| 1. Let's Rock Shall We |
| 2. Living @ Home |
| 3. Obvious By Their Absence |
| 4. Our Love Is Like |
| 5. Lacking Energy |
| 6. New Hampshire |
| 7. Some Bad Impressions |
| 8. Together Forever |
| 9. A.T.M. |
| 10. Doing A Live CD |
| 11. Grandma's Song |
| 12. SkrewU |
| 13. Intimate Crowd |
| 14. Wrestler's Love |
| 15. She's Like |
| 16. Debbie |
Editorial Reviews
Dr. Demento (Dr. Demento Nationwide Radio Show)
"One of comedy music's future stars. Soon (they'll) have people opening up for (them)!"
Product Description
EXCLUSIVE label of the "World's Greatest Alternative Rock Comedy Band" Throwing Toasters!
burnt
But as someone else mentioned, this is really a concept album of sorts, and needs to be listened to in its entirety to "get it". It's an odd concept, because it's not linked by lyrics or music so much as it is by a structural meta-concept--that of a sandwich. The first and last tracks, two pseudo-doo-wop songs, serve as the bread. All the songs up to "Little House I Used to Live In" are the toppings, condiments, and so on, and "Little House I Used to Live In" is the meat . . . well, er, the big burnt weeny. What's remarkable is that the basic tracks consisted of Mothers of Invention "outtakes", but Zappa, being a skilled Dadaist/collagist, could turn "outtakes" into beautiful, cohesive, seemingly composed from scratch works faster than you can say "Max Ernst". At any rate, let's look at the tracks.
Track 1: "WPLJ" 5/5
This has been performed live on a number of occasions--it appears on the Does Humor Belong in Music? disc, for example--but without a doubt, this is my favorite version of the song. Zappa achieves an appropriate 1950s-sounding production, including the female backup singers, and the music has a great, grooving looseness, including the horns. Roy Estrada's falsetto makes it even better, as does the Cheech-Marin sounding chicano dialogue over the end.
Track 2: "Igor's Boogie, Phase One" 5/5
No one, not even Zappa, loves/loved Stravinsky more than I do, plus I love Zappa just as much, so this "L'Histoire du Soldat" tribute/spoof works brilliantly for me.
Track 3: "Overture to a Holiday in Berlin" 5/5
. . . and it leads beautifully to this severely bent-intonation wonder. God I love that brief sax solo. And the outtro melody is gorgeous and orchestrated gorgeously.
Track 4: "Theme from Burnt Weeny Sandwich" 5/5
It begins as a guitar solo track, but with an extension of the orchestration from the previous track creating multiple layers underneath. It segues to some tape-speed manipulation percussion, ala that heard accompanying the Bruce Bickford animation in Baby Snakes. There it piqued your interest, but here it grows perfectly, organically out of the composition until it consumes everything in its path. Something like a melodic Tony Williams-on-a-ton-of-acid-and-speed drum solo.
Track 5: "Igor's Boogie, Phase Two" 5/5
The bookend (within a larger bookended work) that matches Track 2. Shorter, but just as good, and not just because of the added honking, although that rocks.
Track 6: "Holiday in Berlin, Full Blown" 5/5
Later used again on 200 Motels. Here it's a bit like "Peaches en Regalia's" mellow cousin. Gorgeous melodies, wondrous orchestration, and an amazing soprano sax solo leading to more tape-speed manipulation percussion. It ties a lot of the elements of tracks 2 through 5 together very nicely, then moves to one of Zappa's more lyrical extended solos.
Track 7: "Aybe Sea" 5/5
Speaking of lyrical guitar work, this is a mostly delicate, almost kinda traditional classical piece for guitars, keyboards and a bit of percussion. Of course, there's lots of twentieth century stuff in there, too, and in a surprising change for this album, the piano solo that closes it gets pretty quiet, sparse, and not so surprisingly, increasingly "outside", as it segues to--
Track 8: "Little House I Used to Live in" 5/5
In a very smooth transition, the continuing solo piano is suddenly more jazzy--kind of a cross between Gershwin and Copland's (underrated) piano pieces. It's contemplative and moving. Then the whole band joins in a Zappa-ish fusion groove. After the drum break, there's a great 11/8 groove that turns into some wicked carousel orchestration. Then more complex, fusiony, uptempo 3/4 stuff becomes some extremely skilled interplay between Zappa and his drummer (probably Art Tripp) before the extended, burning and soulful Don "Sugarcane" Harris violin solo, interpolated by a typically odd Don Preston piano solo. There is a couple of short, interesting "stomping" vamps to listen for here--one halfway between 3/4 and 5/8, one halfway between 4/4 and 7/8. I love those kinds of "in-between" grooves. It's difficult to say how intentional they were here, but they work. The end of this track becomes composed 20th Century classical again. The transition between a melancholic hurdy-gurdy block chord structure and a spastic carnival-gone-haywire groove is primo. Although the ending pretty much remains in 4/4, there is a lot of creative rhythmic and playing-with-tempo stuff between the keyboards and drums. After the track is over, we get the Zappa's infamous quote, "Everybody in this room is wearing a uniform, and don't kid yourself".
Track 9: "Valarie" 5/5
This is the bottom piece of bread, the second pseudo doo-wop song. It has an appropriate and enjoyable lazy, sloppy--maybe even "skanky"--groove, enhanced by the guitar fluttering through Leslie speakers. Especially with the vocals, it sometimes sounds like we're trudging through molasses. In other words, holy cow we're pleasantly stuffed after eating all of that Burnt Weeny Sandwich!
