terça-feira, novembro 10, 2009

Them Crooked Vultures - Them Crooked Vultures (2009)

No One Loves Me & Neither Do I / Mind Eraser, No Chaser / New Fang / Dead End Friends / Elephants / Scumbag Blues / Bandoliers / Reptiles / Interlude With Ludes / Warsaw or The First Breath You Take After You Give Up / Caligulove / Gunman / Spinning In Daffodils


MP3 320 Kbp/s*
Digital Booklet

*Links atualizados.

sábado, outubro 03, 2009

Kylesa - Static Tensions (2009)

Poucas bandas ainda te fazem falar: "pô, esses caras mereciam mais reconhecimento". Mas vez ou outra surge alguma que te surpreende pra caralho. É o caso do Kylesa, banda de sludge formada em 2001 mas que só agora que vem chamando a atenção do povo que curte uma barulheira. No meu caso, só fui me deparar com eles semana passada. Ouvi os dois últimos álbums e minha indignação por não ter conhecido antes ainda não passou.

Numa rápida descrição: dois bateristas, vocal feminino rasgadão e guitarras com peso capaz de botar um sorriso de orelha a orelha em qualquer fã de Baroness, Acid King, Melvins e afins. Baixem e recomendem pra todo mundo, que é barulho do bom.

Download: http://bit.ly/T5o5d

quarta-feira, setembro 16, 2009

Scott Reeder - Weaver's Dawn EP (2008)

Reeder: "I've been getting asked a lot what they sound like — had to think about it for a second... way more of a band vibe than most of my solo record, leaning toward the possibility of pulling something off live in the future.

'Weaver's Dawn' — ended up as kind of a Kyuss vibe with The Foggy Bottom singin'. Some of the vocals were done through tin cans strung together. Had room for some bass stretching out at the end...

'As We Become'... hard to describe. I'd imagine it would be like locking Dave Grohl, Jaz Coleman, David Gilmour and Adam Jones in a studio for a night, even though the next morning you'd probably find Jaz picking his teeth next to a big pile of bones! I recorded this one for the Missus to mark our 20th anniversary. Heavy. Sweet. Haunting.

The artwork is a photo by Alex Solca that's an outtake from the KYUSS 'Sky Valley' shoots. We each had our personal concept stuff we worked on that ended up being completely perfect now for 'Weaver's Dawn'." (via Blabbermouth.net).

Download: http://bit.ly/y97DV

segunda-feira, setembro 14, 2009

Nebula - Heavy Psych EP (2008)

Former Eddie Glass formed Nebula in 1997, releasing the band's first EP, Let It Burn, on tiny Tee Pee Records. Over a decade later, after time served on Sub Pop and Liquor and Poker, Glass and a new bassist and drummer are back on Tee Pee with an album that could have been recorded the day after the Let It Burn sessions. His stinging guitar leads (and gift for artful bursts of noise -- check out the speaker-frying intro to "Aphrodite"), the occasional trips into space via pedals and keyboard accents, and the slow and steady drumming are all in place just as they've always been. There are some surprises, like the two-minute instrumental "Dream Submarine," which pairs bouzouki-like guitars with thunderous timpani bashing. The album's longest track, "The Other Side," is also one of its most melodic, and lives up to the album's title quite well, as it's trippy and somewhat soothing as its fuzzy main riff works its way into your brain. Put simply, if you like any of Nebula's earlier work, not to mention the 1990s work Monster Magnet, Brant Bjork, or Fu Manchu, you'll like this album just fine. (allmusic.com)

Download: http://bit.ly/bfZsb

domingo, setembro 06, 2009

Chris Cornell - Live at Paramount Theater, 2000

Bootleg "sounboard" gravado durante a turnê do primeiro álbum solo. Longe das gayzices atuais, Cornell dá um show a parte com o line-up que reunia Alain Johannes e Natasha Shneider, do Eleven, e que também já passaram pelo QOTSA em 2005. Vou postar algumas informações técnicas do show abaixo. Mas nem se preocupem muito, pois a qualidade de som está excelente.

Chris Cornell
Live @ Paramount Theater, Denver, CO

Sunshower / Can't Change Me / Flutter Girl / Mission / Preaching The End Of The World / Seasons / Fell On Black Days / Disappearing One / Moon Child / Sweet Euphoria

MP3 audio (256 kbp/s) - Soundboard

Download: http://bit.ly/zs2ph

sexta-feira, agosto 28, 2009

John Frusciante - Shadows Collide With People (acoustic)

“Shadows Collide With People (acoustic)” is an acoustic version of “Shadows Collide With People,” released, for free, by John Frusciante through his website in 2004. From John Frusciante’s official site, before it turned into a blog: “I’m releasing this acoustic version of the album because there was so much production on the record — there’s so much layering of different types of sound and things — that I just thought it would be nice for some of the fans who prefer a more raw, stripped down sound. They will just hear the songs in their raw form.

Also, on the last album I put out, we did acoustic shows and those went over really well. But I’m not doing those this time because I’m spending my time recording. So I figured I’d do a little performance in my living room and put it on the internet so people could hear me doing those songs the way I would if I were doing an acoustic show - JF.” - Fonte: Last.fm

Download: http://bit.ly/1btyxu

quinta-feira, agosto 20, 2009

Omar A. Rodriguez-Lopez - Old Money (2008)

Given its range, depth, and breadth, it's utterly fitting that Old Money, the January 2009 offering from the increasingly prolific Omar Rodriguez-Lopez (guitarist, producer, composer, and arranger for the Mars Volta), is his debut for the mind-bending Stone's Throw imprint. On this conceptual recording very loosely based around themes of childhood dreams, nightmares, and colonial capitalism, Rodriguez-Lopez and his musical partners -- who include Juan Alderete de la Peña on bass; Marcel Rodriguez-Lopez on percussion and synths; Deantoni Parks, Cedric Bixler-Zavala, and Jon Theodore alternating on drums; and Adrian Terrazas-Gonzaleson winds -- whip up the most ambitious stew he's ever created. As a guitarist, Omar has continued absorbing the knotty winding path blazed by Frank Zappa. He's also learned from him compositionally. This music may sound unhinged, loose, and utterly mind-melting in terms of its madness, but rest assured, it is scripted and recorded quite carefully. Check "Population Council's Wet Dream," as the trio of Omar (on theremin and synths as well as guitar), Alderete de la Peña, and Theodore create a power trio of a track that would not have sounded out of place on either Zappa's Hot Rats or Billy Cobham's Spectrum. The crisscrossing rhythms, key shifts, and dynamic changes that occur within this driving, intensely focused composition may feel at times like a jam, but it's far too intricate for that. "Private Fortunes" is like its mirror image, even as Omar, who plays various keys and synths as well as bass and guitar, duets with Marcel. The faux strings, rubbery keyboard sounds, and blazing guitar solo interact beautifully with Marcel's hand drums and Latin rhythms. The closest thing to an all-out jam here is the humorously titled "I Like the Rockefellers' First Two Records, But After That...," where layers of guitars and keyboards swirl around each other but are tempered by a dubby rhythm section keeping everything anchored in a single time signature -- seemingly. But even it stretches and morphs after a bit. The set closes with the title track, the longest track here. It begins like one of Omar's soundtrack compositions, with muted fuzzy guitars layered in wah-wah and reverb as well as controlled feedback and playing in harmonic extensions of one another, with killer breaks by Marcel and Alderete de la Peña's popping bassline urging on the guitars. Marcel adds a clavinet to make things even more mutantly funky, but it just ROCKS! This may be the most over the top rock recording that Omar Rodriguez-Lopez has released to date, but it nonetheless contains all the imaginative and sophisticated musical elements that have made him so compelling as an artist. In fact, Old Money is so far-reaching, it will likely piss off some of his fans while making others nearly swoon with its unwieldy rockist excesses. As for winning new fans to his cause? You bet. (Thom Jurek, allmusic)

