Acefalia Musical

Brant Bjork - Live Stuff

2009-11-19T02:15:00.010-02:00

Coletânea de alguns bootlegs em boa qualidade do Mr. Brant, o que é uma baita raridade.

Oui FM 2004 (Acoustic, 128 Kbp/s) 01 - Fly To Haiti / 02 - Gonna Make The Scene / 03 - Captain Lovestar

Roadburn 2005 (320 kbp/s): 01 - Lazy Bones / 02 - Automatic Fantastic / 03 - '73 / 04 - Too Many Chiefs... Not Enough Indians / 05 - Gonna Make That Pony Trot / 06 - The Low Desert Punk / 07 - The Ultimate Kickback

Roadburn 2006 (128 kbp/s): 01 - Intro / 02 - Lazy Bones / 03 - Automatic Fantastic / 04 - '73 / 05 - The Low Desert Punk / 06 - Paradise On Earth / 07 - Get Into It / 08 - The Ultimate Kickback / 09 - I Miss My Chick

KXLU FM 2009 (192 kbp/s): 01 - Lazy Bones+Automatic Fantastic / 02 - Freaks Of Nature / 03 - Hydraulicks

Them Crooked Vultures - Them Crooked Vultures (2009)

2009-11-10T14:00:00.015-02:00

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

VAZOU, PORRA!

MP3 320 Kbp/s*
FLAC*
Digital Booklet

*Links atualizados.

Kylesa - Static Tensions (2009)

2009-10-03T20:13:00.010-03:00

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

Scott Reeder - Weaver's Dawn EP (2008)

2009-09-16T14:02:00.004-03:00

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

Nebula - Heavy Psych EP (2008)

2009-09-14T01:59:00.004-03:00

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

Chris Cornell - Live at Paramount Theater, 2000

2009-09-06T01:36:00.007-03:00

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
02/12/2000

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

John Frusciante - Shadows Collide With People (acoustic)

2009-08-28T21:05:00.002-03:00

“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

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

2009-08-20T22:26:00.006-03:00

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

Year Long Disaster - 2 EPs

2009-03-12T21:58:00.007-03:00

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

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

2009-02-09T14:17:00.011-02:00

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

Russian Circles - Enter (2006)

2009-02-06T10:34:00.018-02:00

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)

Download: http://lix.in/-432201

Me perdoem...

2009-01-22T11:35:00.002-02:00

... mas eu não pude evitar.

Então é Natal

2008-12-16T10:30:00.000-02:00

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

Hypnos 69 – The Intrigue Of Perception

2008-12-04T01:34:00.012-02:00

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

Colour Haze - Roadburn Festival 2006

2008-11-16T02:36:00.014-02:00

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)

Download: http://www.mediafire.com/?gmyj3yj2w2w

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

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

2008-11-11T20:34:00.006-02:00

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

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

Download (mp3 @ 256 kbps):
http://www.mediafire.com/?g0gwoylrm1z

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

Ché - Sounds of Liberation (2000)

2008-09-11T14:13:00.002-03:00

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

Siena Root - Live at Rockpalast / Crossroads (24.03.2006)

2008-08-29T12:21:00.004-03:00

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
http://www.youtube.com/watch?v=YWtg6M2pJSo

02. Shine
http://www.youtube.com/watch?v=38ujLKFQRp4

03. Blues 276
http://www.youtube.com/watch?v=BWZ09SP6X8I

04. Mountain I
http://www.youtube.com/watch?v=3BV06gGDIW0

05. There and Back Again
http://www.youtube.com/watch?v=wtVxXUJHbz4

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

07. The Rat
http://www.youtube.com/watch?v=iWA3ryyctYs

08. Coming Home
http://www.youtube.com/watch?v=rPoUt86Ow7U

Coletânea de Vídeos - Ao Vivo na TV

2008-07-19T22:49:00.015-03:00

Jeff Buckley - "Grace" (NPA 1995)
http://lix.in/-3021d3

Mastodon - "Colony Of Birchmen" (Conan 2006)
http://lix.in/-31a7ac

Probot - "My Tortured Soul" (Headbanger's Ball 2004)
http://lix.in/-2e9c40

Queens Of The Stone Age - "Little Sister" + "In My Head" (SNL 2005)
http://lix.in/-2eacda

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

2008-06-22T02:15:00.005-03:00

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

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

2008-05-27T22:40:00.003-03:00

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

Kurt Cobain: About a Son (2006)

2008-05-01T18:46:00.003-03:00

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)

2008-05-01T07:39:00.006-03:00

“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

Captain Beyond - Sufficiently Breathless (1973)

2008-03-28T14:51:00.006-03:00

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

Funkadelic - Funkadelic (1970)

2008-03-08T21:25:00.002-03:00

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

Scream for me, Curitiba!

2008-03-06T13:45:00.003-03:00

Caralho, foi demais.

E é isso.

Boris - Heavy Rocks (2002)

2008-03-01T15:50:00.003-03:00

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

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

2008-02-25T20:30:00.008-03:00

"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

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

2008-02-12T18:04:00.000-02:00

"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

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

2008-02-10T22:26:00.000-02:00

"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

Tracklist: 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

Dozer - Rarities

2008-01-26T20:48:00.001-02:00

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

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

2008-01-18T20:53:00.001-02:00

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
Download: http://lix.in/54ff2f6f

Acid King - Roaburn Festival (2007)

2008-01-10T11:34:00.000-02:00

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

Brant Bjork - "Sabbia" Movie Soundtrack (2006)

2008-01-07T01:52:00.000-02:00

"...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

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

2007-12-15T02:31:00.001-02:00

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

Melvins - Lysol/Self-Titled EP (1992)

2007-12-09T00:54:00.000-02:00

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

Melvins - Eggnog EP (1991)

2007-12-08T07:01:00.000-02:00

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

On a Pale Horse – Self Titled (2005)

2007-12-04T03:11:00.000-02:00

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)

2007-12-04T02:49:00.000-02:00

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)

Tomahawk - Live In Stockholm (2002)

2007-11-19T21:30:00.000-02:00

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.

Download: http://lix.in/0ea3ad

Grand Funk Railroad - On Time (1969)

2007-11-19T16:03:00.000-02:00

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

Truckfighters - Phi (2007)

2007-11-16T07:32:00.000-02:00

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

Om - Conference of the Birds (2006)

2007-11-12T17:44:00.000-02:00

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

Hunter S. Thompson - Medo e Delírio em Las Vegas

2007-10-27T12:12:00.000-02:00

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)

2007-10-27T11:00:00.000-02:00

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)

Download: http://lix.in/18f1bd

Dead Meadow - Howls From the Hills (2001)

2007-10-25T13:16:00.000-02:00

Hailing from the nation's capital and looking rather like the teenage cast from the cult film Rushmore, Dead Meadow garnered many an accolade with its first album's surprisingly accomplished and highly authentic brand of psychedelic rock. The young musicians' subtle yet dazzling technical interplay lies at the core of this formula, where power chords and all other such outbursts are usually hinted at, but rarely fully vented through the soft haze of the group's stoner musings. With its flowing grooves and measured, slow stomp, the band's self-titled debut was a discreetly seductive affair, slowly creeping up on the listener when least expected. Quickly released later the same year, second opus Howls from the Hills reprises this same M.O., with only slightly inferior results. Solid opener "Drifting Down Streams" lazily swims into gear over its eight-minute sprawl and the more concise Zeppelin-inspired "Dusty Nothing" delivers some early fireworks, but occasionally plodding tracks like "Jusiamere Farm" and "The White Worm" come off rather like first album leftovers. It would be easy to peg these underwhelming moments as unfocused, yet "focus" is a tricky word when describing Dead Meadow, since a seemingly casual (or possibly carefully orchestrated) lack thereof is an essential component of the group's unique identity. And, like its predecessor, Howls from the Hills' best trips are saved for last, and include the haunting acoustics of "The One I Don't Know," the epic "One and Old," and the excellent "The Breeze Always Blows." A strong effort all around, Howls from the Hills makes up for its occasional shortcomings with a palpable sense of promise, marking this as a band to watch.
(Ed Rivadavia, AllMusic)

Download: http://lix.in/0f0b74

Fim do Hellacopters

2007-10-17T14:40:00.000-02:00

"After nearly thirteen years as The Hellacopters we're now sad to tell you that we are breaking up. The reasons behind this very difficult decision are many and too personal to go into here.