I agree with the assessment that this one is more the classical side of FZ and Hot Rats is more the jazz-rock avenue, but there is ample crossover on each from one to the other in terms of style and compositional intent. Anyway you slice it this is top-drawer, truly Progressive Rock in every sense of the word, wherein many styles and forms are united under the inclusive rubric of Rock, making a whole that is, at its best, greater than the sum of its parts.
I love everything about this album, from the almost modern-classical feel of the instrumentals to the fantastic doo-wop numbers that are the bookends of this most tasty Sandwich, which manage that rarest of accomplishments in that they sound like parodies AND tributes to the genre at the same time. Perhaps best of all is the concert interlude near the end where Frank defends the cops providing security at the show from screaming, disapproving hippies, with the admonishment that "every one in this room is wearing a uniform, and don't kid yourself...".
Again, there is no excuse not to own both this and Hot Rats, they are FZ at his apogee and worthy contenders for his best recordings ever.
Fortunately, you can save yourself a lot of pain by going straight to Burnt Weeny Sandwich, easily one of Zappa's best, and most musically satisfying efforts. You'll have to sit through WPLJ and Valerie, two short satirical bits of ersatz pop fluff. These numbers are intended to be funny but get lost on the way, something that happens rather a lot in the wonderland of Frank Zappa & The Mothers Of Invention. But everything beyond that it smooth sailing.
The standout here is Little House I Used To Live In, 18:41 of mercurial magic that builds and builds, constantly switching gears, instruments, moods, and time signatures. The piece is a showcase for Ian Underwood and Don "Sugar Cane" Harris, whose virtuoso fiddling also appears on Hot Rats and Weasels Ripped My Flesh. Underwood, a musical prodigy, plays at a level of sophistication more at home in Carnegie Hall than in the dreadful arenas frequented by rock groups. His expressiveness and versatility are spellbinding. As is often the case with Zappa's better work, Little House I Used To Live In is a "movie for your ears," it seems to suggest a gallery of pictures you alone can provide. All other tracks are also orchestral and, though not as dazzling as Little House I Used To Live In, deliver the freight to the right address. Highly recommended because it's so darn tasty.
is why I bought this cd, my God what a ride...All i can say if you LOVE Metal like me you "HAVE" to buy this cd. 5 Stars Plus!!
Onto the album, this is nothing short of sick (in a good way) and is a great introduction to the "voice of Iced Earth", Matt Barlow. His vocals range from operatic like Bruce Dickinson, to powerful yells like Tom Araya. The guitar duties are amazing, handled masterfully from Jon Schaffer and Randall Shawver. The drummer is also good, as well as the bass.
Favorite Songs: Burnt Offerings, Brainwashed, and of course, the almighty Dantes Inferno.
Also check out Horrow Show, The Dark Saga, and Alive in Athens for more Iced Earth.
Then I found Saxon Shore. This band takes a whole new take on the genre. They take your typical build-up and climax rule that's basically a law to any post-rock band and expand on it, adding things like small interludes and electronic bits into their songs.
These songs do not simply start out soft, build up, and then end in an amazing catharsis of cymbals and heavy distortion. Their build ups have breaks and many of these songs have multiple climaxes, which could be called pre-climaxes. Trust me, though, you will know when the final one comes without even looking at what part of the song you're at.
If you're a fan of the genre or are looking to get into the genre, I couldn't reccomend The Exquisite Death of Saxon Shore any more. It is currently my favourite album.
By the early 2000s, though, a series of bands have arisen that
once again do not mind playing in the progressive genre. Saxon Shore is a kind of adopted cousin of these bands, creating a form of "ambient progressive rock" that's entirely pleasing.
In "The Exquisite Death of Saxon Shore", the focus is on instrumental pieces (with a vocal sample or two) which shimmer with ambient electronica, and yet deliver a straight-ahead melodic rock punch. This is not formula music or another "prog rock jam",but instead this is intelligent, capably performed complex rock artistry.
Each song is pleasing, but there is no real concession to radio-ready pop. This is not some Alan Parsons Project production-values-safari, but instead a less mannered, more "real rock" album.
I attribute some of the virtue of the album to the influences of minimalist and space ambient upon the artists. Although this is not an ambient album *per se*, several themes appear which indicate a focus on sound-as-sound rather than on tired pop cliche.
No track excites the "over the top pretension" wince that some progressive music can provide. The album instead features a spareness in its feel that is completely winning.
If you are hunting for a Heaven in which people play intelligent rock the way that bands off the beaten track like 801 used to play, then you may wish to join in the exquisite death of Saxon Shore.
I highly recommend this album to anyone and everyone, unless you're one of the brainwashed morons who listens to Black Eyed Peas, Gwen Stefani, and Madonna. Then you probably won't enjoy this album, let alone would you ever find your way to this page.
But for those of you who have found this page and want to listen to some amazing new music, then this is for you. Listen to "Isolated By The Secrets Of Your Fellow Man" and if that doesn't move you, check your pulse.
Thanks. Enjoy!
-j-
track one is 11 minutes of pure constance. similar in tempo to tarentel's "adonai" (and coincedentally only 8 seconds longer). slow moving but it has the sense that it's approaching something. that something is track 2: upbeat and smooth sailing. this piece is reminiscent of eno's "the big ship". this track makes the record, although a short one at that. just these two songs. the song names are fitting though: mist and mesa. mesa meaning a flat table-like expanse of land. wonderfully named.
i thought after three years without a release the band would have produced more than 16 minutes of music. but with the anticipation of another full length this year "the white ox", this is excusable for the band.
fully refreshing to hear this album. very daring in it's minalmism. pick it up and play it on repeat.
