Structures [Import]

1. Hate

2. Synchronized Hearts

3. Black

4. Zone

5. God

6. Is She Scared?

7. It Was Only A Dream

8. Reinforcements

9. She's A Planet

10. Unaware

11. Band Of Brothers

12. Future

Structures,Colony 5,Memento Materia,World Music

Average customer rating: One of the Best of Its Type Classic Take a deep breath J,Entwisle Lovely

Structures from Silence Steve Roach Manufacturer: Projekt Records ProductGroup: Music Binding: Audio CD General | American Alternative | Alternative Rock | Styles | Music Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music Ambient | Dance & DJ | Styles | Music Electronica | Dance & DJ | Styles | Music General | Jazz | Styles | Music General | New Age | Styles | Music Meditation | New Age | Styles | Music General | Continental Europe | Europe | International | Styles | Music Electronic | Progressive | Rock | Styles | Music Indie & Lo Fi | Alternative Rock | Indie Music | Stores | Music American Alternative | Alternative Rock | Indie Music | Stores | Music General | New Age | Indie Music | Stores | Music Similar Items: Mystic Chords & Sacred Spaces (part 1) Midnight Moon Space And Time immersion : one Desert Solitaire ASIN: B00005M94W Release Date: 2001-07-10

Tracks:

1. Reflections In Suspension
2. Quiet Friend
3. Structures From Silence

Amazon.com essential recording

Owing a healthy debt to European synthesists like Klaus Shulze and Tangerine Dream, Structures from Silence is perhaps the best of Roach's early outings. Though it lacks the organic feel of later albums like Dreamtime Return or Well of Souls, it exploits sounds and compositional techniques that Roach would continue to refine: flowing sheets of near-choral synth sound; long, slow melodies drawn out of overtones and partials; implied rhythms built from pulses of electronic tone. Made up of only three pieces, including the epic 29-minute title track, Silence found an audience among meditators and musical therapists; no wonder, since its reflective properties echo what Roach has called the music's essence: "What [you feel] when it ends, a returning to the silence." --James Rotondi

Amazon.com

Owing a healthy debt to European synthesists like Klaus Shulze and Tangerine Dream, Structures from Silence is perhaps the best of Roach's early outings. Though it lacks the organic feel of later albums like Dreamtime Return or Well of Souls, it exploits sounds and compositional techniques that Roach would continue to refine: flowing sheets of near-choral synth sound; long, slow melodies drawn out of overtones and partials; implied rhythms built from pulses of electronic tone. Made up of only three pieces, including the epic 29-minute title track, Silence found an audience among meditators and musical therapists; no wonder, since its reflective properties echo what Roach has called the music's essence: "What [you feel] when it ends, a returning to the silence." --James Rotondi

Customer Reviews:

One of the Best of Its Type.......2007-05-21

This new age ambient music CD is one of my favorites. Unlike some new age music, which is repetitive, intrusive, simplistic, and boring, this CD is beautiful, strange, trance-inducing and thoughtful, and creates a lovely atmosphere. I first heard during a yoga class, a purpose for which it's well suited. I play it in the background while writing or reading. I recommended this CD highly, especially if you're a fan of the electronic ambient music genre.

Classic.......2007-05-14

This album is classic and very hypnotic. It's certainly up there as his best work. This actually reminds me a little bit of Deepspace, another really good ambient act. So if you're yearning for more of this old school type of ambient, go to their site.The entire album is a free stream (a nice change I think), and is great for surfing to late at night.

deepspacehome(dot)com site.

this was not spame!

Take a deep breath.......2006-11-18

When appreciating a sculpture you look at both the space it occupies and the empty space immediately around it. Same applies to "Structures from Silence". Steve Roach allows you to transcend the music and envelop the exhalations of neutral space. This is a well composed piece which defies it's 28 min track time seeming to renew afresh forever. The syntax of opposites, music/silence sets a unique soundscape. Track two is one toe over the line into "new age" sound, but this is not a new age album. This is a significant ambient album.

J,Entwisle.......2006-08-25

I am hesitant to buy this type of music;sometimes it is just a lot of weird noise with no direction or change. Not the case here. The music has a nice flow with no irritating noises. Very peaceful, one of the best I've heard. If you like this type of music,get this.

Lovely.......2006-03-09

This CD was my introduction to the work of Steve Roach, and to ambient electronic music. Based on this experience, I intend to listen to more of his work. I find this melancholy but strangely soothing music perfect for meditation and for de-stressing after work. Absolutely lovely.

Average customer rating: unit structures indeed ! Good summation of the free Jazz spirit through piano life-changing Very poor indeed. the jokes on you

Unit Structures Cecil Taylor Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music General | Jazz | Indie Music | Stores | Music Avant-Garde | Jazz | Indie Music | Stores | Music Similar Items: Conquistador Free Jazz (A Collective Improvisation) Out to Lunch The Shape of Jazz to Come Point of Departure ASIN: B000005HD4 Release Date: 1990-10-25

Tracks:

1. Steps
2. Enter, Evening (Soft Line Structure)
3. Enter, Evening (Alt. Take)
4. Unit Structure/As Of A Now/Section
5. Tales (8 Whisps)

Amazon.com

Uncompromising and endlessly controversial, Cecil Taylor's percussive, intellectual approach to jazz composition, improvisation and piano remain largely outside the mainstream after more than 40 years. A classically trained pianist prior to discovering the music of Thelonious Monk, Duke Ellington, and Horace Silver, Taylor soon developed a percussive, clustered, impressionistic style that, while taking Monk as a harmonic starting point, charts a course straight for the stratosphere. Indeed, Taylor frequently seems to have dispensed with both melody and form, yet he's brilliant at conveying a broad complex of emotions, from introspection to tenderness to rage.

Unit Structures, through its use of two bassists (Henry Grimes and Alan Silva) and the two-reed front of Ken McIntyre and Taylor-mainstay Jimmy Lyons, suggests a "double band." Yet such structures become almost meaningless in Taylor's world: it is all about energy and exploration. Punctuated by percussive bursts and melodic eruptions, Unit Structures is, despite its title, impressionistic and whimsical, although devoid of all standard structures and romance. Instead, Taylor pushes his band to explore the limits of improvisation where nothing--neither form, nor melody, nor structure--is a given. Still challenging listening after nearly four decades. --Fred Goodman

Album Details

Japanese 20Bit Re-Issue.