Playing in a rock and roll band isn't always a walk in the park, but thanks to all of you who rocked out with us at sweaty clubs, rainy festivals or at home by the stereo throughout the years, it's been a fantastic trip. We'll never forget your support.

We recently finished mixing our seventh and last studio album and it'll be released early next year according to initial plans. We feel like we wanna say one last Goodbye to you and throw in the towel with a bang, so we're aiming to do a farewell tour through Europe and Scandinavia sometime in the spring. So you're not getting rid of us just yet.

Thanks!

The Hellacopters"

http://www.hellacopters.com

Year Long Disaster - Self-Titled LP (2007)

2007-10-14T23:02:00.000-02:00

Rock ‘n roll, the blues, and heavy metal have meshed well ever since Led Zeppelin and Black Sabbath first started jamming back in the late 1960s. But discovering fresh perspectives in this guitar- and testosterone-driven world isn’t always easy. Every once in a while, a band like Year Long Disaster will slip almost unnoticed onto the radar, melding ‘70s sludge, ‘80s thrash, and ‘90s punk into a heavy rock cornucopia, as evident on their self-titled debut album.

The bass is heavy, the drums are pounding, and the singing is ferocious on “Year Long Disaster,” but a glance at the power trio’s lineup reveals why the finished product came out so solid. The band is fronted by Daniel Davies, son of founding The Kinks member Dave Davies; bass player Rich Mullins, who toured with popular hard rock band Karma To Burn; and drummer Brad Hargreaves, who hails from eight-time platinum-selling group Third Eye Blind. No matter that Davies and Mullins met each other on the liquor aisle of a Los Angeles grocery store, or that they spent seven months in rehab and halfway houses for various drug addictions. All that’s just fodder for band bios and “Behind the Music” TV specials.

What matters is the Sabbath-like crunch of “Cold Killer,” the stoner rock shuffle of “Destination,” and the Southern-fueled ZZ Top swagger of “The Fool And You.” And just when you think they can’t slow it down and flesh out a song, Year Long Disaster closes their album with the eight-minute opus “Swan On Black Lake,” which would be worthy of a spot on any Zeppelin album.

It’s clear Year Long Disaster knows how to play distortion-drenched, head-walloping music capable of bursting an eardrum. And in today’s manufactured pop world, gravelly lyrics and blasting guitars are a welcome change from slick production and predictable song structures. Let’s refresh: kick-ass rock ‘n roll, gritty authenticity, and an extensive talent pool. What more does a music fan need to know? (Nick McGregor, Drift Magazine.)

Download: http://lix.in/219b7e

* Link atualizado.

Year Long Disaster - Self-Titled EP (2005)

2007-10-14T16:58:00.001-02:00

O Year Long Disaster é uma banda que já nasceu impondo respeito: Daniel Davies, guitarrista e vocalista, é filho de ninguém mais ninguém menos do que Dave Davies, do The Kinks; enquanto o baixista Rich Mullins é ex-membro da lendária banda instrumental Karma To Burn, que acabara em 2001. A forma como os dois se conheceram é, no mínimo, inusitada: em 2003, Daniel saiu para comprar Vodka numa loja qualquer de Hollywwod e encontrou Rich, que na época estava sem onde ter onde morar e sofrendo com o forte vício de drogas. Em pouco tempo de "amizade", os dois passaram a morar juntos, porém não durou muito: o consumo de altas doses de entorpecentes e álcool acabou levando-os a um centro de reabilitação em LA. Após passarem por esse momento, no final de 2004 os dois recrutaram o baterista do Third Eye Blind, Brad Heargraves para enfim formar o power-trio. Com muitas influências clássicas no seu trabalho, a banda mostra a que veio no seu auto-intitulado EP de estréia, que contém 5 faixas e foi lançado em 2005 pela gravadora Ovrcast Collect. E não estranhem se acharem a voz do Daniel Davies parecida com a do Chris Cornell... ao contrário do que alguns possam pensar - que se trata de algum plágio - esse é mais um elemento que fascina ao se ouvir YLD.

Download: http://lix.in/49e6f0

* Em 320kpb/s, aproveitem. Apesar do idiota aqui ter colocado o ano de 2006 no arquivo, o EP foi lançado em 2005 mesmo, mas acho que isso não faz muita diferença, né?

Puta que pariu

2007-10-07T15:02:00.000-03:00

Passando pelos canais da TV, caí no programa 'Qual é a música?', do Sílvio Santos. E tava o NX Zero lá. Bicho, tem que ser muito filhadaputa pra curtir NX Zero. Vai tomar no cu tranquilo, valeu?

E é só isso.

Loop - Heaven's End (1987)

2007-10-06T13:24:00.000-03:00

Quando este peculiaríssimo emergiu como um OVNI no seio do rock inglês em meados dos anos 1980, a imprensa dita 'especializada' apressou-se em caracterizá-lo como uma banda 'neopsicodélica'; hoje, com a perspectiva que só a distância dos anos proporciona, é possível constatar como tal classificação estava equivocada: banda indubitavelmente à frente de seu tempo, Loop poderia ser descrito como uma colisão blasfema entre emanações de avant noise psychedelia e peso stoner, atualizando, via Stooges, MC5 e Blue Cheer, a vertente mais alucinógena do krautrock (Guru Guru, Ash Ra Tempel, Silberbart, etc.) para a garotada dos anos 80: guitarras encharcadas de fuzz e wah wah's emanados diretamente dos mais ignotos confins do Cosmo; percussões catatônicas propelindo atmosferas lisérgicas e obsessivas; drones abissais gerando brumas oscilantes de desorientação sônica. Numa palavra: ESSENCIAL!
(Alfredo de Sousa)

Download: http://lix.in/75d702

* Upload por Alfredo

Dozer - Live in München (2001)

2007-10-05T11:17:00.000-03:00

As tags marcam a data 04 de novembro de 2001, mas eu não faço idéia se ela tá certa. De qualquer forma, peguei o link. Bem, o show conta com dez músicas, todas retiradas dos dois primeiros lançamentos do grupo, In the Tail of a Comet e Madre de Dios. Qualidade muito boa (soundboard), além da chance de ouvir ao vivo essa banda do caralho, já que seria mais fácil o Papa comer piranha por aí do que ver os suecos em terras tupiniquins.

Download: http://lix.in/6bb41b

Dozer - Through The Eyes Of Heathens (2005)

2007-10-04T17:30:00.000-03:00

Now signed to Small Stone, the biggest fish in the little pond of underground labels that supports this genre, Dozer comes back with Through the Eyes of Heathens to school us all once again. What’s immediately noticeable is that the two years since Call It Conspiracy have toughened the band up. There’s a harder, rougher edge to Through the Eyes of Heathens. While the band is still a master of the fuzz’d out riff and catchy chorus, tracks like “Drawing Dead,” “From Fire Fell,” and “The Roof, the River, the Revolver” leap out at you with pounding rhythms and almost snarling vocals. Even the slower, more melodic “Until Man Exists” ends with a growling outro, courtesy of Troy Sanders of Mastodon. (John Pegoraro, Stonerrock.com)

Obs.: FODA PRA CARALHO!