I'll come clean: there was far, FAR too much filler on this album. I normally hold back this conclusion (as many a person will foolishly accuse, say, an Opeth album of having too much filler) on many albums which have quieter moments or non-musical tracks, but unfortunately, THE PERFECT is basically *saturated* with filler material, to the point that the actual songs are overshadowed by it.
The intro, track 6, "Arrival of Niburu," and of course track 10, and the downright obnoxious closer all amount to almost 45 minutes - 45 minutes! - of filler. It's easy enough to skip any of them, to be sure, but if an album is truly good, one wouldn't have to skip anything. And with the exception of "Niburu," it's not like these are instrumental masturbations by the band - they're just really annoying sound effects and samples. Which brings me to the untitled track 10.
Track 10. Dear. God. Maybe I'm just not wise in the ways of "noise" music, but 40 minutes and 36 seconds - longer than all nine actual songs combined, mind you - of noise? It's almost completely comprised of a headache-inducing, monotonous hum, with a brief break past the 14-minute mark where a sample of a person talking about ancient South Americans and aliens, and the possible relation thereof, and then random samples of radio station tuning near the end, accompanied by loads of static. I'm sorry, but where is the art in that? Is this the band's way of being "mysterious" or something? And besides, how can one like an album where the filler takes up OVER HALF of the entire length?
And finally, the vocals, handled by Michael Oleander, are no better than average-quality metalcore screams. Little range, loads of "anger," and lyrics as profound as a sock lying on the floor ("Smells like/Bullsh*t/Smells like bullsh*t to me" - I rest my case) ham up each song.
The only thing that made me give this album more than one star was the fact that the guitars and the drums had an interesting setup. There were plenty of complex rhythms at work here, and some nice jazz-like tempo changes. In this respect, Burnt by the Sun is almost - ALMOST - a decent mathcore band; but with so much filler and no real direction, they distract themselves from being PERFECT, or even GOOD.
-
I still remember the first time I heard BBTS. It had everything then I wanted in music... thought provoking lyrics with a powerful voice leading the charge. Unique guitar work, Heavy low-End and a Drummer... well to put it bluntly one of the most creative unique drummers that have ever graced the metal / hardcore scene.
Upon re-listening to this CD it is still everything it was and then some. This album, as heavy as it is, is one of the most fun albums to listen to. Tracks like Washington Tube Steak, Forlini and Spinner Dunn. Make me want to Slam-Dance while at a political rally, high on illicit substances, while being *serviced*
-Yeah that just about describes BBTS.
Favorite Tracks: Washington Tube Steak, Forlani, and Spinner Dunn
4 - Stars
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They use grindcore, but don't use the ridiculous cookie monster or shrieking vocals that makes that genre over the top. They use the energy of hardcore to propel the music, but don't take the self-righteous attitude with it. The end result is a sheer sonic force that could strip the bark off an oak tree.
Where their previous album seemed a bit unfocused, on "Perfect Is The Enemy Of Good" seems to fit together like an assault rifle. The main improvement is the rock grooves they through into the mix. "Forlani" and "2012" are perfect examples of their ability to come out of a death grind and hit you with a riff that will own your body.
The vocalist's hardcore bark is among the best in metalcore. The sound of his voice is similar to that of Sepultura era Max Cavelera or Meshuggah's Roger Olofsson. The lyrics are political extremism that can both shock and enrage the listener at the same time.
With the exception of the end of the album, where there is forty minutes of an Emergency Broadcast type buzz with a little bit of talking underneath, the album is otherwise perfect. If you don't find forty minutes of a continuous noise interesting then hit the stop button because the music is done with anyway.
Hopefully, Burnt By The Sun will be around for a while and making albums like this one. Their music is more addictive than heroin.
This band is pure power and talent. How can one stand still with Buffy playing in your CD-Player (pay attention to the song's intro which lasts only few seconds and you know what I mean)? No collection is complete without this.
It's amazing that the same band who recorded this EP went on to make the debacle of the full length known as "Soundtrack to the Personal Revolution". I love Burnt by the Sun, but this EP just wipes the floor with the full length. But, this review isn't for trashing "Soundtrack..". Anyway, this EP was released in August of 2001, not 2002 as it is stated above. These four songs will decimate any preconceived notions one might have of noise core. The guitars rage in an oil-sheened slickness that slices with precision and dices with pretension. Everything flows with ease, yet still sounds like absolute insanity. The vocals are impenetrable; try and follow along with the lyric sheet and you will get lost in a haze of aural antagonism. I can't say enough about the veneer BBTS painted in my mind for the full length with this EP, but as I said, "Soundtrack..." should be used as a coaster. Play it safe and stick with this. "Soundtrack..." is terrible. Did I mention to get this instead?
any of them, but there's still no doubt that it's a convincing statement of this band's brilliance. Striking a balance between the full-speed sensory overload of BBTS's debut EP and the precision-metal attack of last year's masterful "The Perfect Is the Enemy of the Good," "Soundtrack" could be
viewed as a transitional album from a growing band, but it's much, much more than that. It's a stunning, creative classic in its own right, a full-length debut that immediately positioned BBTS as one of modern heavy music's leading bands.
Upon first listening to this album, what immediately comes to mind is just how utterly abrasive it is. Dispensing with any traces of melody or traditional song structure, "Soundtrack" is sonically violent enough to make ears bleed. The songs on here are pretty short, generally clocking in around the three-minute mark, but there's plenty of action packed in, as
each piece twists, writhes, and winds its way to its conclusion, with plenty of jarring tempo shifts lying in wait along the way. At times, "Soundtrack" sounds as though it could rend the very fabric of the atmosphere, and that's about the highest compliment that can be assigned to an album of its ilk. The album's frightening, oppressive mood is broken only by the closing track, the peaceful classical guitar etude "Rebecca." You might like this song, and you might not, but if you don't at least it's at the end of the
disc so you can hit the "skip" button and pretend it doesn't exist.
