Select Gender? This helps us keep people, musicians and brands searchable on Myspace. Please select Female Male Unspecified. This is your profile URL. Pick one that's 25 characters or less and includes a letter.
You can throw in numbers, dots and dashes, too. Pick one that's hard-to-crack, only known by you, and at least 6 characters long. Use this to log in to your account, receive notifications and get handy updates from us. Date of Birth? Please enter the account owner's birth date here. We based it off your Facebook details. But you can pick one that's 25 characters or less and includes a letter. Numbers, dots and dashes are ok, too. Select one Female Male Unspecified.
Connect me to Facebook friends and artists on Myspace? You may already know people on Myspace. If we find matches from your Facebook friends, we'll connect you to them right away. Tell my friends about Myspace? We based it off your Twitter details.
Steve Farris 2 Guitar. Steve George Keyboards, Vocals. Richard Page Lead Vocals, Bass. George Ghiz Management. Jonathan Owen Photography By. Mister Producer. Paul de Villiers Producer. Lots of synths and keys with a distinctly 80s drum sound, it's definitely worth having for the two major UK hit singles but other than that I find it pretty forgettable.
Reply Notify me Helpful. Alyxxandria November 14, Report. There is something special about this band from this period and the synthesized rock is awesome to listen to. Wish it had more songs like "Don't Slow Down" as that should honestly have been a single.
Reply Notify me 1 Helpful. Mister they are a unique group with a wonderful sound. Numanoid September 30, Report. Unlike most bands who ply these waters, Caesura specializes in short bursts of energy, songs that would seem to be fragmentary except for the depth of ideas within them.
The sound is raw, almost to the point of bleeding. The only things that keep these pieces from cutting their way through the plastic on the CD are the simple and vaguely rounded sounds of the guitar and bass.
Almost no effects--most of the time--which keeps the overall feel just this side of utterly abrasive. Which isn't to say these pieces are pleasant. There are plenty of lines for the intellectual listener to follow, but Caesura specializes in emotional and physical response.
This music gets the blood flowing, cranking the heart more and more until it seems it just might not be able to handle the strain. Then the album is done. Finally comes the junkie's dilemma: Risk physical depletion or ignore the jones.
I hit repeat. These boys must've grown up listening to the Bosstones, Welcome To My World - The Shilling Whores - Reckless (CD) and Shipping News--just for starters. While the songs tend to to take on modestly serious themes not to mention the occasional math-y guitar lineI get the feeling that Cain Marko shows are awesome goodness. There's just that little bit of party hearty in the gang harmonies and anthemic choruses. The band sometimes sounds like it's going in three directions Welcome To My World - The Shilling Whores - Reckless (CD) once, but these songs always come together by the end.
And yes, they're fun. The energy of this stuff is amazing. And if my review doesn't sell you, go to the web site. Check it out for yourself. I don't think you will be disappointed. I love the stuff. There's something about the frenzied--yet technically perfect--banjo and mandolin picking and raucous shouts that speaks directly to my soul. But Cairns shows off many more sides of the sound than that.
His songs take on all tempos and subjects. He even throws in a gospel quarter for good measure. Cairns is a fine songwriter, and he plays a nice banjo and rhythm guitarbut most importantly he creates wide open spaces for his compatriots on fiddle and mandolin and such.
That's the nice thing about bluegrass, and acoustic music in general. There's plenty of room for every player to shine without overshadowing anyone.
The sound on this album is immaculate--there's none of that tinny "authentic acoustic" sound that I just hate. Rather, the tones here are rich and full. Which is, after all, truly authentic.
If I had to quibble, I do wish Cairns would relax and let loose a bit more. There's plenty of energy on this album, but I need a bit more to send me into the stratosphere. Still, this is a fine collection by any standard. And, for the record, I'd love to hear lots more in the future.
Well, that's who Cairo certainly wants to be. The Trevor Horn-produced version, not the original. Keyboards ascendant, melodies twisted among the vocals and guitars. And long songs. The production is lush, but it follows the musical lead and is not too technical.
Sure, these guys are playing pretty complicated fare, but they string it together well, and nothing sounds jumbled or contrived. I've said before that I'm not a big fan of this sort of music, but I like this disc.