Download: http://bit.ly/2DJJSq

quinta-feira, março 12, 2009

Year Long Disaster - 2 EPs

O Year Long Disaster já figurou aqui no blog em outras ocasiões, mas esses 2 EPs tinham ficado de fora pelo fato de ainda serem desconhecidos por esse que vos fala. Bom, o 1º EP, entitulado "Catalyst" (2004), foi o primeiro lançamento dos caras e tem 4 faixas no total; com uma produção bem crua, porém consistente, esse EP não deixa nada a desejar se comparado com a super-produção que foi feita no LP de 2007 lançado pela Volcom. Já o outro EP é de 2006 e, ao que me consta, foi lançado exclusivamente pelo website oficial. Foi até lançado um clipe pra uma das faixas - "Desperate Thirst For A Cigarrete" - bem simples, só com fundo verde e tal. Outra faixa que merece atenção é o cover de "Twist Of Cain", do Danzig, que caiu como uma luva pro YLD.

Enfim, pra quem gosta da banda e achava que havia pouco material deles circulando por aí, agora não tem mais motivo pra reclamar. :)

Download: http://lix.in/-40ec67

segunda-feira, fevereiro 09, 2009

Queens of the Stone Age - Bern, 2002-11-18 (Acoustic)

Pra acalmar um pouco, aqui vai um set acústico bem interessante do Qotsa, no final de 2002 na Suíça. Como curiosidade, cerca de 700 pessoas compareceram ao local, um grande sótão de madeira de um bar da capital Berna. Ambiente perfeito pra tal performance, que contou com várias canções desconhecidas e algumas do Mondo Generator, Desert Sessions e da carreira solo do Mark Lanegan (sim, a lenda também estava lá presente). Outra curiosidade é que é possível ver uma música desse show em vídeo no final do DVD oficial "Over The Years And Through The Woods", lançado em 2005 - First It Giveth entra como "easter egg" logo após os créditos. Tá aí o set:

Mosquito Song / Six Shooter / Bloody Hammer / Go With The Flow / Hangin' Tree / Detroit / I'm Dead / Gonna Leave You / Four Corners / I Want You To Die / First It Giveth / All That I Got? / Like A Drug / No One Knows / On Jesus' Program / Auto Pilot / You Can't Put Your Arms Around A Memory / Another Love Song / Better Living Through Chemistry

Download @ mp3, 128 kbp/s: http://lix.in/-3be784

sexta-feira, fevereiro 06, 2009

Russian Circles - Enter (2006)

This is an appeal on behalf of us, music fans the world over, to you, post-rocking instrumental acts of no particular intelligence: please, try harder. The bar has been raised dozens of times since Young Team, and it’s about time ninety per cent of you caught up. It is a fact, is it not, that the majority of instrumental rock bands filling basement clubs and loft venues with crisp arpeggio and wandering basslines on a weekly basis are, actually, Fairly Dull. Few that these eyes (and more importantly ears) have witnessed have achieved that perfect balance between distortion and delicacy, aggression and sympathy, nuclear bombast and soft cherry blossom. Most spin out the same idea over several ‘songs’ and expect congratulations for their astute sense of compositional uniqueness, when in fact they display exactly nothing of the sort: they’re playing it safe and sound-alike, simple and effective but not affecting. So fuck them: this is the bar raised ‘til it’s so nearly out of reach, only touchable through unsteady tip-toes and elongated digits. This is Russian Circles’ debut and it blows many an alleged peer out of the water entirely. (Mike Diver, drownedinsound.com)


quinta-feira, janeiro 22, 2009

Me perdoem...

... mas eu não pude evitar.

terça-feira, dezembro 16, 2008

Então é Natal

E que Papai Noel traga um layout novo pro site. Esse tá escroto demais!

quinta-feira, dezembro 04, 2008

Hypnos 69 – The Intrigue Of Perception

É sempre complicado pra alguém falar sobre seus discos favoritos. Ainda mais quando um desses discos se trata de um trabalho de uma desconhecida banda da Bélgica. Esta banda é o Hypnos 69, e este disco se chama The Intrigue Of Perception. No quarto de seus cinco full lenghts, a banda que mistura atmosferas dignas de trabalhos do Pink Floyd, um excelente trabalho de guitarra, às vezes limpa, às vezes cheia de fuzz, uma cozinha poderosa, teclados de ótimo gosto e um saxofonista (que é um dos grandes diferenciais da banda), conseguiu fazer um trabalho de altíssima qualidade. A produção, os timbres, os solos, as letras... Está tudo ali, perfeito. A segunda faixa, Good Sinner, Bad Saint, com seus quase 10 minutos e seu viajadíssimo solo, e o baixo funcionando com o sax, remete à Money, do Pink Floyd. A belíssima Third Nature, que tem um dos solos mais bonitos que já escutei na vida é minha favorita, junto da Intrigue Of Perception I. Não espere guitarras super distorcidas, músicas para bater cabeça, e sim timbres vintage (os caras da banda só usam equipamentos antigos, não faltam guitarras SG, pedais da Electro Harmonix, amplificadores Ampeg). Esse é um disco daqueles pra se colocar no som, encostar no sofá e viajar, talvez com a ajuda de “aditivos”. No mais, recomendadíssimo!

Set: The Endless Void / Good Sinner, Bad Saint / Third Nature / Twisting The Knife / The Intrigue Of Perception I / The Intrigue Of Perception II / The Intrigue Of Perception III / Absent Friends

Download: http://lix.in/-32eefd

domingo, novembro 16, 2008

Colour Haze - Roadburn Festival 2006

Que o Roadburn é fodão e disponibiliza todos os shows no seu próprio site, todo mundo sabe. Mas como fazer pra ripar os arquivos de lá e ter no próprio PC é meio impossível de saber... e é por causa disso que eu ripei, converti e upei mais esse ao vivo aqui, que mostra uma das figurinhas carimbadas do Festival "stoner" mais famoso do mundo. Inclusive, o Colour Haze já está confirmado para a edição de 2009, que também contará com a presença do Orange Goblin, Saint Vitus e Cathedral, entre outros. Que venham mais bootlegs pra subir aqui no blog! Mas voltando à edição de 2006, aqui vai o set do que o CH tocou naquele ano, uma hora e meia de psicodelia:

Plazmakeks / Roses / Tao Nr. 43 / Zen / Outside / Peace, Brothers And Sisters! / Sundazed / Love / Inside / American Woman (
The Guess Who) / Into The Sun (Grand Funk Railroad)


E é isso. Em breve algumas reformulações aqui pelo blog.

terça-feira, novembro 11, 2008

Dead Meadow - Peel Session (01-01-2001)

Outro bootleg classe A. Naquela, qualidade foda e a performance melhor ainda.

Dusty Nothing / Good Moanin' / Drifting / Wondering Thunder / Jam.