Leading the charge is Michael Olender, aptly described in the liner notes as the band's "vocal machine." Mike is easily one of the most skilled and innovative vocalists in all of heavy music, equipped with a throaty howl that makes him sound sort of like a deranged mental patient who's been
gargling with gravel. Even better yet, he's backed by the guitar pyrotechnics of John Adubato and Chris Rascio, an astoundingly skilled duo who mix their pounding chunks of riffage with plenty of dizzying fretboard wankery. Beneath the dense layers of guitar noise, the drumming of Dave
Witte can occasionally be buried somewhat, but a few extra listens should suffice to appreciate the added complexity that he brings to the band's sound.
So, that about sums it up. If you're looking for some crazed, offensive, scare-the-hell-out-of-everyone-you-know music, "Soundtrack" will more than fit the bill. And make sure to get BBTS's other releases as well. It seems these guys are going to be around a while.
-- Mike Baker
"One of comedy music's future stars. Soon (they'll) have people opening up for (them)!"
Product Description
EXCLUSIVE label of the "World's Greatest Alternative Rock Comedy Band" Throwing Toasters!
burnt
burnt,Throwing Toasters
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Burnt Weeny Sandwich
Frank Zappa & The Mothers of Invention Manufacturer: Zappa Records ProductGroup: Music Binding: Audio CD  General
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ASIN: B0000009S5 Release Date: 1995-05-02 |
Tracks:
- WPLJ
- Igor's Boogie, Phase One
- Overture To A Holiday In Berlin
- Theme From Burnt Weeny Sandwich
- Igor's Boogie, Phase Two
- Holiday In Berlin, Full-Blown
- Aybe Sea
- The Little House I Used To Live In
- Valarie
Customer Reviews:
Yes, folks, it's yet another great Frank Zappa album...are you gettting tired of the excellence? .......2007-02-04
Fabulous..........2006-09-21
A favorite meal.......2006-07-26
But as someone else mentioned, this is really a concept album of sorts, and needs to be listened to in its entirety to "get it". It's an odd concept, because it's not linked by lyrics or music so much as it is by a structural meta-concept--that of a sandwich. The first and last tracks, two pseudo-doo-wop songs, serve as the bread. All the songs up to "Little House I Used to Live In" are the toppings, condiments, and so on, and "Little House I Used to Live In" is the meat . . . well, er, the big burnt weeny. What's remarkable is that the basic tracks consisted of Mothers of Invention "outtakes", but Zappa, being a skilled Dadaist/collagist, could turn "outtakes" into beautiful, cohesive, seemingly composed from scratch works faster than you can say "Max Ernst". At any rate, let's look at the tracks.
Track 1: "WPLJ" 5/5
This has been performed live on a number of occasions--it appears on the Does Humor Belong in Music? disc, for example--but without a doubt, this is my favorite version of the song. Zappa achieves an appropriate 1950s-sounding production, including the female backup singers, and the music has a great, grooving looseness, including the horns. Roy Estrada's falsetto makes it even better, as does the Cheech-Marin sounding chicano dialogue over the end.
Track 2: "Igor's Boogie, Phase One" 5/5
No one, not even Zappa, loves/loved Stravinsky more than I do, plus I love Zappa just as much, so this "L'Histoire du Soldat" tribute/spoof works brilliantly for me.
Track 3: "Overture to a Holiday in Berlin" 5/5
. . . and it leads beautifully to this severely bent-intonation wonder. God I love that brief sax solo. And the outtro melody is gorgeous and orchestrated gorgeously.
Track 4: "Theme from Burnt Weeny Sandwich" 5/5
It begins as a guitar solo track, but with an extension of the orchestration from the previous track creating multiple layers underneath. It segues to some tape-speed manipulation percussion, ala that heard accompanying the Bruce Bickford animation in Baby Snakes. There it piqued your interest, but here it grows perfectly, organically out of the composition until it consumes everything in its path. Something like a melodic Tony Williams-on-a-ton-of-acid-and-speed drum solo.
Track 5: "Igor's Boogie, Phase Two" 5/5
The bookend (within a larger bookended work) that matches Track 2. Shorter, but just as good, and not just because of the added honking, although that rocks.
Track 6: "Holiday in Berlin, Full Blown" 5/5
Later used again on 200 Motels. Here it's a bit like "Peaches en Regalia's" mellow cousin. Gorgeous melodies, wondrous orchestration, and an amazing soprano sax solo leading to more tape-speed manipulation percussion. It ties a lot of the elements of tracks 2 through 5 together very nicely, then moves to one of Zappa's more lyrical extended solos.
