ΔΙΣΚΟΚΡΙΤΙΚΗ

JENIFEREVER: "SPRING TIDES"
by George Georgiou (song292@yahoo.gr)




If there is a view that your life's hometown is important and determinant to define your expression, then Uppsala has a wonderful balance between complex accuracy and spontaneous beauty of sentiments.
Swedish "Jeniferever", faithful and persevering pioneers of live shows in helping more new acquaintances, when they finally end up in the studio, endeavor to honor this effect... Delicate shoegazing post rock band with the weight of the substance in compositions, uses from the basket of this post ambient indie rock field every useful ornament to build direct, poetic, deep discriptive songs.
"Spring Tides" is their second full length album and should honestly be heard as a steady and united chapter. Seasons come and go along with guitars caressing and exploding, figures sink in the distance and memories take their place, well kept secrets and words never said fill the empty pages and life rises to move forwards against failure. The longest part of it, called "Nagijala", nine minutes long, sounds to be somehow the heart of the album, revealing all the gifts Jeniferever can offer to the hesitating listeners who prefere delicate, atmospheric journeys with voices shaking the emotions.
In fact, it is difficult to resist to trap-lines like "if you bring the words, I 'll bring pen and paper...".

ΔΙΣΚΟΚΡΙΤΙΚΗ

EDITORS: "IN THIS LIGHT AND ON THIS EVENING"
by George Georgiou (song292@yahoo.gr)




A certain impressive change can be the obvious answer to the conception of the title for the Editors new album. As the title track opens building slowly, an endless mysterious horizon with this strong suspicion of an inner confession jumping from the mirror to the countless roofs of the world, you can clearly distinguish the shape and the echo of the new Editors. As "Bricks and Mortal" follows the sign and fearless synth lines slide on a metronomic beat, you grab the reality that the absence of guitars was not just a matter of an opening track: the electrosynth skeleton of new album's dramas comes only to change the preconceptions about Editors from Interpol and Joy Division to Depeche Mode and New Order... (if i was obliged i would probably say...Tuxedomoon). Famous producer Flood appears to have a serious part of the sound's turn, although the band had declared the mood to move into explorative and experimental electrosynth paths even a few months after the release of "An end has a start". There is an important guide for those who feel insecure in front of this surprise: Tom Smith's faithful performance holds the link between the present and the past and carries their identity feeding their new material with his epic skill. It is rather unfair for a band avoiding so honestly fillers to live always with such kinds of preconceptions especially in our predictable days of repeating echoes. "In this light and on this evening" is an urban synth album with the dark corners of the city feeding the imagination. Sometimes impressions lurk, sometimes emotions fade, but we have always first class mystery and drama in direct and catchy tunes. Change can be elegant, wisely balanced and keep the right room for Curtis' subtle distant cousin...

ΔΙΣΚΟΚΡΙΤΙΚΗ

REDEMPTION - "SNOWFALL ON JUDGMENT DAY"
by George Georgiou (song292@yahoo.gr)




Los Angeles progsters Redemption release their third full length album "Snowfall On Judgment Day", flowing in the stream of their increasing fame. Standing in a musical field that crosses every new second with a view to become more familiar and predictable, Redemption carry the heaviest and most exact weapons they can handle. Based on a deep production with separate corridors for the limits of their instruments, they end to an almost perfect balance so the ebbs and flows of their songs have a natural flow. Frontman Ray Alder (Fates Warning vocalist) finds new paths according to the age of his voice with no lack of the sentiment we were used to sniff from him. "Snowfall On Judgment Day" is a technical journey of songs dealing with personal relationships, inner dilemmas and emotional struggles, and Alder's voice knows all these familiar steps to turn the final result into a sentimental footprint strong enough to last for long.
Tracks like "Black and white world" and "Love kills us all/Life in one day" build that kind of epic emotion larger than life, that kind of cinematic impression that finally pushes you to chase the best out of life. James La Brie on guest vocals in "Another day dies" adds another valuable card for every devoted prog-fan or DreamTheater follower but the song mostly melts into indifference. Redemption's skill for catchy tunes shines impressively in tracks like "Walls" or "Peel" when every single trick of technical orchestration gently obeys to the purpose of melody itself... And this is in fact the bridge between Redemption's two basic influences, the detailed, mechanical orgasm of DreamTheater's playing and the melancholic weight of memories from mates Fates Warning soundscapes.
So, here they are, placed in the limited area of ourdays choices and it looks like they have almost made up their minds to give their own survival fight having all the necessary accessories of modern extreme exact playing but above all the importance of melody itself. Only time will tell if they will gain fame and commercial success like top sellers DreamTheater or stand just respected in their own private circle like gigantic Fates Warning...