Download (mp3 @ 256 kbps):

Tem mais umas coisas aqui pra compartilhar nos próximos dias, pra compensar o tempo de ausência. Fiquem ligados!

quinta-feira, setembro 11, 2008

Ché - Sounds of Liberation (2000)

Even more amazing than the large number of Kyuss-related offshoot projects which have followed in the stoner rock pioneers' demise is the fact that virtually every one of them — Queens of the Stone Age, Unida, and Che — has something very special to offer. Aside from proving the utter brilliance of the original article, this has afforded both longtime devotees and late arrivals something to pine for in the years AK (after Kyuss). And while he has long stood in the shadows of his former bandmates, original Kyuss drummer Brant Bjork was an integral part of the group's sound and responsible for some of their best songwriting, not the least of which was the seminal desert anthem "Green Machine." Bjork was also the first core member to break away from the group, choosing peace and obscurity over the pressures of rock stardom and joining semi-recluse stoner rockers Fu Manchu a short while later. Now, in his first venture as frontman (handling vocals and guitar), Bjork teams up with Unida bassist Dave Disnsmore and second Kyuss drummer Alfredo Hernandez in the side project power trio Che. Their first offering, the sparsely produced Songs of Liberation, benefits from the analog sounds and organic feel characteristic of the best stoner rock albums, and with its loose jams and heavy grooves offers a stiff rebuttal to the over-produced pop predominant at the start of the millennium. Having said all that, outstanding material like "Blue Demon" and "Pray for Rock" (which blatantly quotes U2's "I Will Follow," of all things) still won't interest many outside the stoner rock community. But with its circular, start-stop riff, opener "Hydraulicks" is an immediate stone-cold classic for the ages — even if almost no one ever gets to hear it. Whether Che will ride again — or prove to be anything but a one-off — remains to be seen, but given its many virtues, Songs of Liberation may well deserve a follow-up. (Ed Rivadavia, All Music Guide)

Download: http://lix.in/-29d31c

sexta-feira, agosto 29, 2008

Siena Root - Live at Rockpalast / Crossroads (24.03.2006)

Eu não sei o nome do cara que entrou no lugar da Sanya (e nem tou a fim de saber, na verdade) para cantar em Far From The Sun, mas eu sei que eles perderam MUITO em tirar a gata do posto. Achei esses vídeos no YouTube, duma apresentação da banda no Rockpalast em 2006. Nem sei se é o show inteiro, mas ouvir Coming Home e Shine na voz da Sanya é do caralho.

01. Ridin' Slow

02. Shine

03. Blues 276

04. Mountain I

05. There and Back Again

06. Reverberations
Parte I: http://www.youtube.com/watch?v=bbw794vBbe8
Parte II: http://www.youtube.com/watch?v=Gc8azek8xbk

07. The Rat

08. Coming Home

sábado, julho 19, 2008

Coletânea de Vídeos - Ao Vivo na TV

Jeff Buckley - "Grace" (NPA 1995)

Mastodon - "Colony Of Birchmen" (Conan 2006)

Probot - "My Tortured Soul" (Headbanger's Ball 2004)

Queens Of The Stone Age - "Little Sister" + "In My Head" (SNL 2005)

domingo, junho 22, 2008

Dax Riggs - We Sing of Only Blood or Love (2007)

We Sing of Only Blood or Love, Dax Riggs' first album under his given name, touches on the sounds and moods of his previous projects, fusing the bluesy eclecticism of Dead Boy & The Elephantmen and with ominous shades of his earlier sludge metal outfit, Acid Bath. The album's best moments pull the listener into Riggs' eternal nighttime and don't let go: "Night Is the Notion" begins with sidewinding menace and a swarm of smoky guitars, then lunges into its choruses with rattling, ruined honky tonk pianos, while "Truth in the Dark"'s goth-punk gets a seductive sheen courtesy of sleek synths. However, Riggs' fusion of blues and metal doesn't always work. For every "Scarlett of Heaven Nor Hell" -- a tightly wound rocker driven by Riggs' throaty growl of a voice and thorny guitars -- there's a song like "Radiation Blues" or "A Spinning Song," both of which fall prey to clichéd, repetitive songwriting. We Sing of Only Blood or Love's first half often feels disappointingly straightforward, especially compared to how effortlessly Dead Boy & The Elephantmenthrew together punk, blues, glam rock, and folk and made them fit together in a perfect, and perfectly unpredictable, way. However, as the album unfolds, so does Riggs' restless creativity. Veering from the gritty spareness of the acoustic "Ourobourous" to the full-tilt punk stomp of "The Wall of Death," We Sing of Only Blood or Love's second half brims with invigorating twists and turns. "Dog-Headed Whore" recasts Led Zeppelin's folk-blues as a bayou lament; "Ghost Movement" and "Dethbryte" nod to the theatrical glam rock that has been a major influence on Riggs' post-Acid Bath music. Likewise, Riggs seems more engaged when he sings about being alive in the face of death rather than brooding over the end of life, as on the strutting, vibrant "Forgot I Was Alive" and "Living Is Suicide." We Sing of Only Blood or Love is frustratingly uneven, but at its darkly witty best, it's a fine solo debut for Riggs.
(Heather Phares, Allmusic.com)

Download: http://lix.in/-299b80

terça-feira, maio 27, 2008

The Beginning - This Is... The Beginning (2004)

If there were to be a ‘60s psychedelic rock revival, expect The Beginning to be at the forefront. Like all solid retro outfits (think Orange Sunshine or Baby Woodrose), the band can easily pass off as a relic from another era (the press sheet from Molten Records goes so far as to say This Is… was presumed lost until uncovered by the label – I almost bought it).

The first half of the album shows that The Beginning’s strength is in loosely arranged bluesy rock. “Soul Revolution,” “The Ju Ju Man,” and “Blue Honey” each offer classic rock grooves and fluid playing. At the halfway mark of “Baby’s Taking Me for a Ride,” however, the band’s jamming veers towards an over-indulgence in psychedelic noodling. By the time they get to closure “The Golden Whisper,” The Beginning have become more a sonic jam band than anything else.

Overall, I liked it. It’s hard not to get caught up in the band’s energy, and while their sound is distinctly from a bygone era, they still have an original sound and feel. This Is... is worth checking out.
(John Pegoraro, StonerRock.com)

Download: http://lix.in/336b55cb

quinta-feira, maio 01, 2008

Kurt Cobain: About a Son (2006)

Dirigido, se essa é a palavra certa, por AJ Schnack, o filme tem cerca de uma hora e meia de áudio de entrevistas feitas pelo jornalista Michael Azerrad com uma série de bonitas imagens de lugares e pessoas ao redor do cantor.

Nos 27 anos de sua curta vida, Cobain viveu, amou, trabalhou, tocou guitarra, injetou heroína e criou músicas bonitas, bravas, populares com os outros integrantes do Nirvana. Na narrativa padrão, essas palavras e imagens foram moldadas em três vagos atos, nomeados com cidades de Washington – Aberdeen, Olympia e Seattle – muito associadas com Cobain ou familiar para quem vive fora do estado.

Se você leu os artigos ou viu os filmes sobre Cobain, reconhecerá a maioria dos detalhes: a tia carinhosa, o professor legal, o amigo gay, o pai distante, as pessoas estúpidas, os artistas legais e uma mulher louca. Cobain, parecendo às vezes amigável, cauteloso, entediado, cansado e ofendido, estava em uma fase da vida em que já tinha adquirido prática na arte da auto-criação. Ele estava cansado da fama na época das entrevistas; muitas das quais foram gravadas à noite em uma de suas casas, e conduzidas de dezembro de 1992 até março de 1993, cerca de um ano antes de sua morte. Azerrad acumulou mais de 25 horas de entrevistas, no fim usando-as para seu livro de 1993, "Come as You Are: The Story of Nirvana”.

