The new, improved, album recommendation thread. Come one, come all, and recommend!

I think this is one album that any fan of punk needs to have in their record collection:

Rise Against - Revolutions Per Minute.

B00008O83V.01._SCLZZZZZZZ_.jpg


2003 was a year that finally brought Rise Against to prominance and it was the year that Geffen spotted them and signed them. This is album is entirely responsible for that and on it, are 12 damn good reasons why.

While Rise Againsts first album, The Unravelling, was pretty long and didn't really have enough stand out tracks to justify it's length (and I'm pretty sure Fat Mike was still not a fan after hearing it. After all, he only signed them because they promised him they'd be great...), it was also the album that introduced me to the band way back all those years ago and I'll be the first to admit it was also the album that made me pass them off as just another average punk band. RPM is truely the album the gave them a place in my heart.

From the opener "Black Masks and Gasoline" its evident what you're getting here. Balls out melodic hardcore. With nods to Bad Religion, Kid Dynamite and 88 Fingers Louie (rather obviously since the guitarist and bassist from the band are in Rise Against) in equal measure. It's pretty safe to say these guys know where they are and what they want to do.

Every single track on this album is a classic. From the blistering "Heaven Knows" to the brutal "Dead Ringer" the radio friendly (as they could get in this period anyway) "Like the Angel" in the space of the first 5 tracks this band have shown every aspect of their arsenal. Showing that they can play melodic hxc with the best of them, punk it up with the most elietest of them and pop it all out with the most melodic of them. From there on in, the band blast through each track with passion and energy that most bands seem to lack. With a heavily poltical backdrop to the lyrics and some raw (but not too raw) production bringing out the fire and passion burning within the beating heart of this band, this album just doesn't set a foot wrong.

Stand out tracks for me, apart for the 4 previously mentioned, are "Blood Red White and Blue" (simply for the angry outro), "To The Core", "Torches" and the hidden track, a cover of Journeys "Anyway You Want It". But that's not to say the other tracks are mere filler or don't stand up to the more stand out ones. That's simply not the case. Each track is as good as the previous, and the album is solid and is sequenced very well. Not one track feels out of place and by the time it's all over, you're gonna want to put it back on again. It's simply that good. There are not many albums that I can put on and not want to skip a track in (their latest effort falling into this catagory, for many reasons. Such as the producion on the guitars seems to make them lose a bit of their urgency...) and this is one of those albums. It's passion, it's angry, it's raw, it's urgent, intelligent and very relevent. No fan of punk should be without this album. Quite simply because, this is one of the best albums I've ever heard and it's an effort the band will never match (unless they prove me wrong with their soon to be released 4th album "The Suffering and The Witness"). Thus far it is a career defining moment and one of the best punk albums in existance, and that's not something to be said lightly. Not something to be said lightly indeed.
 
darkorgasm.jpg

Julian Cope - Dark Orgasm


Whereas January's Citizen Cain'd appeared hastily assembled in much of its execution, Dark Orgasm is a substantially improved and cultivated beast.

Although its gothic artwork resembles that of purveyors of death rock Cradle of Filth, the material within is mainly concerned with the recreation of Cope's beloved garage rock sound, employed to the fore in his recent side projects Brain Donor and LAMF.

The album primarily focuses on Cope's everlasting crusade against organised religion and how cultures worldwide still regard women as second-class citizens.

The clownishly titled She's Got a Ring on her Finger (And Another One Through her Nose) pulls no punches. It's a call to arms to women to attain their rightful equal place in society, but one feels that there may be an element of oversimplification peeking through the cracks in his earnest display of righteous indignation.

I Found a New Way to Love Her flirts dangerously with ironic sexism and grants itself no favours by including a clumsy disposable lyric concerning the unfortunate Ken Bigley.

Mr Invasion has Cope railing against Bush, by now surely the most celebrated creative muse in history. The combined amount of music, film and literature condemning this execrable monstrosity of a man would keep future historians drowning in archive material for generations.

Nothing to Lose Except My Mind is Cope's defence of those who partake in natural psychedelics - a stinging rebuke to the moralists among the powers that be.