ΔΙΣΚΟΚΡΙΤΙΚΗ

PREFAB SPROUT: "LET' s CHANGE THE WORLD WITH MUSIC"
by George Georgiou (song292@yahoo.gr)




Life always used to be cruel... or as Paddy would probably say 'DNA or GOD always used to be cruel...' But to be honest, even a generous, patient, unknown god in a distant solar system would be jealous of an ambitious young singer-songwriter with a special bittersweet muse, helping him fly eccentrically over the cheap boredom of cursed human nature. Paddy's blessed blasphemy and healthy cynicism led to some of the most unusual pop anthems of the 80's. Who else would dare to write a well crafted pop song for chess champion Bobby Fisher, or name a nostalgic train of thoughts with the title "I never play basketball now" in his first long play attempt? PREFAB SPROUT were for the charts an attractive pop band with the Midas touch, but Paddy Mc Aloon had always been for his faithful followers a Fred Astaire of words... Offering masterpieces like "Steve Mc Queen" or "Jordan:The Comeback", but also excellent noiseless wagons of melodies, worshiping golden details of the unimportance or poetic shadows of human weakness like "Protest Songs", Paddy was born guifted to heal the ugly corners of life. But DNA or GOD could never forgive his lustful haughtiness for life especially after the triumph of "Jordan..." The merciless march of time brought a series of health issues, including vision and hearing problems. Paddy had retinal detachments in both eyes and a sever bout with tinnifus, which has left him virtually unable to carry on as a recording artist. This fall of health confidence lurked somehow in the moods of their last albums, "Andromeda Heights" and "The Gunman And Other Stories", but was deeply unfold in Paddy's personal recording "I Trawl The Megahertz". Today he is 52 years old, so far away from that ambitious, fearless young boy, mysterious and earthen at the same time... "Let's Change The World With Music" was in fact about to be their next album after "Jordan..." Now, 17 years later, the dust is enough and the tapes have been disinterred and spruced by the engineer Calum Malcom. The "new"- old Prefab Sprout album has the blessed mission to keep the world turning with Paddy's necessary, luxurious voice and spirit. Even if DNA or GOD have punished him so hard, he sings in wisdom for his constant antidote "music is a princess, i'm just a boy in rags..."

No Budget Festival 2009

Η No Budget Team

σε συνεργασία με την ΠΑΕ Α.Ε.Λ 1964

διοργανώνουν το

No Budget Festival 2009

4, 5 & 6 Σεπτεμβρίου 2009

Κηποθέατρο - Λάρισα

Ένα τριήμερο υπαίθριο μουσικό φεστιβάλ με άλλες παράλληλες συνοδευτικές πολιτιστικές εκδηλώσεις (έκθεση φωτογραφίας, έκθεση ζωγραφικής, μπαζάρ βινυλίων, t-shirts, κ.α.). Πρόκειται για το 4ο μουσικό Φεστιβάλ που διοργανώνεται από τη No Budget Team, αστική μη κερδοσκοπική εταιρία πολιτιστικού χαρακτήρα με έδρα τη Λάρισα, σε συνεργασία με την Π.Α.Ε. Α.Ε.Λ. 1964.

Το φεστιβάλ θα πραγματοποιηθεί στο Κηποθέατρο του Αλκαζάρ στη Λάρισα, το τριήμερο 4, 5 & 6 Σεπτεμβρίου 2009 και θα έχει καθαρά φιλανθρωπικό χαρακτήρα με ένα συμβολικό χαμηλό εισιτήριο (5€/μέρα!). Τα έσοδα της εκδήλωσης θα διατεθούν σε συγκεκριμένο ίδρυμα της Λάρισας, που θα κοινοποιηθεί μετά την οριστική απόφαση των συνδιοργανωτών.