Cairo knows how to flesh out simple musical ideas and turn them into the progressive sound favored by the band. Each songs has at its heart only a couple real melodic ideas, and thus nothing is too complicated.
The soul comes through. It gives me a chance to argue with my boys about proper translation. As near as I can tell, this duo is from Spain BCore is in Barcelonaand they play some pretty outstanding guitar and drum indie pop. To reiterate: largely non-distorted guitar and drums. And some raggedy harmonies.
That's it. A simple recipe, and one that any manner of folks mess up all the time. Cala Vento uses those simple bones to create a relative avalanche of sound. There are the occasional string overdubs and maybe some bass here and there, but the simple structure remains. The songs themselves are almost impossibly infectious. It's not necessary to understand Spanish to get what's going on here.
Passion and joy roll off this album in sheets. This album starts off with the shimmer of a sunny afternoon, and it doesn't really let go of that feel. There are the requisite ups and downs, but happiness is not optional.
It's a requirement. The vocals alternately lilt and growl, and the music morphs to fit the mood of each particular song.
The songs themselves don't follow strict construction rules, instead generally meandering about and finding a good place to alight for the moment. I wish the writing was a bit more disciplined that would help eliminate some of the more egregious musical tangentsbut this loopy style has plenty of its own charm. Ultimately, the songs just don't quite click for me. There are lots of nice moments, but Caledonia just hasn't quite settled on what it wants to play, and that indecisiveness leaves the songs lacking that final defining moment.
A work in progress, most definitely. There's plenty of potential, but not quite enough craft. More live shows ought to work out the songwriting kinks, and once that gets more settled, who knows?
Here, the sound is spare and the musical inspiration is all over the map. There are plenty of Spanish guitar bits and lots of generic American West spookiness is that a genre? I don't think so Kinda like a more conceptual Palace. The playing and singing is tight, but the songwriting has an ethereal quality that is hard to place, except that Will Oldham and also Smog came immediately to mind.
The stuff was recorded in a home studio, and so the sound can be horrific at times, but that's exactly what the music needs. This is not arena shaking music. It's not even living room shaking music. It's thought wave shaking music. The best kind of music defies full description, and Calexico has achieved that standard. A timeless album that quickly works itself into your subconscious, where all sorts of damage will most certainly be done. As heard through the ears of a European cinematographer.
No Sergio Leone jokes, please. Though this music would be right at home if A Fistful of Dollars had any sense of irony whatsoever. Joey Burns and John Convertino, collectively known as Calexico, found enough time off from their usual gigs Barbara Manning, Victoria Williams, Giant Sand and others to record this puppy late last year. The sound is much fuller than the first disc, but as the music was already rather wide-ranging, not much could be improved in that area.
A great ride. Goofy, yeah, but also breathtaking. The better facilities didn't spoil the boys, who have made a better sounding album that still manages to be as inventive as its predecessor. Calexico is one of those projects that some people instinctively understand. The music has a way of worming into my head and then instructing certaiPezzgic and follow along.
Lunatic notions become the norm, and my mind meanders and bounds like a pebble down a mountain stream. Pretty damned cool. Usually it's a country song in a Mexican groove, or perhaps a Parisian torch song done in western swing with mariachi-style trumpets in back. No matter what John Convertino and Joey Burns throw into the pot, it simmers out as a stew that can't be licked up fast enough.
Not that this is all happy music, mind you. There are cold, lonely nights out in the desert as well. But even so, the sound is irresistible. The disc just rollicks on and on, with the hope that the good times never end.
Those expecting some experimental byways won't be disappointed. There are a couple of lengthy mood pieces with plenty of space for interpretation. But even these are more than accessible to the more mainstream listener.
In short, Calexico seems to have effortlessly bridged the gap between avant-garde and commercially-appealing music. There's plenty here for fans of all stripes, without condescending to anyone. A most impressive achievement. B-sides, unreleased tracks, remixes and some videos which can be viewed on Mac or PC. An EP bursting at the seams, really. Another skip along the arty southwestern road Calexico has been treading for years. Frothy and enjoyable, but with enough serious overtones to keep the mind engaged as well.