The album's tour-de-force is the 21-minute The Death and Resurrection Show.

This is one of the few tracks of this length in rock history that doesn't send the listener off into a stoned trance or propel them into spring-cleaning the house.

The time disappears in the blink of an eye, as the album's garage rock staple commutes into a mesmerising section of psychedelia that would have been warmly embraced in the days of Cope's original group The Teardrop Explodes. It is the most outstanding track to arise from the Cope stable since the awesome Jehovahkill album of 1992.

On occasion, the overzealousness and intermittently skewed logic of the lyrics dilute the communication of Cope's passionate, sincere messages, but Dark Orgasm has successfully counterbalanced the frailties of Citizen Cain'd and its stellar moments make it a commendable purchase.

Not my words.

Great album, seen him twice recently and this album is probably the closest I've heard to how he sounds live. Brain Donor's- Love, Peace and **** is preety close too.

If you like your music to be raw, get this album. The lyrical content is great especially in the songs White Bitch Comes Good and Shes Got A Ring On Her Finger (And Another One Through Her Nose)

Best played LOUD!!!!!!!!

Sorry I know it's not much of a review but.... :D
 
Mirco de Govia - Chronoscale (2003)
Genre: Trance / Chillout

Chronoscale.jpg


Mirco de Govia caught my eye when one of his tracks, Epic Monolith, was mixed by Paul van Dyk and placed on his compilation The Politics of Dancing. The track was a huge hit and those who loved PvD's style of music will most likely love de Govia's Chronoscale album. It isn't pure trance though, you do get some chillout music, which are just as good as the trance music. Songs like Voller Sterne seem to be the perfect driving tune, a good blend of bass, drums and synth gives a soothing chillout music which falls short of trance.

Unfortunately, one of de Govia's best trance hits, Asarja, hit the shelves as a single in 2005. Those who like this album will no doubt love this single, which I highly recommend. However, his next single, Vital Spark, released in 2006 didn't really spark the trance industry.


Recommended test tracks: Epic Monolith, Voller Sterne

---

Brian Culbertson - It's On Tonight (2005)
Genre: Modern Jazz

IOT.jpg


Brian Culbertson isn't really well known in the UK but is a chart topper in the US Jazz industry. I never was into jazz and I didn't know who he was until I heard one of his tracks All About You in 2001. Words can't describe how I felt but I was amazed at the well composed track, a perfect blend of piano, guitar, drums and vocals. Since then, I've got hold of all his albums (unfortunately, they are all US Import) and his latest album doesn't disappoint.

In an attempt to change his approach to make jazz more modern, Culbertson attempts to mix a bit of RnB style into his music and without doubt, has done a fantastic job. If you are after some relaxing jazz music, It's On Tonight is highly recommended. I'm more than certain that you will be after all his previous albums after hearing this album :)


Recommended test tracks: Let's Get Started, Hookin' Up, Dreaming Of You
 
Jimbo Mahoney said:
Coheed and Cambria

Good Apollo, I'm Burning Star IV...

Coheed.jpg


Another album which has been on constant play. Brilliantly complex 'Alternative Metal'. I found a little learning curve with these guys due to the intelligence of the music, but since learning the album, a lot of other albums pale into monotany... These guys have everything - melody, harmony, rhythm and each song is just so damn interesting!

Recommended test-track - "Ten Speed (of god's blood and burial)" and / or "Once upon your dead body"

Gotta admit I've never heard of them, all I can say is WOW. On a first listean I'd say great shout, I think I'll end up playing this a lot :D
 
NeedleGunner said:
Gotta admit I've never heard of them, all I can say is WOW. On a first listean I'd say great shout, I think I'll end up playing this a lot :D

Their older stuff is much better Needle. Get a hold of The Second Stage Turbine Blade and In Keeping Secrets of Silent Earth. Both amazing.

Notable tracks:

Delirium Trigger
A Favour House Atlantic
Three Evils
Blood Red Summer
 
I heartily recommend Greenwheel - Soma Holiday

Someone on this forum recommended this album to me a while back, maybe 18 months ago or so. But I never hear anyone mention them.

