply titled Pearl Jam.
Wow. Am I glad I did. Pearl Jam has been reborn!
This album sounds fresh, alive and -- dare I say it? -- vital. They retained their trademark garage band sound and Eddie's sometimes mumbly (but powerful) baritone. But there are melodies and hooks on this album that are infectious. And the playing sounds like a Pearl Jam I haven't heard in a long, long time. It's energetic and meaty.
The album kicks off with the guitar-heavy, toe tapping "Life Wasted," which sports typical Pearl Jam chord progressions but with more oomph behind them.
"World Wide Suicide," the next track, features a sound and energy reminiscent of anything off Vs. or their debut CD (1993 and 1991, respectively).
"Comatose" begins with a Tom Petty-like guitar riff and then explodes in Eddie's growling vocal and bashing, punk-like guitars that would make the Sex Pistols proud.
One of my favorite tracks follows "Comatose": "Severed Hand," which begins with swirling, mysterious-sounding backward-played guitar noodlings before turning into another free-for-all garage band extravaganza.
"Parachutes," a Beatle-esque song featuring acoustic guitar, a jaunty beat and tight vocal arrangements, is a nice change of pace after so many balls-out tracks.
"Unemployable," the next track, is a great riff. Very catchy and upbeat. It reminds me of R.E.M. Very tasty guitar work.
"Wasted Reprise" is totally captivating. Haunting, even. It's less than a minute long, but there's something about it that I absolutely love. The lyrics are sung with such emotion: "I have faced it, a life wasted, I am never going back again."
I can't say enough about this album. It's chock-full of big, BIG guitar riffs, Eddie's over-the-top screaming, crisp production, and heart-on-sleeve lyrics. It's a Pearl Jam you haven't heard in a very long time.
I strongly urge you to buy this new album from Pearl Jam. You won't be sorry.

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Japanese pressing of their 2006 album with no extras.13 tracks. J Records.--This text refers to an alternate Audio CD edition.

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Favourite Worst Nightmare Review

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(More customer reviews)Picture this: a band of guys that are barely adults come out of nowhere and create an album that although doesn't sell a WHOLE lot (well, in the U.S., anyway), it makes such an impact that it was the fastest selling debut album EVER in their native England, and it was even nominated for two Grammys in the States. Yes, I'm talking about Arctic Monkeys and their electrifying debut, Whatever People Say I Am, That's What I'm Not. But then the question is, how do you measure up to something like that? The answer: make an album like Favourite Worst Nightmare.
I initially thought the Monkeys would be taking a break after bassist Andy Nicholson quit the band just before last year's North American tour (which I wish I was at, but it doesn't matter; nobody ever comes to Milwaukee anyway). But in came new bassist Nick O'Malley, and he blends in quite well with the other members. Alex's songwriting is invigorating as always, and he and the rest of the band continue to impress, as shown by tracks like "Old Yellow Bricks" and "Teddy Picker".
One song that I have to mention, though, is the lead single "Brianstorm" (not brainstorm; "BRIANstorm"). That's the album's opening track, and the way those guitars start just blow you away AND invite you in at the same time. It's also interesting to hear a few mellow tracks that don't sound so clichéd, like "Only Ones Who Know" and "505". Speaking of romantic tunes, "The Bad Thing" is pretty funny.
I also like the metaphorical "Balaclava" (which is the proper term for a ski mask; at first I thought it was a unique way of saying "baklava"), but my favorite song on the album would have to be...hell, ALL of them. I don't know what's more impressive, that the Monkeys made another great album, or that they did it all in less than forty minutes. Whatever the case, pick up Favourite Worst Nightmare NOW.
Anthony Rupert

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While this sophomore release is unmistakably Arctic Monkeys,everything's a little more muscular and aggressive. Each song is embeddedwith revelatory moments, as if some sort of critical mass is achievedthrough skillful song craft and sharp arrangements until an explosiverelease of energy or emotion is inevitable. Arctic Monkeys have exceededexpectations with this record.