Download: http://lix.in/ac0668

Álbuns Clássicos - Outubro

2007-10-03T14:21:00.000-03:00

Vi esse lance em algum blog - talvez n'A Taverna do Barbaro? - e resolvi fazer bom uso daquilo que aprendi indiretamente com o 'ctrl+c / ctrl+v': a arte de não ser criativo.

Como alguns devem saber, o History Channel (eu não sei se passa na sua casa, filho) há um bom tempo está trazendo o programa semanal Álbuns Clássicos, que mostra os bastidores da gravação de, er, álbuns clássicos. Queen, The Who, Pink Floyd e Judas Priest são apenas alguns dos nomes que já apareceram por lá. Vale a pena dar uma olhada.

Sex Pistols: Never Mind the Bollocks
03/10 (23h), 04/10 (03h), 04/10 (15h)

Iron Maiden: The Number of the Beast
10/10 (23h), 11/10 (03h), 11/10 (15h)

Bob Marley & The Wailers: Catch a Fire
13/10 (16h), 14/10 (04h), 14/10 (10h)

The Who: Who's Next
13/10 (17h), 14/10 (05h), 14/10 (11h)

Metallica: Metallica (The Black Album)
13/10 (18h), 14/10 (06h)

U2: The Joshua Tree
13/10 (19h), 14/10 (07h)

Pink Floyd: Dark Side of the Moon
17/10 (23h), 18/10 (03h), 18/10 (15h)

Nirvana: Nevermind
24/10 (23h), 25/10 (03h), 25/10 (15h)

Meat Loaf: Bat Out of Hell
31/10 (23h), 01/11 (03h), 01/11 (15h)

Dozer - Call It Conspiracy (2003)

2007-10-03T13:24:00.000-03:00

Here we have 12 cuts of primal heavy rock positively smoking with stoner atitude, but delivered with the gonzoid intense of Motörhead. If you love bands like Nebula, Unida, Kyuss, Monster Magnet, or any other practitioners of drop-forged riffing then you'll find a great friend in Dozer. It's all here from the space-rock drone, to brain-mashing reverb. Ace.
(Essi Berelian, Kerrang!)

Download: http://lix.in/2cefa0

Dozer - Madre de Dios (2001)

2007-09-25T22:35:00.000-03:00

"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

Dozer - In the Tail of a Comet (2000)

2007-09-23T15:21:00.000-03:00

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

Arik Roper

2007-09-22T14:28:00.000-03:00

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.

http://www.arikroper.com

Sleep - Dopesmoker (2003)

2007-09-20T13:18:00.001-03:00

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

Mark Lanegan - The Winding Sheet (1990)

2007-09-19T17:05:00.000-03:00

"...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)

2007-09-19T16:17:00.001-03:00

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)

2007-09-19T14:21:00.001-03:00

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)

2007-09-19T13:25:00.000-03:00

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

Siena Root - A New Day Dawning (2004)

2007-09-17T17:26:00.000-03:00

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)

2007-09-17T12:53:00.000-03:00

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

Witchcraft - Roadburn Festival (2006)

2007-09-06T11:19:00.000-03:00

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.

Goldfish Memories - EP (2007)

2007-08-06T21:38:00.000-03:00

"The music flies around us in every single step"! Com início em janeiro de 2006, o som de Goldfish Memories, que tem influências interessantes de stoner rock e demais estilos do rock como grunge e hard rock,chega na cena com um som carregado de riffs de peso e marcantes, com guitarras distorcidas, mas também com direito a uma viagem louca utilizando variações de efeitos e bateria agressiva!!! Basicamente esse é o som desses goianos que foram considerados como uma das bandas novas que mais se destacou no ano de 2006 em Goiânia – Goiás - Brasil. Banda é formada por: Pablo Villas Boas no vocal, Renato Cunha na guitarra, Danilo Xidan na outra guitarra e nos backing vocals, João Gabriel no baixo e Lucas Manoel na bateria.

"The music flies around us in every single step"! The band activities started at January 2006. Goldfish Memories shows up with great influences of stoner rock and using some grunge and hard rock elements to create a heavy sound with notable riffs, crazy guitars, playing around with effects and powerful drumming. Basically, that’s the sound of this band that was considered one of the greatest new bands of Goiânia/Brazil in 2006. Goldfish Memories is: Pablo Villas Boas(lead vocal), Renato Cunha(guitar), Danilo Xidan(guitar and backing vocals), João Gabriel(bass), and Lucas Manoel(drums).
(do MySpace da banda)

Download: http://lix.in/0cf969

Sonicvolt - Single 2007 (2007)

2007-08-02T16:27:00.000-03:00

Poucas bandas têm uma árvore genealógica tão vistosa como a SonicVolt. São galhos contemporâneos vergados ao peso de Queens of the Stone Age e Nebula; um denso e sólido caule do rock ’70 de Black Sabbath, Led Zeppelin e Blue Cheer; e raízes tão diversas que vão do pré-punk de Detroit à psicoledia sessentista de cepas vigorosas, como Hendrix e Floyd.

Transitando entre o experimentalismo, a psicodelia e ainda arriscando alguns elementos de punk, esse trio pioneiro do stoner rock no Brasil sabe bem como respeitar essas origens. Exatamente por isso, mantém -- alheio a modismos -- os dois pés fixos no rock de alta-energia, como o próprio nome da banda sugere.
(Wilson Cordeiro, no release da banda)

E seguindo essa linha a Sonicvolt disponibilizou 'Single 2007', último trabalho da banda, com três músicas novas: Atômica Revelação, H.E.N.D.R.x. e Fora de Foco. Eu não sei se é impressão minha, mas cada vez mais eu começo a perceber fortes influências Atomic Bitchwaxianas no som do grupo, e isso é muito bom. Pode ser viagem mesmo, mas pouco importa. Cancele o download do disco daquele tal de Moptop, clique no link abaixo e seja feliz.

Download: http://www.sonicvolt.com.br/mp3/single_2007/
SONICVOLT-single_2007.zip

Site oficial: http://www.sonicvolt.com.br/

Pagan Altar - Volume 1 (1982)

2007-08-02T16:04:00.000-03:00

If I were to just say they are Sabbathy heavy metal I might give the impression that they are just another proto-stoner band like Witchfinder General, but that's not quite right at all. Imagine a band heavily influenced by the riff-stylings, songwriting/arrangement, and magical/occult imagery of Sabbath, but completely without all of the psychedelic and drug influence. They don't tune down, so the doomy rumbling sound isn't there, and the songs don't go for heaviness so much as...'otherworld-liness', maybe? From what I gathered from the band's website this album is thematic and is focused on occult themes, and the music manages to grab that atmosphere of unreality and the terror a person feels when faced with something forbidden (I guess I'm thinking of Hawthorne's short story "Young Goodman Brown" where the good puritan guy goes into the woods and finds his whole town in an occult orgy...).