“Kurt Cobain About a Son” não acrescenta muito à imagem que muitos de nós carregamos em nossas mentes (e corações) do cantor, e certamente não pode começar a explicar porque esse talento enorme decidiu atirar em sua cabeça no começo de abril de 1994. Ouvir Cobain falar sobre se dar um tiro, como ele faz várias vezes no filme, não acrescenta nada ao nosso conhecimento; é doloroso de ouvir, até hoje. Parece intruso e desrespeitoso. Ninguém forçou Cobain a falar sobre ele mesmo, é claro; na época das entrevistas, ele tentava melhorar as imagens sua e de sua mulher. (Você ouve Courtney Love, rapidamente em um momento). Não funcionou. E então ele morreu.

Dirigido e editado por AJ Schnack; baseado em conversas entre Kurt Cobain e Michael Azerrad para o livro "Come as You Are: The Story of Nirvana," de Azerrad; diretor de fotografia, Wyatt Troll; música de Steve Fisk e Benjamin Gibbard; produzido por Shirley Moyers, Noah Khoshbin e Chris Green; lançado pela Balcony Releasing e Sidetrack Films.

Tempo de duração: 97 minutos.

(Manohla Dargis, New York Times)

Download: http://www.mininova.org/tor/1168767 (via torrent)

Brant Bjork - Punk Rock Guilt (2008 - Fixed Tracklist Version)

“Punk Rock Guilt” is Brant Bjork clearly expressing his need to make a no-bullshit rock record. Hailing from Palm Desert, California, Bjork formed Kyuss with locals Josh Homme (Queens of the Stone Age), Chris Cockrell, and John Garcia. Kyuss was signed to Elektra and became the first desert rock band to achieve international success by spearheading a musical movement that brought heavy and psychedelic sounds back to rock and roll and served as a prototype for all “desert/stoner rock”. Bjork is not only one of the baddest rock drummers of our time, but a premier talent on all levels. Brant Bjork and The Bros have toured for much of the past 5 years all over Europe, the U.S., Canada, and Australia. BB & the Bros live shows are fast becoming recognized as the best live rock and roll going. As a philosophy, artistically and otherwise, Brant Bjork has always stayed true to his Punk Rock roots as the corner-stone of his creative energy. “To do your own thing, your own way, for your own reasons”.

Being an independent artist with no shame and a keen sense of humor, Brant Bjork took the term Punk Rock Guilt and simply let it represent his personal Rock-n-Roll freedom. “This record is the shit...and it was worth the wait...for me and you”.

Download: http://lix.in/7e3804c6

sexta-feira, março 28, 2008

Captain Beyond - Sufficiently Breathless (1973)

O Captain Beyond foi um dos grupos mais subestimados dos anos 70. Não digo isso por conhecer todas as bandas da época ou por querer dar uma de cool. Eu falo porque SIM, o Captain Beyond foi um dos grupos mais subestimados dos anos 70 e ponto final. E digo mais: em sua breve existência conseguiu dar de 10 a 0 em muita bandinha meia-boca que é endeusada até hoje.

O disco de estréia do grupo, que leva o nome da banda (também chamado de Tomorrow Came Sooner Than Expected), é um clássico: músicas interligadas, um peso enorme, pitadas de jazz e progressivo e letras viajantes fizeram do debut um dos meus discos favoritos da década de 70. O problema do Captain Beyond foi justamente estrear com um disco tão foda, mas tão foda, que qualquer outro álbum viria a ser exaustivamente comparado com o primeiro. E foi justamente o que aconteceu com o segundo lançamento, Sufficiently Breathless.

Não que o segundo disco seja horrível. Longe disso, por sinal. Mas é que a mudança foi tão perceptível que aqueles que esperavam um segundo round na pancadaria sonora tiveram um choque ao perceber que aquele não parecia ser o Captain Beyond do primeiro álbum. E quem torceu o bico o fez de babaca, pois o álbum é ótimo e merece ser ouvido com calma e atenção. Músicas como 'Bright, Blue Tango', 'Evil Men', 'Drifting in Space' e 'Starglow Energy' são fodas demais e não deixam nada a desejar aos petardos do disco homônimo. E pra quem ainda não ouviu nada do Captain Beyond, sugiro começar com esse disco. Ao menos você se poupa do trabalho de tentar entender o porquê da mudança sonora e, de quebra, depois saboreia o clássico com mais gosto ainda.

Download: http://lix.in/08868ba2

sábado, março 08, 2008

Funkadelic - Funkadelic (1970)

Funkadelic's self-titled 1970 debut is one of the group's best early- to mid-'70s albums. Not only is it laden with great songs -- "I'll Bet You" and "I Got a Thing..." are obvious highlights -- but it retains perhaps a greater sense of classic '60s soul and R&B than any successive George Clinton-affiliated album. Recording for the Detroit-based Westbound label, at the time Funkadelic were in the same boat as psychedelic soul groups such as the Temptations, who had just recorded their landmark Cloud Nine album across town at Motown, and other similar groups. Yet no group had managed to effectively balance big, gnarly rock guitars with crooning, heartfelt soul at this point in time quite like Funkadelic. Clinton's songs are essentially conventional soul songs in the spirit of Motown or Stax -- steady rhythms, dense arrangements, choruses of vocals -- but with a loud, overdriven, fuzzy guitar lurking high in the mix. And when Clinton's songs went into their chaotic moments of jamming, there was no mistaking the Hendrix influence. Furthermore, Clinton's half-quirky, half-trippy ad libs during "Mommy, What's a Funkadelic?" and "What Is Soul" can be mistaken for no one else -- they're pure-cut P-Funk. Successive albums portray Funkadelic drifting further toward rock, funk, and eventually disco, especially once Bernie Worrell began playing a larger role in the group. Never again would the band be this attuned to its '60s roots, making self-titled release a revealing and unique record that's certainly not short on significance, clearly marking the crossroads between '60s soul and '70s funk.
(Jason Birchmeier, AllMusic)

Download: http://lix.in/cc09c35b

quinta-feira, março 06, 2008

Scream for me, Curitiba!

Caralho, foi demais.

E é isso.

sábado, março 01, 2008

Boris - Heavy Rocks (2002)

This album is awesome. You know all those times when Boris would tease you with some ultra-heaviosity during there 60min jam songs? Well, this album is full of songs that do that all the time! Very reminiscent of Bullhead-era Melvins, and guest vocals by Lori Acid King on the first track. Totally worth the import price. (Nolan, StonerRock.com)

Cru e pesado. Assim pode ser definido Heavy Rocks, o quarto - e por muitos, o favorito - disco dos japoneses do Boris. Recomendadíssimo.

Download: http://lix.in/3eada423

segunda-feira, fevereiro 25, 2008

earthlings? - Human Beans 10" Box Set (2000)

"The earthlings? and the Queens Of The Stone Age are sort of twins. Two bands that've been so closely linked through the years (even they sound radically different) since the first ever QOTSA album, recorded at the Rancho de la Luna, Fred Drake's own studio (Fred died of cancer in 2002). The earthlings? is pretty hard to label and impossible to pigeonhole. As if a Krautrock band was playing some acoustic Stoner with weird electronic textures and stuff. 'Human Beans' is a beautiful triple 10" boxset released on Man's Ruin in 2000. Three beautiful white 10". Dave Grohl, Josh Homme and Mark Lanegan (among others) appear on this release." - Fonte: http://vinylconspiracy.blogspot.com/

Além disso, o Box conta com nada mais nada menos do que sete bônus tracks que diferem da versão lançada em cd, porém duas músicas (o cover de "Johnny B. Goodie" e "Piano Falls And Kills"), foram deixadas de fora. Coisa rara de se achar, e em 192 kbp/s!