Track 7: "Aybe Sea" 5/5
Speaking of lyrical guitar work, this is a mostly delicate, almost kinda traditional classical piece for guitars, keyboards and a bit of percussion. Of course, there's lots of twentieth century stuff in there, too, and in a surprising change for this album, the piano solo that closes it gets pretty quiet, sparse, and not so surprisingly, increasingly "outside", as it segues to--
Track 8: "Little House I Used to Live in" 5/5
In a very smooth transition, the continuing solo piano is suddenly more jazzy--kind of a cross between Gershwin and Copland's (underrated) piano pieces. It's contemplative and moving. Then the whole band joins in a Zappa-ish fusion groove. After the drum break, there's a great 11/8 groove that turns into some wicked carousel orchestration. Then more complex, fusiony, uptempo 3/4 stuff becomes some extremely skilled interplay between Zappa and his drummer (probably Art Tripp) before the extended, burning and soulful Don "Sugarcane" Harris violin solo, interpolated by a typically odd Don Preston piano solo. There is a couple of short, interesting "stomping" vamps to listen for here--one halfway between 3/4 and 5/8, one halfway between 4/4 and 7/8. I love those kinds of "in-between" grooves. It's difficult to say how intentional they were here, but they work. The end of this track becomes composed 20th Century classical again. The transition between a melancholic hurdy-gurdy block chord structure and a spastic carnival-gone-haywire groove is primo. Although the ending pretty much remains in 4/4, there is a lot of creative rhythmic and playing-with-tempo stuff between the keyboards and drums. After the track is over, we get the Zappa's infamous quote, "Everybody in this room is wearing a uniform, and don't kid yourself".
Track 9: "Valarie" 5/5
This is the bottom piece of bread, the second pseudo doo-wop song. It has an appropriate and enjoyable lazy, sloppy--maybe even "skanky"--groove, enhanced by the guitar fluttering through Leslie speakers. Especially with the vocals, it sometimes sounds like we're trudging through molasses. In other words, holy cow we're pleasantly stuffed after eating all of that Burnt Weeny Sandwich!
W's for White, the P is for Port, L is the Lemon, the J is the Juice.......2006-07-11
I agree with the assessment that this one is more the classical side of FZ and Hot Rats is more the jazz-rock avenue, but there is ample crossover on each from one to the other in terms of style and compositional intent. Anyway you slice it this is top-drawer, truly Progressive Rock in every sense of the word, wherein many styles and forms are united under the inclusive rubric of Rock, making a whole that is, at its best, greater than the sum of its parts.
I love everything about this album, from the almost modern-classical feel of the instrumentals to the fantastic doo-wop numbers that are the bookends of this most tasty Sandwich, which manage that rarest of accomplishments in that they sound like parodies AND tributes to the genre at the same time. Perhaps best of all is the concert interlude near the end where Frank defends the cops providing security at the show from screaming, disapproving hippies, with the admonishment that "every one in this room is wearing a uniform, and don't kid yourself...".
Again, there is no excuse not to own both this and Hot Rats, they are FZ at his apogee and worthy contenders for his best recordings ever.
Worth The Calories.......2006-07-07
Fortunately, you can save yourself a lot of pain by going straight to Burnt Weeny Sandwich, easily one of Zappa's best, and most musically satisfying efforts. You'll have to sit through WPLJ and Valerie, two short satirical bits of ersatz pop fluff. These numbers are intended to be funny but get lost on the way, something that happens rather a lot in the wonderland of Frank Zappa & The Mothers Of Invention. But everything beyond that it smooth sailing.
The standout here is Little House I Used To Live In, 18:41 of mercurial magic that builds and builds, constantly switching gears, instruments, moods, and time signatures. The piece is a showcase for Ian Underwood and Don "Sugar Cane" Harris, whose virtuoso fiddling also appears on Hot Rats and Weasels Ripped My Flesh. Underwood, a musical prodigy, plays at a level of sophistication more at home in Carnegie Hall than in the dreadful arenas frequented by rock groups. His expressiveness and versatility are spellbinding. As is often the case with Zappa's better work, Little House I Used To Live In is a "movie for your ears," it seems to suggest a gallery of pictures you alone can provide. All other tracks are also orchestral and, though not as dazzling as Little House I Used To Live In, deliver the freight to the right address. Highly recommended because it's so darn tasty.
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Burnt Offerings
Iced Earth Manufacturer: Century Media ProductGroup: Music Binding: Audio CD General
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ASIN: B000005HM9 Release Date: 1995-04-18 |
Tracks:
- Burnt Offerings
- Last December
- Diary
- Brainwashed
- Burning Oasis
- Creator Failure
- The Pierced Spirit
- Dante's Inferno
Customer Reviews:
UNBELIEVABLE.......2007-04-07
Hell awaits...I'm the Tour Guide!.......2006-11-17
is why I bought this cd, my God what a ride...All i can say if you LOVE Metal like me you "HAVE" to buy this cd. 5 Stars Plus!!
Pretty darn good.......2006-11-03
dissapointment.......2006-08-11
Iced Earth Reborn.......2006-07-14
Onto the album, this is nothing short of sick (in a good way) and is a great introduction to the "voice of Iced Earth", Matt Barlow. His vocals range from operatic like Bruce Dickinson, to powerful yells like Tom Araya. The guitar duties are amazing, handled masterfully from Jon Schaffer and Randall Shawver. The drummer is also good, as well as the bass.
Favorite Songs: Burnt Offerings, Brainwashed, and of course, the almighty Dantes Inferno.
Also check out Horrow Show, The Dark Saga, and Alive in Athens for more Iced Earth.
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The Exquisite Death of Saxon Shore
Saxon Shore Manufacturer: Burnt Toast Vinyl ProductGroup: Music Binding: Audio CD General
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ASIN: B000BB03H8 Release Date: 2005-10-18 |
Tracks:
- The Revolution Will Be Streaming
- This Shameless Moment
- With A Red Suit You Will Become A Man
- Silence Lends A Face To The Soul
- Isolated By The Secrets Of Fellow Men
- The Shaping Of A Helpless Joy
- Marked With The Knowledge
- A Greatness At The Cost Of Goodness
- How We Conquered The Western World On Horseback
- The Lame Shall Enter First
Customer Reviews:
I knew this would be good, but this is mind-blowing.......2007-03-19
Then I found Saxon Shore. This band takes a whole new take on the genre. They take your typical build-up and climax rule that's basically a law to any post-rock band and expand on it, adding things like small interludes and electronic bits into their songs.