Customer Reviews:

unit structures indeed !.......2007-06-23

There should be no misunderstanding - Cecil Taylor meant it when he called this album "Unit Structures". That these structures are experimental in nature does not make them less "structured". By respecting his audience, Taylor is not content with repeating old structures (12, 16, 32 bars). He experiments with different elements of structure - the structure of instrumentation, of the melodic development, of the dynamics. You will notice how on each piece the instrumental structure changes - piano and drums, a bass joins, the drums drop out and a second bass joins, etc. The two takes of "enter evening" prove that the musicians were provided with a basic melodic line which is the starting point and the point of departure for their collective experiments.
We should be thankful for artists such as Taylor who respect us enough to attempt to find something new for us, who believe that we deserve a broadening of the musical spectrum.
For the edventureous experiments, for the many beautiful moments, and for the communicative energies - this is a definite 5 star album worth having and listening to.

Good summation of the free Jazz spirit through piano.......2007-06-02

Although nothing here is as shocking as Albert Ayler's forays into structure/less jazz improvisation--nor as revolutionary as Ornette Coleman's hard-charging free-bop assault; Cecil Taylor introduces a comparatively difficult to manipulate instrument to free jazz; the piano. His fingers sound like they are that of a millipede on some of these tracks because I honestly cannot distinguish notes at times. Instead everything is clustered in spasmic leaps. The great part about this seeming indulgence, however, is that there is a well-studied classicism here. Strings pop up and fade away. Best of all, in true Blue Note fashion, it is a live recording with all of the great explosive energy of 60's freak out jazz. I would recommend this for progressive enthusiasts of any music who are looking for a change from brass-based free jazz, with a touch of classical, or even avant rock tendencies. That is not to say this CD is cosmic. Quite the opposite actually--this is rooted in the hard sounds of jazz and amidst all of its beauty, it is also menacing at times. Solid for sure. I would recommend Ornette Coleman's live at the Golden Circle or any of the Ayler 'Spirit' series if unrestrained energy is what you are looking for. If you prefer the mathematician approach of Thelonious Monk and wonder what he would have attempted if pumped full of endorphins and 60's counterculture; start with Unit Structures.

life-changing.......2007-01-27

as a jazz pianist (of both traditional and avantgarde jazz), i consider listening to this album for the first time one of the major moments in my life that changed my perception of music. i don't understand how people can think this is meaningless, as this album has opened my mind to so many things and made me appreciate the value of cecil's emotional playing. powerful and breathtaking stuff.

Very poor indeed........2005-11-24

What a racket. Give this a miss. Like being dragged through a hedge backwards.

the jokes on you.......2005-10-04

is this guy putting us on? all his albums sound the same and the reviews do as well-if your not hip enough or intellectual enough than you can't understand this deep moving experience. stick to music you enjoy, not what your supposed to "understand"-this music is for the few people recording it, not those who want music than can experience and feel something from.

Average customer rating: BACK TO A TRIO...AND ABOUT TIME A Timeless Classic, and the Triumphant Return of a Guitar Master

Structures John Abercrombie , Eddie Gomez , and Gene Jackson Manufacturer: Chesky Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Similar Items: The Third Quartet Traffic New York Time West of 5th Manhattan ASIN: B000GW8PM2 Release Date: 2006-08-15

Tracks:

1. Jazz Folk
2. Touch of Your Lips
3. Moon and Sand
4. Walter Pigeon
5. Everything I Love
6. Embraceable You
7. 3 for Three
8. Turn Out the Stars
9. Missing You
10. How Deep Is the Ocean

Customer Reviews:

BACK TO A TRIO...AND ABOUT TIME.......2007-01-30

I was overjoyed to see that Abercrombie was reunited with Gomez (they were integral to DeJohnette's mid-70's New Directions) in this trio format which I prefer much more to his recent releases. While he's made nice contributions to some of Charles Lloyd's late sessions, I was mildly turned off to his violin adventure with Marc Feldman and so this is a welcome return to traditional guitar, bass and drums. Not as muscular as the Gateway albums but the recording is extraordinary and the selections beautiful. This one can stay in my CD changer.

A Timeless Classic, and the Triumphant Return of a Guitar Master.......2006-09-11

John Abercrombie is the consummate guitarist's guitarist: revered by his fellow players, often overlooked in the jazz press, and virtually ignored by the mainstream media. The string of groundbreaking albums he recorded in the 1970s and 80s -- including his debut as a leader, "Timeless"; his recordings with Dave Holland and Jack DeJohnette as the Gateway Trio; as a sideman on Collin Walcott's brilliant "Cloud Dance"; his exquisite duets with Ralph Towner; and his own dynamic albums with the John Abercrombie Quartet featuring the equally underrated Richard Beirach -- established him as one of the most talented, original, and superbly tasteful players in modern jazz. His singing tone and fluid lines recalled Jim Hall at his best, while his melodic lyricism approached the heights of pianist Bill Evans, a major influence on him.

In the last decade or so, however, Abercrombie's career has seemed unfocused. Despite some fine organ-trio recordings and several worthwhile albums with violinist Mark Feldman released on ECM, Abercrombie has seemed to dissipate his powers on numerous substandard recordings for boutique labels like Steeplechase, relying on peculiarly acid tones and distorted effects that drain the life out of his unique gift for heart-rending melodicism.

Now, with "Structures," not only has Abercrombie made a stunning return to form, he has recorded one of the instant jazz classics of our time -- a standard-bearer the way Jim Hall's "Undercurrent" and Wes Montgomery's early recordings were. "Structures" sounds both contemporary and utterly timeless, and should be regarded as one of the most important jazz-guitar albums of the decade.

It doesn't hurt that "Structures" is also one of the high points of the brilliant career of Eddie Gomez, the longest-standing bass player in the Bill Evans Trio, and a visionary, muscular musician in his own right. The Chesky label that prides itself on uncluttered recording techniques has finally captured the sound of Gomez's bass with the astonishing fullness, articulation, and depth that it deserves. Even listened to as a standard CD (I don't have an SACD player), the sounds of all three players -- including the excellent drummer Gene Jackson -- are presented with crystalline clarity and warm, spacious ambience.