ΤΟ ΠΡΟΓΡΑΜΜΑ ΤΟΥ ΦΕΣΤΙΒΑΛ

Το γενικότερο καλλιτεχνικό πλαίσιο του φεστιβάλ έχει αναλάβει η No Budget Team, μία αστική μη κερδοσκοπική εταιρία πολιτιστικού χαρακτήρα. Σχηματίστηκε τον Νοέμβριο του 2005 χάρη στην αγάπη των μελών της για την εγχώρια μουσική σκηνή και ήδη ως τώρα δραστηριοποιήθηκε και ανέλαβε με επιτυχία την οργάνωση αρκετών συναυλιών στην πόλη της Λάρισας. Μερικά από τα σχήματα με τα οποία συνεργάστηκε είναι τα εξής: Χειμερινοί Κολυμβητές, Mikro, Sigmatropic, Deus Ex Machina, Dead Moon, the Nomads, Rotting Christ, the Earthbound, the Last Drive, the Fleshtones, Threshold, And also the trees, Matisse, Cyanna, Blend, Siva Six, Panx Romana, Μωρά στη φωτιά, κ.α.

Την πρώτη μέρα (4/9) εμφανίζονται τα εξής σχήματα:

Global Vibe: reggae, ska, dub μπάντα από τη Θεσσαλονίκη. Ξεκίνησαν το 2002 και συνεχίζουν μέχρι τώρα με live παρουσίες και συμμετοχές σε φεστιβάλ σε όλη την Ελλάδα.

The Velvoids: μία από τις πιο ελπιδοφόρες rock ’n roll μπάντες της εγχώριας μουσικής σκηνής. Αναμένοντας την ευκαιρία να ηχογραφήσουν το πρώτο τους album, έχουν πραγματοποιήσει αρκετές ζωντανές εμφανίσεις μέσα στο 2007, ενώ στις αρχές του 2008 άνοιξαν τη συναυλία του Marky Ramone & Black Lips.

Γιάννης Αγγελάκας & Ντίνος Σαδίκης: Ο Γιάννης Αγγελάκας, γνωστός απο το συγκρότημα ΤΡΥΠΕΣ αλλά και απο την προσωπική του δουλειά με τους ΕΠΙΣΚΕΠΤΕΣ (Απο δω και πάνω) και τη συνεργασία του με το Νίκο Βελιώτη (Οι ανάσες των Λύκων, Πότε θα φτάσουμε εδώ) και ο Ντίνος Σαδίκης (ΕΝ ΠΛΩ, ΕΠΙΣΚΕΠΤΕΣ) θα παρουσιάσουν εκτελέσεις κομματιών τους, με κιθάρα και μπαγλαμά, με τη συνοδεία του Στάθη Αραμπατζή, κιθαρίστα των ΕΠΙΣΚΕΠΤΩΝ. Ο Γιάννης Αγγελάκας θεωρείται πλέον ένας από τους πιο σημαντικούς μουσικούς της ροκ ελληνικής σκηνής.

Murder By Death: rock κουαρτέτο από την Indiana των Η.Π.Α. Σχηματίστηκε το 2000 και πήρε το όνομα του από την ομότιτλη ταινία του Robert Moore (1976). Μετρά ήδη 4 δίσκους στο ενεργητικό του με τους 2 τελευταίους – In Bocca Al Lupo kai Red Of Tooth & Claw - δικαίως να τυγχάνουν εγκωμιαστικών κριτικών διεθνώς. Post punk, σκονισμένα country, gothic, Americana πλαισιώνουν ιδανικά noir στίχους - του εξαιρετικού, cashεικών καταβολών τραγουδιστή, Adam Turla, εμποτισμένους απ’ όλα τα στερεότυπα της αμερικάνικης rock n’ roll τραγουδοποιίας.

Η δεύτερη μέρα (5/9) περιλαμβάνει τους:

NoiseToy: Οι Noisetoy γνωρίστηκαν και ξεκίνησαν να παίζουν μαζί το 2007 στην Αγγλία και έχουν ήδη παίξει σε διάφορα underground μουσικά clubs (elektrowerks, zigfrid underbelly, notting hill arts club, monto water rats) του κεντρικού Λονδίνου. Ο alternative ήχος τους είναι αποτέλεσμα των διαφορετικών επιρροών τους που κυμαίνονται μεταξύ του new wave, minimal, post punk και electronica αντίστοιχα.