The music on this album seems timeless, in a way. The music is very faithful to the OLD style of heavy metal like early Sabbath and Priest, both in the riffs/arrangements and the way the bass and drums play off the guitar work. The vocals also seem very 'vintage' - frontman Terry Jones is definitely NOT a 'metal' singer, with his very high, thin vocals that actually call to mind OLD occult/rock acts like Black Widow or early Pentagram - he sounds much more 'rock' than metal in his timbre, but the vocal melodies he weaves into the songs just fit perfectly. The production helps reinforce that 'timeless' sound (though I doubt it was deliberate - this was 1982, after all...) - it's a bit brittle, like slightly overdriven analog recording equipment, with gritty but slightly thin guitars, a big, fat bass sound, and clean-but-dry drums like on the first couple of Priest albums. You could have told me this came out in 1972 and I'd believe it.
(Vic, Metal Archives)

Download: http://lix.in/722f74

Rising Dust - Rising Dust (2005)

2007-08-02T11:32:00.000-03:00

RISING DUST is a Doom trio comprised of David (guitars/vocals), Steff (bass) and Malek (drums) – from France. Their roots clearly lie at: BLACK SABBATH, SAINT VITUS, PENTAGRAM, THE OBSESSED, TROUBLE and DEATH SS, classical Doom that is. (...) It’s old-fashioned as hell, the production stale and the song titles really clichéd in a nice way. The vocalist sounds as weird/original as Steve Sylvester in DEATH SS’ glory days. And yet I like this album better than many tuned and ho so technically boasting works… RISING DUST have soul and like to play and they come across as credible. They don’t have an image, no special outfit, they play Doom coming right from the heart! (Ralf, The Metal Observer)

Download: http://lix.in/455b3e

Bigelf - Closer to Doom (1996)

2007-07-25T17:26:00.000-03:00

Black Sabbath meets Pink Floyd meets Atomic Rooster meets King Crimson meets The Beatles. Se essa descrição não for suficiente para ouvir com calma o debut do Bigelf, juro que não sei o que você faz neste blog.

You know they say…"downloading is killing cd sales"… bullshit, bad music and homogenized entertainment are killing cd sales, period."
(Bigelf)

Download: http://lix.in/fc7eb5

Soundgarden - Ultramegaunknown

2007-07-24T21:36:00.000-03:00

Bootleg que contém um apanhado de demos e lados-b de 93 e 94. E tenho dito.

Músicas: Cold Bitch / Exit Stonehenge / Birth Ritual [Demo] / Like Suicide [Acoustic] / She Likes Surprises / Spoonman [Steve Fisk Remix] / Show Me / New Damage [with Brian May] / Seasons / Birth Ritual / My Wave [Live] / Jesus Christ Pose [Live] / Beyond the Wheel [Live] / Fell on Black Days [Live] / Kickstand [Live]

Download: http://lix.in/7b8961

Bigelf - Hex (2003)

2007-07-24T21:17:00.000-03:00

Here they come again!!! After almost three years since "Money Machine" Bigelf is back and in their best form ever! "Hex", in my opinion, is their best album up 'til now. "Madhatter" should take the award for "Best Goddamn Song From The Last Ten Years"! Holy shit, there's no way on earth you can listen to this song and not get psyched. But that's just the beginning of "Hex"! The power-vibe keeps goin' on songs like "Pain Killers" (which should get an award too) and "Carry The Load" with its six minutes of pure tripping heavy music. But hey! There's more, the trilogy of "Bats In The Belfry" is completed now with its 1st and 2nd parts (the third one is on "The Madhatter EP") and now you can play them in sequence and feel the heavy progressive vibe of Bigelf's crazy alchemists. "Disappear" and "Black Moth" are some kind of crossing between psychedelia and heaviness, Syd Barret's Pink Floyd and Black Sabbath's Sabbath Bloody Sabbath era. "Burning Bridges" gets into a Beatlesque kind of mood (there's a part of the song where the keyboards remind me of "Because" from the fab four), with lots of Hammond and blues feelings. "Rock And Roll Contract" and "Sunshine Suicide" follow that Beatle-mood, especially on the harmonies and vocals. There it is, I know this album has just been released, but I can't wait for their next doom opus!! Do as you wish, but HAVE this album in your collection!
(Álcio Villalobos)

Download: http://lix.in/0bd4fb

Pale Divine - Eternity Revealed (2004)

2007-07-12T16:10:00.000-03:00

I think I’ve had the promo for this monster for 4 months. For some reason I couldn’t put the feelings into words. OK, and time was a factor too, I’m a busy guy, I got other shit going on, but mostly it was the ‘feelings to words’ thing. Sometimes I get awed enough by the magic of music to become aphasiac.

Eternity Revealed is massive. That’s the word that always comes to mind with I listen to the record. There is a lot to get your head around, and its full enjoyment potential doesn’t materialize until several listens in. The full scope and immensity just has to seep in, little by little. Eternity Revealed is the Three Mile Island of metal.

Pale Divine’s gift to doom-tinged metal is adding in a 70’s heavy psych flair and an unreal comprehension of the metal jam. I’ve always maintained these guys are the Allman Bros. of metal, and Eternity Revealed does nothing, thankfully, to change my mind. The complexity of the jams contained within are head-spinning, but the emotional power behind both these jams and the songs themselves are truly a gift.

Whereas their previous effort, Thunder Perfect Mind was an excellent work, it was hampered by…uh… less than austere production. This time they enlisted famed engineer to the DC scene, Chris Kozlowski, and the result is amazing. Eternity Revealed also has a more ‘metal’ feel than TPG, less groove and more dire. The fact that the PD’s also pulled a couple of tunes off of the famed (and also very dire) Crimson Tears demo and retooled ‘em a bit, helped color Eternity…. a bit darker than it’s predecessor.

And riffs… there is more riffs per song on ER than most modern Death Metal opuses. It’s staggering. Each song is a friggin’ rollercoaster with highs, lows, plateaus, sudden twists and sudden drops… massive. That’s it. Massive.

An exceptional release, definitely in my top ten for the year.
(Chris Barnes, Hellride Music)

Download: http://lix.in/f1c5e9

The Obsessed - The Church Within (1994)

2007-07-12T14:45:00.000-03:00

There's a certain AC/DC quality to the Obsessed; one knows what to expect and it's okay. Though there's some damn-near thrash moments on The Church Within, the record stays true to the Obsessed blueprint of Volume 4: riffing, monotone vocals, and expressive, intelligent lead playing. Far from sounding tired, the formula is used for maximum effect -- check out "Blind Lightning," perhaps the hardest crush the group have ever committed to tape, or the dissonant doom of "Mourning" for examples. Originally released stateside as their major label debut, it's comforting that the Obsessed didn't change or conform their sound one bit on The Church Within -- it's heavy without apology.
(Matthew Kantor, AllMusic)

Download: http://lix.in/c82e36

Saint Vitus - Born Too Late (1986)

