Mostrando entradas con la etiqueta 2005. Mostrar todas las entradas
Mostrando entradas con la etiqueta 2005. Mostrar todas las entradas

viernes, 20 de mayo de 2011

Jarboe - 2005 - The Men Album (2CD)

Disc 1

1 This Is Life Jarboe 6:01
2 Found DeSouza, Jarboe 3:21
3 To Forget DeSouza, Jarboe 4:17
4 Reason to Live Child, Stanley 5:09
5 Redeemer (Lion) Jarboe 1:33
6 A Woman's Dreams Jarboe 7:42
7 Into Feral Jarboe 1:54
8 Feral Blixa Jarboe 2:07
9 Feral Jarboe 8:37
10 Your Virgin Martyr LeBan 7:15

Disc 2

1 This Is Life, Meridien Howard, Jarboe, Ross 5:54
2 Angel David Jarboe 4:04
3 Dark Strong Sauce Jarboe 0:44
4 Bass Force/Angel Jim [Low Rider Mix] Jarboe 8:36
5 Torn Kiss Torn 2:17
6 Penance Izzo, Jarboe 8:41
7 Subtraction Jarboe 4:53
8 Jarboe Feral (Durga) Jarboe 1:08
9 When the Sun Rises Jarboe 2:56
10 Edward Life Jarboe 12:52

¡Aquí!

miércoles, 18 de mayo de 2011

Abonizio Sainz - 2005 - Cualquier Tren a Ningún Lado

01 - No Estamos A Salvo
02 - Carta A Un Ladron
03 - Descreo
04 - Naranjas
05 - Noche
06 - Pibe Del Sur
07 - Volar
09 - La Sombra De La Guitarra
10 - Tus Brazos En Cruz
11 - Fauna Marina
12 - Cualquier Tren A Ningun Lado
13 - La Negrita De Moron
14 - Esta Velocidad
15 - El Como Y El Porque
16 - Historia De Mate Cocido

¡Aquí!

lunes, 9 de mayo de 2011

Abisal - 2005 - Take A Trip


La banda: Formados con la intención de tocar música surf instrumental (rock californiano de los años 60) el grupo se presenta en distintos escenarios de la Ciudad de Buenos Aires y la Costa Atlántica Argentina a partir del año 2002. Con un repertorio de temas de The Shadows, The Ventures, Dick Dale y The Astronauts en el año 2003 graban “Surf Guitar” y lo presentan en el Centro Cultural Rojas en un show junto a “The Supersonicos” (uruguay). En 2005 lanzan”Take a trip” su primer cd oficial. Se destacan los originales y las versiones de temas de Henry mancini y Astor Piazzolla. Comparten shows con Cienfuegos, Massacre, Mimi Maura, The Tormentos, Los Kahunas y Flavio Casanova entre otros artistas. Durante 2005 y 2006 Abisal forma parte de la banda sonora de los siguientes programas de tv: “MDQ para todo el mundo” y “Chau Domingo”.. En Abril de 2008 vuelven a los escenarios con nueva formacion y entran a los estudios TIXA a registrar nuevo material

01 – Penetration
02 – The Hearse
03 – Take A Trip
04 – Surf Party
05 – Libertango
06 – Midnight Too
07 – Banzai Pipeline
08 – Surf Rider
09 – El Toro
10 – Movin’
11 – Misirlou
12 – The Ultrafactor
13 – Pyramid Stomp
14 – Caveman

¡Aquí!

sábado, 28 de noviembre de 2009

Y&T - 2005 - Unearthed, Vol. 2

A follow-up to Dave Meniketti's first trawl through the Y&T tape vaults, Unearthed, Vol. 2 contains 18 more Y&T songs recorded at various points between 1973 (when they were a Bay Area hard rock band called Yesterday & Today) and 1989 (the end of their largely failed Geffen-era attempt at an Aerosmith-style comeback appealing to the hair-farmer audience). The album opens with the snarling "Face to Face," a riff-rocker co-written by Ronnie Montrose of the titular band with whom Y&T were most often compared in the early days, and skips around non-chronologically from there. Highlights include early versions of a few familiar tunes: "Dance Dance Dance" was eventually re-recorded in 1987 as "L.A. Rocks," but this rougher-edged version is superior, as is the original acoustic version of "Hands of Time," which smokes the later power ballad version that appeared on a charity compilation in the late '80s. Meniketti's impressively honest liner notes promise a warts-and-all listening experience, the most bumpy-sounding being the sluggish, overlong "More" and "Help Me Hear Me," which is rather blatantly ripped off from Deep Purple's "Gypsy."