Dread Astaire: Με δύο sold-out κυκλοφορίες στο ενεργητικό τους και πολυάριθμες εμφανίσεις στις κυριότερες σκηνές της Ελλάδας, οι Dread Astaire είναι μια από τις συχνότερα μνημονευόμενες εγχώριες μπάντες, χωρίς ταυτόχρονα να στερούνται τακτικής παρουσίας στον διεθνή Τύπο. Το τρίο έλκει επιρροές από είδη τόσο ετερόκλητα όσο το rock’n’roll, το garage, την ψυχεδέλεια, το punk, το kraut και το hardcore, ενώ οι συναυλίες τους χαρακτηρίζονται από ένταση και δυναμισμό στα όρια του παροξυσμού. Το No Budget Festival 2009 σηματοδοτεί την πρώτη παρουσίαση του νέου τους άλμπουμ, «Playstation», που κυκλοφορεί αποκλειστικά σε βινύλιο από τη νεοσύστατη λαρισινή ετικέτα, «Backstage Records».

Lanterna: οι αμερικάνοι lanterna με την κατά κύριο λόγο instrumental μουσική τους στόχο εχουν να μας ταξιδέψουν με τον τρόπο που αυτοί μόνο ξέρουν. Ατμοσφαιρικές κιθαριστικές συνθέσεις ονειρικές pop μελωδίες, post rock περιπλανήσεις από ένα group, που εδώ και δέκα χρόνια με πέντε δίσκους στο βιογραφικό του μας γοητεύει με συνέπεια παραμένοντας μακριά από τα φώτα της μουσικής βιομηχανίας.

Κ. Βητα: Ο Κωνσταντίνος Βήτα, γνωστός από τους Στέρεο Νόβα, γκρουπ ορόσημο για την εγχώρια ηλεκτρονική μουσική - έχει κυκλοφορήσει 9 προσωπικά albums, ενώ έχει ασχοληθεί εκτός από τη μουσική, με το θέατρο, το χορό και τον κινηματογράφο. Ξεχώρησε η συνεργασία του με τον Δημήτρη Παπαϊωάννου στο πλαίσιο της τελετής έναρξης-λήξης των Ολυμπιακών Αγώνων, ενώ η συνεργασία τους στην παράσταση χορού ‘2’ έσπασε ταμεία.

Τέλος η τρίτη και τελευταία μέρα (6/9) θα καλύψει ένα μεγάλο φάσμα του σκληρού ήχου με τους:

Hidden In the Basement: stoner, metal μπάντα από τη Λάρισα που δημιουργήθηκε το 2007, με πολλά live σε ολόκληρη την Ελλάδα.

Poem: progressive - alternative metal μπάντα από την Αθήνα. Δημιουργήθηκε το 2005 κι από τότε κυκλοφόρησαν ένα album, συμμετείχαν σε διάφορες συλλογές αλλά και με τις ζωντανές τους εμφανίσεις έκαναν γνωστό το όνομά τους στο metal κοινό.

Como Esta Loco: hardcore - metalcore σχήμα από τη Ξάνθη. Έχει ανοίξει συναυλίες μεγάλων ονομάτων και με τις εκρηκτικές εμφανίσεις τους έχουν αποκτήσει φανατικούς οπαδούς σε όλη την Ελλάδα. Έχουν κυκλοφορήσει ένα E.P. με τίτλο ‘Walking the last mile’.

Burst: ανερχόμενη metalcore μπάντα από τη Σουηδία, που έχει κερδίσει τις καλύτερες κριτικές σε τύπο και ΜΜΕ. Μελωδικά φωνητικά αλλά και εκρηκτικές ωμές κραυγές, πολυπλοκότητα και επιθετικότητα από 5 δεξιοτέχνες μουσικούς. Έχουν κυκλοφορήσει 3 albums και πολλά EPs.

Οι πόρτες ανοίγουν στις 19.30

Τιμή εισητηρίου: 5€/μέρα

A FAREWELL...