The trio navigates through a well-chosen program of standards and originals with imaginative grace and a level of mutual listening that has only been approached by the very finest small groups in jazz. Its recording of the poignant Evans original "Turn Out the Stars" -- which Gomez performed dozens of times with its composer, and was surely a milestone in Abercrombie's jazz education, owing to Jim Hall's diamond-like accompaniment -- is the most heartbreaking recording of the tune to date outside of Evans' own. The trio stretches out on "How Deep is the Ocean" with masterful empathy, orbiting around Irving Berlin's familiar themes while extending them into fresh territory. "Moon and Sand," a melancholy tune by Alex Wilder that deserves wider acclaim, is a haunting, brooding gem, and Abercrombie and Gomez originals like "Jazz Folk" and "Walter Pigeon" are explored with the same rich balance of introspection and group exuberance.

Listeners who gave up on Abercrombie in the mid-80s should pick up this album right away to discover how gracefully the former guitar prodigy has matured. Gomez fans will instantly recognize "Structures" as one of the finest performances of the bass player's exemplary career. And throughout, Gene Jackson's drumming is swinging, sensitive, and supremely professional.

This album deserves 6 stars. Abercrombie, Gomez, and Jackson should be congratulated for producing one of the most enjoyable, sublimely understated, and superbly recorded jazz recordings of our era.

Average customer rating: One of the Best of Its Type Classic Take a deep breath J,Entwisle Lovely

Structures from Silence Steve Roach Manufacturer: Fortuna Records ProductGroup: Music Binding: Audio CD General | American Alternative | Alternative Rock | Styles | Music Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music Ambient | Dance & DJ | Styles | Music Electronica | Dance & DJ | Styles | Music General | New Age | Styles | Music Meditation | New Age | Styles | Music General | Continental Europe | Europe | International | Styles | Music Electronic | Progressive | Rock | Styles | Music Indie & Lo Fi | Alternative Rock | Indie Music | Stores | Music American Alternative | Alternative Rock | Indie Music | Stores | Music General | New Age | Indie Music | Stores | Music Similar Items: Mystic Chords & Sacred Spaces (part 1) Midnight Moon Space And Time immersion : one Desert Solitaire ASIN: B0000007SY Release Date: 1992-01-23

Tracks:

1. Reflections In Suspension
2. Quiet Friend
3. Structures From Silence

Amazon.com essential recording

Owing a healthy debt to European synthesists like Klaus Shulze and Tangerine Dream, Structures from Silence is perhaps the best of Roach's early outings. Though it lacks the organic feel of later albums like Dreamtime Return or Well of Souls, it exploits sounds and compositional techniques that Roach would continue to refine: flowing sheets of near-choral synth sound; long, slow melodies drawn out of overtones and partials; implied rhythms built from pulses of electronic tone. Made up of only three pieces, including the epic 29-minute title track, Silence found an audience among meditators and musical therapists; no wonder, since its reflective properties echo what Roach has called the music's essence: "What [you feel] when it ends, a returning to the silence." --James Rotondi

Amazon.com

Owing a healthy debt to European synthesists like Klaus Shulze and Tangerine Dream, Structures from Silence is perhaps the best of Roach's early outings. Though it lacks the organic feel of later albums like Dreamtime Return or Well of Souls, it exploits sounds and compositional techniques that Roach would continue to refine: flowing sheets of near-choral synth sound; long, slow melodies drawn out of overtones and partials; implied rhythms built from pulses of electronic tone. Made up of only three pieces, including the epic 29-minute title track, Silence found an audience among meditators and musical therapists; no wonder, since its reflective properties echo what Roach has called the music's essence: "What [you feel] when it ends, a returning to the silence." --James Rotondi

Customer Reviews:

One of the Best of Its Type.......2007-05-21

This new age ambient music CD is one of my favorites. Unlike some new age music, which is repetitive, intrusive, simplistic, and boring, this CD is beautiful, strange, trance-inducing and thoughtful, and creates a lovely atmosphere. I first heard during a yoga class, a purpose for which it's well suited. I play it in the background while writing or reading. I recommended this CD highly, especially if you're a fan of the electronic ambient music genre.

Classic.......2007-05-14

This album is classic and very hypnotic. It's certainly up there as his best work. This actually reminds me a little bit of Deepspace, another really good ambient act. So if you're yearning for more of this old school type of ambient, go to their site.The entire album is a free stream (a nice change I think), and is great for surfing to late at night.

deepspacehome(dot)com site.

this was not spame!

Take a deep breath.......2006-11-18

When appreciating a sculpture you look at both the space it occupies and the empty space immediately around it. Same applies to "Structures from Silence". Steve Roach allows you to transcend the music and envelop the exhalations of neutral space. This is a well composed piece which defies it's 28 min track time seeming to renew afresh forever. The syntax of opposites, music/silence sets a unique soundscape. Track two is one toe over the line into "new age" sound, but this is not a new age album. This is a significant ambient album.

J,Entwisle.......2006-08-25

I am hesitant to buy this type of music;sometimes it is just a lot of weird noise with no direction or change. Not the case here. The music has a nice flow with no irritating noises. Very peaceful, one of the best I've heard. If you like this type of music,get this.

Lovely.......2006-03-09

This CD was my introduction to the work of Steve Roach, and to ambient electronic music. Based on this experience, I intend to listen to more of his work. I find this melancholy but strangely soothing music perfect for meditation and for de-stressing after work. Absolutely lovely.

Average customer rating:

Gonervill Gonervill Manufacturer: Innerhythmic ProductGroup: Music Binding: Audio CD General | Dance & DJ | Styles | Music Electronica | Dance & DJ | Styles | Music Turntablists | Dance & DJ | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music General | Jazz | Styles | Music General | Rap & Hip-Hop | Styles | Music Pop Rap | Rap & Hip-Hop | Styles | Music ASIN: B00005MKHN Release Date: 2001-08-07

Tracks:

1. Voodoo
2. Infiltrating Assassin
3. On & On
4. Don't Bite Contradiction Bomb
5. Cut Up Brain
6. Unseen Worlds
7. Longyness
8. Smokey Joe
9. Let's Go Say Hi
10. Drum Machines Live
11. J.G. Interlude
12. Cloud Of Confusion
13. Fear Is The Killer
14. Panic Attack
15. Sun At Your Back
16. Euro
17. No Forcefield
18. Nurds
19. Ravers' Revenge
20. Muad' Dib

Album Description

The debut Gonervill album fuses futuristic beats with soulful song structures to produce what they call "Organitronic Instro Hip-hop" music. This album features DJ Eddie Def (Space Travelers, El Stew), drummer Brain (Primus, Praxis, El Stew), bassist Extrakd (El Stew), with guest guitarist M.I.R.V. (Limbomaniacs).