Download: http://lix.in/808ea8ec

terça-feira, fevereiro 12, 2008

Nebula - Let It Burn EP / Extra Tracks (1999)

"They've got that raw, filth-ridden edge straight outta the Sabbath-days (and I mean that in the most flattering way possible). They're rugged, heavy and ultra-retro with enough 90's vitality to appeal to both the old-school 70's rock/metal devotees and the more modern order of listeners. Let It Burn exhibits an inebriating wonder world of inherent ingenuity. The band strays leagues away from the province of processed, microchip generated instrumentals. They're not even in the same ball park... not even in the same stadium! Nebula are the minimalists of music; the way rock began. No big, expensive effects racks, pop-up-drummers, or voice manipulators. They're vintage and proud! And it's through their smoked up, feed backish, overdriven galaxy of coarsely harmonious groove that members, Mark Abshire (bass), Ruben Romano (drums, percussion sitar), and Eddie Glass (guitars, vocals, percussion), have cultivated an organic, carefree flavor like no other. The LP is glazed over with crunchy-yet-clean vocals, a spaced, atmospheric aura and blues-driven undertones that maintain the momentum throughout the disc while the closing ritualistic instrumental will leave you stripped naked in a tribal dance. Don't miss this." - Liz Ciavarella, CMJ New Music Report

Download (Mp3 @ 224 Kbbp/s): http://lix.in/b005823b

domingo, fevereiro 10, 2008

High On Fire - Live from the Relapse Contamination Festival (2004)

"Live from the Relapse Contamination Festival é um álbum ao vivo da banda americana de stoner metal High On Fire, lançado em 2004. Foi lançado apenas 2000 cópias, sendo raro encontrá-las hoje. Foi gravado em um festival realizado pela gravadora da banda, a Relapse Records. Em 2006 foi relançado em vinil pela Throne Records, desta vez apenas 1000 cópias estarão disponíveis." - Fonte: Wikipédia

Blood from Zion / To Cross the Bridge / Nemesis / Razorhoof / Speed Wolf / Eyes & Teeth / Hung Drawn & Quartered / Witching Hour (Venom Cover)

Download (Mp3 @ 320 Kbp/s): http://lix.in/c54d9ea5

sábado, janeiro 26, 2008

Dozer - Rarities

Na onda do último post, aqui vai uma coletânea de raridades dessa banda sueca que esse blog tanto puxa o saco. No total, são 20 faixas tiradas dos EPs, edições especiais, singles e afins lançadas pelo Dozer desde 1997. Também está incluída o último trabalho da banda, a sensacional "Exoskeleton", lançada ano passado no split com o Brain Police.

Tracklist: Typhoon / Mamooth Mountain / Twilight Sleep / Tanglefoot / Centreline / Silverball / Hail The Dude / She (Misfits) / Phantom / Sub Ethena / Rings Of Saturn / Day Of The Rope / The Electrocuter / Sonic Reducer / The Wreck / Southern Star / Star By Star / Vinegar Fly / Mongoloid (Devo) / Exoskeleton

* RE-UPLOAD: http://lix.in/-3be267

sexta-feira, janeiro 18, 2008

Queens Of The Stone Age -The Definitive Collection of B-Sides & Rarities (2007)

Bom, como o nome do post já sugere, essa é uma tentativa de compilar algumas das raridades de estúdio e afins existentes do Qotsa. O tracklist está em ordem cronológica: no primeiro cd, foram deixadas as músicas gravadas entre o período "Gamma Ray" (primeiro nome do Qotsa), até o Rated R, e no segundo, material mais recente lançado até o ano passado. Os dois discos ficaram beirando os 70 minutos. Com exceção de uma mp3 ou outra, o bitrate está em 192kbp/s, e o nome dos arquivos também traz a origem da música e o seu ano da gravação e/ou lançamento. Pra fechar a conta, ainda tem uma artworkzinha com encarte e tudo mais, feita por um fã da banda para outros fãs compartilharem numa boa e de graça. Seguem o tracklist e os links para download:

CD 01: Spiders And Vinegaroons
/ Born To Hula / If Only Everything / Rickshaw / Give The Mule What He Wants (Demo) / 18 A.D. / The Bronze / These Aren't The Droids You're Looking For / Born To Hula (alt) / The Lost Art Of Keeping A Secret (Demo) / Infinity / Ode To Clarissa / Never Say Never / You're So Vague / The Most Exalted Potentate Of Love / Born To Hula (New Version) / Back To The Dungaree High

Duração: 66:05; Tamanho: 92Mb
Download: http://lix.in/65b7f3c3

CD 02: The Real Song For The Deaf / Gonna Leave You (Spanish) / Everybody's Gonna Be Happy / Bloody Hammer / Wake Up Screaming / The Most Exalted Potentate Of Love / The Fun Machine Took A Shit And Died / Precious And Grace / Infinity (New Version) / Like A Drug / Era Vulgaris / Goin' Out West / Christian Brothers / White Wedding / Make it Wit Chu / Needles In The Camel's Eye / The Fun Machine Took A Shit And Died (New Version) / Running Joke

Duração: 69:05; Tamanho: 93 Mb

quinta-feira, janeiro 10, 2008

Acid King - Roaburn Festival (2007)

Set ao vivo gravado no Roaburn Festival do ano passado, mais precisamente no dia 21 de abril. Tenho quase certeza que o bootleg é proveniente do webcast que ainda está disponível no site do festival, mas enfim, pelo menos esse está em formato mp3 e eu ainda separei as faixas depois. Enjoy doomheads!

Tracklist: Busse Woods / 2 Wheel Nation / Heavy Load / Electric Machine / Bad Vision / On To Everafter / Into The Ground / Sunshine And Sorrow

Download: http://lix.in/5aea2c

segunda-feira, janeiro 07, 2008

Brant Bjork - "Sabbia" Movie Soundtrack (2006)

"...Sabbia, a stoned-out "visual soundtrack" by film maker Kate McCabe. Sabbia brings the low desert and landscapes of California onto film with a full soundtrack by Bjork. Brant cites that the motivation of Sabbia was to bring the desert scene to a lot of people who haven't experienced it for themselves." (Wikipédia)

Como foi dito aí em cima, o Brant compôs toda a trilha para o filme, porém essas músicas só se encontram no menu do DVD, como uma espécie de bônus. Mas o problema será resolvido com esse post, hehe.

A maioria do som é instrumental e algumas músicas já são conhecidas do público de Bjork, como "Cobra Jab", "Let The Truth Be Known" e "Rock'n-Rol'e". Mas a maioria das canções são inéditas, além de haver algumas versões diferentes para "Cool Abdul" e "Ultimate Kickback", essa última com duração de 11 minutos e que encerra esse apanhado com chave de ouro. Pra quem não tem grana pra importar a parada, resta fechar os olhos e imaginar toda a vibe do deserto californiano ao ouvir a trilha de Sabbia.