"MIDNIGHT" JOHN PATRICK JR. MC DONALD
R.I.P. (4/29/1962 - 7/8/2009)
by George Georgiou (song292@yahoo.gr)



So, did you have to race your demons till the huge waves of the dark sea? So, did you follow this same old twisted echo until the silent land of the gentle snow? So, did you mean every single word of it? Did you try so hard to find your world within yourself? Within your head of barking dogs and your heart of marching trains? Why did you have to choose the path of the poisoned mushrooms and the dizzy mirrors? So, did you have to bring to life the weird caves of your voice? DID YOU?...
I always remember your voice building those burning bridges of repeating loss. Some said you were pretending to be a cursed poet, a fake tragic figure... You had kissed the black lips of eternal frost with your words transcending into a universe of your own. You told me tales of lost balance racing the borders of prediction, you, my distant lunatic brother of twisted shadows. Now you've turned to be authentic with the highest price... How will i return to your open fields to race again your echoes? How will i meet your memory upon the same critical lines? How will i face your legacy, your truth, your tragedy, your myth, your world, YOU?
Why did you follow the fatal steps of your private dance till the end? If you wanted to make me feel humble and human, i am... If you tried to make me feel lonely, i am... If you thought of making me feel older, i am... If you wanted to make me sing to you through your own words, then sincerely I WILL:
"IN DEATH I'VE FOUND THE ANSWER
IN DEATH I LIVE AGAIN
FEAR NOT THE REAPER's BLADE
IT DOESN'T MEAN THE END
IT NEVER REALLY ENDS..."

NEWS REPORT
Former CRIMSON GLORY frontman Midnight (real name: John Patrick Jr. McDonald) passed away earlier today (Wednesday, July 8) from "total kidney and liver failure". He was 47 years old.

According to JON OLIVA'S PAIN guitarist Matt LaPorte, who played on some of Midnight's recent solo recordings, the singer spent his final hours surrounded by his mother, brother, daughter as well as members of CRIMSON GLORY, SAVATAGE, and JON OLIVA'S PAIN. His death occured at 3:45 a.m EST at St. Anthony's Hospital in St. Petersburg, Florida.

His bandmates said:

Guitarist JON DRENNING:
"Midnight and I shared so much together over the years; dreams, goals, visions, creativity... We would often daydream for hours upon hours about how we would make the most amazing music together that would "Transcend" the world. We were determined to make an impact like no other and wanted create a legacy that would be everlasting... Despite our disagreements, I loved him deeply and will miss him profoundly. We had a contentious, yin-yang type of relationship, but we respected each other's ideas, talents and creativity, and loved each other dearly; we were brothers 'til the end. Midnight was a kind, generous, spiritual, beautiful, passionate, eccentric, mysterious, stubborn old soul with the voice of both an angel and a lion. Truly, he was a rare individual with an enigmatic, angelic vioice who had a great influence on many of today's well-known and yet-to-be-known metal singers. There have been many great singers throughout the years in the metal genre, including several who have tried to copy Midnight's uniquely moving, intensely emotional style, but there can be - and will only ever be - one Midnight. He was a once-in-a-lifetime singer, one-in-a-billion, a star among stars... Indeed, the world has lost a great singer, songwriter, painter, poet and friend... but his spirit lives on in each of us who knew and heard him, as well as for those yet to discover his creative genius. In death you live again, my Brother, my friend. It does not mean the end; it never really ends..."

Guitarist BEN JACKSON:
"Words cannot express the sadness I feel today over the loss of my dear friend Midnight. Having been friends with Mid for the last thirty years has provided me with memories I will surely treasure for the rest of my life until we hopefully will meet again. Together we made music, shared laughs and good times, traveled the world to faraway places and lived life with passion.
He touched many with his unique gift and was universally loved by his many friends and fans. A gentle genius and a sweet, sweet soul. I will miss you so much buddy! I love you!"

Drummer DANA BURNELL:
"Today the world lost an incredible singer and songwriter. I lost my band mate, my friend... my brother. I've known Midnight for over 30 years; he was the gentlest, kindest and most caring person I've known, and I loved him very much. Midnight only wanted good for everyone, he was a good soul. Knowing he is at peace now brings me great peace. I love him and will forever miss him."

