terça-feira, setembro 25, 2007

Dozer - Madre de Dios (2001)

"The new Dozer is killer. Full blown rock explosion reminiscent of Unida, early Monster Magnet...straight ahead rock and roll with vocals that remind me of John Garcia from time to time...that over the top fuzzed out high energy rock with blues leads thrown in left and right. The thing I like about Dozer on this new CD is the simplistic approach of the songs. Heavy- yes, but straight forward with very little in the way of tricks, or changes I should say. All the songs seem to truck along with balls and never seem to let up once. The duel guitar sound is thick and fuzzy, tuned down low and sludged out. The bass and drums thicken up the whole sound and vocals are right up front and barely over the top of the whole mix...not too loud, just right. I guess Unida came to mind first off because of the vocal style of Fredrik, who also doubles on guitar, and the simple fat riffs...don't get me wrong though, this is no carbon copy of Unida or Kyuss. This stuff rocks on it's own ground and has sometimes obvious influences, but what band doesn't now a days? Good solid rock record for sure. Song 9 "TX-9" is probably the mellowest song on the whole CD if there was one. It starts out with a more psychedelic attack that isn't so chuggy and punishing. Light and airy StonerRock if you will. With a slower start, this song cruises along at a medium pace with wah sounding guitar, but not a riding wah sound, more like it was positioned at one setting...lots of wide open spaces and trippy effects...a real nice change to the overall album feel. Another fine release from Man's Ruin and I am looking forward to everyone leaving the house soon so I can stick it in the loud stereo upstairs and crank it up to 10...or 11." - (Robwrong, StonerRock.com)

URL: http://welcome.to/dozer

Download: http://lix.in/379540

domingo, setembro 23, 2007

Dozer - In the Tail of a Comet (2000)

Fat, warm and fuzzy! That’s how I would describe Dozer’s sound, especially the excessively fuzzed out guitars.. "In the Tail of a Comet" is one of these records that you can listen to really loud with headphones and it doesn’t hurt your ears at all.. The production is too muddy, the guitars are too fuzzy and the bass is too loud!! And this is why it sounds so good, so warm and so easy on the ears. I love this stuff as you can tell, I much prefer Dozer’s type of sound over any tinny, eardrum peircing heavy metal even if it doesn’t turn out as clear and crisp on disc.

"In the Tail of a Comet" is Dozer’s debut full length album and it clocks in at 9 songs in just under 40 minutes… That’s 40 minutes of super groovy Kyuss and Fu Manchu inspired Swedish Fuzz Rock anthems that you can get down and boogie to. The range of songs do tend to ‘all sound the same’ on the first several listens if you’re not really paying attention.. But if you lie back with a good quality set of headphones with the bass cranked right up you start to understand a lot more where these guys are coming from.. On closer listen the dynamics in these 9 songs become much more evident. Dozer like to use a lot of creative vocal effects, there are lots of different tempos, and even some really enjoyable, and ultra-fuzzy guitar solos.. I must say that I much preferred the slower tempo songs like “Riding the Machine” and “High Roller” because of their flowing, organic textures and desert rock inspired mellow grooves.
(Dan Beland, StonerRock.com)

Download: http://lix.in/5cd7e8

sábado, setembro 22, 2007

Arik Roper

Nascido em 1973, Roper é um ilustrador e animador americano. É o criador de várias capas para discos de bandas como Sleep, High on Fire, Mammatus e The Black Crowes, além de ser o responsável por vários pôsteres de shows. Grupos como Sunn O))), Witch, Wolfmother, Boris, Om e Dead Meadow já tiveram seus nomes ilustrados por Roper.


quinta-feira, setembro 20, 2007

Sleep - Dopesmoker (2003)