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Death Magnetic Review

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(More customer reviews)Many Metallica fans have thought of them as sellouts ever since they released their first music video to "One" back in 1989. After they enlisted producer Bob Rock for "The Black" album, Metallica became "radio friendly" with many songs coming in at around five minutes or less. Load and Reload did little to reverse this, and St. Anger was easily the worst CD that Metallica ever released. So it is with good reason that many have been sceptical about what to expect from Metallica's latest offering Death Magnetic.
Some significant things have changed since St. Anger. This is the first release from Metallica on their new record label, Warner Bros. Many will cheer that producer Bob Rock is also gone having been replaced by renowned career resurrector Rick Rubin. All of this is somewhat academic, though, unless the music also changed as a result.
I'm pleased to report that Death Magnetic is somewhat of a Renaissance for Metallica. While it will not be mistaken for what many consider to be the best trio of metal CDs made (Ride The Lightening, Master Of Puppets, and ...And Justice For All), it is a marked improvement over what Metallica has had to offer over the past 15 years. Much of what you will hear falls somewhere between Justice and The Black Album.
Right out of the gate on "That Was Just Your Life" many of the signs of old school Metallica are on display. This song starts with a simple, bare, and undistorted guitar line, but it builds to full on thrash as we see that Lars Ulrich has remembered what drums on a Metallica album are supposed to sound like. Before the first verse starts, James Hetfield and Kirk Hammett remind us what the dual guitar lines can sound like. And yes, Kirk Hammett's soloing is also back, and he does not disappoint. The next two tracks continue to crunch along, but some will lose heart when "The Day That Never Comes" come up. However, it manages to finish much stronger than it starts. As if sensing that they needed to dial it back up, "All Nightmare Long" returns to full on shredding and goes from there. The combined guitar lines and drum line create a tempo that feels like it could match the speed of helicopter blades. This song also finds Metallica on the familiar theme of mental stability heard on "Welcome Home Sanitarium" and "The Frayed Ends Of Sanity" from days of old.
When I looked at the track listing before hearing any of the songs, I had concern when I saw "The Unforgiven III". My first thought was, "Do we really need another rehash of the radio hit 'Unforgiven'?" However listening to the song showed me that my concern was in vane. While "The Unforgiven" and "The Unforgiven II" are fairly straightforward, "The Unforgiven III" is more metaphoric as it relates life's torment to sea adventures in search of gold gone awry. The lyrics actually don't include the word "unforgiven" making the title choice a bit puzzling, but I think that "The Unforgiven III" is better than either of its namesakes.
All in all, Death Magnetic is solid heavy metal CD, but I expect reaction to it to be very mixed. The part of the Metallica fan base who will enjoy this the most are those who liked ...And Justice For All and The Black Album. They don't reach far enough back for the oldest of old school fans while those looking for Load or Reload will also likely be disappointed. Hopefully having a better idea of where this fits in the Metallica spectrum will help you decide if it is for you or not.
Download this: All Nightmare Long

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One of the most influential bands in music, ranked eighth on the list of the biggest-selling groups in history, Metallica unveils its ninth studio album, Death Magnetic. The band'sfirst album in five years, Death Magnetic is also its first with renowned producer Rick Rubin (Danzig, Slayer, System Of A Down,Slipknot), first with bassist Robert Trujillo, and first on Warner Bros. Heavy and thrashy, unafraid to embrace the band's past yet moveinto the future.