Bassist JEFF LORDS:
"Speaking in the wake of my friends and bandmates, I can say that they've covered, very eloquently, a lot of what needed to be said. Notwithstanding, I will offer my thoughts, because every relationship is truly unique:

What few people know, probably even some of my own bandmates, is that I knew John "Midnight" McDonald longer than most---from the seventh grade, to be precise. We sat next to each other in History class. Mind you, this was well before I ever picked up a bass or knew that he could belt out the 'Zeppelin and 'Floyd tunes. Well, Midnight ("John", then) would sleep or doodle during class. We sat next to each other in the back. Come test time, he'd want to copy my answers (that rascal!). In any event, I knew that he was a rare breed with a tendency toward the arts. Little did I know....

Fast forward 7 or 8 years, and one night at our rehearsal facility we were going to try out this guy whom we discovered on the beach playing acoustic guitar. Admittedly, I was skeptical when this shoe-less and frumpy-clothed fellow showed up to give a whirl at singing Priest, Accept, Maiden, Scorpions... all of which were bands we covered very briefly before "Crimson Glory" was born. I was once told, "you cannot tell how far a frog can jump by lookin' at it". Well, that night, and the following nights, that little adage was never so solidified in mind. The kid had a set of pipes. We later learned that he had a knack for writing creative and thought-provoking lyrics, as well. Crimson Glory was born.....

Fast forward again, and we found ourselves going from a warehouse - to the studio - to stages over seas. With the increasing amount of pressure to sing the songs as you hear those recordings today, Midnight sought to overcome this pressure by unnatural means, which would later, and sadly, become his downfall, as well as the band's. This problem put a tremendous strain on the relationships with people close to him, meaning, not the fans in this case, but with his family and bandmates (who were his second family). To my understanding, we all did what we could to help him.

In the end, I am sad: Sad, because of the loss of life and that such a talented human being never reached his full potential. I am angry: I am angry because he was out of touch with reality towards the end, and could not be reasoned with, even if that meant trying to reconcile some past mistakes made along the way, including my own. I am hopeful: I am hopeful because, while I don't believe in a hereafter, I firmly believe that John "Midnight" McDonald has touched people in this life, the life that we know for certain exists, and in that sense, he was most certainly an Earthly "Angel". Farewell, Mid'."

ΔΙΣΚΟΚΡΙΤΙΚΗ

BROKEN RECORDS: "UNTIL THE EARTH BEGINS TO PART"
by George Georgiou (song292@yahoo.gr)



Almost 42 minutes of the Scottish septet "Broken Records" debut album attempt to race the history of folk, Celtic rock of ages gone by. Instead of the hype of being Edinburgh's Arcade Fire, they dive deep in the spirit of legendary Waterboys sharing the pieces they grab between both of the two eras: Celtic, epic rock along with folk traditional music. There is also electric tension with cowpunk impressions of The Pogues or folkabilly attractive singles reminding of The Men They Couldn't Hang. The neoclassical growing epic opener "Nearly home", building up a vivid horizon, always filling with rich foldings of sound and marching drums, leads to a bombastic crescendo and probably describes at the same time the basic conception of "Until the earth begins to part" album. Rerecorded already known single "If the news make you sad don't watch it", flows easily carrying a comfortable attraction as a clearing for a mediocre listener, who doesn't really stand for the Celts. The album title track builds the vision of apocalypse, driving again to the growing and building sound tactics... Broken Records attempt to grab the echoes of what their Edinburgh mates used to call "The Big Music" back to the 80's, holding the weapon of sentiment to their front line and they already certainly have been a pleasant surprise for an audience filled with nostalgia for this hue of sound. But they also leave the impression of standing at the crossroads of the critical direction: will they go on swimming in sympathetic tunes, feeding the needs of a certain piece of audience or do they have the guts to drive their blessed influences to a bigger sphere of expression and creation, singing finally for their own "Big Music" of our days? Only time will tell...