They are a kinda indie/alt-metal group, with a combination of decent guitars and heartfelt vocals. What sets them apart from most other groups is the sheer consistency, even their B-sides are of a very high standard. I can quite comfortably listen to the album without pressing skip once.

OK, so you've heard all that blurb before about countless bands. So here's a link where you can listen for yourself:

http://audio.grinitch.com/greenwheel/sm_player.php

I'd just stick to Soma Holiday and the B-sides rather than the "Electric Blanket" tracks as these seem to be a different style and not as of such high standard.

http://greenwheel.net
 
Nix said:
Their older stuff is much better Needle. Get a hold of The Second Stage Turbine Blade and In Keeping Secrets of Silent Earth. Both amazing.

Notable tracks:

Delirium Trigger
A Favour House Atlantic
Three Evils
Blood Red Summer

I actually prefer the 4th best, then 3rd, then 2nd :D
 
Nekromantix

Dead Girls Don't Cry


nekro.jpg



OK, these guys are fun :D

Best way I could describe them is retro 50's Rock-n-Roll with a cheesy B-Movie feel...

They're a three-piece with a stand-up bass shaped like a coffin, and I suspect if you take them seriously, you'll think they suck. I bought the album not knowing what to expect and was pleasantly surprised.

The album ranges from fast punk to funky bass-driven retro rock 'n roll.

Songs to try:

Moon Chaser
I'm a ShockStar
Dead Moonwalkin'

:D
 
Cardiacs - A Little Man and a House and the Whole World Window
1988
littlman.jpg


Back in the late 80's one of my friends bought an Indie compilation album which had a track from this album on it called Is This The Life. It was indie music with a difference, and a superb guitar sound. A couple of weeks later he bought the album. On first listening we collapsed in laughter....the album had the most bizarre sound...prog rock mixed with punk and indie, time changes, nursery rhymes, saxaphones, keyboards, nonsense lyrics...a complete disregard for what conventional music is expected to sound like. He considering taking it back, but we listened to it a few more times and the album got better and better....the tunes are there but it takes a while to enjoy them!

Cardiacs are a real love them or hate them band. Not too many people have heard of them, as they are pretty much ignored by the music press as a bit of a novelty, but they are hailed in muso corners. I remember Blur insisted on Cardiacs supporting them years ago and they got a pretty bad reception!

Cardiacs have released over 10 albums, and all of them are great.

They are a band to make you smile when you are down.

There is a website:
www.cardiacs.com

and the excellent R.E.S from this album is on their myspace site:
http://www.myspace.com/cardiacs
...give it a few listens before making up your mind.

I like the summary of the band from Wikipedia:
"Cardiacs are a British band formed in 1977. Combining the excitement and energy of punk rock with the intricacies and technical cleverness of early British progressive rock, a combination sometimes referred to as pronk, although singer Tim Smith prefers the description psychedelic, their sound is unique, varied, complex and intense."
 
Last edited:
Excuse the amazon reviews, these albums weren't on allmusic. :cool:

Burial - Burial - 2006

This one is mindblowing (for me at least):
41fc9xdwpjlss500ci7.jpg


Dubstep, gets It's first ,truly Essential Masterpiece...., January 5, 2007
By fetish_2000 (U.K.) - See all my reviews
Dubstep is although a relatively recent music genre, it's a successful splicing of the rhythmic arrangements and some of the instrumentation, normally associated with 2-Step/Garage, with the bass and reverberation of Dub reggae. And what initially seems like an unusual/oddly confusing pairing of genres, works remarkably like a mash-up of dancefloor friendly, bass-heavy 2-step. But there is a new lineage of producers willing to experiment with the boundaries of the genre...taking other elements of genres, and slowly filtering them into the Dubstep genre. Enter low-key producer "Burial" with a altogether more sinister approach to the genre. His masterstroke is to take the sound out of the clubs, and shift the focus towards something far more suited towards an intimate home-listening experience, slow the beats down and give them an eerie, disembodied paranoid edge, and take the mood & atmosphere of Electronica and imbue them against melancholy keyboards, throbbing acid lines, and fragmented beats, and arrange them into hugely atmospheric slow-moving almost filmic sci-fi productions, that make up the albums tracks.