Tracklist: Cobra Jab / Cool Abdul / Drums And Cocktails / El Rolo / Fresh Coffee / Future Freak / Heavy Nature / Hinda 65 Return Flight / Joint Ritual / Kaleidoscope / Let The Truth Be Known / Nectar Alamo / Palm Tree Reader / Rock-N-Rol'e / Shrine / Ultimate kickback

Download (Mp3 @ 320Kbp/s):

Parte 1 - http://lix.in/a3af33
Parte 2 - http://lix.in/b84519

sábado, dezembro 15, 2007

Nebula - BBC Radio 1, John Peel Session (2001)

Ótimo bootleg gravado um pouco antes da passagem dos caras pela América do Sul. Do line-up antigo, atualmente o único que continua na banda é o o guitarrista e vocalista Eddie Glass; os outros dois integrantes nessa sessão foram o baixista Mark Abshire e o baterista Ruben Romano. Vale a pena dar uma conferida.

22/08/2001 - BBC Radio 1 (John Peel Session) - London, U.K.

RECORDING: soundboard audio
LENGTH: 25 minutes
NOTES: This session was first broadcasted on Oct. 2nd, 2001.
SETLIST: This One / Sonic Titan / Do It Now / Freedom / All The Way

Donwload: http://lix.in/330d7c

domingo, dezembro 09, 2007

Melvins - Lysol/Self-Titled EP (1992)

In 1992CE, with the release of LYSOL, Melvins nailed the ritual for the next decade. For, as primo anarcheologists of the sub-sub-culture, it was Dale Crover and Buzz Osbourne who located the order in which the next frontiers should be tackled, they who beat the bounds, as it were, lassoed all the disparate ingredients and shoved them into the big rock pie for younger brothers Sleep and school-mates Earth, Zen Ur-slackers hitching a ride in the snug back-pack of Thor. But whereas Earth seems nowadays slow in a slothful way (a pitcher of Tennants washing down the largactyl), LYSOL was metaphysically immense and exerted intense tectonic pressure, like some 5-day heavy metal cricket match, with Lemmy bowling and Filthy Phil as crazy-eyed wicket-keeper. Tossing a hail of concussion grenades through Buzzo’s permanent flamethrower of sound, Dale Crover is four drummers at the best of times. But, on LYSOL, he was joined in the rhythm battalion by the Generalissimo of bass military coups, Mein Hairy Joe Preston. And so they shall wear ye down…

LYSOL was the new fundament, the new archetype, sealed by druids and delivered via Olmec hunchback (the good luck variety, natch). But despite the shock of LYSOL’s affronting newness, Melvins somewhat sugared their colossus by the inclusion of superb versions of Flipper’s ‘Sacrifice’ and Alice Cooper’s ‘Ballad of Dwight Fry’. Despite this, LYSOL was still essentially one enormous and segmented creation, fashioned from an unfolding and non-linear (and in places skeletal) performance that ebbed and flowed, dipped and swayed, and used at all times incredible dynamic ranges. Consider the vast tidal waves of sound that pummel and permeate this record and understand the enormity of a rock act so confident that it dared in ‘92 to begin its new album with seven minutes and fifty seconds of virtually unaccompanied Tony Iommi-isms. Wave upon wave of them. It’s not the difference between Kiss and Super Kiss, motherfuckers. I ain’t simply talking Ace’s new shoulder pads here. It’s the next evolutionary stage… between Super Kiss and Supra Kiss, that weird and cosmic other time around Kiss’s brilliant but arch super flop MUSIC FOR ‘THE ELDER’. Well, like Starchild Paul and the Gene around the time of the aforementioned LP, Melvins round the time of LYSOL understood themselves better than ever, indeed, well enough to make rigorous demands of their audience. Again, I cry, who else with any career expectations whatsoever in 1992 released records that commenced with virtually unaccompanied free-form guitar riffery that demanded eight minutes of concentrated listening from their bedroom audiences? Right, motherfuckers, no one at all. When LYSOL was released, Melvins intuitively knew that they were at the top of their game. Hey, that’s why they chose that name. LYSOL fer Chrissakes… the stuff is a killer, a drain clearer that kills in a slow disgustingly painful way. Lysol killed one of my all time heroes; American poet Vachel Lindsay drank the stuff. And naming the record so almost killed it for the Melvins when the Lysol company threatened to sue. In retreat and hastily recalling the LPs then taping over/magic-markering out the offending name, Melvins were shocked but relieved to discover they soon had a cult on their hands.

Like all the greatest shamanic art, this record operates between worlds… many worlds... and the ZOSO-style album title mix-up only increased this mythical effect. Was the record still called LYSOL or was it now just THE MELVINS? With remarkably poetic justice (for both the artists and the rock’n’roll audience), the righteously-formed sonic ritual of LYSOL has turned out to be most surely Melvins’ most pivotal recording of all. For this record was, in 1992CE, most serpently the new rock’n’roll blueprint, and – though already fifteen years old – will continue for many more years of active service. Follow its moods and directions, and you will have a half-hour of high ritual at your fingertips. Treat it with reverence, and keep it away from other records, even those made by Melvins themselves. Keep it next to other unique alchemical prescriptions such as Sleep’s JERUSALEM, Blue Cheer’s VINCEBUS ERUPTUM and Black Sabbath’s MASTER OF REALITY; and use it as often as is required. Oh, and remember, chill’en, if you are going to buy just one Melvins record for your collection, be sure you make this the one. Before I quit, please allow me a moment for a flight of fancy, if you have the time. I wanna try to try to place Melvins in their correct context, if you will. And I’ll first need a little bit of historical to and fro and overview, too…

Okay, as ye heathen with a grievance against the organised religion and a belief in the will of rock’n’rollers and other activists to change things, it’s my estimation that by the mid-2050s, the Way of Sabbath will have become recognised by society as a strange but acceptable route for a young heathen man to follow. The mass return of organised religion in the early 21st century will inevitably have spurred true rebels and stimulated refuseniks to defy the incoming conservatism by acts of flagrancy and non-collective thinking. And some will inevitably fight religion by making their own beliefs into a religion. For example, another most useful route for the Western artist would be the Way of the MC5, a warrior troubadour route ideal for troubled adventurous young men whose ideals involved an excess of moral fibre and individual bravery. Even hardy outsider heathens would start to consider the possibilities, as the government, recognising the zeitgeist and raised themselves on loud rebel music, cut tax breaks to those who admitted to practising ‘Rock’n’roll’. But guaranteed, in this new reality that I’m imagining, would be an almost equally important religious path known as ‘the Way of Buzz’n’Dale’. Yup, in forty years time, Melvins will be up there with the true greats, celebrated as part of the All-Time for their outstanding (and sustained) services to Gnostic Rock’n’roll. Sustaining any long artistic career in a heightened state is problematic, but the Melvins – regardless of many lean artistic periods – have always eventually risen/sunk into shamanistic newness, reborn again and again. Melvins are a sect diabolick, a gateway, a divine portal between innumerable worlds, an outrageously confident and worthy cosmic interface between punk, post-punk and Sabbathian heavy metal, a gateway between accepted classic dark rock Kiss/Alice/Green Manalishi-stylee and the far flung future (ie Now, motherfuckers). “Standing outside the boundaries of rock’n’roll and aiming their sounds inside,” as Greil Marcus once put it. And LYSOL is Melvins’ greatest and most sacred gift to future heathens, for its tones and vibrations taken together often and in large doses offer listeners the key to Eternal Cuntedness. (Julian Cope, Head Heritage)

Tracklist: Hung Bunny / Roman Bird Dog / Sacrifice (Flipper) / Second Coming / The Ballad of Dwight Fry (Alice Cooper) / With Teeth

Download: http://lix.in/c5f92d

sábado, dezembro 08, 2007

Melvins - Eggnog EP (1991)

Mais do que perfeito. Essa é a minha definição pra esse EP lançado pelo trio Buzz Osborne, Dale Crover e Lorax no ano de 1991. Por trazer os riffs mais pesados, distorcidos e arrastados feitos até então, a banda é considerada por muitos como sendo os pais do gênero conhecido como "Sludge", uma mistura de Pós-Punk dos 80 com o Metal dos 70. E enquanto o mundo voltava as atenções para o tal do Grunge (e o Melvins era injustamente empacotado com aquela turminha de Seattle), King Buzzo consolidava aquilo que já podia ser sentido em faixas mais antigas como "Eye Flys" e "Boris", aplicando a fórmula de diminuir a velocidade e aumentar o peso e a distorção. O Eggnog é, sem sombra de dúvidas, um dos trabalhos mais geniais de uma das bandas mais subestimadas da história.