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Vapor Trails Review

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(More customer reviews)Really 3.5 stars...
With the release of _Vapor Trails_, Canadian progressive rock masters Rush have reinvented themselves once again. Never content to simply rely on constantly reusing a single formula to achieve their artistic expression, not to mention their incredible commercial success, guitarist Alex Lifeson, bassist/vocalist/erstwhile keyboardist Geddy Lee and drummer/lyricist Neil Peart have returned to the standard power trio format that put them on the map in the mid-1970's, with perhaps their heaviest album ever.
_Vapor Trails_, Rush's 17th studio release in 18 years and the band's first studio release since 1996's _Test for Echo_, was received by fans with great expectation, and some mixed reviews. More than anything, the long layoff was due to personal hardships endured by drummer Neil Peart who lost his wife to cancer and his daughter to a fatal car accident within about a year of one another. Peart was so devastated by the loss of his family that this consummate drummer, who is widely renowned for his work ethic, did not pick up a drumstick for something like two years.
After Peart had recovered sufficiently from these losses, the band began writing new material, primarily by sharing tapes with one another, with a "no pressure/expectations" attitude that the process would either result in an album or not. In interviews, members of the band have stated that until a certain point, well into the writing process, the band's future was still undecided. In the course of working out the material, Geddy Lee's keyboards, which had grown from sparse use on 1977's _A Farwell to Kings_, and evolved into a dominant aspect of the bands sound by the early 1990's, were abandoned. This lack of keys and the songwriting, brought about in large part by Peart's hardship and his largely solitary reconstruction of himself, are, I think the two primary things that lend to Rush's most guitar-driven, visceral and emotionally open album to date.
Personally, I think that the 13 tunes offered here easily stand up to the vast majority of mass-marketed drivel that constitutes today's popular music scene. (Yeah, I am opinionated.) From the frenzied opening double kick-drum/distorted guitar onslaught of "One Little Victory" to the jangly and popish "How It Is" and on to the brilliantly written, building "Secret Touch," Rush - the band that, along with Yes, King Crimson, ELP and a handful of others put prog rock on the map - delivers an assortment of well written tunes, brilliantly executed by a trio of virtuoso rock musicians. I honestly don't think many will like all 13 cuts on this album (personally, I'm not that fond of "Ghost Rider" and "Freeze"), but I would guess that most Rush fans would end up liking at least 8 to 10 songs.
The following might be more info than you want to bother with, but people have brought up the album's sound quality. I agree that it is an issue and this is just an attempt to explain what I think is going on...
Sonically, the problem with _VT_ is that it is mastered too loud. (Mastering is the process wherein the finished stereo mixes: receive final equalization, as well as, relative and overall level adjustment, are ordered, track gaps and crossfades set, etcetera.) Recent years have seen breakthrough technology emerge in the world of digital audio, which, among other things has revolutionized digital compression and "brickwall limiting" (the two most common techniques for increasing the average level of audio program material, and therefore, perceived volume of a CD). This, in turn, has made albums louder and louder each year in contest that began about a decade ago.
For better or for worse, this album was not mastered by any of the gurus of the trade (like Bob Ludwig or Bernie Grundman to name a couple) and I think it suffers for it. There are plenty of albums that are as loud as _VT_, and a few that are even louder, but many of them sound a lot better. The compression artifacts from the signal level processing, not to mention some poor final EQ choices (the exact problems) are absurdly evident to the trained ear, and sound bad to most people, whether or not they have the audio engineering experience to identify them with precision. I think it is really fair to say that the mastering job on this album is the easily one of the worst I've heard on a significant major label release...ever!
Rush are veterans of the studio, and Paul Northfield is a talented and experienced producer and audio engineer. Both have turned out consistently high quality recordings over long careers and it's not likely that these mixes were mediocre product. Honestly, it is actually not possible to objectively judge the mixes that came out of the studio once they have been mastered. A skilled mastering engineer can turn mediocre mixes into outstanding final product and, clearly, that level of technology, in the wrong hands, can destroy a fine recording. I think that is what has happened here. (This is likely the result of pressure from the label in an attempt to position the album to compete for the dollars of the younger segment of Rush's fan base, who generally listen to new, loud CD's.)
Poor sonics notwithstanding, with _VT_, Rush has made a powerful, personal and appropriate musical statement a time in the band's history that represents a definite personal and career crossroads. While it may not be their best ever, _VT_ is a very good album by an excellent band that has deservedly earned a place in history as one of the greatest progressive rock bands ever. It's really a shame it doesn't sound better...
PS - if you are new to the band you might prefer one of their definitive classics: _2112_, _A Farewell to Kings_, _Hemispheres_, _Permanent Waves_, and/or _Moving Pictures_.

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Japanese Version featuring an Introduction Written by Mike Portnoy, the Drummer from Dream Theater.--This text refers to an out of print or unavailable edition of this title.

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Gone to Australia: On Tour 1975-1984 Review

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(More customer reviews)This album is one of the most regrettable examples of extreme "loudness war" mastering I have ever had the displeasure of analyzing. Besides the usual absurd raising of volume levels with complete disregard to the dynamics of the songs, there are nothing less than 24477 clipped samples on the left channel and 18536 on the right channel. This happens when the sound levels go beyond the limits of the audio CD specifications and parts of the sound wave are "cut off" - or, in other words, the waveform literally flatlines and any sound at those points is simply lost. Even in the parts where clipping does not occur, the absurd raising of the sound levels results in some very uncomfortable listening. Again, these audio "engineers" should definitely go work in some other field more adequate to their abilities like dog walking or whatever, where they can't slaughter music like they have done here.

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Expanding on the rare & elusive 1983 Australian-only 'OnTour' LP, 'Gone To Australia' includes the remixed tracksfrom that album, plus previously unreleased liveperformances of such Steeleye favorites as 'Barnet Fair','Cam Ye O'er Frae France', 'Black Leg Miner', 'Thomas TheRhymer' & 'The Mason's Apron'. The set is rounded out by'Sum Waves'/The Devil's Dream' from a 1975 live performance that was painstakingly restored from the ultra-rare & onlysurviving acetate of this recording. Includes deluxe 12page color booklet featuring rare photos & detailed linernotes by band members Maddy Prior & Peter Knight.

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