Funk metal/hardcore pioneer band debut (an offshoot from Suicidal Tendencies) that does a lot of cool shit. I think the cover is supposed to be some weird parody of the TMNT, but who really gives a damn when Ozzy Osbourne, the fuckin' PRINCE O' DARKNESS, guests on the lead single?
Anyone who has seen my post on this fantastic group's 1990 release Erplandshould probably already have a notion of sorts as to why this group is awesome, but in some ways this 1989 major label debut is actually superior to much of what these space rock gods would do throughout the next decade (including Erpland itself). This is partly because Pungent takes more chances on the compositional side of things, emphasizes atmosphere over merely tripping out. It helps some also that it doesn't feel as rave-centered or praise seeking as records such as Curious Corn or Spirals In Hyperspace. Tracks such as 'Phalarn Dawn' and 'Agog In The Ether', for instance, are experimental ambient pieces that wouldn't be caught dead on these guys' later masterpieces, and when it clicks together it feels almost as gratifying as if you've just made love to your ideal dreamboat (gender at your discretion).
The bottom line is this: People often accuse the Ozrics of sounding the same on every album since their inception as a unified group back in the mid 80's, but the fact this album exists at all invalidates that claim in an intriguing, refreshing and even glorious manner.
Thus, I hope ya'll are ready to dope up and get ready to drop the ball, 'cause this vintage (and remastered) slice of infinity is a real motherfucker in the best way possible.
Better known as lead guitarist for Norwegian prog. metal mainstays Extol and dozens of other lesser known acts, Ole spends his personal solo-project time recording a plethora of sumptuous material that comes across as a combination between Stevie Wonder, late 70's/early 80's westcoast yacht rock and modern Jamiroquai.
Moving on (literally), these songs come in two flavors: funky and mid-tempo. Whichever your poison though, it all goes down smoother than a slurpee on a boiling August day....though you might want to get set your Christ-radar on high here, because some of that comes through here.
If any of you have never heard of or have had the pleasure of reading the classic sword n' sorcery adventures related to Elric of Melnibonéand the terrible blade that owns him known as Stormbringer, then you are simultaneously A. Neglected in the mind thanks to your ADD-riddled 21st century living and the shit that passes for "great" fantasy these days or/and B. Probably not going to fully appreciate the space rock awesomeness that U.K. mainstays Hawkwind crafted here in the mid 80's.
Raw, rumbling and somewhere between heavy metal and punk as far as intensity goes, this band has and always will be considered an ageless alternative to the norm, a more stripped down, energetic counterpart to Pink Floyd for fans of cosmic music. Tracks such as the riff-cannoned 'Needle Gun' and the winding blowout of 'Horn Of Destiny' are real kicks in and of themselves, but its those ambient touches on the maudlin 'Zarozinia' and that gorgeous texturing on 'The Pulsing Cavern' that elevate this beyond just blazed out rock: that fuzz you hear is your soul, crying out for some big swords and an adventurous enough spirit to take on the universe in all its malevolence and mystery.
Speed metal mixed with pompous classical arrangements, loaded with ballads, blistering guitar work and a strange mix of pop yet punk sensibility? Sounds like another great day in the world of early Visual Kei to me!
Listening to this remastered magnum opus is like a thermos of dark, strong coffee after a day of toil and trouble - the voice of a man who reaches into your soul and spins gold from the threads of your exhaustion, sailing seas of synth and primitive percussion in a quest to set your mind a'dreamin'.
Vocal ambient is one of those genres that only a few people in all of music history have mastered to the point of science, and David Sylvian is first among them on this peerless, peerless little record from good ol' '84.
PS: This is my 4th favorite recording of all time.
The only album by these guys I don't despise or feel indifferent towards, which should tell you quite a bit right there. Love how over-the-fuckin'-top the production sounds too: I could eat my crumbly yet delicious chocolate chewies off it and probably not leave a trace.
You can't go on thinking nothing's wrong, so swipe this up and dust off your disco pants.
Although unable to break completely away from its crust punk meets thrash heritage (a conundrum shared by such bands as Venom and Hellhammer), this classic first wave black metal debut was a scum-soaked revelation upon its release and still sounds class today. Hail!!
Psychedelic dalliances, jazzy chops and a left-turn pop sensibility come together brilliantly on this late-to-the-party slice of progressive rock, and in its brightest moments it matches this band's earlier classics in the genre peak-for-peak and pound for pound.
Unfairly lambasted in its own time and overshadowed in popular consciousness by MO's previous two masterpieces (The Inner Mounting Flame and Birds Of Fire respectively), Apocalypse witnessed a completely new lineup (Jean-Luc Ponty on violin!!!!!) behind guitarist John McLaughlin executing a strange, yet beautiful mixture of classical orchestration into this band's signature hellfire brand of jazz fusion.
Falling into a more atmospheric subtext of the then-gathering-speed of Third Stream groups, this was indeed a true classic of the 70's. People just didn't realize it until that decade was gathering dust in Father Time's old sock drawer.
Post-punk at its most droll, cynical and, against all expectations, pure. Perhaps a tad haunting too - these songs creep down from the sky like a long-limbed cloud.
While your weeaboo friends might be obsessed with J-Pop and some of Asia's more mainstream exports, I doubt they're familiar with this dreamy little Korean pet project, contemporary jazz-coast pop with hip-hop touches courtesy of duo Clazziquai.
Too smooth and dynamic for your local supermarket and too legitimate and well executed to be appreciated by the Pitchfork hipsters, I think the best of you might reap some real reward from this series of serenade.
Being a great thrashy-speed metal band is a bloody, vicious business: you need power, the riffs, the acceleration of a creative mind and hand, and a knack for performance that goes beyond what is expected.
Iron Savior are one of those bands ladies and gents, and this is one of their best records in an entire discography of unbridled balls-to-the-wall excellence.