About what might be expected, I suppose. The pieces don't fit together quite as well as the stuff generally does on the albums, but they're not supposed to. This set is about collecting the debris. Mighty fine debris, I might add. In the modern style, which means there are a few melodic enhancers, particularly in the lead guitar. The pieces sound kinda light in the pocket at first, but there is an underlying depth.
It's not in the vocals or lyrics, though. Those are fine, mind you, but not earthshattering. Nope, Calibos just gets cooking every once in a while. It's the band thing. Where the three pieces get together and simply transcend the basic emo trio sound. The disc sounds good, too. A dully sharp sound how's that for a moronic oxymoron?
Part of that is also the interaction, of course. But the knob guy deserves a hand. What seemed slight at first really blossomed into something cool. Calibos just bounds. That's all. Bounding around and about. Like a sunny day in an isolated meadow. Kinda like if Neil Young took to a few Palace songs and utilized all the latest machinery, including drum machines. But not in a Beck way, if that's where you think I'm going.
This isn't poppy stuff. There's a rural blues sound to the guitar licks, and the drum machine when it appears doesn't get in the way. Rather, it just provides the proper heartbeat. Vaguely experimental in melody and beat usage, but not overly so. Califone is out to redefine sonic conventions, certainly, but not in such as way as to confuse or overly titillate.
This is just simply cool music. And sometimes, that's all it takes. The creativity in ferment here is astonishing. Way too much to take in with just a whiff.
They get occasional help from Tony Levin on bass and Bill Janssen on sax. They play their own pieces and those of others--including Mussorgsky's "Pictures at an Exhibition," Ellington's "Caravan" and Queen's "Bohemian Rhapsody. While this live set falls prey to the "tin guitar" sound that seems to plague most recent high-quality acoustic guitar recordings, the sound is good enough to distinguish between the players. Their individual styles and tones are apparent.
So I'm willing to overlook my other sound quibbles. While obviously classically trained, the members prove themselves most proficient in adopting whatever style is necessary to play the song right. The rousing rendition of "Misirlou" is proof of that.
Always technically precise, but also most expressive. Sure, this is paradise for the guitarist's guitarist. The playing is exquisite. But there's just as much here for a casual fan, someone who likes to hear good music presented in a somewhat unusual format.
You know, most songs weren't written for three guitars. But it works so well here, you'll be asking "why not? They jump from Beethoven to the Floyd without a moment's hesitation, and they even dig out an old Krokodil piece with Bonnie "Prince" Billy singing.
There is a novelty factor--especially on "Freebird," what with BPB singing on that one, too--but the playing is undeniably brilliant and the arrangements perfectly entrancing. Kinda like kettle corn. You know too much is bad for you, but you scarf down the whole bag anyway.
Andromeda Inner Knot reviewed in issueNovember A twentieth-anniversary celebration, both for CGT and HST Hubble Space Telescopethis collection of originals is less crowd-pleasing than previous albums which often featured covers of dinosaur rock chestnuts. But artistically, it works much better. On some pieces, Lams, Richards and Moriya round out their sound with percussion, bass and some strings. But as usual, the most stunning moments come when three guitars work together to create otherworldly sounds.
A bit more abstract than most CGT releases, but the best I've heard. Marian Call has one of those voices that settles right into this vaguely showy and goofy world.
Yes, these are stylings, but they're styled very nicely. Call veers a bit closer to the mannered folk than orchestrated pop, but that might simply be because of budgetary concerns. Or maybe not, as she deftly proves that banjo and trumpet blend quite nicely. Both the music and lyrics trend toward the clever, which does elicit the occasional groan.
Such are the pitfalls of this sound. I can live with it. And with 19 songs to choose from, I found plenty to adore. Yeah, I think I might have edited this down to a single CD, but Call crowdsourced this, and she might have been beholden a bit to her benefactors. That's cool. On the whole, more is better. Quite the bowl of fun. In truth, Call Me Lightning is hardcore in attitude only, but the devastation these songs leave in their wake has all the hallmarks of a massive attack.
Unlike the Alison Ranger album reviewed above, the sound on this disc is exceptionally clean and sharp. The general songwriting conventions and musical ambition are similar, but Call Me Lightning lies much closer to latter-day Guns N' Roses than, say, the Ex. Which isn't to say that these boys are sell-outs.