¡Aquí!

viernes, 6 de noviembre de 2009

Jandek - 2005 - Glasgow Sunday

Satan donned his winter coat on October 17, 2004 when the mysterious Jandek made his first known public appearance at the Glasgow club the Arches -- appearing in conjunction with Scotland's Instal Festival, billed simply as a "representative from Corwood Industries." On that day, and backed by Richard Youngs on bass and Alex Nielson on drums, Jandek crossed the threshold from myth to reality, proving that the gaunt, enigmatic image that graced his record covers for over a quarter century was indeed the selfsame figure behind this vast body of strange, powerfully affecting music. For Jandek devotees, it's virtually impossible to separate what Glasgow Sunday is from what it represents -- not just a document of his landmark coming-out performance, it's also irrefutable proof of the man's existence, which both complements and complicates all that has come before it. On the one hand, the live Jandek experience is remarkable -- the music thrashes and soars like the flying pig it is, sharpening the visceral edge of his best recordings to achieve something vaguely approximating a recognizable form of rock & roll. But on the other hand, there's an inescapable sense of loss -- the Loch Ness Monster had been captured, Deep Throat unmasked, and the riddle of the pyramids solved. Of course, that leaves the tantalizing question of where Jandek goes from here, which may be more than enough to keep his devotees on their toes; after all, answers don't merely solve mysteries, they also create new ones.


¡Aquí!

martes, 27 de octubre de 2009

Wolf Parade - 2005 - Apologies To The Queen Mary

Montreal quartet Wolf Parade's full-length debut fully lives up to the potential bred by their early EPs and all those gushing blogs. They use Apologies to the Queen Mary producer Isaac Brock to their best advantage, acknowledging their debt to Modest Mouse but using his ear as a resource to tinge their endearingly brittle indie pop tunes accordingly. Spencer Krug and Dan Boeckner both sing in that certain kind of wry yelp that seems so quirkily marketable in the mid-2000s -- see the Shins, Clap Your Hands Say Yeah, Hot Hot Heat -- and it doesn't hurt that most of Wolf Parade's songs are pretty top, too. "Shine a Light" and "You Are a Runner and I Am My Father's Son" repeat from the self-titled EP, "Grounds and Divorce" bops along on cheery keyboard effects and an eight-note guitar solo, and Boeckner honks roughly over the modified new wave of "It's a Curse." Wolf Parade admit their love and theft of the past 30 years of rock music, from Bowie to Black Francis. They allow that, then purposely strip the songs of any slickness or accoutrements, so the keys and squiggly guitars and terrifically simple drums (Arlen Thompson might play just a kick drum and one big snare) teeter and balance together in a hectic and gloriously alive pop state. Have you heard Wolf Parade? They'll change your life.


¡Aquí!

domingo, 13 de septiembre de 2009

Kaizers Orchestra - 2005 - Maestro

Anybody wondering what happened to Tom Waits after Franks Wild Years or Radiohead after OK Computer need look no further than Norway's Kaizers Orchestra. The sextet are about as far from conventional as one could imagine (Eastern European folk music filtered through an apocalyptic post-rock prism), so it comes as a bit of surprise that their third full-length recording bears the stamp of Universal Records. The cocky, gas mask-loving Scandinavians have always seemed poised to make the leap to a major label, especially after racking up the awards for 2003's independently released Evig Pint, but the prospect of hearing their signature blend of pump organs, oil drums, and staccato guitar get the "big time" treatment initially put a scare into longtime fans. They need not worry, however, as the resulting Maestro is nothing short of magnificent. A veritable slaughterhouse of ideas, it takes the Orchestra's formula one step further, bringing in the occasional vocal manipulation, heavily compressed snare drum, or weepy string/horn section to flesh out what may be the group's most concise and fully realized effort to date. While they remain true to their penchant for Tin Pan Alley nightmare music, the 12 cuts that inhabit Maestro veer wildly from genre to genre, taking bits and pieces of punk, folk, funk, jazz, and rock and shredding them to bits. A blues-kissed backbone sticks out on "Knekker Deg Til Sist," "Christiania," and the brutal closer "Pa Ditt Skift," while "Blitzregn Baby" sounds like a collaboration between Ennio Morricone, Supergrass, and the Misfits. English-speaking audiences don't need to understand a lick of Norwegian to identify with Maestro, as it sets a mood so universal in its volatility that even the most xenophobic listener will have no choice but to hit repeat over and over.


¡Aquí!