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da-janela-lateral · 17 days

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Unstoppable force meets immovable object, more known as "absurdly long and complex music liker" meets "won't listen to any music".

#I don't really think Teru would be a progressive rock guy but let the artist project. for the punchline #Ritsu probably accepted to listen for a dare and severely underestimated how huge an 5 songs-long album can be #also I'll seize the opportunity to talk about my favorite rock fan Teru headcanon #you know when kids/young teens discover about rock and get REALLY into an old but mainstream band while thinking its super obscure?#I imagine 9 year old Teru being a huge fan of Guns N' Roses or something because it was one of the only bands he knew #and getting a too big band shirt because he was an excited child who just became “independent” and could take his own decisions #the shirt is now worn and holey. the print is fading. it has been two years since it was oficially declared unfit to wear in public #but for some reason Teru can't bring himself to throw it away yet. It'll be a “alone in home” outfit until it proves to be unwearable #mp100 #mob psycho 100 #teruki hanazawa #ritsu kageyama #lalarts

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fangomusic · 10 months

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Nine albums: Primus.

Frizzle Fry (1990), Sailing the Seas of Cheese (1991), Pork Soda (1993), Tales from the Punchbowl (1995), Brown Album (1997), Antipop (1999), Green Naugahyde (2011), Primus & the Chocolate Factory with the Fungi Ensemble (2014), The Desaturating Seven (2017).

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dreamings-free · 7 months

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HAPPY BIRTHDAY FOUR !

released November 17th 2014

#my fave ❤️#1D #four the album #17.11.14 #gonna rock out to no control now #ot5 #four is 9

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k-i-l-l-e-r-b-e-e-6-9 · 1 year

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Van Halen –Hot for Teacher

#Van Halen #1984 #Hot for Teacher #Format:#Vinyl #LP #Album #Released:#Jan 9 #Hard Rock #Classic rock #80's #80s #USA

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ub4q · 8 months

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The Amarantus soundtrack is out now on Bandcamp and Youtube for all your post-rock & revolution needs.

(album art by @0re)

#amarantus #indie games #post rock #basically new remixes of all the tracks in the game PLUS a track we had to cut during development #PLUS the delightfully Extra track from our launch trailer #and also new album art. which all i will say about is : wah #my faves are tracks 1 5 9 and 10

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x-heesy · 8 months

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Childhoodmemories (ave dementia leX)

There's something else - deep inside me

A shadow in the mind

He is a part of me

It has me in its hands

Thoughts become fruit

Who are corrupt

It sends my brain on a journey

I don't know who I am anymore

I am

I'll take you to heaven

I'll show you your paradise

I let the angels sing for you

I'll show you your paradise

You were lonely

And I just had time

Your condition is not good

Sometimes I go too far

Helpless on the ground

Are you not feeling well

Pure fear envelopes you

Like a dark cloth

Like dark cloth

I'll take you to heaven

I'll show you your paradise

I let the angels sing for you

I'll show you your paradise

I'll take you to heaven

I'll show you your paradise

I let the angels sing for you

I'll show you your paradise.

Paradies by Böhse Onkelz @bethanythestrange @wayward-cat @bigbonzo

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gentleoverdrive · 3 months

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[March/1 of ?] Can you feel that? Oh shit!

Have you ever felt that, as an online culture, we "backed" the wrong horse in the memetic zeitgeist? Right now you're probably wondering what the hell is it that I'm talking about specifically, but rest easy: I am indeed talking about how Disturbed's "Down with the Sickness" fucking sucks and how we should've memefied "Stupify" instead.

---- The argument is simple: Better overall instrumental performance AND way funnier/more annoying vocal stylings. If you think I'm high on fumes or something, hear for yourself.

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---- If you're listening to crappy butt-rock, at least go for the track that has something going on for it throughout, instead of just one mildly interesting hissy-fit on a song that also includes a skit that sounds like the best acting Robert Downey Jr. ever did, it's all I'm saying. ---- On second thought, Dan Donegan is a "Cancel culture" whingy shithead that makes me embarrassed that I use the same guitar brand as he does and David Draiman is an all-around garbage person, so I think that's way funnier (even if unintentionally) than anything they have ever put to tape. Here's a cool song by an awesome band that I still love instead...

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Anyway, I'll probably go back to writing about anime and Fire Emblem because that's all it ever seems to interest people when I type out these journal entries/brain droppings. Love a duck!