It's a largely gloomy and ghostly sound, one that expresses a mournful sonic sentiment, via the use of spacious, sparse productions with little touches like static and echo effects, that recall night-time cityscape aerial-views of the capital at night. Sounds and moods are build around samples, shifting awkwardly around each other. "Gutted" shapes an impressively claustrophobic track, which would be ideal, for driving a car through the city after dark, around what sounds like a sample of a gun (pistol) being reloaded. "Prayer" uses a more spooky and decidedly haunted echo derived sound to get it's point across admirably, by not only showing considerable skill as a producer, but the insight to argument moody & sonic texture beautifully. 'Distant Lights' mixes incredibly sparse programmed beats, into a stretching metallic-organic hybrid soundscapes, by coupling a shimmering vocal against a bass-reverberating rumble, and like pretty much all the tracks here, it's construction is in theory...fairly simplistic, but it more than compensates by any technical limitations offered by the producer, by being hugely atmospheric and tremendously evocative.

Some people are calling this their "underground Album of the year" (2006), and although I've heard far too much in 2006, to award any one particular album that accolade. I will agree that this is a truly remarkable album, one that is a reasonably innovative album...in so far, as truly pushes the genre forward, it's spare/stark/claustrophobic/melancholic mood and tone, is completely at odds with the more dance-oriented sounds of Dubstep. It's an album that sounds truly at it best, under the cover of night....using it's more sinister manipulation of moods, in a way that develops into a truly brilliant album of such cold inspiration and druggy emotion, ethereal atmospherics, submerged soundscapes, and a shimmering tension to the music, that so incredibly well realised, that how he'll follow this up, is anyone's guess. Another reviewer mentioned that a rough description of this album, would be something akin to an Instrumental version of "Massive Attacks - Blue Lines" (or "Tricky's" Work), and that a fairly good comparison. If you could imagine an instrumental version of `Blue Lines' (or more closely, Tricky's Albums) with the tension turned way up, the string sections removed, and the rhythmic arrangements stripped down to their barest elements. And the Dub side made harsher, and replacing the soulful beating heart of Blue Lines, with something far Colder in sound, it could reasonably be considered that is what to expect. But irrespective of that, this is one of the most startling albums I've heard last year, and easily deserving of inclusion on all of the critics end of year `Best of' lists.

Vex'd - De Generate - 2005

596167jf7.jpg


Igloo Magazine's REVIEW, December 1, 2005
By Pietro Da Sacco - See all my reviews
(REAL NAME)
Review by: Luca Maini, Igloo Magazine (www.igloomag.com)
(07.15.05) Don't bother about genres. Don't call it grime, 8-bar or dubstep. All you need is a few oldskool terms: breaks, bass and industrial. I was expecting only dancefloor material here, but the first half of Degenerate is more like Scorn doing broken beat. Which is just what the world needed: a mixture of tight drum programming, squeezed basslines and pitch black backgrounds. The first track "Pop Pop VIP" is quite danceable, less than the original though, but from "Thunder" to "Venus" it starts a deep journey into industrial realms, beats and snares are always hammering, between loads of distorted, buzzing and wobbly bass. The result is claustrophobic, unsettling and yet striking, for what was only a sub-subgenre a year ago has made impressive steps towards unheard territories with Vex'd.