Tracklist: Wispy /
Antitoxidote / Hog Leg / Charmicarmicat.

Download: http://lix.in/4d1fc0

terça-feira, dezembro 04, 2007

On a Pale Horse – Self Titled (2005)

Des Moines, Iowa’s On a Pale Horse can be placed in the niche of American Hard Rock, alongside bands like Greatdayforup. On a more exposed level, this would include Black Label Society, Corrosion of Conformity, Down, or any of the meathead acts that Clear Channel loves to pimp out. The higher visibility of those low rent meatheaded groups is a damn shame, as On a Pale Horse rock better and smarter and thusly are more deserving of the spotlight. This album continues on the path set by their debut, Black Is Not the Darkest Colour. Their formula is simple – keep the riffs thick and the choruses catchy. It starts strong with the one-two punch of “Penchant for the Divine” and “Amplify the Circle,” hits a high point with “Let It Flow,” gets even better with “No Eagle Lies in Potters Field,” and ends on a solid note with “Stand Up (All Rise).” Warren Riker’s production gives the songs a deep, rich sound (and on “King Brimstone,” some unfortunate Phil Anselmo mutter-vocal stylings). Lyrically, the band offers more than the usual beer drinkin’ and hell raisin’ hey-ho attitude. They’ve got a more spiritual, positive energy vibe, even when vocalist Aaron Peltz is screaming bloody murder. Another distinct part of On a Pale Horse is that they eschew the usual clichéd angst. While the definition of what constitutes hard rock and metal continues to mutate and splinter, On a Pale Horse stick with the basics. Good for them – they’re a talented group and their self titled album is a cut above the rest.
(John Pegoraro, StonerRock.com)

Download: http://lix.in/bcbc39 (upload por Jader)

On A Pale Horse - Black Is Not The Darkest Colour (2004)

The band: Iowa's On a Pale Horse was formed in 2000 out of the remnants of the heavy rock band Painface, when former members Jerry Spragur (guitar) and Jerry Easley (bass) decided to form a band that fit more in line with the kind of sound they wanted. Adding vocalist Aaron Peltz, drummer Nick Svoboda, and former Slipknot guitarist Josh Brainard, the line-up was complete. The band then headed into the studio to record Black is Not the Darkest Colour which was done without studio gadgetry but the old fashioned way: it was recorded live.

The songs:
Black is Not the Darkest Colour is a record that really needs to be cranked to appreciate its true glory. Songs like "Come On" and "Steps" have a nice greasy southern swagger to them and at times almost give off a boogie-woogie vibe. There is no piano listed in the musician credits but you could almost swear there is one layered into these tunes. Though the majority of tunes on this record are mid-paced rockers, On a Pale Horse isn't afraid to throw in first gear and creep along with a slow, ugly but decidedly tasty Sabbathesque groove as evidenced on "The Day Has Come." The entire album is interesting because the listener can almost point out passages of, say, Kyuss or Nebula, but there is no mistaking that this is a decidedly heavy southern rock affair. The final tune, "The Darkest Colour," which clocks in at 12:56 in time, is undeniably the highlight of the album. The song starts off with quiet riffing and nice slide guitar and slowly crescendos into a furious, molten orgy of heavy goodness. It's definitely one of those songs that have an epic feel to it. The production of this album, in terms of sound, is terrific. For an album that was essentially recorded "live," it has a very professional quality about it.
(Jasen Chipman, StonerRock.com)

Download: http://lix.in/87e7cc (upload por Jader)

segunda-feira, novembro 19, 2007

Tomahawk - Live In Stockholm (2002)

Se você é um infeliz que ainda não conhece essa banda, o Tomahawk é composto por ninguém mais ninguém menos do que:

Duane Denison (Jesus Lizard)
Mike Patton (Faith No More, Fantômas, Mr. Bungle)
John Stanier (Helmet, Battles)
Kevin Rutmanis (Melvins, Cows)

Precisa dizer mais alguma coisa? Ah, sim, a info do bootleg:

Radio show: Swedish National Radio, P3 LIVE

Location: Nymble, KTH, Stockholm
Date: 2002-02-23.
Producer: Nenne Zetterberg
Sound Quality: FM Stereo

Jockstrap / 101 North / Pop 1 / Harelip / Sir, Yes Sir / Honeymoon / Flashback / Mayday / God Hates A Coward / Laredo / In Every Dreamhome / Point and Click / Angeleyes (Frank Sinatra)

E de quebra, mais duas faixas bônus.


Grand Funk Railroad - On Time (1969)

You cannot talk about rock in the 1970s without talking about Grand Funk Railroad. And you cannot talk about Grand Funk without talking about the hate: how critics pissed on them from an arrogant height. I saw Grand Funk very early on, playing for flies in Philadelphia in December 1969, and I heard in their panzer-trio brio what the snobs did not. Born in Flint, Michigan, of the same local, white-R&B lineage as Bob Seger and Mitch Ryder, singer-guitarist Mark Farner, drummer Don Brewer and bassist Mel Schacher were not cheap Cream but a no-frills, hippie-era garage band; factory-town peaceniks who rocked like warlords.

Original producer-manager Terry Knight fought the brickbats by hyping Grand Funk's box-office might as underground revolution. But his static obscured the band's true bared-bone mettle. Grand Funk made their reputation on tour, cutting On Time, Grand Funk and Closer to Home on the run, all between August 1969 and March 1970. The flat, hard production, then a matter of time and economy, pulls the simple pow of the music upfront: Farner's high, clear tenor; the iron-treble tone of his guitar; the elephantine fuzz of Schacher's bass; Brewer's brute, John Bonham-like drive. As the main writer, Farner avoided complexity like a pox. But "Heartbreaker" and "Into the Sun," both from On Time, and the cover of the Animals' "Inside Looking Out," on Grand Funk, are pure electric-Michigan animalism, an all-testosterone blueprint for the White Stripes. Live Album and the previously unissued Live: The 1971 Tour are not as punchy; the crowd noise gets in the way. But the 1971 tracks from the band's Shea Stadium shows that year are honest snapshots of Grand Funk mania at its peak.

Survival, E Pluribus Funk and Phoenix, all from 1971-72, creak with growing pains. It took producer Todd Rundgren, on 1973's We're an American Band, to polish the pop and Motown lurking inside the amp stacks. The title hit, the stampede "Black Licorice" (with its pumping keyboards by recent addition Craig Frost) and "Walk Like a Man," a hard-rock twist on the Four Seasons, are perfect bombs of sweat, sugar and steel. The late albums have their moments, like Farner's keening wail in "Bad Time" on 1974's All the Girls in the World Beware!!! Still, every train runs out of track someday.