#journals of an old bastard #music mindset #nu metal #butt rock #music memes #disturbed #disturbed reference #songs becoming memes #old man yells at cloud #nothingface #nothingface reference #things I wrote that I immediately regret writing #it was the lack of coffee in my system I swear to Amaterasu #I've sorta made peace with the fact that I'll probably remain one of the many “fire emblem randos” to most people #Distubed is also like the ultimate nu-metal/butt-rock “singles” band. Their “dud-to-stud” ratio is like 1:9.#Compare and contrast to Nothingface whose last three albums were certified wall-to-wall slappers.#Disturbed is still somehow less annoying than Kid Rock #who besides being annoying and untalented is boring as shit #Also he's on his fifties and still goes by “Kid Rock” lmao.#Youtube

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linoguy · 5 months

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i am not is such a solid album...................................................

#i went to listen to not! and ended up letting the whole album play #youre telling me this album has 3rd eye awaken rock district 9 not! grow up and mirror....... she's so solid bro

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luuurien · 6 months

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Jeff Rosenstock - HELLMODE

(Power Pop, Pop Punk, Indie Rock)

With a luxurious studio and financial support from Polyvinyl, Jeff Rosenstock lowers the heat on his fifth studio album so gorgeous textures and catchy indie rock can take precedent. Despite HELLMODE’s shift in sound and resources, Jeff Rosenstock remains confident in his sharp-witted, reflective punk rock.

☆☆☆☆½

Jeff Rosenstock’s never made concessions to the music industry, even with Emmy nominations under his belt. The now 41-year-old musician has been a lynchpin in modern punk, from Bomb the Music Industry!’s rebellious power pop to his ska-punk collective The Arrogant Sons of Bitches fusing atmospheric and playful post-2000s indie rock with skank rhythms and melodic hardcore riffing, his solo career starting with 2015’s We Cool? taking those core values to even greater heights. But after over eight years of creating music on his own terms, Rosenstock took up the opportunity to record his next album at EastWest studios, a recording space best known for fostering the luxurious pop of Pet Sounds and I Will Always Love You, experimenting with echo chambers and studio trickery to give HELLMODE a distinct shine. It’s easily his prettiest album to date, replacing the blown-out mixing of 2020’s NO DREAM with glittery lead guitars and sugar-coated performances, HELLMODE Rosenstock’s answer to the past few years of lockdown and massive social upheavals. Where his last album sought respite in disorientation, HELLMODE aims its efforts towards Rosenstock’s privileges and paranoia to use them as fuel for the long haul. Rosenstock’s been fighting for independence and community since the start of his career, and expensive studio sessions have only served to heighten his message.

Despite the pristine mixing and catchy, melody-focused instrumentation, HELLMODE isn’t far from Rosenstock’s past albums: HEAD’s ferocious synth punk comes right out of the gate three minutes into the album; LIKED U BETTER nods to ska with its offbeat guitars and vocal chants; the seven-minute closer 3 SUMMERS is one of the loveliest songs in Rosenstock's discography; his use of EastWest’s resources to heighten the effect of his already fantastic power pop rather than try and reinvent it results in tamer but songs able to balance warmth and clarity with the euphoria rush of double-time rhythms and syncopated basslines. He also leans further into acoustic cuts and smooth indie rock to create distinct peaks and valleys rather than his usual barrage of killer punk rock, HEALMODE a sensitive singer/songwriter track allowing him to explore his new relationship with Los Angeles after relocation from his longtime home of Brooklyn, city rain and pine needles revealing a romanticism and gentleness rarely seen in his music, while something like the mellow first half of DOUBT slowly builds into its explosive final quarter, sludgy changes and one final crescendo into double time a glorious payoff from Rosenstock’s reserved and careful performance at the beginning. HELLMODE doesn’t use all the extra production polish and instrumental details to distract you from the core of these songs, Rosenstock instead keeping the music simple so all the extra effects stay exciting and fresh - he may be recording in the same studio that brought about Let’s Get It On, but he uses all those extra flavors sparingly.

Fitting to HELLMODE's musical renovations, Rosenstock’s writing finds itself less anxious and detached, focused on the future and continuing to fight against systemic injustices despite how slow progress can be. WILL U STILL U opens the album with questions of commitment and forgiveness that permeate the entire tracklist, its overarching worries of how far someone can extend their understanding before needing to fight back (“Will you still love me after I’ve fucked up? / After I’ve shown I don’t deserve your trust / …And would you transcend time and space so you can punch my stupid face”) brought about in GRAVEYARD SONG’s calls for destruction and HEALMODE’s desire for simple, uncomplicated connection, but also in the exhaustion from watching the world continue to spiral in the exhilarating skate punk highlight FUTURE IS DUMB and HEAD’s fiery outpour of anger towards republican pundits and violence against protestors, Rosenstock aware of the resources and opportunity he has and the responsibility inherent to it. He directly speaks of that culpability in tracks like 3 SUMMERS and FUTURE IS DUMB, the acute awareness of how your privileges affect others and trying to do as little damage as possible making Rosenstock’s most electrifying songs to date, the same language and message he’s been pushing since the start of his career given a new frame of reference as he entrusts his music to carry those ideas further than he could alone. It’s no surprise, then, that despise HELLMODE being the most expensive album of his career, Rosenstock still released it entirely for free a day early on his Quote Unquote Records website, still championing for artistic independence even with all the other worries hanging over him - he may not be able to change the entire world, but still takes every small chance to do what he believes is right.