The choice of samples is very accurate; the woman speaking in "Corridor" sends shivers down my spine every time I hear her. "Gunman" and "Lion VIP" unleash the party potential of Vex'd music, with ragga samples, guns, straight breaks and basslines more dedicated to your legs. "Fire" and "Slime," instead, turn toward a more laid back feeling --rhythms are always solid but more rarefied, like the deeper works of Mark One's One Way. More quality comes from the addition of spooky interludes, like the eerie "Cold," the explicit "Cruhser Dub," and the anxious echoing "Destruction," plus the amazing idea of adding a second CD with the tunes released only on vinyl so far. We're speaking of "Pop Pop," "Canyon," "Lion," "Ghost," all these tracks made quite a stir on the British floors, and even if "Smart Bomb" is not as famous as the previous ones, I can assure it's another corker, like you hadn't enough already. This is a serious contender for my album of the year, if you want to know what is the sound of the underground in the year 2005, don't hesitate to check out Degenerate. (4/5 stars)

You really need a good soundsystem with nice bass to appreciate this one. :D
 

Yourcodenameis:Milo (With many other artists) - Print Is Dead.

Genres said:
  • Post Rock
  • Indie
  • Rap
  • Metal

This album really is a strange one.
It is a "concept album", where YCIM got together with their friends in other bands (for example Gordon Moakes of Bloc Party fame, Ross Millard of Futureheads, to even Lethal Bizzle.)

They gave the task that all songs should be written and recorded in a single day, with Print is Dead being the outcome.

Due to the varying collaborative artists, the genres are incredibly diverse. It ranges from "I remember the Summer Isles", which I really can't describe, to "Wait a minute", which is quality stadium rock, to a rock song infused with LDN grime in the form of "Ordinary Day ft: Lethal Bizzle".


Overall it is a very satisfying album, which sounds more like a mix cd than one from the same artist. This itself lends the album to being great for just sitting down and listening to, when you don't know exactly what you want. This album caters for everything.


In conclusion, this album is worth every penny. Despite the time constraints placed on recording and composing, the songs have ended up as very original works which are all very listenable.
I love it.


Best tracks: "I remember the summer Isles" and "Wait a minute".

Highly recommended. Check the reviews on a website named after a large river in South America for more backup.

Further reading:
http://www.drownedinsound.com/release/view/8609

If you like this, you'll also like: Bloc party - Silent alarm. At the Drive-in - Relationship of command.
 
Digitalism - Idealism

digitalism_243x241.jpg


id write my own proper review but im not clever enough to think of words to describe how much i love this album , its like kraftwerk meets daft punk , lcd soundsystem and bloc party for a bit of an orgy. its perfect

review from the guardian :O because its one of the best and most indepth reviews ive read about any album

1. MAGNETS

3.52 Like Jesus from the cave and Dr Who from the Tardis, dance music has been resurrected! And not by the wrinkly old walruses of dance music past but by brightly clothed, uber-grinning new kids on the block like today's likely lads Digitalism. Jens Moelle and Ismail Tuefekc, to give them their proper titles, are two robotic types from Hamburg, who trot around the globe dabbling in rock and as well as rave, remixing Franz Ferdinand and the Klaxons, wearing red shirts and black ties, and setting their controls for the heart of the electronic drum. Magnets, their debut album's opener, sounds like an evil voice-manipulating alien has set off all the faxes, phones and printers in Britain and made off with the most addictively skronky percussive beat in the world. A good start!

2. ZDARLIGHT

0.17 Here's a pulsing groove that sounds raw and nasty in one moment, but playful and innocent the next. As Des Lynam used to purr in his old lifestyle TV show, "How do they DO that?"

1.43 It sounds like lightning's hit the controls here. Watch the fusebox, chaps!

2.29 You know those dance-music melodies that start somewhere way behind your head, like they're in the boot of a car three blocks away, and approach steadily, gradually, until they're suddenly kicking off in your flat and filling your ears? Like that middle-eight in Madonna's Hung Up where the Abba sample emerges from the murk? Well, here's one! It's amazing!

3. I WANT I WANT

0.13 But what's this? Guitars and vocals, you say? Are the new Kraftwerk morphing into U2?

0.41 "The days are getting longer now/ In futuristic silence/Does anybody anyhow/Care about anything?" Fear not Ralf and Florian, it's not quite Pocket Calculator. But Jens Moelle's attempt at being Alex Kapranos over a post-punky tune is quite fetching.

2.51 "Am I not always be wanting this?" Moelle wails perplexingly. You can't trust those bloody translation engines on Google, that's what I'm saying.