Rather, they simply prefer to have all the trappings of a commercial rock sound and still stick to their wacko indie music rantings. Hey, as long as it works, right? Well, it works. Amazingly well. Yes, this is precisely the sort of adrenaline-pushing, intellect-tickling music that makes me shoot first and clean up later.
I'm a sucker for blistering tunes that, oh, by the way, are skillfully crafted and far deeper than mere epidermis. And I'm pretty sure that there are at least a couple more people out there whose taste agrees with mine.
Call Me Lightning is most satisfying. Not what I expected from Thick. But that's cool with me. Everything seems to be just tinged with a minor key. That little feeling that tells you something isn't quite right. Not precisely my cup of tea, but Calliope pulls the trick off pretty well. There aren't that many overlays, so the simple, pretty sound can emanate from your stereo and not be cut off by something jarring. A cool slightly psychedelic pop disc. What's not to like?
I remember liking the disc in general. The a-side is a remix of a song from that album. The song is reduced to a beat and vocals, with lots of things tossed in just under the level of average hearing. Nice and subtle, perfectly beautiful, Welcome To My World - The Shilling Whores - Reckless (CD). It would make a great track for some intense, slow-motion part of a movie.
Three minutes of this song and interspersed slow-motion shots I shoulda gone to film school. But then I would never have heard this. The flip is " a. It's as sly and understated as the remix, but without the beat. Yes, I know a lot of people who just wouldn't sit still long enough to appreciate something like this.
If I had been drinking a few cokes before I reviewed it, who know? But I do like it. This is cool stuff that doesn't insult your intelligence. It challenges the listener to really get into the sound.
A very good thing. Braille Thick reviewed in issueMay Meandering, occasionally maddening pop stuff. To call this introspective would be a horrific understatement. Calliope Welcome To My World - The Shilling Whores - Reckless (CD) so far underneath its own skin it's swimming in Nonetheless, I hope you get my point. The melodies are disjointed, but they are sweet. You've just got to let them express themselves in their own time.
Calliope cannot be rushed to do anything, especially when it comes to tying a song together. A couple of pieces here don't click until the very last thought is expressed. It sure helps to be able to float along with the flow.
Impatient listeners will give up long before the good stuff arrives. Sometimes the moment of epiphany comes after the song is done. All of a sudden, it makes sense. I like challenging music.
Calliope doesn't pander to ignorant listeners with short attention spans. Rather, these songs reward those who like to think about the music they hear. Dive in headfirst and let the experience move you.
Fusion of rock, jazz, funk, electronica, hip-hop and a few other sounds I can't quite put my finger on just yet. The result is an arresting set of low-key moody rockers. You know, lounge music for music snobs. Hey, I think that might be a catchphrase or something.
Readers from a few years back might recall the derision I heaped upon most "lounge" acts, and so they've probably already picked up on my distinction.
This is lounge done well, or perhaps more accurately, mellow mood rock for moderns. Wow, the hits just keep on coming. What Calliope does better than most is find a solid groove and then chill. The songs don't really go anywhere, but damn, Welcome To My World - The Shilling Whores - Reckless (CD) sound good.
And the little stylistic and instrumental decorations about the edges subtly burnish the sound. Just enough to make my smile grow eight miles wide. As in cool. You know, cool. Very cool. Am I repeating myself? Maybe, but Calliope deserves as much praise as I can wring from my increasingly meager pen.
Everything else written here is mush. And this recording is an industrial extension of what Hawkwind has been doing for the past twenty-plus years. And don't forget the music. The U. While very sterile and electronic, FREQ is still a perfect counterpart to the pop revolution of the time. You see, this record has soul.
He cared, about the environment, about labor, about the poor schmucks who have to go in and clean up after the Irish bombers. Toss in 's single "Lord of the Hornets" with fellow Hawkwind veteran Lemmy helping outand you have a rather nice package. Camarosmith Camarosmith Dead Teenager reviewed in issueJune The further evolution of Zeke, in a manner of speaking.
In any case, these Seattle boys including a couple of ex-Zekesters take that nice, fuzzy stoner rock and give it a serious kick in the ass. The songs run almost three minutes apiece, epic by Zeke standards, but they fly by with all the fury of an April tornado. There's a big whoosh and then everything is blown to bits. To my ear, Camarosmith gets back to the basic core of rock and roll: loud guitars, bashing drums and kick-ass bass lines. If you've got all that, why do you need anything else?