Average customer rating: -+- We'll be waiting with bated breath... Quality Production Good but not his best work One-man electronic experiment

Aura The Alpha Conspiracy Manufacturer: Diffusion Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Dance & DJ | Styles | Music Electronica | Dance & DJ | Styles | Music General | Alternative Rock | Indie Music | Stores | Music General | Dance & DJ | Indie Music | Stores | Music Similar Items: Forward Rewind Cipher Awakening Wrath ASIN: B0001M1KM4 Release Date: 2004-03-15

Tracks:

1. Wishing Never
2. Close
3. Crush Terminology
4. Defend Yourself
5. Accelerating (feat. J Ned Kirby)
6. Awake
7. 72 Hours
8. Waterfall
9. Bip Neuro
10. Rtyu
11. Scarlet

Album Description

2004 brings us the second release from the electronica project The Alpha Conspiracy. "Aura" is a complex, textured record, which combines elements of many electronica styles (IDM, trip-hop, nu-breaks, industrial) into a moody, powerful whole. Following the path laid down by such bands as Underworld, Plaid, and Meat Beat Manifesto, "Aura" is an exploration of the boundary between pop structure and abstract, rhythmic, soundscapes.

Track 5, "Accelerating", features a collaboration, with J. Ned Kirby of the industrial/hip-hop collective Stromkern providing vocals.

Customer Reviews:

-+-.......2006-03-18

From the amazing entrance of Wishing Never followed closely by the Pop addiction of close, the alpha conspiracy has created an almost masterpiece. From my personal view the cd should of stopped at city of ruin for everything past makes the whole album seems like it could drag.
The songs that are strangly addictive make the entire purchase worthwhile, definatly something that needs to emerge from the underground

We'll be waiting with bated breath..........2005-03-23

"Wishing Never" reminds me of Necros' old days, although I'm not sure why, because I can't think of any specific songs that I could compare it to. Maybe it's the atmosphere; the song starts in a subdued tone, uncertain and plaintive, and then charges into the most anthemic keyboard riff anyone's written in the last ten years. It has all the energy of a rock song, it's as danceable as any techno track, and it has a powerful, yearning feel. The Alpha Conspiracy's second album couldn't possibly be off to a better start.

"Close," the first vocal track, opens with another terrific keyboard riff, with a sweeping, panoramic air. I'd release it as the album's first single, if I were in charge of such matters. Comparisons to "Winter," from the band's first album Cipher, practically write themselves here; the vocals are similarly distorted, but, although I personally like "Winter" more, Necros' singing style - his flow, if you will - is more original on "Close," and I wouldn't mind hearing him sing through a whole album that way. I thought, strangely enough, that he sounds kind of like Tim Skold from KMFDM in the chorus, but in the verses, his voice is more powerful (or just better produced) than Skold's.

"Accelerating" is the only other vocal track, but the vocals there are by one J. Ned Kirby, of a band called Stromkern, which I am unfamiliar with. It's even more reminiscent of KMFDM, because Kirby seems to be trying to sound like En Esch, and uses a similar style of hoarse shout-singing. This approach has two drawbacks. First, En Esch actually doesn't try that hard; his laid-back drawl enables him to sound menacing without yelling. Second, The Alpha Conspiracy is a far less musically aggressive band than KMFDM, and the instrumental backing of "Accelerating" consists of melodic keyboard lines, cushioned in distortion, that don't really fit Kirby's voice. So, the song sounds really weird, and sticks out on the album, but hey, it's all in good fun.

The production on Aura is very impressive. Instead of turning up the speed of the drums to its maximum level, Necros uses recognizable electronica and rock rhythms, but adds in lots of flourishes in between the main kick-snare patterns. He does a similar thing with the melodies; "72 Hours" plays the same basic guitar riff for its entire duration, but, when necessary, a counter-melody comes in in between repetitions of the riff, and new layers are added onto the riff itself. The percussion has a tough, gritty sort of sound (the snares are loud, the high-hats hiss sharply), but with deliberately mechanical fuzz and drone. Nonetheless, the melodies are as clean and beautiful as ever, though they're imbued with more energy. Unfortunately, if you play the album on a stereo with powerful subwoofers, the best melodic parts can get stifled by the already prominent rhythm section.

The problem with the album is that, like on Cipher, the songs still don't comprise a coherent theme; "Wishing Never" creates dramatic tension and establishes feelings of motion and anxiety, and "Close" amplifies them further, but then they just stop short, because the next track is an unhurried, mid-tempo groove without the same kind of intense emotion. Likewise, the bluster of "Accelerating" is followed by "Awake," a formless sort of track that sounds pleasant enough but interrupts the dramatic progression. "City of Ruin" and "Defend Yourself" pretty much stay in place, too.

Despite all that, though, even the weaker tracks have something going for them. Tell me, who among Necros' contemporaries, what new bands of this decade, can use glitches to turn a simple synthesizer drone into a catchy melody, using abrupt stops for rhythm, like in "Crush Terminology"? Or heavily distort vocal samples until the words are unintelligible, then use them to evoke a tender, wistful atmosphere, like in "Waterfall"? Or produce a generic jangly guitar as an electronic instrument, giving it an alien, ringing sound, like in "Accelerating"? What about that swelling orchestral murmur in the background of "City of Ruin," which begs to take the lead, but never does? And those are the lesser songs. "Bip Neuro" is a superb bit of machine-funk, in which catchy, even playful-sounding rhythms are matched with bass that has a cold, artificial snarl. "Scarlet" is a short vignette, in which the album quiets down to a low, worried drone, while a woman's voice whispers something in Japanese; it sounds very enigmatic and alluring.

So, this isn't a perfect album, but it is an edgy and inventive one, and it's quite a step up from Cipher. If this trend continues, the next album will be the masterpiece that I've always dreamed Necros would make. The Alpha Conspiracy is poised to become the first great electronic band of this decade. When that happens, remember, you read it here first.

Quality Production.......2004-09-01

I wasn't sure how to approach this album based on the previous reviews, but I was pleasantly surprised at how good it is. It really is a highly polished, quality production with great attention to detail.

The experimental electronic sounds with non pop/rock voicings and progressions are inlaid over some nice breaks making it fairly easy to understand from a "groove" standpoint. The compositions are very technical, intricate, and detailed, yet quite harmonic with some fairly emotive progressions and phrasings (I guess that has been Andy Sega's trademark all along since the early days). This album is something that needs a few listens to pick up all the details.