European Music Day @ Larissa - 21, 22 & 23/6/2009

European Music Day in Larissa

ΔΙΣΚΟΚΡΙΤΙΚΗ

HEAVEN AND HELL - "THE DEVIL YOU KNOW"

by George Georgiou (song292@yahoo.gr)

Four figures stand along again... Their endless shadows cover the lives of numerous people living in the strange world of the killer dwarf, the inventors of heavy sound from Birmingham and their unique elixir. So, while racing an era of metal community's strong effort to survive waving the flag of new, modern, extreme or post metal and haunting furiously the new heroes of generations to come, their grandfathers come out of the studio waving the frame "classic" as only THEY have the luxury to do. The four figures, 17 years since "Dehumanizer" fed their faithful followers, share wisely the distance between it and "Mob Rules" and name their piece or art with the allusion phrase "The devil you know"... The killer dwarf racing already his 69th year (!) appears to be stronger than before, translating the inspiration of "all-of-them-being-again-together" to a unique echo of his Rainbow years. His excellent, full, steady voice serves all his favorite cliche' themes in a dreamy world of symbols and myths where the man of controversy and distance is always the devil for religion. The games between good and evil leap on the direct buildings of riff-master of certain results, the unique Mr.Iommi, still teaching to every corner of the world how you can make it simple and great. Some of the most respectful tunes they have created in the last decade race more than the first half of the album proving it is something more than a nostalgic, anniversary meeting with guitars... Everyone brought up with smoking angels, country girls and rainbow bridges will gracefully enjoy this new sanctuary of symbolic tales. The four figures stand along again... and there's still magic in the air.Against the music business and one woman's cheap trick, don't hesitate to name it in the way you should... when you're dealing with the new BLACK SABBATH album...

http://http://www.youtube.com/watch?v=nTxMMXzO8jU

http://http://www.youtube.com/watch?v=jou8JA-lxt8

ΔΙΣΚΟΚΡΙΤΙΚΗ

AND ALSO THE TREES - "WHEN THE RAINS COME"
by George Georgiou (song292@yahoo.gr)



An isolated sad tone, like the fragile sound of a mourning bird, pulls the macabre coach of the new "Virus Meadow": the classic, heavy, black legend of the plague sounds richer in simple and distinctive details, strongly building an uphill slope of escaping death. Poisoned beauty grows the tension and somehow deserts the protagonist under a baroque, rustic sky, filled with drama and beauty. All this ends with the tender, naked transformation of "Dialogue" into a warm dreamy ballad of visions and memories. A clear horizon of devotion starts to complete the pieces of this new acoustic trip through the years and the tales of AATT. Sometimes the vision is surprisingly daring as the swinging "Fighting In A Lighthouse" wears a different costume, turns to something new and finally leads us elsewhere to invent different impressions. A long distance stands also for the new "A Room Lives In Lucy", when the fierce and the pressure of years gone by have been gently replaced by a sly, lurking patience opening unknown holes to the surface of the song and planting fine smooth traps for our ears. Extremely moving songs are also set in this acoustic album to keep the traveling spirit alive, so we meet again the haunted spirit of "The Dust Sailor", the restless wandering of "Jacob Fleet'-with an excellent bare orchestration uncovering every single trace of melody line-,the rural mystery of "Mermen Of The Lea" and the misty but not easily forgotten echo of "The Street Organ". The links finally meet locking up an album wisely homogenius, an album with a faithful portrait against time, easily ending to become a perfect sample of our times for people willing to know about the band. The old songs prove to have a wise depth, not only as themes for tales rearranged, but also as pure compositions willing to be driven in new clearings: in any case, the precious spirit of important details in life itself, the wandering senses of human looking for the beauty of a world slowly fading, and the poetic dignity of sharing the scars of our restless souls with the countless frames of nature, all of them are here supported also by a nostalgic artwork. Old fellows will dig deep for the only new track "When The Rains Come", a suitable epilogue for one more pure, deep and sensitive piece of art at the long AATT catalogue...

ΔΙΣΚΟΚΡΙΤΙΚΗ

DOVES - KINGDOM OF RUST
by George Georgiou (song292@yahoo.gr)