2007-07-12T13:42:00.000-03:00

Born Too Late is undeniably a defining effort in the spirit of the early, now considered "classic" doom metal sound. The marriage of vocalist Scott "Wino" Weinrich, founder of Maryland's D.C. area legends the Obsessed and L.A.'s own legendary doom pioneers Saint Vitus, produced a sound and lyrical landscape that was not commercially successful in its own right, but which has inspired and continues to influence myriad popular culture figures such as the Melvins, Nirvana, L7, Fugazi's Ian McKay, Black Flag's Greg Ginn (owner of SST, Saint Vitus' label) and Henry Rollins, Monster Magnet, Kyuss, Electric Wizard, Eyehategod, Grief, Sleep, Cruevo, and a list of bands, musicians, and genres too long to list without writing a novel. Long after Black Sabbath had shifted their sound away from the bombastic, sludgy riffing of classics like Paranoid, Masters of Reality, Vol. 4, and the like, Saint Vitus and the Obsessed rose from regions that were birthplaces and breeding grounds for early-American hardcore punk. While identifying intensely with the independent and socially critical nature of those scenes, Saint Vitus's sound was deeply rooted in the gloomy ballistics of early Sabbath. Born Too Late's sludgy, ultra-slow riffs never break out into the galloping rhythms of, say, "Children of the Grave," however. This album is like Black Sabbath on Quaaludes and wearing lead suits underwater. Each chord rains down like a hammer, and each progression takes an eternity to resolve. In the early '80s, while everyone in the pop music culture was looking for the new sound, be it new wave or hardcore, Saint Vitus were decidedly retro. You don't even need more than the name of the album's title track, "Born Too Late," to get the point. But Wino drives it home anyway, with the lines "every time I'm on the street/people laugh and point at me/they talk about my length of hair/and the out of date clothes I wear." The lyrics go on to point out that while "they say [his] songs are much too slow," they also "don't know the things [he] knows." That's for sure. Before almost anyone else had even realized that rock was on its death bed, Saint Vitus were looking back on the '70s with nostalgia. Throughout, the album is what might be considered a cliched retrospective of that bygone era's heavy metal sentiments. Dragons, psychedelic drugs, images of war, and severe alcohol abuse dominate the landscape. The most important consideration with this album, though, is not the originality of the approach. What separates Born Too Late from nearly all heavy metal up to that point was the outright admission that the band's passion - slow, heavy music - not only lacked commercial viability, but was in fact itself a source of the ridicule and social alienation the music speaks to. The punk rock style integrity of the band's commitment to that sound and image was in direct opposition to the money and chicks attitude of L.A. glam metal of the day. While the impact Saint Vitus made with Born Too Late at the time was minimal, the legacy of that early dedication has influenced and changed the world of music. For all fans of grunge, stoner rock, and doom metal, this album is a classic.
(Paul Kott, AllMusic)

Download: http://lix.in/ebdf44

Shocking Blue - At Home (1969)

2007-06-27T14:22:00.000-03:00

American listeners tend to remember Shocking Blue as the one-hit wonder behind the chart-topper "Venus," a melting pot of rock rhythms, country guitar licks, organ riffs, and Mariska Veres' heavily accented vocals. Sounding something like a cross between "96 Tears" and "Sugar, Sugar," "Venus" was not entirely representative of the group's first album, At Home. Like their fellow countrymen Golden Earring, Shocking Blue purveyed a mild strain of psychedelic rock, but leaned more toward country and folk music than bubblegum. Guitarist and principal songwriter Robby Van Leeuwen was already preoccupied with Americana at this early stage, from "Harley Davidson" and "California Here I Come" to a surprising rendition of the folk song "Boll Weevil" that sets the traditional lyrics to music reminiscent of the Easybeats' "Good Times." (The group's country music fixation would manifest itself more overtly on later albums). Van Leeuwen's sitar is pictured on the album cover and dominates the instrumental "Acka Raga," but, thankfully, is not overused. "Mighty Joe" and "Never Marry a Railroad Man" were minor U.S. chart hits that few people remember, but "Love Buzz" gained a measure of fame decades later when Nirvana covered it. Veres has great presence -- like a gypsy incarnation of Grace Slick -- but Van Leeuwen's English-language lyrics can be awkward at times. On "Venus," all the components clicked perfectly into place, but there is much more to Shocking Blue than their biggest hit.
(Greg Adams, AllMusic)

Download: http://lix.in/385913

Electric Wizard - We Live (2004)

2007-06-15T14:01:00.000-03:00

2004's We Live witnessed the birth of Electric Wizard Mark II, as lone remaining founding member Jus Osborn -- tired of years of internal strife -- decided to "upgrade" the doom metal stalwarts from a power trio to a twin-guitar quartet. However, with or without the cosmetic improvement brought on by the addition of second guitarist Liz Buckingham, it's important to point out that this incarnation of Electric Wizard has little in common with the original article of ten years prior. Rather, as previewed by 2002's slightly more subdued Let Us Prey opus, this, the Wizard's fifth album finds the Dorset doom masters' original, overwhelming force largely replaced by a deep-seated sense of dread. Here, said vibe is established by the sphinx-like, ten-minute, two-part opener "Eko Eko Azarak: 1. Invocation; 2. Ritual," which quickly puts that second six-string to good use with minor key melodic lines backing up the band's characteristic power riffing. Then again, the ensuing title track, with its spoken word intro undoubtedly lifted from some crappy hammer horror movie, will surprise none among the band's devotees; and the fact that it goes on a little longer than necessary may be less a factor of bad form than overt familiarity with Electric Wizard's habits (again, depending on the listener). Both the typically sloth-like "Flower of Evil a.k.a. Malfiore" and the requisite "fast number," "Another Perfect Day?" also have their share of memorable moments -- but not enough, and the second in particular definitely overstays its welcome with useless repetition. So it's with great relief that this rare swoon is vengefully redeemed by two positively awesome compositions: the bottomless despairing "The Sun Has Turned to Black," where the band's second guitar is put to its best use yet; and the final, devastating mass that is 15-minute monolith "Saturn's Children," which spins back the clock to sit comfortably alongside Electric Wizard's greatest achievements of yore. Taken as a whole, however, We Live's clearly uneven attributes will probably not see it going down as Electric Wizard's finest hour; but even so, and taking into account the group's recent transformation, it does offer conclusive proof that, even on a mixed day, this band never drops too far off the top of the doom class.
(Ed Rivadavia, AllMusic)

Download (Remastered CD Version): http://lix.in/7d74af
Download (LP Version): http://lix.in/7a20e2

* Upload por Felipe

Electric Wizard - Let Us Prey (2002) [Remaster]

2007-06-15T13:52:00.000-03:00

A band whose creative process has often been as lethargic as their drawn-out doom dirges, Electric Wizard surprised many fans when they announced the imminent release of their fourth album, Let Us Prey a mere year and a half after 2000's monolithic Dopethrone -- itself preceded by nearly four years of silence. Probably for this very reason, Let Us Prey weighs in at a comparatively trim 45 minutes or so and makes for a significantly easier meal to digest than its epic predecessor; but it also falls short of Dopethrone in delivering what many consider to be the final word in doom metal. In fact, it appears that, having stuffed those four years of frustration into Dopethrone's perfectly colossal mass, the world's most doleful trio used Let Us Prey to take a concerted step back from the edge, and allow themselves the privilege to explore a few new directions. A good case in point, first track "A Chosen Few" immediately finds them scaling back their extreme volume and feedback in order to make room for added guitar textures; and second offering "We, the Undead" sees them stepping on the gas and embarking upon a manic thrash-out the likes of which they've rarely attempted (topped by ultra-distorted screaming from singer Jus Osborn). Both are also uncharacteristically short and to the point, but the two-part instrumental "Master of Alchemy: I. House of Whipchord/II. The Black Drug" is more familiar. At nearly ten minutes, it resurrects the vintage, head nodding Wizard of old, and may just qualify as the greatest incidental horror movie soundtrack ever committed to tape. Sadly, its also the album's last unquestionable winner, as subsequent stoner epics "The Outsider" and "Priestess of Mars," while still offering plenty of doom for your buck, start to sound somewhat automatic and recycled. Also, separating the two is an eyebrow-raising anomaly called "Night of the Shape" consisting of piano and saxophone mood music (shock!) splayed out over a nearly electronic drumbeat. Ultimately, Let Us Prey's riskier experiments and occasional inconsistencies, however small, are bound to disappoint Electric Wizard fanatics accustomed to magnum opus after magnum opus; but the fact of the matter is that it still leaves most competitors coughing in the band's pot smoke.
(Ed Rivadavia, AllMusic)

Download: http://lix.in/f40530 *

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Electric Wizard - Supercoven (1998)

2007-06-14T02:00:00.000-03:00

Electric Wizard purveys the sort of grungy, sludgy, psychedelic heavy metal epitomized in the 1990s by Monster Magnet (and pioneered by Black Sabbath and Hawkwind). Supercoven is only 32 minutes long, but it provides a concise, concentrated burst of the band's signature, druggy sound.
(Steve Huey, AllMusic)