Couldn't disagree with the first reviewer more on "Accelerating." It took a bit to get into it because it is a departure from the other songs, but the hard, angsty singing in the pop structure really grabs you by the second half. The song is pretty wicked.

The progression from the last album is very evident and almost all the songs are fully developed in a thematic sense. If you want to branch out a little, this album is not just something different....it's something really good!

Good but not his best work.......2004-07-06

I have been listening to Andrew Saga (aka Alpha Conspiracy) for 10 years and I definetly consider him one of the top people to emerge from the underground "demoscene" to CD produced work. I can say he has something that very few musicians has when it comes to making electro music, he has a style that feels like soaring and often writes interesting chords and melodies. While this CD is very well made, there isn't many tracks I would considered memorable. If you're a Alpha Conspiracy fan than the album and am very picky about your music than the album is barely worth checking out. If you're not as picky and just would like some good IDM style stuff to listen to then this album is a good buy. I will give a song by song review.

1. Wishing Never [3:44] - This is by far the best track on the album as it has the most interesting composition and something that my ears really like to follow. It is an instrumental and very upbeat. Perhaps Andrew is aware of the quality of the track and put it first to give a good first impression, unfortunately the rest of the album doesn't really hold a candle up to this and the next track.

2. Close [3:36] - This is also a decent track and it also has good singing. Another complex tune my ears like following and I could easily give both this tune, and the previous track 5 stars.

3. Crush Terminology [5:03] - This instrumental has a dancy beat and various trippy synths popping in as well as some soaring type synths that I really enjoy. Easily a 4 star song.

4. Defend Yourself [4:46] - This song has a harder edge than his other tunes that really gives me a side to side feeling. There is some voxed vocal work in this tune that works well here and stays right on the line of audible enough to understand what is being said and so voxed you can't understand it.

5. Accelerating [4:40] - I put this tune as the lowest point of the album. It's well made but mildly interesting IDM type beats and synth with some kind of attempt at industrial-like singing. I guess you can say it's something out of KMFDM although not as good both in effect work on the voice and it's lack of simply being interesting. Hopefully Andy does not attempt to use vocal work like this again as I wasn't impressed.

6. Awake [5:31] - Another upbeat song but this time instrumental. Some dreaming chords roll down at you with some quick drum hit percussion work. A decent song but compared to some of Andy's previous work (both on this album and his history) this song is good but nothing amazing.

7. 72 Hours [4:16] - An upbeat song that doesn't go anywhere nor change throughout the tune. Well made but yet, very boring.

8. Waterfall [4:36] - A song with drum tracks a bit on the experimental side which is refreshing as the album has a bit of a cookie cutter feel to it. I can definitely see Andy is using the same formula to concoct all his tracks. While it's a very good formula it also means that many of the songs sound too similar, style wise, at times. Otherwise nothing memorable about this track either.

9. City of Rain [4:53] - Another track with synths that kind of rain down on you in a relaxing kind of way. Some minor changes throughout the song but nothing special here either.

10. Bip Neuro [3:26] - Well at least this is a song offering something different to this album. A very low bassy synth comes in and gives you an urge to move. A decent track but for Andy, I would consider this track a minimal for his work but compared to a couple of the other songs, it's unfortunately one of the better ones for the album.

11. RTYU [3:04] - Another cookie cutter tune here but it does have some cut up vocal work with echoes adding a dreamier effect than some of the other tunes have. IT's a decent track overall as I feel this is the better part of his dreamy work, but still nothing so special in it that you'll be itching to hear it later.

12. Scarlet [2:24] - A very mild and slower tune which lacks any percussion work. Near the start there are some Japanese (?) vocal work. Nothing you'll itch to hear later but not a bad track either.

One-man electronic experiment.......2004-04-13

Compared to Alpha Conspiracy's previous album, the debut album "Cipher", "Aura" is a lot easier to aproach. This is mainly because the songs are a lot more alike and they form the whole better. Aura knows where it's headed but still suprises you and leaves mysterious blank areas to be thinked over.
Anyway,it takes a bit more time to get into the music than with many other electro-pop artists, but the emotions that you might get are definedly worth it. Aura is a positive but not carefree album. It consists of light and crisp arrangements, newageish but upbeat pop melodies and breaked drums (thanks to them by the way, the music is now also a lot more groovy than on previous AC-release). The way Andrew Sega aka Alpha Conspiracy uses vocals might not please everyone - there's no dsp-free vocal on this album, although the vocals are mainly brought up clearer than on Cipher. Especially on Accelerating, where Ned Kirby of Stromkern feats., overuse of effects bothers a bit. But only few tracks have vocals at all. This is mainly a synth-instrumental album, with exelent production that has weird & naive charm without being careless or unprofessional. Altough when thinking commercially, AC:s arrangements truly suck - but for many people today, this might be just a positive thing. Wanna hear a new way to produce pop? Here it is.
Aura is very welcome electronic experiment indeed where electro, breaks & pop collide in a dreamy, yet fresh way. Recommended for the friends of electronic, more melody orientated music in general. For moments where you just want to float arround, chill a bit but not too much in order to be ready for any challenge ahead. Emotional and inspiring album.

Average customer rating:

That's That Blue James Band Manufacturer: Chappy Payne Records ProductGroup: Music Binding: Audio CD General | Folk | Styles | Music General | Rock | Styles | Music ASIN: B000CADA50 Release Date: 2004-12-14

Tracks:

1. Come Away
2. Remember Me
3. I Can Relate
4. Same Person
5. Hello There
6. Going Home
7. The Best Years
8. Falling Down
9. Full Circle
10. This Good Earth
11. Islands

Product Description

Debut album from the Blue James Band.