Doves have always kept their modest shadows in the noiseless part of Manchester. Poor of scandals, cheap publicity and gossip stimulations, they have always proved themselves to be rich in consistency and creation of gentle and honest pop music. Getting back since 2005's "Some Cities", they had to clear their dim, hesitant, a little dizzy and tired but never indifferent horizon. The british trio had always built a strong and private basis, capable to combine a crowd of outer influences and end to daring, honest, interesting and-above all-original songs. "Kingdom Of Rust"reveals an air of determination blowing from the first moments as "Jetstream" grows fresh and certain in a rich dance rock canal, an electronic impressive opener, obviously warming up a New Order tradition. Title track begins already a hyperclassic, a delicate brief road movie, armed with clear melody lines of dignified melancholy. A well crafted memory obsession leads to one of the most inspired tracks, beautiful and flowing "Winter hill", and behind its nostalgic value, it proves at the same time all this special work they have done upon their primitive conceptions. Such kind of intension reveals surprising evolutions in the characteristic example of "10:03", or the interrupting expectations of "The Great Denier" always changing directions. "Spellbound" somehow turns around a newer version of "The Man Who Told Everything" finally melting in dangerous beauty ... "Compulsion" flies over Blondie's clear impression and balances skillfully between rhythm and feeling. Outro "Lifelines" grows step by step haunting consistent crescendos to the fact that it's hard to make sense each single day... But even if it is so, they have no cheap drama or attractive tragedy set for us. Doves have once more kept the distance from certain, obvious sentiment as they always used to respect their conceptions beyond tricks, risks, influences and decisions: deep and simple at the same time they have the skill to drive their harmonies in the noiseless part of expressions ... as they exactly do with their lives.

ΔΙΣΚΟΚΡΙΤΙΚΗ

MASTODON -"CRACK THE SKYE"
by George Georgiou (song292@yahoo.gr)



They have achieved every inch of respect offering each time an important gigantic shadow to the playground of the heavy sound monuments. Racing a long ride of real hard work and intelligent evolution as a band, Mastodon, after the legendary chapter of "Blood Mountain", had to face the challenge of their lives. Being the basic choice for the next real big thing in the world wide metal debates of the last year, Mastodon dare to place their severe personal point of view beside their classic influences of space and groovy hard sounds of the seventies, ending finally to a flowing album. Songs with all of their characteristic structures reveal a friendly filter of impressions, several surfaces of recordings meet into an attractive balancing result: producer Brendan O' Brien found the path to concentrate all the comets of the Mastodon universe and finally transform the gathering into the solar system of "Crack The Skye". A homogenius fireball of technical realism along with a natural flow of riff waves remain distant and friendly at the same time: melodically interesting to swallow your resistence and deep enough to stand against the rust of time. A weird, vivid story in the lyrics, a dizzy storyteller-mushroom of wormholes, a golden navel string, a world of spirits, Siberia and ...Rasputin, turns the final result to a supernatural spiritual trip where trandition and progress meet under the brave honesty of our heroes. Extaordinary tips across their soundscape their longest efforts, "The czar" and "The last baron", reinvent the complete metal history by being themselves at the same time. If there is a certain gate to wider audiences there is no more honest passage than this piece of troubled spirit and pure adrenaline...

NEW RELEASE 2009

MONO:"HYMN TO THE IMMORTAL WIND"
by George Georgiou (song292@yahoo.gr)




Leader Takaakira "Taka" Goto is trying with his limited english to drive the 28-piece chamber orchestra to the direction he has in his troubled heart: "play like a cloud drifting slowly across the sky"... He is so serious that the only way you can take him is... seriously. MONO, the extraordinary japanese post-rockers (if we feel obliged to use the name of a genre to describe the big music...) have sailed with their cinematic ship before 10 years and this is their fifth, new album, three years after brilliant "You Are There". Recorded in Chicago, again with producer Steve Albini and faithfully following analog recordings, they have certainly been more into neoclassical paths of expressions. Their extensive tracks still creep with shimmering guitars and leading to biblical distortions with marching drums push you to a solution of hope but there is also a rich depth of epic, detailed orchestration filling their sources with numerous gifts of sounds. All these patient trips of the soul from personal drama to a violent catharsis come growing in waves of impressions ,building a vision of inner revelation. MONO sound like an ancient music box of honest sentiments kept hidden in the closet for the daily last breath before surrendering to sleep: no hesitations, no strategic balances, no intelligent manouevres between the head and the heart, only a heroic eastern march to the eternal fire of truth. For all those growing listeners in the post rock fields, all the tracks of the album are clearly memorable: in their gently increasing tunes from abyss to enlightenment, they have their special melodies shining to improve that these are not practice of a certain style but births of pure expression. From "Ashes in the snow" to "Everlasting light", this is the burning horizon with the fatal dance of all the sentiments we are afraid to face...