These songs do not simply start out soft, build up, and then end in an amazing catharsis of cymbals and heavy distortion. Their build ups have breaks and many of these songs have multiple climaxes, which could be called pre-climaxes. Trust me, though, you will know when the final one comes without even looking at what part of the song you're at.
If you're a fan of the genre or are looking to get into the genre, I couldn't reccomend The Exquisite Death of Saxon Shore any more. It is currently my favourite album.
Solid, latter day progressive rock with great ambient interludes.......2006-03-16
By the early 2000s, though, a series of bands have arisen that
once again do not mind playing in the progressive genre. Saxon Shore is a kind of adopted cousin of these bands, creating a form of "ambient progressive rock" that's entirely pleasing.
In "The Exquisite Death of Saxon Shore", the focus is on instrumental pieces (with a vocal sample or two) which shimmer with ambient electronica, and yet deliver a straight-ahead melodic rock punch. This is not formula music or another "prog rock jam",but instead this is intelligent, capably performed complex rock artistry.
Each song is pleasing, but there is no real concession to radio-ready pop. This is not some Alan Parsons Project production-values-safari, but instead a less mannered, more "real rock" album.
I attribute some of the virtue of the album to the influences of minimalist and space ambient upon the artists. Although this is not an ambient album *per se*, several themes appear which indicate a focus on sound-as-sound rather than on tired pop cliche.
No track excites the "over the top pretension" wince that some progressive music can provide. The album instead features a spareness in its feel that is completely winning.
If you are hunting for a Heaven in which people play intelligent rock the way that bands off the beaten track like 801 used to play, then you may wish to join in the exquisite death of Saxon Shore.
Musical Enlightenment.......2005-12-10
I highly recommend this album to anyone and everyone, unless you're one of the brainwashed morons who listens to Black Eyed Peas, Gwen Stefani, and Madonna. Then you probably won't enjoy this album, let alone would you ever find your way to this page.
But for those of you who have found this page and want to listen to some amazing new music, then this is for you. Listen to "Isolated By The Secrets Of Your Fellow Man" and if that doesn't move you, check your pulse.
Thanks. Enjoy!
-j-
Saxon Shore at its finest.......2005-11-14
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Circles
Unwed Sailor Manufacturer: Burnt Toast Vinyl ProductGroup: Music Binding: Audio CD General
| Alternative Rock
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Experimental Rock
| Rock
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ASIN: B000F4RHKM Release Date: 2006-05-02 |
Tracks:
- Circles 1: Mist
- Circles 2: Mesa
Customer Reviews:
Not worth it on its own.......2007-06-23
away from the docks.......2006-06-19
track one is 11 minutes of pure constance. similar in tempo to tarentel's "adonai" (and coincedentally only 8 seconds longer). slow moving but it has the sense that it's approaching something. that something is track 2: upbeat and smooth sailing. this piece is reminiscent of eno's "the big ship". this track makes the record, although a short one at that. just these two songs. the song names are fitting though: mist and mesa. mesa meaning a flat table-like expanse of land. wonderfully named.
i thought after three years without a release the band would have produced more than 16 minutes of music. but with the anticipation of another full length this year "the white ox", this is excusable for the band.
fully refreshing to hear this album. very daring in it's minalmism. pick it up and play it on repeat.
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The Perfect Is the Enemy of the Good
Burnt by the Sun Manufacturer: Relapse ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
| Music
Hardcore
| Hardcore & Punk
| Alternative Rock
| Styles
| Music
General
| Rock
| Styles
| Music
General
| Hard Rock & Metal
| Styles
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ASIN: B0000C84MX Release Date: 2003-10-07 |
Tracks:
- Abril Los Ojos
- Washington Tube Steak
- Battleship
- Forlani
- 180 Proof
- Untitled
- Arrival Of Niburu
- Patient 957
- 2012
- Untitled
- Spinner Dunn
- Pentagons And Pentagrams
- Rev 101
- Untitled
Customer Reviews:
Not so perfect...and not really all that good, either........2006-03-06
I'll come clean: there was far, FAR too much filler on this album. I normally hold back this conclusion (as many a person will foolishly accuse, say, an Opeth album of having too much filler) on many albums which have quieter moments or non-musical tracks, but unfortunately, THE PERFECT is basically *saturated* with filler material, to the point that the actual songs are overshadowed by it.
The intro, track 6, "Arrival of Niburu," and of course track 10, and the downright obnoxious closer all amount to almost 45 minutes - 45 minutes! - of filler. It's easy enough to skip any of them, to be sure, but if an album is truly good, one wouldn't have to skip anything. And with the exception of "Niburu," it's not like these are instrumental masturbations by the band - they're just really annoying sound effects and samples. Which brings me to the untitled track 10.
Track 10. Dear. God. Maybe I'm just not wise in the ways of "noise" music, but 40 minutes and 36 seconds - longer than all nine actual songs combined, mind you - of noise? It's almost completely comprised of a headache-inducing, monotonous hum, with a brief break past the 14-minute mark where a sample of a person talking about ancient South Americans and aliens, and the possible relation thereof, and then random samples of radio station tuning near the end, accompanied by loads of static. I'm sorry, but where is the art in that? Is this the band's way of being "mysterious" or something? And besides, how can one like an album where the filler takes up OVER HALF of the entire length?