Average customer rating: One experiment, and two wonderfully accessible pieces, including a wild flute concerto explosante-fixe marvelously luminous,shimmering to the end, Boulez's most powerful work

Boulez: ...Explosante-fixe... Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Boulez | Boulez, Pierre | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Boulez conducts Boulez Boulez: Sur Incises/Messagesquisse/Anthèms 2 Pierre Boulez: Répons / Dialogue de l'Ombre Double (20/21 series) Boulez: The Three Piano Sonatas Boulez: Pli selon Pli ASIN: B0007404HI Release Date: 2005-02-08

Tracks:

1. I. Fantasque - Modere
2. II. Tres Vif
3. III. Assez Lent
4. IV. Rythmique
5. V. Doux Et Improvise
6. VI. Rapide
7. VII. Hieratique
8. VII. Modere Jusqu A Tres Vif
9. IX. Lointain - Calme
10. X. Mecanique Et Tres Sec
11. XI. Scintillant
12. XII. Lent - Puissant Et Apre
13. Chapitre I
14. Chapitre II (Pieces 1-2, Encarts 1-4, Textes 1-6)
15. Transitoire VII - Interstitiel 1

Customer Reviews:

One experiment, and two wonderfully accessible pieces, including a wild flute concerto.......2006-04-03

This Deutsche Grammophon disc--originally released in 1996 but reissued in the "Echo 20/21" series for Pierre Boulez's 80th birthday--contains three pieces by the great French composer, conductor, and theorist. The first two pieces are writen for piano, "Notations" is performed by Pierre-Laurent Aimard, and on "Structures pour deux pianos, Livre II" Aimard is accompanied by Florent Boffard. The third, "...explosante-fixe..." is for solo MIDI flute (Sophier Cherrier), two flutes (Emmanuelle Orphele and Pierre-Andre Valade), electronics, and orchestra, here the Ensemble Intercontemporain conducted by Boulez himself.

"Notations" (1945) is a series of twelve piano miniatures written in the very early days of Boulez's career and is fact the earliest piece he has published. Initially neglected after their composition, two Notations (5 and 9) were quietly used in "Pli selon pli", and then the work was fully uncovered in 1970s, when the composer embarked on orchestrating them. While the orchestral versions--much longer and of course with a greater range of colour--are impressive, the original piano Notations are a delight as well. Each consists only of twelve measures, featuring a twelve-tone row in much the same fashion as the work of Anton Webern. In spite of certain formal commonalities, however, the pieces widely range from free (e.g. 1) to tightly rhythmic (4, 6), contemplative (3) to frenetic (2). If you like Gyorgy Ligeti's "Musica Ricercata", you'll find this quite enjoyable. Aimard's performance here is so confident and poised, the man is a titan of contemporary piano repertoire.

"Structures, Livre II" (1956-61) shows that a decade later Boulez had come out from Webern's shadow and was expanding serialism with original contributions. Boulez had caught John Cage's fascination with musical chance operations, and so much of the material is left to the discretion of the performer (a feature shared by his Piano Sonata No. 3 of the same era). What is obligatory, however, is rigidly notated; the piece features serialisation of all elements, rhythm and dynamics too, not just pitch. Boulez even specifies the exact height of the pedal. Thus, the work is a strange combination of freedom and severity. This is not Boulez at his most accessible: the music of the two pianos is interrelated, but in not so charming a fashion as Stockhausen acheived in his "Gruppen" for three orchestras. For a more entertaining example of Boulez's thought during the mid-1950s, I'd recommend the piano sonata.

"...explosante-fixe..." (1991-93), taking its title from a line in Andre Breton's NADJA, was first conceived in the early 1970s when Boulez oversaw the founding of IRCAM and was interested in how cooperation between electronic technicians and composers might serve music. However, the state of the technology didn't satisfy Boulez at the time, and the work was finally presented anew twenty years later. In this piece, one of Boulez's most eerie and colourful, the concerto concept is vastly expanded through electronics: one MIDI flute performs great feats of sound high above the capabilities of the other instruments, while two normal flutes double its acrobatics in imperfect imitation and an orchestra fills out the sound. The work has an elegant formal scheme: it begins with two "transitory" sections derived from elementary material, and the elementary material is finally presented at the end, so that the piece seems to go from a wide cloud to a point. In between, there are two electronic interstitial passages. Yet, this piece requires no real formal understanding of musicology, it just sounds great. The early wall of sound gives way to, as it is often describes, a house-of-mirrors, which in turn leads to a liberation of all elements with thundering percussion and roaring violin, and the final "Originel" is shy and innocent, As usual, the Ensemble Intercontemporain give a flawless performance and show themselves as the premier interpreters of Boulez's work.

All in all, "...explosante-fixe..." is certainly the most accessible piece Boulez has written and so this is disc a fine introduction to his soundworld. Established fans will love this reading of the piano pieces.

explosante-fixe marvelously luminous,shimmering to the end,.......2005-04-19

There are numerous recordings now of these "Notations",Aimard plays them with the right gesture you come to hear the "spectres" of the "First Sonata" is some the exposed brutal lines; the pointillism, and fast as possible lines,althgough this from a young composer within occupied Paris.The listening experience is indeed transitory,good for students of the new and are like finding 'seeds' in an Egyptian tomb and planting them to get now Boulez's orchestral "Notations".

If you know the "First Book" of "structures" the "Livre II" is more sophisticated,overdetermined, Stockhausen once quipped that Boulez places too many details in his music unneccessarily, well he may; it is the results that count. I find this "Livre" II" not as open as the first, the exposed lines the reiteration of the 12 tone in the "Livre I" was exciting,the crossing, and antiphonal diagonals, the dialogue of one piano to the other was explited by Boulez, there is that as well here in "Livre II" but not as extreme; although there is not that much time that separates the two books. But the "First Book" utilized electronic music thinking,of distributions of density, register, texture. I recall the old Kontarsky Brothers recording was/is definitive in many respects; Ligeti even did an exhaustive analysis of the "First Book" "structures" charting the way the 12 unfolded in seemingly endlees arrays, configurations,visiting all the registers of the piano,yet keeping a focus where you can distinguish the various layers, the :Livre II: has more convolutions at work and more direct,the continuously moving,(32nd-64th notes) upper register lines is like a clique now in the modern piano as Ferneyhough and Finnissy's music exhibit lots of these ideas.
Yes cannot agree more with the other review "explosante-fixe" is a primary work with shimmering,luminous moments well this is an important dimension to Boulez' s aesthetic strategy,luike his earlier "Eclat" the almost floating "magical" like timbres, fast furious yet incredibly controlled you never sense any moment has an independence from its origin, and Boulez we find here as well has developed a new language with at times simple iterative patterns, but allowing the solo moments to come forward, wonderful lyricism as well in the flutes, compelling actually, for it is non-pointillistic lines in the flutes,many times inhabiting the rich lower regions of the flutes, perhaps the paradigm of late capital (as Jameson said someplace) renders one's creativity to contract, to pull in and find accessible points, Boulez really did that later with then "Sur Incises" and "Anthemes" both works when placed alongside "explosante-fixe" seem like incidental passing "etudes".
Here however I think "explosante-fixe" is overly long, the ending moments(last 10 minutes) all seem gratuitous,like Boulez is searching for something that is not really there,making the flute repeat material(s) already heard;it makes the piece heavier then which is not the premise of the work,in all the full "tutti" punctuations, the swells of volumes with the flute above,like a lost soul.And the flute timbral with incessant iterative presence grows boring quickly, you want to savor the flute timbre, and you do that by contrast variation and simply not hearing it continuously. Boulez however keeps a luminous timbral quality throughout,clean and threadbare that is the electronics at work.The electronic moment are not clique-ish at all,but function well that was the IRCAM philosophy to make electronics,computer systems to function in conjunction with music,the creator but separate as well, to find a :meeting place:,which they did in Paris,I like the compact sound he gets here as well,making the various flutes come out from it,yet still being blended into the whole,the body of timbre, nothing really that is independent as the flutes seems to not dominate the proceedings, yet this is a quasi-post-modern concerto,well! redefined,. Wonderful cover art,finding the sense of movement,sparked forward into an unknown.