The saga of Sleep's Dopesmoker was already almost ten years in the making by the time of its belated release in 2003. Originally slated to follow closely behind their second album of a decade earlier, the landmark Sleep's Holy Mountain, it lingered in unreleased limbo instead -- the subject of a vicious legal dispute between the Northern California trio and their record company, London, which refused to release Dopesmoker as delivered by the band -- that is, a single, 60-minute-long song! The impasse eventually led to the stubborn band's ignominious dissolution circa 1997 rather than conform to the label's demands, leaving fans waiting for an album that most assumed would never be heard. But come 1999, an incomplete, disjointed version of the recordings was cobbled together and released by Rise Above Records with the title Jerusalem. Unfortunately, this version sounded oddly ragged in places, with senseless digital song divisions and an abrupt, obviously chopped-off ending; so for all intents and purposes, the ideal work as envisioned by Sleep clearly remained unrealized. Thankfully, all these glitches were finally corrected for the definitive, band-sanctioned 2003 edition of Dopesmoker, which bears a top-notch production job courtesy of Billy Anderson (Helios Creed, Natas, etc.) to boot. Revealed here at last, in all of its colossal glory, Dopesmoker is at once an instant doom metal classic -- some might even say a masterpiece -- as well as an impossibly dense, nearly impenetrable listening experience for unprepared fans (just to give you an idea, the first vocals only arrive 16 minutes in). Meticulously composed in the style of Gregorian chants as interpreted through the ears of Black Sabbath, "Dopesmoker" esoterically describes -- get this -- the "Weedian" people's pilgrimage to the "riff-filled land." But lyrics aside -- and there are precious few here to justify stressing over them -- what skeptical listeners must take into account here is that "Dopesmoker" is in fact a single song, not a series of song snippets stitched together progressive rock style. As such, this initially daunting edifice of snarling riffage requires quite a bit more patience and dedicated sampling before its secrets are unlocked and its riddles unraveled, but therein lies the crux of what is ultimately a very rewarding experience. And for Jerusalem owners still reticent to part with their hard-earned cash for this new and improved edition, Tee Pee Records has added a bonus treat in the form of a live recording of unreleased track "Sonic Titan."
(Ed Rivadavia, AllMusic)

Download: http://lix.in/3482db

quarta-feira, setembro 19, 2007

Mark Lanegan - The Winding Sheet (1990)

"...His menacing voice haunts each track as the blues come to life throughout the album. Capturing the melancholy mentality of the Pacific Northwest, his words descend like raindrops upon deep puddles of mud. The undeniable beauty of a song such as "Ugly Sunday" obviously comes from reveling in the mire, something that Lanegan has been all too familiar with as a recovering addict. He finds a kindred spirit in Kurt Cobain as the two join forces to present "Down in the Dark." And his version of Leadbelly's "Where Did You Sleep Last Night" is as charged as ever with pent-up frustration and jealousy. An emotional journey through the pains of life..." - Robert Gabriel, allmusic.com

Download: http://lix.in/2a1117

Sleep - Jerusalem (1999)

Jerusalem is the ultimate celebration of smoke-filled nights spent zoning out to Black Sabbath. The album is a lyrically sparse 52-minute song that details the journey of "the weedian" to the "riff-filled land." The slow lumbering riffs in this land do the Obsessed, Blue Cheer, and the Sabs proud. Jerusalem is pure unpretentious heavy pleasure -- a smile and a nod to all who joyously kneel before the altar of Iommi with "bong in hand" in spirit and in actuality.
(Matthew Kantor, AllMusic)

Download: http://lix.in/e4d494

Sleep - Volume Two (1992)

Volume Two, já sem Justin Marler na guitarra, não é um lançamento oficial. O EP conta com cinco músicas, sendo duas versões diferentes para faixas do primeiro disco (Anguish e The Suffering), duas demos de Sleep's Holy Mountain (The Druid e Nain's Baptism), que sairia só no ano seguinte e, claro, um cover de Lord of This World. É, a capa diz tudo.

Download: http://lix.in/1830cb

Sleep - Volume One (1991)

Volume One, primeiro lançamento do Sleep, é o único álbum da banda gravado com um segundo guitarrista. Justin Marlen, o guitarrista em questão, largou o grupo e decidiu se dedicar ao estudo para se tornar um monge. Talvez por, na época, contar com doze cordas de guitarra, o Sleep ainda não tivesse caído de cara nas influências Sabbathicas (ou sei lá, quem sabe seja só merda da minha cabeça mesmo). A arte na capa do disco é um auto-retrato de Salvador Dali.