It’s easy to imagine any of HELLMODE’s songs slotting somewhere on one of his previous albums, but the album remains distinct in how its eleven tracks reign Rosenstock in together, a prettier and less overwhelming album from him than ever before that’s still unpredictable and fun. He uses the extra funding given to him by Polyvinyl how he wants to, creating some of the loveliest pop punk in recent years that’s true to him in every way, doubtful and comedic and full of energy with excellent musicianship to back it all up. It’s not particularly surprising hearing him sing about the music industry or relationships or capitalism, but HELLMODE engages with the fuller spectrum of Rosenstock’s emotions, exploring his convictions through both furious punk rock and contemplative fingerpicked guitar, his storytelling sent through more than the usual power pop and indie rock and coming out the other side with one of his strongest releases yet. HELLMODE is simple, but that’s why it works: Jeff Rosenstock’s always known his music’s purpose, and what’s here is no different. His explosive, existential calls to action remain necessary as ever, and a new coat of paint is all he needed to make HELLMODE this year’s premier rock album. If you’ve liked Jeff Rosenstock before, there’s everything to love about HELLMODE.

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forathousanddays · 9 months

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Closure in Moscow - First temple (REVIEW)

First Temple is the 2009 debut album of Aussie five-piece prog rock powerhouse Closure in Moscow, and a stunning introduction to their avant-garde sound, remaining untouched to this day. Produced by the titanic label Equal Vision Records (formerly Polyphia, Pierce The Veil, etc.) there was an expectation to uphold the standard set by their previous EP (self-proclaimed albumette,) The Penance and The Patience.

Closure in Moscow went to great lengths to pump out an equally impressive album, with a wide range of tracks and atmospheres. Their follow-up album Pink Lemonade is a far cry from the grounded surrealism of First Temple, but you can feel the trails their freshman release patted down first. They've got another one coming out October 25th, so keep your eyes peeled for that review when it comes out.

Track-by-track below the cut.

TRACK 1 - KIssing Cousins

No, I didn't mess up with the shift key, that's how it's stylized. The mix on this track feels a little too subdued, with the vocals and the instruments occupying the exact same space. It creates a crowded effect for the listening experience, in a way that detracts a little too much from the stellar performances on both ends. The background vocals come through way in the back, but that does come with a more surreal feel to it.

I'd like this a lot more if it was mixed better. 6/10

TRACK 2 - Reindeer Age

The tone is immediately different. The guitar has a curious synthetic twanging to it in the verses that still persists in the back of the mix during the chorus, making way for an incredibly fast-paced guitar. To this day, Reindeer Age remains the fastest track in their discography. Verse and chorus switch back and forth almost too fast to keep track of in a frantic crystallization of the experimental and esoteric sound of First Temple.

8/10, pay attention to the drums when you listen. They're definitely a highlight.

TRACK 3 - Sweet#hart

I really couldn't tell you why this is stylized the way it is. The lyrics are a vivid portrait of a very specific state of mind that's a little too complicated to convey in semi-formal prose. The chorus is incredibly strong, maybe the strongest on the album (or in their discography?) without detracting from the poignant verses. (I feel like I need to use that word more here.) The contrast between the instrumentation between the verses and the chorus is really something special.

Just as fun from start to finish. 10/10

TRACK 4 - Vanguard

This is First Temple's most traditional presentation of rock in its instruments and vocals, but most outlandish lyrics. Frontman Chris de Cinque has described Vanguard as "entirely too obtuse [...] an exercise in thesaurus masturbation," and I'm not inclined to disagree. I know with full confidence, however, that nobody is here for the lyrics. Vanguard has soaring guitar riffs from start to finish, and a palpable energy that permeates every line delivery.

Really, really cool. 9/10

TRACK 5 - A Night At The Spleen

Vanguard might have been a ten if it wasn't in between Sweet#hart and this. I can't in good faith count them as cut from the same cloth. A Night At The Spleen is a honeyed experience, wrought with thrumming riffs, cheeky soloes, and the timeless classic "boomer bend." There's an infectious energy running through it, even infused in the quiet tension of the bridge. Not even the silence is free of it; every rest feels like an intentional build to what comes next.