Boulez's most powerful work.......2005-03-20

This is a reissue in the DG 20/21 Echo series of the disc which was originally released in 1996, with excellent improved artwork. "...explosante-fixe..." is the highlight, without question the most powerful of all of Boulez's compositions. For me, this is the reward for persevering through several of his less compelling pieces until finally hearing it! (This is a good year to hear Boulez -- DG is releasing a slew of new recordings in honor of his 80th birthday.)

I was confused as to its place in the Boulez chronology. Here's why -- "explosante," an open-ended work, was apparently the first composition Boulez worked on at IRCAM in the early 1970s. In the form presented here, though, "explosante" was finalized a decade after "Repons," which was finalized in 1984, but "explosante" was recorded first, in 1994, while "Repons" wasn't recorded and released on disc until 1998. Clear now?

I have to say I am underwhelmed by "Repons" (see my 7/13/01 review), but "...explasante-fixe..." marks a tremendous advance over the earlier work. While "Repons" is shimmery and Debussian, "explosante" is quite forceful, coming closer to sounding like Xenakis than anything else Boulez has done. An electro-acoustic work featuring the midi flute of Sophie Cherrier along with two more flutes and the Ensemble Intercontemporain, the form is three instrumental movements separated by two electronic interludes (interstitiel). It's ironic, perhaps, that when Boulez decides to let fly with his most powerful work he does it with a flute piece, but this is no ordinary flute -- the electronic amplification makes it possible for Cherrier to cut through even the densest of passages. The IRCAM technology is utilized to its fullest.

The two piano pieces are quite fine as well. "Notations," Boulez's earliest composition, sounds very much like Schoenberg and Webern, and Pierre-Laurent Aimard performs them fantastically. "Structures II" is tougher (though not as tough as the Piano Sonata No. 2 -- check out Pollini's ferocious recording for instance), a duo played by Aimard and Florent Boffard, but on this disc it is a perfect segue from the introverted "Notations" to the wild energy of "explosante."

Average customer rating: Now I know why they make jokes about Hoboken (see below) Many Undiscovered Treasures compendium of the richness of American innovation An interesting sampling of a musical dead end. Fantastic Collection

American String Quartets, 1950-1970 Manufacturer: Vox (Classical) ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Cage, John | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by George Crumb | Crumb, George | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Feldman | Feldman, Morton | ( F ) | Featured Composers, A-Z | Classical | Styles | Music Electronic | Instruments | Classical | Styles | Music | Computer General | Classical | Styles | Music Similar Items: Feldman: String Quartet (1979) Elliott Carter: String Quartets Nos.1-4 / Elegy Elliott Carter: A Symphony of Three Orchestras; Varèse: Deserts; Ecuatorial; Hyperprism Luciano Berio: Laborintus 2 Boulez conducts Boulez ASIN: B000001K50 Release Date: 1995-09-26

Tracks:

1. String Quartet: 92
2. String Quartet: 144
3. String Quartet
4. String Quartet In Four Parts: Quietly Flowing Along
5. String Quartet In Four Parts: Slowly Rocking
6. String Quartet In Four Parts: Nearly Stationary
7. String Quartet In Four Parts: Quodlibet
8. Quartet No. 3 For String Quartet And Electronic Tape
9. Summer

Tracks:

1. Black Angels (Images) For Electric String Quartet: Departure: Tutti, Threnody I - Night Of The Electric Insects; Trio, Sounds Of Bones And Flutes; Duo, Lost Bells; Solo, Cadenza accompagnata Devi-Music; Duo, Dance Macabre (Due Alternative: Dies Irae)
2. Black Angles (Images) For Electric String Quartet: Absence (Crumb)
3. Black Angles (Images) For Electric String Quartet: Return (Crumb)
4. String Quartet No 5: Theme I (Hiller)
5. String Quartet No 5: Variations (Hiller)
6. String Quartet No 5: Theme II (Hiller)
7. String Quartet No 5: Varitaions (Hiller)
8. String Quartet No 5: Theme III (Hiller)
9. String Quartet No 5: Variations (Hiller)
10. String Quartet No 5: Theme IV (Hiller)
11. String Quartet No 2: (Druckman)
12. Structures for String Quartet (Feldman)

Customer Reviews:

Now I know why they make jokes about Hoboken (see below).......2005-10-27

Man, it's discouraging to see people piddling all over music like this. 1950-65 was a great era for American culture; sure the European influence was lingering but American composers (and artists and filmmakers) were finding a voice, an expression of some quality uniquely American that had never appeared before. American music could be something other than Hoe-Downs, Charlestons, and Nearer my God to Thee (sorry, Charles, and you know I love you anyway). This was a taut and crisp intellectual America that was finally gaining ascendancy, something new to the world, brilliant and beautiful. I think of a wonderful photo of Elliott Carter with Stravinsky in New York at some gallery or concert hall circa 1960 or so. Stravinsky looks old and seedy, like a Russian refugee even though he had years to ditch that; Carter, alert and in a sharp suit, looks like the future-on-the-half-shell. It all got blown out of the water by 60s and 70s-era lack of standards and discrimination and an unwillingness to TRY. Sixties-era, anti-culture crapola that still reigns supreme. To much pot. Hippies ruined everything.