Download: http://lix.in/246a46

segunda-feira, setembro 17, 2007

Siena Root - A New Day Dawning (2004)

A New Day Dawning é o primeiro disco dos suecos do Siena Root. Ainda com Oskar Lundström nos vocais (a bonita voz de Sanya tomou seu lugar logo depois), o debut é tão bom, se não melhor, que o lançamento seguinte, Kaleidoscope. Influências claras - e únicas, até - de hard rock 60/70, com direito até a uma pequena homenagem a War Pigs no final do disco. Moderninhos, esqueçam isso aqui: A New Day Dawning cheira a mofo.

Download: http://lix.in/21bdb9

Bigelf - Money Machine (2000)

I've never been much of a fan of music described as "progressive" - actually, I've avoided it like the plague (what, me narrow-minded?)! But then, something happened. I was standing at the festival area of this year's Sweden Rock Festival, enjoying a beer, talking to some people on my way to the exit and back to the tent. But something made me stop. Something made me stop and think to myself: "what the hell is this"? What I heard was some heavy guitars sliding away into long, down-tuned Sabbath-reminding solos backed up by an even heavier Hammond organ. I felt drawn towards this weird yet compelling sound and suddenly I found myself standing in the crowd, shaking my head to these hypnotic rhythms and on the stage there were three men, all wearing long hair and beards, looking like black-dressed mad prophets. Jesus on acid. Sadly, I had to return to the tent to conduct some personal business (don't ask) so I didn't get to catch the whole concert, but I was impressed with what I had heard. Bigelf, I thought to myself, I gotta remember that name. And I did and when the opportunity came to get my hands on their latest album, "Money Machine", I didn't hesitate. The press release describes the music as "the way The Beatles would have sounded with Tony Iommi from Black Sabbath on guitar and Jon Lord from Deep Purple on organ", and I gotta admit, they really hit the spot with that one! Imagine Beatles during their cannabis-back-to-India era and with a little bit of desperation thrown into their sound, mixed with fat guitars and a corresponding organ. Yeah, yeah, I know what you're thinking: don't mix this and don't mix that, it'll all get too chaotic, but trust me: it doesn't! Bigelf are very talented musicians, performing a music that could be described as very technical, still the melodies are clean and very catchy! It takes a certain amount of creativity and genius to make these parts blend together well and these guys are not only pulling it off, but also they do it terrific! The lyrics are pretty simple, yet effective when put to the music. The two first tracks, "Money Machine" and "Sellout" are, for those of you who didn't get that from the titles, a big black boot in the face of the entire music industry - well, the greedy, money-rule part of it, anyway! Corporate assholes, beware! "Neuropsychopathic Eye" (which kicks off with some distorted Ozzy-like vocals) could easily have passed as a song from any Beatles album during their rawer period and has some great baby grand handling from keyboardist Damon Fox. "Side effects" begins with some really down-tuned guitars and turns out to be the most outstanding track of the album - the chorus is so simple, yet it's remarkable! Even your parents will appreciate this! Or at least they should. "Death Walks Behind You" is creepy and atmospheric (once again with some brilliant organ usage and groovy guitars) and the closing track "The Bitter End" is slow-paced with calm vocals, soothing keyboards and long, spiraling guitar solos. Really laid-back and relaxing - a great completion of a great album. If you haven't heard of LA band Bigelf yet, I urge you to check 'em out! It didn't actually convert me to start liking progressive music, but it made me love a band within a genre I had earlier tried to keep away from and that, my friends, requires a certain quality!
(The Damnator, Sweet Suffering)

Download: http://lix.in/209383

quinta-feira, setembro 06, 2007

Witchcraft - Roadburn Festival (2006)

Witchcraft ao vivo no Roadburn Festival, em 22/04/2006. Sem tracklist, pra não estragar a surpresa.

E tem nova música rolando. Como aperitivo para o novo disco, chamado The Alchemist, a banda jogou a música Walk Between the Lines no seu MySpace (http://www.myspace.com/witchcraftswe). O terceiro álbum do Witchcraft deve sair ainda este mês.

Download: http://lix.in/3a5915

* Upload por Vinícius.