And finally, the vocals, handled by Michael Oleander, are no better than average-quality metalcore screams. Little range, loads of "anger," and lyrics as profound as a sock lying on the floor ("Smells like/Bullsh*t/Smells like bullsh*t to me" - I rest my case) ham up each song.
The only thing that made me give this album more than one star was the fact that the guitars and the drums had an interesting setup. There were plenty of complex rhythms at work here, and some nice jazz-like tempo changes. In this respect, Burnt by the Sun is almost - ALMOST - a decent mathcore band; but with so much filler and no real direction, they distract themselves from being PERFECT, or even GOOD.
This must be the Enemy, because it is damn near Perfect!.......2005-12-17
-
I still remember the first time I heard BBTS. It had everything then I wanted in music... thought provoking lyrics with a powerful voice leading the charge. Unique guitar work, Heavy low-End and a Drummer... well to put it bluntly one of the most creative unique drummers that have ever graced the metal / hardcore scene.
Upon re-listening to this CD it is still everything it was and then some. This album, as heavy as it is, is one of the most fun albums to listen to. Tracks like Washington Tube Steak, Forlini and Spinner Dunn. Make me want to Slam-Dance while at a political rally, high on illicit substances, while being *serviced*
-Yeah that just about describes BBTS.
Favorite Tracks: Washington Tube Steak, Forlani, and Spinner Dunn
4 - Stars
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Blistering.......2004-09-24
They use grindcore, but don't use the ridiculous cookie monster or shrieking vocals that makes that genre over the top. They use the energy of hardcore to propel the music, but don't take the self-righteous attitude with it. The end result is a sheer sonic force that could strip the bark off an oak tree.
Where their previous album seemed a bit unfocused, on "Perfect Is The Enemy Of Good" seems to fit together like an assault rifle. The main improvement is the rock grooves they through into the mix. "Forlani" and "2012" are perfect examples of their ability to come out of a death grind and hit you with a riff that will own your body.
The vocalist's hardcore bark is among the best in metalcore. The sound of his voice is similar to that of Sepultura era Max Cavelera or Meshuggah's Roger Olofsson. The lyrics are political extremism that can both shock and enrage the listener at the same time.
With the exception of the end of the album, where there is forty minutes of an Emergency Broadcast type buzz with a little bit of talking underneath, the album is otherwise perfect. If you don't find forty minutes of a continuous noise interesting then hit the stop button because the music is done with anyway.
Hopefully, Burnt By The Sun will be around for a while and making albums like this one. Their music is more addictive than heroin.
Amazing follow up..........2004-06-03
Great, but not amazing.......2004-05-15
I also get a little frustrated with bands that (to me) get a little too obsessed with constantly making dramatic changes in tempo and style in the middle of a song. Truly, when it's done right it is awesome, but it doesn't work in every song, and I keep thinking to myself that I wish they would just forget trying to be complex once or twice and just let loose and rock. But I am a death metal fan at heart, so perhaps I'm a little bias.
Anyway, if you like bands like Himsa, Norma Jean, downthesun, Mastodon, etc. then this album is a definate must for you. If you are a fan of other genres of heavy metal and don't have any music along this vein, then this definately isn't a bad choice, although I would much more reccomend Himsa's "Courting Tragedy and Disaster" over this.
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Burnt by the Sun
Burnt by the Sun Manufacturer: Relapse ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
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General
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ASIN: B000056NAN Release Date: 2002-08-06 |
Tracks:
- Buffy
- You Will Move
- Lizard-Skin Barbie
- Fish Under the Sea Dance
Customer Reviews:
One of the EPs I love most!.......2004-08-04
This band is pure power and talent. How can one stand still with Buffy playing in your CD-Player (pay attention to the song's intro which lasts only few seconds and you know what I mean)? No collection is complete without this.
Woo-hoo, noise!.......2003-10-10
There's so much talent here...........2003-03-29
if only.......2002-08-14
It's amazing that the same band who recorded this EP went on to make the debacle of the full length known as "Soundtrack to the Personal Revolution". I love Burnt by the Sun, but this EP just wipes the floor with the full length. But, this review isn't for trashing "Soundtrack..". Anyway, this EP was released in August of 2001, not 2002 as it is stated above. These four songs will decimate any preconceived notions one might have of noise core. The guitars rage in an oil-sheened slickness that slices with precision and dices with pretension. Everything flows with ease, yet still sounds like absolute insanity. The vocals are impenetrable; try and follow along with the lyric sheet and you will get lost in a haze of aural antagonism. I can't say enough about the veneer BBTS painted in my mind for the full length with this EP, but as I said, "Soundtrack..." should be used as a coaster. Play it safe and stick with this. "Soundtrack..." is terrible. Did I mention to get this instead?
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River Bends
Denison Witmer Manufacturer: Burnt Toast Vinyl ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
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Singer-Songwriters
| Alternative Rock
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ASIN: B00006I0CD Release Date: 2002-09-10 |
Tracks:
- Healing Time
- Los Angeles
- St. Jude
- Steven
- You Got Me Good
Customer Reviews:
WOW.......2004-06-09
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Secret Rhythms
Manufacturer: Nonplace Records/Forced Exposu ProductGroup: Music Binding: Audio CD General
| Dance & DJ
| Styles
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Electronica
| Dance & DJ
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ASIN: B0006B0QN4 Release Date: 2002-05-13 |
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Soundtrack to the Personal Revolution
Burnt by the Sun Manufacturer: Relapse ProductGroup: Music Binding: Audio CD General
| Rock
| Styles
| Music
Alternative Metal
| Hard Rock & Metal
| Styles
| Music
General
| Hard Rock & Metal
| Styles
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General
| Soundtracks
| Styles
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Metal
| Hard Rock & Metal
| Rock
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ASIN: B00005UF25 Release Date: 2002-01-22 |
Tracks:
- Dracula With Glasses
- Soundtrack To The Worst Movie Ever
- Dow Jones And The Temple Of Doom
- Boston Tea Bag Party
- Shooter McGavin
- Mortimer
- Don Knotts
- Famke
- Human Steamroller
- Rebecca
Customer Reviews:
Burnt by the Sun=5 stars. Period.......2004-09-08
any of them, but there's still no doubt that it's a convincing statement of this band's brilliance. Striking a balance between the full-speed sensory overload of BBTS's debut EP and the precision-metal attack of last year's masterful "The Perfect Is the Enemy of the Good," "Soundtrack" could be
viewed as a transitional album from a growing band, but it's much, much more than that. It's a stunning, creative classic in its own right, a full-length debut that immediately positioned BBTS as one of modern heavy music's leading bands.