Supercoven is an EP by doom metal band Electric Wizard. It was originally released in 1998 by Bad Acid, and then re-released in 2000 by Southern Lord with two extra tracks: Wizards of Gore from the band's 1994 demo, and Electric Wizard from a live recording in Alkmaar in the Netherlands.
(Wikipedia)

Download: http://lix.in/08200f *

* Upload por Felipe

Electric Wizard - Dopethrone (2000)

2007-06-13T01:22:00.000-03:00

As Deep Purple's Roger Glover once said, "Heavy isn't about volume, it's about attitude." And no band better illustrates this statement than England's Electric Wizard -- the reputed heaviest band in the universe -- whose every album has managed to push the boundaries of down-tuned, grinding, monolithic doom metal to unprecedented depths. Sure, they pack plenty of volume as well, but none of it could possibly work without the band's uncompromising worship of weed and all things gothic and malevolent. After a long hiatus (during which they were no doubt traveling the cosmos without ever leaving their parent's basements or putting down their bongs), Electric Wizard finally returned to action in the year 2000. The resulting dirge masterpiece, Dopethrone, delivers walls of sound so dense that at first they seem too big to fit into your ears. At a paltry three minutes, the opener "Vinum Sabbathi" may be the Wizards' first true candidate for an actual "single," but it really serves as a teaser for what's to come. Introduced by short spoken intros taken from B-movies a la White Zombie, extended riff-monsters like "Funeralopolis," "I, the Witchfinder," and the three-part colossus "Weird Tales" are vintage Electric Wizard. Though they never exceed a snail's pace, they somehow manage to build in intensity, from single note guitar lines to huge power chords with deliberate, maddening certainty. First-time listeners will find it easier to cope with more compact offerings like "Barbarian" and "We Hate You," but with time, they'll see the light and embrace the obscenely heavy title track, with its patented "Iron Man" oscillating riff. In short, with Dopethrone, Electric Wizard has raised the bar for doom metal achievement in the new millennium -- good luck to the competition.
(Ed Rivadavia, AllMusic)

[UPDATE]
Download: http://lix.in/2c6673
Download (REMASTERED Edition): http://lix.in/ff696c *

* Upload por Felipe

Electric Wizard - Come My Fanatics... (1997) [Remaster]

2007-06-12T21:35:00.000-03:00

Upon its release, Electric Wizard's excellent debut carved a Titanic-sized swath through the heavy metal landscape, burying much that had come before under an avalanche of amp distortion, detuned riffs, and billows of marijuana smoke. And yet, impossible as it may seem, the band's absolutely colossal second effort, Come My Fanatics..., while somewhat less immediate than its predecessor, somehow upped the sonic ante through a wall of sludge so thick that even the most experienced of metal heads couldn't help but be overwhelmed by its power. Opening number "Return Trip" is quite simply a heavy metal landmark, from its sudden, feedback-induced (and bowel-releasing) opening chord to the anguished screams of main man Jus Oborn through to its final coughing denouement ten minutes later. The barely discernible lyrics to second track "Wizard in Black" (another monster at eight minutes) gradually emerge from the trio's cyclopean grind, intoning "I am a God...I am the One" -- and by gum if by now you're not ready to believe just that! Ensuing acid-metal behemoths like "Doom-Mantia" and "Son of Nothing" (the album's shortest track at almost seven minutes) will test the patience of uninitiated listeners before drifting into focus through billowing clouds of smoke, but the ultimate religious experience is well worth the lengthy conversion process. And though less memorable, instrumentals like "Ivixor B/Phase Inducer," (a full-fledged space rock feedback freak-out) and closer "Solarian 13" slot right into the album's imposing mass. Essential doom.
(Ed Rivadavia, AllMusic)

Download: http://lix.in/380eb3

Acid King - III (2005)

2007-06-05T15:21:00.000-03:00

"This is how it’s done. Acid King’s III is a testament to the heavy. My only complaint is the amount of time it took to get this fucker out.

See, Busse Woods, their previous paean to fluid distortion, came out in 1999. That’s a hell of a long time between albums, more than most bands’ careers. But on III’s seven tracks, Acid King prove - almost effortlessly, I have to add - that they’re among the leaders of psychedelic stoner metal. Less spacey than label mates Sons of Otis, more jam-oriented than doom outfits like Ufomammut and Electric Wizard, Acid King exist in a thunderous low-end that shakes foundations even at the lowest volume. Listening to songs like “”Wheel Nation” or “On to Everafter” is like watching molasses pour out of a jar. It’s thick and viscous, pooling together in a meaty muck.

And like molasses, it sticks to you. III’s one of those albums that refuses to let go of your subconscious. Chalk it up to Lori S’s spectral croon and her dense guitar riffs, or the heavier than thou rhythm section of Joey Osbourne (drums) and Guy Pinhas (bass). It doesn’t really matter. Acid King have tapped into a well of heavy. Let’s hope it doesn’t run dry."
(John Pegoraro @ StonerRock.com)

Tracklist: 2 Wheel Nation / Heavy Load / Bad Vision / War of the Mind / Into the Ground / On to Everafter / Sunshine and Sorrow

Download: hhttp://lix.in/8dcd77

Muse - Black Holes And Revelations (2006)

2007-06-02T17:58:00.000-03:00

A banda nesse álbum parece um pouco segura demais quanto as suas capacidades e ao seu som, o que me deu a impressão de não estar ouvindo algo totalmente novo. Nada disso quer dizer que o novo álbum não é bom, na verdade, é um dos melhores do Muse, e a seqüência inicial com "Take a Bow", "Starligth", "Supermassive Black Hole" e "Map of the Problematique" é primorosa.

A temática no entanto é bem mais forte e política, começando pela capa, produzida pelo brilhante designer Storm Thorgerson responsável por algumas das mais memoráveis artes de álbuns, incluindo praticamente todo o trabalho gráfico do Pink Floyd. Na foto, quatro homens estão sentados em uma mesa sobre a qual estão três cavalos em miniatura. A paisagem lembra o solo marciano, o que pode extender a interpretação à última (e uma das mais obscuras) músicas do álbum, "Knigths of Cydonia". Cydonia é o nome de uma região do planeta Marte onde se encontra o famoso "rosto humano". Expecula-se que a capa faça referência aos Cavaleiros do Apocalipse citados na Bíblia, e o começo da música "Knigths of Cydonia" conta com sons de galope de cavalos seguidos de explosões e algo que lembra uma sirene de alarme.
"Take a Bow" por exemplo, traz críticas pesadas, que só posso atribuir aos comandantes supremos do universo, Mr. Bush e o cãozinho de estimação Mr. Blair.
(Pedro Keh, Muzplay)

Download: http://lix.in/208091

Drunk Horse - In Tongues (2005)

2007-05-31T19:36:00.000-03:00

"There has always been an egregious misunderstanding about The Dark One and his role in music. Somewhere between the rise of Venom and Slayer, people got to thinkin' that Satan was all wrapped up in heavy metal. Sure, The Devil has his spindly fingers on a few choice thrash records, no doubt, but when it comes to music, those in the know agree on one thing: Satan prefers '70s rock. KISS, Deep Purple, Rainbow and Black Sabbath sure as hell didn't make it to the top on talent alone. Mephistopheles played a role in the rise (and subsequent fall) of each of these fabled bands.