For most folks, a hits disc will suffice. But the best of these reissues show that, for a time, Grand Funk were the people's choice. And the people were right.
(David Fricke, Rolling Stone)

Download: http://lix.in/49cfc9

sexta-feira, novembro 16, 2007

Truckfighters - Phi (2007)

If Gravity X took stoner rock back to ground zero, Phi is the band's first step forward. With the basic structure defined on Gravity X, Truckfighters is now able to stretch out and add new flourishes to their songwriting. Phi broach the melodic, layered territory of Mammoth Volume and Dexter Jones' Circus Orchestra. The band still knows how to lay down the fuzz, though, tracks that swing straight at you with an almost ungodly rumble of distortion. Make no mistake, Truckfighters has once again delivered with Phi. If you're a fan of their previous work, you'll find this one to your liking.
Arzgarth, StonerRock.com)

Download: http://lix.in/0df576

segunda-feira, novembro 12, 2007

Om - Conference of the Birds (2006)

Om is the rhythm section of stoner rock wig-out band Sleep -- bassist Al Cisneros and drummer Chris Haikus. There are two long cuts on this slab totaling a little over 33 minutes. While it's true that having two instruments play repetitive droning grooves over and again leaves room for little true variation, it hardly matters. Conference of the Birds has the ability to get underneath the skin of the listener and keep burrowing. There are small rests in each composition, with cosmic, acid-drenched lyrics: "traverse the Cheopian field/Rides out from the red sun high above...." Yeah, but so what. These guys have Syd Barrett's sense of efficacy -- slow, slower, slowest -- clear Sisyphean trudges toward some unholy and unseen peak that ends pretty much in the same place they began. It's in between that counts. And here, slowly skittering snares and drums creep mercilessly along to a bass playing a melody line that offers itself as a bassline. Psychedelic? Yep. Boring as all get out? Only if you take the parts separately. While "At Gina" suffers a tiny bit from the seaminess of the vocals, it still slithers along to displace time and space. Yet it's "Flight of the Eagle" that actually carries the ever-darkening day, simply by the sheer force of that bass. It's a pure, wide-range, low-end throb that pushes no agenda other than sonic mantra, cleaving itself inseparably into the melting brain of the listener who becomes not only a willing participant, but also an active supplicant at the altar of an eternal shadow of the transcendent expando-flex mind -- or some such twaddle. Conference of the Birds rocks terribly, terribly slowly and maniacally in a lazy, trance-inducing way; it will melt your inhibitions -- or send you screaming from the room -- without the use of drugs or alcohol.
(Thom Jurek, AllMusic)

Download: http://lix.in/da38b0

sábado, outubro 27, 2007

Hunter S. Thompson - Medo e Delírio em Las Vegas

Medo e Delírio em Las Vegas, lançado pela Conrad Editora, não deve ter dois meses no mercado. Só soube da existência d'uma versão traduzida três dias atrás quando, sem querer, dei de cara com a capa ao lado e, sem hesitar, a levei pra casa.

"Um jornalista norte-americano e seu advogado “samoano” embarcam num Chevy vermelho conversível, com a missão de cobrir uma corrida de motocicletas em Las Vegas. Para enfrentar essa laboriosa tarefa, enchem o porta-malas do carro alugado com um estoque interminável de drogas e saem dirigindo pelo deserto de Nevada, partindo em alta velocidade de Los Angeles e parando apenas para dar carona a um incauto - que não permanece muito tempo a bordo do veículo.

O jornalista, Raoul Duke, é um dos pseudônimos de Thompson e Medo e Delírio em Las Vegas, uma das mais ambiciosas experiências jornalísticas já realizadas – a principal tentativa de Hunter S. Thompson em validar seu jornalismo gonzo, gênero batizado pelo amigo Bill Cardoso, depois de ler o texto “O Kentucky Derby é Decadente e Depravado” (publicado pela Conrad dentro do livro A Grande Caçada aos Tubarões). Influenciado pela idéia de William Faulkner de que “a melhor ficção é muito mais verdadeira que qualquer tipo de jornalismo”, Thompson produziu um estilo único, aliando reportagem, narração em primeira pessoa, viagens alucinógenas e um bom punhado de ficção.

Medo e Delírio em Las Vegas foi publicado pela primeira vez nas páginas da revista Rolling Stone, numa aposta arriscada do editor Jann Werner, que havia lido as primeiras páginas do caderno onde Hunter S. Thompson havia escrito o esboço do livro enquanto estava ainda em Las Vegas. A Conrad publica no Brasil a edição completa de Medo e Delírio – com as surpreendentes e aterrorizantes ilustrações do artista inglês Ralph Steadman, amigo de longa data e parceiro de aventuras de Thompson.

Adaptado para o cinema por Terry Gilliam (Monty Python, Os Doze Macacos) e estrelado por Johnny Depp (Piratas do Caribe) e Benicio Del Toro (Sin City), Medo e Delírio em Las Vegas é a busca ensandecida pelo verdadeiro Sonho Americano – uma jornada terrível, acompanhada por Rolling Stones, LSD, Jefferson Airplane e a paranóia dos EUA de Richard Nixon, rumo ao coração do deserto, pulsando hipnotizante com o seu néon."

Compre no site da Conrad

Miasma and the Carousel of Headless Horses - Perils (2005)

Miasma and the Carousel of Headless Horses features all 3 current members of Guapo, but for the most part they have a sound and style all of their own. Daniel O'Sullivan, who concentrates on keyboards in Guapo, is lead guitarist, while Orlando Harrison (who plays drums in Alabama 3) occupies the piano stool. They play relatively short pieces where the current incarnation of their sister band favour album long suites, and acoustic instruments are far more prominent. The overall feel of the music is dark with a slightly camp edge - their music would work well as a soundtrack to a 1970s Hammer or Amicus horror film, something along the lines of Dracula AD 1972, Dr Terror's House of Horrors or Psychomania.

The album opens with a suitably sinister piece on the harmonium before the first track to feature the full band kicks in. The Mage is the track which sounds closest to Guapo, with Dave Smith playing a drum part which recalls Black Oni part 2, although the prominence of the guitar and the other instruments establishes that this is a different band. Just how different becomes apparent on Peacock The Heretic, which transports us to a Transylvanian gypsy campfire with dark and strange rites taking place in the flickering shadows. This atmosphere is maintained for the remainder of the album, with Daniel O'Sullivan leading from the front on extremely nimble fingered guitar, Orlando Harrison switching between Dr Phibes organ and gloriously doomy piano flourishes and the pair of them sparking off Sarah Hubrich's fiendish gypsy fiddling. Dave Ledden plays more high end, melodic bass than in Guapo, while Dave Smith's drumming is as crisp and unpredictable as ever. There are moments where you can picture Gomez and Morticia Adams dancing an unspeakably lewd tango, along with moments of genuinely disturbing intensity. This is also a band that knows how to rock, which they do to thunderous effect on Asmodius Arise, and they have a keen sense of dynamics - fast and slow, loud and soft, acoustic and electric; all are contrasted with sometimes dizzying speed, and credit must be given to sound man Jamie Gonzalez Arellano for the clarity of the sound and the near perfect balance of sometimes punishingly heavy electric guitar with acoustic piano and violin.

Perils is a massively assured debut album, which draws on the individual members' diverse musical backgrounds and influences to create a uniquely enjoyable dark ambience. There's something of the atmosphere of Goblin's soundtrack work here, or perhaps Univers Zero taking a slightly less serious approach. Fans of Alamariman Vasarat and Hoyry Kone will also find much to enjoy here, as will anybody with a taste for acid fried 70s folk rock. Highly recommended.
(Chris Gleeson, ProgArchives)

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