Fun Stuff > BAND
The M/F Thread 2009: The Quickening
Bastardous Bassist:
--- Quote from: smack that isaiah on 16 Nov 2009, 16:33 ---(I guess you guys replace a letter in the website's names so that if ppl search for the file sharing site your forums won't show up, right? I'll do that.)
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The word filter automatically does it.
smack that isaiah:
oh, well that's nice. but, should I not post a Meg@upload link? I could reup the album on mediafire over Thanksgiving when I'm home
Scandanavian War Machine:
meh i think megaupload is okay in a pinch so i wouldn't worry about it. it's stuff like Sendspace and Rapidshare that we try to avoid since they are evil.
smack that isaiah:
Well, I found this album at my local record store in the bargain bin for $1 (last year my roommate and I wrote a blog where we bought bargain bin albums and reviewed them, but it stopped over the summer when he stopped updating weekly (I would like to start updating again, but he doesn't due to the heavy work loads we've been getting)). I personally really liked this album due to the very varied genres that consistently appeared in each track. One track could be electronica and the next might be hard rock, while others display a cabaret sound.
Mistress Stephanie and Her Melodic Cat - Take That! [2009] (seriously, the album was put into the bargain bin the same year it came out)
01 Weimar
02 Get Off My Chest
03 Shake Your Dance Stick
04 Too Hard
05 Heaven
06 I Hate Cabaret
07 Awfully Confusing
08 Grey
09 Little Death
10 Down Boy
11 Johnny Gewurztraminer
12 You Say You Love Me
(bolded tracks are ones I especially enjoyed)
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(This was the back image, I felt that buying the album was necessary)
theoryC:
--- Quote from: Scandanavian War Machine on 16 Nov 2009, 10:16 ---note: it actually took me a while to come up with another supergroup that wasn't terrible besides The Raconteurs. I almost gave up!
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Tomahawk - Anomymous (2007)
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--- Quote from: allmusic ---As a mad musical genius, Mike Patton continues his wild-eyed adventures of conquering every genre possible with Anonymous. In Fantômas he tackled horror music and cartoon themes, in the Executioners he had a go at hip-hop, in Peeping Tom he deconstructed pop, and in Mr. Bungle he combined doo-wop, funk, Middle Eastern and carnival music to make a wonderful schizophrenic mess. Anonymous maintains his journey into uncharted territory by mixing Tomahawk's unique blend of mathy-doom metal with Native American tribal chants. This blend of drastically differing musical styles could easily result in something that sounds forced or even satirical -- especially since one style is centuries older than the other -- but instead, the entire experience creates the feel of camping out at a haunted American Indian Reservation. All of the songs are embellished versions of tunes from books of transcribed "Indian songs" published in the early 1900s (with the exception of an instrumental guitar ballad that ties up the album nicely, adapted from an anonymous parlor song.) Patton fans will likely rejoice about the absurdist outcome, though the record is quite a departure from the Tomahawk of old. The group sounds less like a band performing this time around, and this may be partly due to the fact that they recorded separately. After the departure of Kevin Rutmanis (bass), Duane Denison (guitar) and John Stanier (drums) recorded their parts in Nashville, and then sent their finished product to San Francisco where Patton added his vocals and samples. As always, Patton runs amuck and uses this opportunity to show off his unrivaled range and his masterful ability to veer from layered oceans of eerie moans to psychotic barks and crooning modal scales. The result actually feels more like a Fantômas concept performed by Bungle than a third Tomahawk album, and fans may be disappointed that it doesn't sound like their last two releases, where they distinctively rode the line between savage and brooding within the constraints of heavy metal. The ominous element is present, but the dynamic shifts drastically into a more atmospheric new age realm scattered with a few chaotic explosions here and there for good measure. It feels more like a soundtrack than an album, where pieces vary from eerie, to unnerving, to mystical. Although this is a unified record that should be experienced from start to finish, individual songs have slight and interesting variations to keep the experience from becoming stale. For instance, "Antelope Ceremony" has jazzy-prog movements like something out of Zappa's Apostrophe period, and "Sun Dance" integrates four bars of thunderous punk into an otherwise tranquil desert soundscape. There's a good chance this departure from their formula will appeal more to people who want to pick up where California left off on "Goodbye Sober Day" than fans of Helmet or Jesus Lizard. But considering that the band is playing in a completely new style, and incorporating traditional Native American instruments (rain sticks, flutes, buckskin drums) this is undeniably a stunning musical exploration -- and as far as original artistic endeavors go, this ranks as Patton and company's most ambitious masterpiece. The only question left is whether or not the guys knew they were capable of creating this type of music when they originally named the band.
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