If you didn't know better, a few listens to In Tongues would convince you that you'd unearthed a classic gem from several decades past. Rumbling guitars, heinously long solos, markedly pronounced vocals and bong-tokin' riffs drift by in a seemingly endless supply. One thing's for sure -- Drunk Horse have done their homework when it comes to reliving the past, and they take their stoner-driven classic rock to epic extremes.(...)

You can say this much for In Tongues: it's never boring. Its endless supply of Marshall stack smokin' anthems will bring out the guitar hero worshipper in everyone you know. Without the likes of Drunk Horse, you might think that Satan had given up on rock 'n' roll entirely. And without him, rock 'n' roll just wouldn't be very much fun. Thanks, Drunk Horse!"
(Andrew Magilow, Splendid Magazine)

Download: http://lix.in/1eec22

Siena Root - Kaleidoscope (2006)

2007-05-30T18:56:00.000-03:00

"Last year Siena Root played several highly acclaimed performances at big festivals and took the hearts by storm. With this -their second album- the band managed to enhance their honest and natural sound without loosing contact to their musical roots. The amazing and charismatic blues-tinged voice of female singer Sanya gives a real kick to the Siena Root sound. The album is a kaleidoscope with '1970' facets. It's spectrum ranges from tight and bluesy organ-based, psyched heavy rock to beautiful eastern-influenced ragas with sitar and hippiesque flute. Nevertheless there's enough space for some well dosed jamming and improvisational intervals."
(Nasoni Records)

Download: http://lix.in/422fae

Witch - Witch (2006)

2007-05-29T18:50:00.000-03:00

"Like all bands of its stripe, they owe an enormous debt to prime Black Sabbath. Thomas' voice isn't as unique as Ozzy's, but by the same token he's not as annoying either. Sabbath's emphasis on Herculean riffs certainly informs the core of Witch's music, but most of the rest of the sound is filled in by influences more from heavy rock than from the increasingly technical and rarefied straits of metal. Saint Vitus and Sleep, yes, but also everyone from Blue Cheer (the chugging “Soul of Fire”) to Comets on Fire (the amazingly molten “Changing”). The lyrics, written by Thomas, are uniformly concerned with sorcery and the supernatural, but anyone who seriously thinks that's a drawback really needs to hear the grinding churn of the guitars on the opening “Seer,” or the end of the explosive “Hand of Glory.”

Witch manage to do a lot more in forty minutes with little more than a bunch of badass riffs and a decent rhythm section than most metal bands these days can do with seventy minutes. Witch is short and sweet and driving enough to inspire some serious grade headbanging; about the biggest worry surrounding this album is the fear that Mascis and Feathers might leave this as a one-off side project. Avant folk's gain would be doom metal's loss: As good as some of the artsier acts in this genre are, Witch is that rare band that focuses on just providing some incredibly heavy rock and roll in such a compelling fashion that they temporarily render all other considerations moot."
(Ian Mathers - Stylus Magazine)

Download: http://lix.in/e87307

Isis - Oceanic (2002)

2007-05-28T11:01:00.000-03:00

"Isis is one of the few heavy metal bands recording without regard for convention, and since Tool's debut, few have succeeded in such breathtaking fashion. Turner-- who's invariably screamed at the top of his lungs to this point-- actually sings on the record's closer, "Hym". Always with an ear for the industrial drone dramatized by Swans and Skinny Puppy in the 80s, and kept alive by Neurosis (who Turner has known since starting Hydra Head), Isis have graduated from their status as the best dirge orchestra around, consolidating a number of disparate sounds to create a dynamic far more evocative than mere loud-soft-loud repetition: these are caterwauls offset by meditation."
(Chris Ott, Pitchfork)

Download: http://lix.in/95821e

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Electric Wizard - Electric Wizard (1995)

2007-05-27T23:24:00.000-03:00

"When Electric Wizard first emerged, seemingly fully formed from the hallowed wombs of the doom metal gods (well, Dorset, England, anyway), all most listeners could do was stand in dumbfounded awe -- such was the power and magnitude with which the trio delivered its monolithic epics. Taking up the torch from doom pioneers like Saint Vitus, Sleep, and more recently Britain's own Cathedral, the eternally stoned-out trio went about setting a new standard for slothful, detuned heavy metal noisemaking; yet -- amazingly, compared to subsequent efforts -- their eponymous debut's crushing wall of sludge would soon seem almost lightweight. Most of the songs on Electric Wizard crawl along at a snail's pace, their mind-numbing riffs exploring the lowest imaginable sonic frequencies still within human range. Except for the trippy space rock guitar of "Mountains of Mars," the entire record revels in the purest, uncompromising post-Sabbath doom metal dirge, a great part of which may prove too sluggish and impenetrable for inexperienced listeners. But for knowledgeable consumers of the genre, weed-worshipping anthems like "Stone Magnet," "Devil's Bride," and the group's awesome namesake, "Electric Wizard" (which is introduced by a long, highly suspicious exhaled breath), amount to a mind-shattering experience...prepare to be enlightened."
(Ed Rivadavia, AllMusic)

Download: http://lix.in/8bee45

Electric Wizard - BBC Maida Vale Studios (2005)

2007-05-25T22:39:00.000-03:00

BBC Session da considerada por muitos a banda mais pesada do mundo. Para a sessão, em Janeiro de 2005, a banda gravou três músicas: 'Dopethrone', do disco homônimo, e 'We Live' e 'Another Perfect Day?', do até então último disco de estúdio do grupo, We Live.

Download: http://lix.in/354cf8

Procol Harum - Procol Harum (1967)

2007-05-25T20:23:00.001-03:00

"This is another one of those seminal proto-prog albums that is so instrumental to prog and music in general. One of those obligatory passages from sixties pop to seventies rock, along with Caravan’s debut, Soft Machine’s first two albums and the Nice’s debut. (...) Some of the tracks are silmply incredibly advanced for the times and still sound so solemnly beautiful nowadays: listen to Oustside The Gates OF Cerdes, Repent Walpurgis, and future hit Conquistador, to get a load on how great these guys were working as a unit and breaking ground with almost every track. To call this album full-blown prog is maybe a little quick, though: Kaleidoscope, Mabel and Captain Clack are tracks full of great psychedelic invention that even Floyd or the Beatles would’ve proudly called their own."
(Hugues Chantraine, ProgArchives)

Download: http://lix.in/bb8802

Godspeed You! Black Emperor - Lift Your Skinny Fists Like Antennas to Heaven (2000)

2007-05-24T21:07:00.000-03:00

"Lift Your Skinny Fists Like Antennas to Heaven, the much-anticipated follow-up to Godspeed You Black Emperor's Slow Riot, is a double-disc achievement of four works (each with multiple parts): "Storm," "Static," "Sleep," and "Antennas to Heaven." It is a windfall for any fan of ambient pop, orchestral rock, space rock, or simply lush string arrangements who understands how powerful love, melancholy, and frustration can be. The main complaint voiced by critics of Godspeed's music is that their works just repeat the same pattern: start out sparse and slow, build-build-build, crescendo. While there are certainly crescendos, there is no such predictable pattern repeated among the works on Lift Your Skinny Fists Like Antennas to Heaven -- it's loaded with dynamics, unexpected sections, strong emotions and beauty."
(Joslyn Layne, AllMusic)

Download: http://lix.in/d332bc

Colour Haze - CO2 (2000)

2007-05-23T12:58:00.001-03:00

"I've heard a lot of great music since we started this site, There is so much talent out there in hard music. Even the stuff that isn't so great, you have to tip your hat to because someone had a dream big enough to put it on a CD. Reviewing makes me feel like an asshole sometimes. I don't want to be the one to crush dreams, but as a heshrock journalist, I must calls 'em as I see's 'em. And for every CD I love, someone else is going to trash. That's just how it is. The magic just don't work for everybody.