Perfect energy, a masterclass in momentum. 10/10

TRACK 6 - I'm A Ghost of Twilight

Again, the questionable mix rears it's head. The instruments and the vocals occupy the same space, and it takes away from both. That being said, this is a better execution than in Track 1, as it gives a little more room for de Cinque's more powerful vocals to make their own space. This has possibly the most decipherable lyrics o

n the album, and I'm thankful for it. I'm A Ghost of Twilight builds a powerful atmosphere in both it's sound and lyrics, with both augmenting each other.

It would've been easy to give these lyrics a slower, sadder song, but this was the better choice for sure. 8/10.

TRACK 7 - Permafrost

It wouldn't be a prog rock album without a couple very experimental tracks. Permafrost lives up to its name, with a cold and impenetrable haze over the mix. The lyrics are pretty grim, and de Cinque has gone on record calling it a separation for the two more distinct "acts" of the record. Allegedly super drunk recording the vocals, which I could probably guess.

5/10.

TRACK 8 - Deluge

Very refreshing, coming out of Permafrost. The mix is clear and properly arranged, with the vocals in front of the instruments and very clean layering. The pre-chorus belt is a great touch, especially next to the more delicate delivery on the chorus itself. Deluge is a lot of moving parts, and it would be lesser without any single one of them. The chorus lyrics are really profound (dare I say poignant?) and contrast with the more whimsical delivery. Closure's always been good at mixing whimsy with melancholy.

8/10.

TRACK 9 - Afterbirth

I really couldn't tell you what's going on with the instruments here. Logically, I know what I'm listening to is a guitar, but something about the tuning and key of it make it feel alien. de Cinque cites game show music as his inspiration for it sonically, and I can definitely see it. This is maybe the least decipherable the album has been so far, but "the hour of my echo is at hand" is a badass line. There's so much going on here, and I appreciate the cacophony.

The guitar in the back of the bridge is way too cool to be that quiet. 7/10.

TRACK 10 - Arecibo Message

Oh, good, the lyrics got even less decipherable! The sound is full and developed, with a completeness to it that says I don't really mind not being able to understand the lyrics. This is probably the most "First Temple" song on here, with a huge range of sounds and feelings behind it. As the last real rock song on the album, it's a fitting dismissal of the second "act" and a comfortable transition into the "epilogue." The chorus is a blast.

The key change into the last chorus really makes it. 8/10

TRACK 11 - Couldn't Let You Love Me

The acoustic shift here doesn't make this song any less full. Every inch of the mix feels occupied by something that needs to be there, and the steady guitar is very welcome. I'm impressed by the ability to set a bassline off an almost pizzicato-esque acoustic guitar.

6/10, still a fan though. Anything above a 5 isn't a bad song!

TRACK 12 - Had To Put It In The Soil

Had To Put It In The Soil is the most intimate and bare song on the album, lyrically. First Temple has been full of fits of real emotion obscured by cryptic and overcomplex lyrics, and our final track is the conscious effort to face that habit and push through it. It's really beautiful, surprisingly serious, exceedingly mature and most of all just poignant.

9/10, doesn't sound too stellar but it's really pretty.

RETROSPECTIVE

First Temple is an avant-garde exploration of a lot of complicated feelings and dynamics, in a generally energetic and digestible package. It's one of the prime examples I use for prog as a genre, with an incredibly forward-thinking style and range of sounds. Every track on the record feels like it fits the name of the genre perfectly, as a progression and test to the limits of what we understand as rock. The separation between the two distinct "acts" is a really nice touch, too.

9/10, even if it's largely indecipherable.

#album review #music blog #closure in moscow #chris de cinque #christopher de cinque #prog rock #first temple #9/10

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sbnkalny · 1 year

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Punk goes pop franchise. the album contains thirteen bands from the pop punk, post-hardcore, metalcore, and Alternative Rock scenes covering mainstream pop songs. it was

#QUOTE #DAY 9 #Punk goes pop vol. 7 is the seventeenth compilation album in the Punk goes... series by pierrot #based on Fujio Akatsuka's 1962 manga series #osomatsu-kun?. Punk goes pop franchise. the album contains thirteen bands from THE pop punk #post-hardcore #metalcore #and alternative rock scenes covering mainstream pop songs. it was released on march 21 #2017 #by Pledis entertainment and distributed by LOEN entertainment. Ahahaha! Vyse #that wasn't much of a struggle It WAS only a guard wheel That would turn meat over a fire. they were eternal.

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fangomusic · 5 months

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Nine Albums: Art Rock

The Velvet Underground & Nico, The Velvet Underground & Nico Radiohead, OK Computer Pink Floyd, The Dark Side of the Moon David Bowie, ★ [Blackstar] Talking Heads, Stop Making Sense Anna Calvi, Anna Calvi Patti Smith Group, Radio Ethiopia Elza Soares, A mulher do fim do mundo TV on the Radio, Return to Cookie Mountain