Upon first listening to this album, what immediately comes to mind is just how utterly abrasive it is. Dispensing with any traces of melody or traditional song structure, "Soundtrack" is sonically violent enough to make ears bleed. The songs on here are pretty short, generally clocking in around the three-minute mark, but there's plenty of action packed in, as
each piece twists, writhes, and winds its way to its conclusion, with plenty of jarring tempo shifts lying in wait along the way. At times, "Soundtrack" sounds as though it could rend the very fabric of the atmosphere, and that's about the highest compliment that can be assigned to an album of its ilk. The album's frightening, oppressive mood is broken only by the closing track, the peaceful classical guitar etude "Rebecca." You might like this song, and you might not, but if you don't at least it's at the end of the
disc so you can hit the "skip" button and pretend it doesn't exist.
Leading the charge is Michael Olender, aptly described in the liner notes as the band's "vocal machine." Mike is easily one of the most skilled and innovative vocalists in all of heavy music, equipped with a throaty howl that makes him sound sort of like a deranged mental patient who's been
gargling with gravel. Even better yet, he's backed by the guitar pyrotechnics of John Adubato and Chris Rascio, an astoundingly skilled duo who mix their pounding chunks of riffage with plenty of dizzying fretboard wankery. Beneath the dense layers of guitar noise, the drumming of Dave
Witte can occasionally be buried somewhat, but a few extra listens should suffice to appreciate the added complexity that he brings to the band's sound.
So, that about sums it up. If you're looking for some crazed, offensive, scare-the-hell-out-of-everyone-you-know music, "Soundtrack" will more than fit the bill. And make sure to get BBTS's other releases as well. It seems these guys are going to be around a while.
Like im in class..........2004-07-23
Excellent........2004-06-23
4. Boston tea bag party
8. famke
Just buy it for thos 3 tracks...Alright?!
Worth the money..........2004-02-29
Real Shock And Awe.......2003-10-15
At practice about five months ago, my guitarist hands me this CD sampler of Relapse and Victory Records bands. I listened to the Victory stuff first and laughed at how unimpressive these bands were. This was supposed to be both labels showing off their best metal offerings and next to Bloodlet, Victory had failed, as is to be expected. Relapse's lineup lead off with Burnt By The Sun. From opening note, I felt like I had been fired out of a cannon into a brick wall. "Dracula With Glasses" came firing at me with a vengeance and for two weeks after, I kept that horrendous sampler in the car and gave BBTS two or three spins a day until my copy of the CD had arrived.
Much in the way "Dracula" jumped down my throat, the rest of "Soundtrack" followed suit in uniformly brutal fashion. Each song made quick use breakneck tempo changes, searing vocal stylings and chainsaw-like fretboard mastery. Burnt By The Sun displays a formula that bears elements of metal, rock, grind and while none of the sub-genres are that foreign to each other, they do it without pretension or flaw. Not a single note is missed, nor a cymbal crash forgotten. Everything done here is very deliberate and forceful.
I've learned this lesson many times over: never doubt the minds at Relapse's ability to select a stable of bands that will clearly decapitate you in the most positive fashion known to man. While some bands and labels are constantly gunning for forefunning brutality as their calling card, Burnt By The Sun approach their ferocious craft with calculating brilliance and movement. You simply must hear this to believe it.
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Luck Will Not Save Us from a Jackpot of Nothing
Saxon Shore Manufacturer: Burnt Toast Vinyl ProductGroup: Music Binding: Audio CD General
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Indie Rock
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ASIN: B0009HLC92 Release Date: 2005-05-31 |
Tracks:
- Track 1
- Track 2
- Track 3
- Track 4
- Track 5
Customer Reviews:
Splendid Magazine Review.......2005-07-12
-- Mike Baker
Mexican Music:
- Button Down Concert [Live]
- Chipmunks Roasting on an Open Fire
- City Limits [Karaoke]
- Cowboy Logic
- Dance to the Music: Aerobic Workout
- Deluxe Sound Effects [Box set]
- Dr. Demento Presents: Greatest Novelty Records of All Time, Vol. 1: 1940's
- Dr. Demento Presents: Greatest Novelty Records of All Time, Vol. 2: 1950's
- Dr. Demento Presents: Greatest Novelty Records of All Time, Vol. 3: 1960's
- Dr. Demento Presents: Greatest Novelty Records of All Time, Vol. 4: 1970's
Mexican Music
Retzel: Line Drawings & Earthen Clay Figures: Book I Sketch; Wylie: Mandala Op33
Permanent Stranger EP [Import]
Scooby-Doo's Snack Tracks: The Ultimate Collection [Soundtrack]
Rameau: Nouvelles Suites de Pièces de Clavecin