What's startling about the bad review is these quartets are hardly over-intellectualized. In fact most are quite beautiful or evocative; the Cage stunningly so. The LPs this collection came off were among my favorites of that era and I doubt a better or more nightmarish Black Angels has ever been done despite recent attempts by Kronos and others. Amazing playing by committed performers. A deal and a bargain.

For ten bucks this is like gold for free. Have at it!

Many Undiscovered Treasures.......2003-01-08

It's almost laughable not to pick up this disc. The price alone makes the set worth it. Added to that the fact that many of these works are not available in other forms and this disc is a no-brainer for fans of the late 20th century string quartet. The sampling transcends styles, from the almost improvisatory sonic canvas of Earle Brown, to the surprisingly beautiful almost minimal quartet of Cage, the horrific depiction of war in Crumb's justly famous Black Angels, or the almost traditional sounding Schonbergisms of Stepan Wolpe, this is an eclectic collection and well worth the modest investment.

I won't review everything on the album, as there is just too much. Highlights for me include the Earle Brown quartet, which is one of Brown's strongest early works. Since Brown is poorly represented on CD, every release of his is worth having, but the Second Quartet is a masterwork of tonal subtlety. Cage's Quartet was written just before he moved into his more aleatoric phase. It is highly modal and almost a precusor to minimlism, a very pleasing work that should be more widely known. Christian Wolff is also a composer who is underrepresented on CD (though Mode is quickly redressing the imbalance.) Summer is also a protominimalist work, based on stark 5ths. The reading of Black Angels is good, though not anything to supplant the Kronos reading, which is still my favorite. Also interesting are Quartets by Wolpe and Leon Kirchner.

So if you have any interest in American string work of the late 20th century, you need this disc. It is indispensible and very beautifully played. And the Vox Box price is unbeatable.

compendium of the richness of American innovation.......2000-04-05

This is a great showcase of the American string quartet,innovation,vision,iconoclasm,all elements which we often overlook and forget easily.But only Elliot Carter is missing, and that's because he has what! Five Quartets now.Inclusion of the First Carter would have rounded things out. The Earle Brown here is a neglected masterwork. Based on graphic notation the performers don't improvise so much as are given entrance freedoms within a prescribed range. The affect can be mysterious,haunting,also innovative with a wide pallette of extended techniques, at the bridge, sul ponticello,plucking. We often forget the traditional beauty Cage engaged the early part of his career, the Forties. This Quartet is a fine consummate example of that,with soft,gentle lines, very sparce, and transparent,also he limits himself to a few tones,tossed around the various voices. Structures by Feldman is an early work here, the Quartet is treated as one monolith sound,indistinguishable voices playing harmonics,cello playing where the violin plays, same range. All of Feldman's floating gentleness is here as well,perhaps too much at times,like it overspends its welcome. Crumb's Black Angels is another classic, The Kronos has takened this around the block many times, Crumb always works well with a programmatic agenda in place, and here he transforms the Quartets introspective consititution to more a drammatic focus. Druckman as well also works well with a program but here there is none. He has a fine imagination for sonoric structures,balance,but its doesn't seem to amount to much. The Wolpe is one of his best works. His creativity was uneven, here the violence and charged motives he is found of are in place to jump, and reiterate, toss around in an environment of high energy. Wolff's Summer is an early work prior to his metamorphosis into utilization of political imagery by comparison, this is a beautiful work,but cold, Wolff also needs a program,which he profoundly found, He has alater Quartet he wrote in the Eighties that is more compelling.

An interesting sampling of a musical dead end........1999-06-18

Superb analog transfers and excellent playing, I suppose. (I mean, how can you tell with music like this?) OK, I'm not a fan of this kind of music, but at this price I thought the collection was worth chancing. So far, I've found that the best way to listen to this recording is to let the music wash over you while you enjoy the sheer variety of sounds that the composers and players create. And there are some pleasant surprises, particularly the Cage quartet (from 1950) which contains genuine emotion and ends with a brief movement chock full of--gasp!--sprightly tunes. Makes me wonder what might have been had these composers shown more interest in music and less interest in mathematical gymnastics designed to impress their colleagues at the academy. At any rate, I recommend this album as an interesting sonic experience and a good sampling of the dead-end serialist/avant-garde genre that is now being supplanted by a return to music that recognizes tonality. (If you really want great 20th century quartets, incidentally, buy the 6 by Bartok).

Fantastic Collection.......1999-03-24

This set is a must if you have the slightest interest in avant-garde music from the 50s and 60s. Not a single weak piece, excellent sound and performances, and the price can't be beat!

Average customer rating:

American Whore Manufacturer: Ultraplanet Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Pop Rock | Pop | Styles | Music General | Alternative Rock | Indie Music | Stores | Music Rock | Alternative Rock | Indie Music | Stores | Music ASIN: B00006FMYV Release Date: 2002-08-20

Tracks:

1. Suicide Beauty Queen
2. Doll
3. Ashamed
4. Sink or Swim
5. Safe
6. Break Away
7. Bored with a Gun
8. Captivate
9. Hooked on Drama
10. #1 Bestseller
11. Go!
12. Still Searching
13. (the me) Inside of Me
14. Sometimes
15. What I Mean
16. Doll (clean version)
17. Suicide Beauty Queen (clean version)

Album Description

Blue Eyed Christ return with their most compelling release yet. American Whore recorded entirely in Los Angeles features dynamics and instrumentation never before revealed in their catalog. Deep with pop-hooks and melodies over hard electronics, guitars, and rhythms, this album is as comfortable in the underground as it is on commercial radio.

World Music:

1. The Return of El Santo
2. The Road to Baghdad
3. Troia [Import]
4. Turquoise
5. Una Voce, Una Citta, Vol. 2
6. Uzundara
7. Very Best of Salsa [Import]
8. Wantolobela
9. Welcome Back Asshole! [Import]
10. Wood That Sings: Indian Fiddle Music From The Americas

World Music

world music

World Music

Come in and Burn: Sessions

O Rising Dawn

Omaggio Ad

A Proper Introduction to Billy Strayhorn: Passion Flower

Please Don't Go [CD-single] [Import]

Rising from the Deep

Mandingueiro [Import]

Reflection Eternal:Train of Th

Reboleo

Mass In C Minor

New Orleans Nightcrawlers live at the old point [Live]

New York Swing: Jerome Kern [Import]

Mo' Bass: Southside Pride

Katinas

Il Postino (The Postman)