So lemme call this one as I see's it.. Germany's Colour Haze is fucking incredible.

Colour Haze is head music....a swirling hybrid of Kyuss, Natas and perhaps the hypnotic ambiance of Spacemen 3, but with an originality to distance themselves from all three....slow lazy guitar jams followed by a valley of bass then mountains of pure distortion. Musicians joining together in elation, luckily captured by recording equipment, something the Grateful Dead did on stage at those rare times, something they called the X factor. No explaining, just three musicians coming together in a syncopated harmony of rhythm and distortion. Singer/guitarist Stefan Kogiek's voice weaves in and out of the music, sometimes cool and mellow, other times drenched in adrenaline."Shine", "Inside" and title track "CO2" are the musical equivalents of tantric ecstasy, radiating an brilliant afterglow long after the CD player stops.. A rare and incredible find."
(Chris Barnes, Hellride Music)

Download: http://lix.in/5ece77

Mogwai - Come On Die Young (1999)

2007-05-23T00:08:00.000-03:00

Segundo o wikipédia, Mogwai é uma banda escocesa de post rock. Formado em Glasgow em 1995, o grupo é um dos expoentes do estilo, caracterizado por música instrumental carregada de melodias complexas. O nome da banda tem origem nos personagens Mogwai, do filme Gremlins. Pra mim, música de primeiríssima qualidade, arte antes de mais nada.

Este trata-se do terceiro disco dos caras.

Tracklist: 1 Punk Rock 2 Cody 3 Help Both Ways 4 Year 2000 Non-compliant Cardia 5 Kappa 6 Waltz For Aidan 7 May Nothing But Happiness Come Trough Your Door 8 Oh! How The Dogs Stack Up 9 Ex-Cowboy 10 Chocky 11 Christmas Steps 12 Punk Rock/Puff Daddy/Antichrist

Download: http://lix.in/3e61ef

Funkadelic - Maggot Brain (1971)

2007-05-22T14:08:00.000-03:00

"Funkadelic was George Clinton's chance to get serious. Unlike Parliament, Funkadelic exhibited topical lyrics and an almost heavy-metal edge, one that included screeching, distorted guitar and unsettling musical turns. This 1971 album, Funkadelic's second release, catches the ensemble in its early prime. The Hendrix-inspired dramatics come courtesy of Eddie Hazel, while Bernie Worrell admirably handles the keyboard chores. Clinton's humorous, sober lyrics address poverty, race relations, and drug use. Musically, the band covers lots of ground: Everything from smooth soul and heavy rock to abstract psychedelia and straight-on funky grooves has a place, and these jarring shifts are what make the album a revolutionary work."
(Marc Greilsamer, Amazon)

Download: http://lix.in/715865

Jeff Buckley - Grace (1994)

2007-05-22T13:46:00.000-03:00

"Jeff Buckley was many things, but humble wasn't one of them. Grace is an audacious debut album, filled with sweeping choruses, bombastic arrangements, searching lyrics, and above all, the richly textured voice of Buckley himself, which resembled a cross between Robert Plant, Van Morrison, and his father Tim. And that's a fair starting point for his music: Grace sounds like a Led Zeppelin album written by an ambitious folkie with a fondness for lounge jazz. At his best -- the soaring title track, "Last Goodbye," and the mournful "Lover, You Should've Come Over" -- Buckley's grasp met his reach with startling results; at its worst, Grace is merely promising."
(Stephen Thomas Erlewine, AllMusic)

Download: http://lix.in/319121

Mark Lanegan - Whiskey for the Holy Ghost (1994)

2007-05-18T13:38:00.000-03:00

"Se 'The Winding Sheet', o primeiro álbum solo de Mark Lanegan, era um disco muito promissor, 'Whiskey For The Holy Ghost' assegura um lugar para Lanegan entre os maiores. Trata-se de um belíssimo álbum, que infelizmente foi descoberto por poucos.

Baseado em influências clássicas da música americana, o folk, o rock, o lamento do blues, a simplicidade do country, 'Whiskey For The Holy Ghost' é um disco absolutamente atemporal. Foi lançado em 1994, como poderia ter sido lançado neste ano ou na década de 70. E é um disco emocionado, de sentimentos expostos, explícitos e palpáveis, e talvez por isso, é um disco extremamente acessível embora não seja um trabalho necessariamente popular." (leia mais)
(Alexandre Luzardo, Dying Days)

Download: http://lix.in/e3b99a

Hand of Doom - Live in Los Angeles: Black Sabbath Tribute (2002)

2007-05-18T01:58:00.001-03:00

Do encarte: "Hand of Doom is Molly R. Stern on bass, Pedro Yanowitz on drums, Guy Stevens on guitar, Joey Garfield on gongs and turntables and Melissa Auf der Maur as Ozzy."

Precisa dizer mais? Ah, tem participação especial de Nick Oliveri.

Download: http://lix.in/71308f

Auf der Maur - Auf der Maur (2004)

2007-05-18T01:04:00.000-03:00

"Melissa Auf der Maur has the best rolodex in rock: She played bass for both Hole and the Smashing Pumpkins; went to school with Rufus Wainwright; and purportedly counts Foo Fighters' Dave Grohl, Queens of the Stone Age's Josh Homme and Andrew W.K. among her romantic conquests. Her own record better be good. While Auf Der Maur's self-titled debut doesn't sound anything like either her friends or former employers, it's clear she's picked up a few tricks. Standout tracks "Followed the Waves" and "Real a Lie" storm out of the speakers with shameless arena rock bluster and volcanic urgency. Her lyrics stink (think witches and black light unicorn posters) but she compensates with the sort of million-decibel pterodactyl shriek that makes it hard to notice. And when she tries her hand at a bit of '80s-inspired noise pop with "Would If I Could" the results near My Bloody Valentine envelope pushing brilliance. She was obviously born to do this."
(Aidin Vaziri, Amazon.com)

Download: http://lix.in/758328

Melvins - Bullhead (1991)

2007-05-16T19:12:00.000-03:00

"After three albums filled for the most part with quick song bursts and the occasional longer track, the eight-song long Bullhead found the Melvins stretching out a bit more at points, this time allowing the heavily stoned tempos plenty of time to really sprawl all over the place. There are fewer sudden shifts between fast and slow moments as well, and a lot more pure lava-flow beat-over-head feedback sludge and noise. It's not all ten mph deliberation, though - "Zodiac" shows the trio at full speed and blasting aside anything that might be so foolish as to get in its way, not to mention one unhinged Osbourne vocal lead. If grunge was achieving breakthrough status in Seattle, it was being perfected in its rawest sense on this album. Opening cut "Boris" does all this in excelsis -- the band's longest recorded song at this point, nearly ten minutes long, it practically drips from the bongwater of eight million potheads, with Osbourne invoking his own brand of demons over the deep crawl of the music. Osbourne here really has got the dramatic, theatrical Ozzy Osbourne attitude down, with the occasional double-tracked vocals adding to the off-kilter intensity of the performances. Crover again shows his worth on the drums -- he plays things slow most of the time but, crucially, never once sloppily -- while Black keeps the bass going, however relatively unheard under Osbourne's guitar attack. "It's Shoved" is the not-so-secret highlight of Bullhead, Crover's brisker drum work and Black's sharp bass playing heralding a wild lead-guitar melody and a great ensemble performance. However, efforts like "Anaconda," with its slowly uncoiling power, and the intense "If I Had an Exorcism," which gets all the more wired and wound up as it goes (Black's bass here is some of her best), are no slouches."
(Ned Raggett, All Music Guide)

Download: http://link.pulsix.com/&/595136

Créditos ao Vinícius pelo arquivo. =D