Got me. Camaosmith certainly qualifies as a guilty pleasure, but I'm gonna indulge myself as much as possible. Dive into the sludge and cavort to your heart's content. I've heard it before, but Camber does a nice take on the form. I particularly like the lead guitar line, which had a habit of surprising me. The flip, "Question Marks", is much more intense, with some of the throbbing rhythm work found with Jawbox and the like.
The groove is great, and all the pieces fit together very well. Once again the lead line wends its way all over the map in an impressive way. Both are good songs, though I give the nod to the b-side. A solid effort all around. There was a question in my head, though, as to whether or not the songs suffered from so much contemplation. See, it's not supposed to sound like you're trying. At least, that's always been my theory.
Still, Camber does such a fine job of crafting the emo-core and talk about a genre where planning and painstaking effort are keyI can't get too hacked. The songs are gorgeous, and there is not one hair out of place. This is really a supreme production job by John Agnello. A solid piece of work all the way around. I'm not sure if punksters are ready for this kind of pinpoint precision, but then, that would be their loss.
I liked this more and more as I listened. Patience is a virtue when it comes to this sort of music, and Camber shows more than enough. Camber is one of the more adventurous emo bands around, and this disc shows off many moods and feels. Bone-jarringly raucous, soft and tender, light and poppy, strident and terse. It's all here. And Camber does it even while maintaining a definite band sound.
Sure, the songs range all over the map, but they still stay true to some notion of a true Camber. A rough, and impressive, trick. Even the production manages to change feels to suit the songs, though once again, there is a vaguely ragged quality that runs throughout. Sorta lo-fi, but it sharpens right up in the power pop moments.
There folks know what they're doing. Simply knocked dead solid stiff once again. It just takes a taste of Camber to get completely knocked out. I'm already there, my friends, and this disc is only further proof. A typical Camber song: Raucous, complex and completely involving. The guys just have a way of drawing folks into their sound. Me, in any case. Kid Brother Collective's "Sketches of Spain" not the jazz song is somewhat more subdued, leading with a spare guitar line before bringing on the fuzz.
In that way, it's a bit more by-the-book, but both the musical and lyrical ideas are intriguing. More than enough to make up for a somewhat generic emo song construction. Two solid hell, much better than that pieces.
A most worthy seven-inch. Wake Up and Be Happy Deep Elm reviewed in issueMay Further redefining the emo universe or perhaps proving once and for all that emo isn't a sound, but rather a state of mindCamber blazes forth with an album that is more catchy art rock how's that for an oxymoron?
Not so noodly as Radiohead, of course, but this puppy has its proggy moments. The sound retains that comfy punkish fuzz, but what lies behind that scrim is decidedly ambitious and complicated. And it all sounds so good. Camber still likes to bash out songs, no matter how involved they have become and let's be fair; the guys never wrote a straight three-chord piece. That attitude extends to the production sound, which is tailored for aggression.
Aggressive ideas as well as playing. Ambition is a great thing in a band, as long as it doesn't lead to pretentiousness. Camber easily stays on the hang-loose side of that divide.
These guys don't hit you over the head with their brilliance. They let the music do the talking. And it says volumes, believe me. Very punchy stuff, though it's interesting that the Brandtson stuff sounds a bit more cerebral than usual, while the quite similar Camber pieces sound much more off the cuff. Must be my expectations of the band in question.
I'm not sure if there's really a theme to this set, other than really fine songs by great bands well, Seven Storey is a one-man affair, but still. While each band did its recording separately, the sound achieved by each is startlingly similar to the others. I don't know if this intentional, but it sure does aid continuity. A great introduction to these three great acts. Fans will certainly want to hear this stuff, but this is the sort of release that brings in new admirers in exponential numbers.
Simply outstanding. Campbell, who seems intent on defining americana as broadly as possible. This is his third release, and it sure sounds like the kid from Gillette, Wyoming, has figured out what he wants to do.
One song might be spacey, but the next is just as likely to be an intimate romp. Campbell has full command of his arsenal, and each of these songs radiates confidence. They are simply a joy to hear. It's rare to pick up an album, fall in love and then do it all over again as each song rolls by. The songs here are impeccable and played with an irresistible energy.
One of the best I've heard in ages. And that there is, from noise to electronica to ambient to the utterly indescribable. Like I said, I can't compare these with Can's original versions, but what I hear is rather astonishing. The sheer diversity of the moods and sounds on these two discs is strong enough to impress just about anyone. Add in some inspired sampling and creative editing, and you get this very tasty treat.
Don't expect anything ordinary, and you'll be rewarded. There is a large amount of experimentation on these discs, and most it pays off in wondrous ways. Now I've got to dig up the Can albums and figure out just what the hell I missed. But I must say the spark of excitement is not there for me. Much like the Disincarnate album, I just can't get into it. And that's probably too bad for me. There is nothing wrong with the music and like I said, the playing is great.
It just seems a little calculated, a little dull. A lot of you like this, and that's perfectly fine by me.
Dayton, Ohio The Shillings were a group of Dayton high school students. They recorded two 45s which feature a nice melodic teen garage sound with obvious British Invasion influence, as you would expect from a band named after an English coin. Explore releases from The Shillings at Discogs. Shop for Vinyl, CDs and more from The Shillings at the Discogs Marketplace. Aug 04, · 50+ videos Play all Mix - Welcome to My World YouTube; Curly Chalker Steel Guitar Counterpoint LP side 1 - Duration: Chris Clem 3, views. Buddy.
Nov 28, · Archive - Whore (from the album Controlling Crowds) The brilliant interpretation of Billy Crudup in "Stage Beauty" is perfect with this sensual song.
Mar 04, · WELCOME TO MY WORLD "Engelbert Humperdinck" Las Vegas Hilton - Duration: coockiestv 4,, views. Susan Boyle's First Audition 'I Dreamed a Dream'. Analyzed: Mr. Mister / Welcome To The Real World [ AOR City CD] DR Peak RMS Duration Track DR9 dB dB Black/White.
Explore releases from The Shillings at Discogs. Shop for Vinyl, CDs and more from The Shillings at the Discogs Marketplace.
Regularly-updated list of Whore insults and Whore comebacks, sorted by latest, highest rated, and random. Insults for Whore. View credits, reviews, tracks and shop for the Brown Translucent Vinyl release of Welcome To The Real World on Discogs. Label: RCA Victor - NFL,RCA - NFL • Format: Vinyl LP, Album, Stereo Brown Translucent • Country: US • Genre: Electronic, Rock • Style: Pop Rock, Synth-pop.
Shilling shocker, a novel of crime or violence especially popular in late Victorian England and originally costing one shilling. Shilling shockers were usually characterized by sensational incidents and lurid writing. Compare dime novel; penny.
Madrecita Querida - Vicente Fernandez Con El Mariachi TenochtitlГЎn De H. Aceves* - Madrecita Querid, О•ПѓПЌ О‰ПѓОїП…ОЅ О‘ОіО¬ПЂО· ОњОїП… - ОЈП‰П„О®ПЃО·П‚ О’ПЋПЂО·П‚ - О ОЇПѓП„ОµП€О ОњОµ (Vinyl, LP, Al, PintarГ© Tu Color... - Nino Bravo - ...Y Vol. 5 (Vinyl, LP, Album), Moonship, Anytime Now - Living Waters In Christ - Living Waters In Christ (CDr), Redundance - Bienoise - Meanwhile, Tomorrow (CD, Album), Let Me Into Your Life - Various - The Beat Or Not The Beat (CD), ОњО№О± О¦П‰П„ОїОіПЃО±П†ОЇО± - Robert Williams (11) - О§П‰ПЃОЇПѓО±ОјОµ (Cassette, Album), Sweet Lovin Woman - Dobie Gray - Drift Away (Vinyl, LP, Album), Bet Dat - The Monopoly - The Greatest Hits (CDr, Album), Vincent Prices Celestial Party - Also - Vincent Prices Favourite Torture Songs (Cassette, Album), How Beautiful Are The Feet Of Them That Preach - Chesne Ryman, David Bartov, Eva Nordenfelt - Bach,, Ode To Billy Joe - Tammy Wynette - No Charge (Vinyl, LP, Album)