4. IDEALISTIC

1.11 "I have an idea/That you are here!" Hello, I've heard this before - at about 3 am one night at last year's Bestival, wrapping my head in a jumper as I tried to go to sleep in my tent. I knew you were "hee-yer" then, you *******, and I wasn't too happy about it either.

2.39 It's amazing what a night's kip can do, though. Against a strangely restrained electro beat, this lyric sounds almost as sexy as George Clooney would if he was in the Isle Of Wight whispering into my ear. (Ah, if only.)

5. DIGITALISM IN CAIRO

0.12 It's the Cure's Fire In Cairo turned into an acid-house growler! I know, sounds awful, doesn't it? But I have faith! (And not the George Michael album, no.)

3.31 They've done something gloriously strange - chopping up Robert Smith's vocals as violently as an onion would be diced on Gordon Ramsay's watch. But the tune loses none of his band's dark, spooky poppiness. Another zinger!

6. DEPARTURE FROM CAIRO

0.45 A brief change of pace here - synthesised strings, some sampled bird song, then some babbly chatter like you'd get on an airport forecourt. As cleansing to the musical palate as an aural lemon sorbet.

7. POGO

0.51 And how it prepares us for this! Moelle's like Damon Albarn at his best, sneering about "the good old wild days" against a pulsing minor key bass line and early New Order guitars. Plinky, muzakky keyboards are the cherry on a cake.

1.10 "Just take a look at my place/It's such a mess/ But I'll be out of this place as soon as you tell me where the night is." How often have you felt like that, readers? I know! This is brilliant!

1.56 "There's something in air, wah-hoh!" And it's me, experiencing a Damascene conversion to the powers of rave!

8. MOONLIGHT

0.17 Oh dear, this sounds like Right Here Right Now by Fatboy Slim. Don't let me down now, boys!

0.52 And this is pure Daft Punk. In fact, that's exactly who Digitalism are - Daft Punk's cheeky, sexy little brothers. And tell me, readers, what could be wrong with that?

2.38 Well, this slightly boring track, I suppose. Oh well, can't be good at everything!

9. ANYTHING NEW

0.11 Those faxes are back again. And there's nothing like the sound of dying technology to get us back on our feet!

1.23 Ditto with some oddly Nirvana-like guitars. And the "minimum is maximum", apparently - a nice homage there to Kraftwerk's last live LP there, my dear trainspotters.

10. THE PULSE

0.47 I've loved this track for weeks already, I confess, after I heard it leaking out of a colleague's dicky headphones. Imagine a Daft Punky instrumental that sounds like Mozart let loose on a Roland TB-303.

2.03 Topped off with a fabulously doomy middle-eight break. This is bliss!

11. HOMEZONE

0.38 But this isn't - it's some fairly dull electro instead. With a vocalist who sounds like Barry White gone wrong growling, "I have the biggest party ever" over the top of it. It's not good to boast, you know. Unless your do has jelly and ice-cream and musical chairs.

12. APOLLO-GIZE (FINAL MIX)

0.55 Ah, that's better. This should've been on the soundtrack to 2001: A Space Odyssey. "Why should I worry about a story that has just begun?/It seems I am sorry for a song that I have sung," Moelle sings like a lonely HAL. Just lovely.
1.03 Now he's going on about his head being oversized. Let's let that pass.

13. JUPITER APPROACH

0.49 Apollo? Jupiter? Is the end of this album Digitalism's response to Holst's Planet Suite? Here's hoping! Long synthesised string drones conjure up mystical orchestras, and give us a nice breather. Not that you could breathe much in outer space, mind.

14. JUPITER ROOM

1.44 But is this the kind of party music that plays on the fifth planet? If so, call Ryanair! The faxes they have out there are even better too! Listen in and hear David Brent spinning in his intergalactic grave!

ECHOES

2.27 And here we are, presumably back on dry earth. A gentle, lovely electronic whirr turns into another fast pulse, another swirl of digitised voices, and another limb-jerking exercise in how to make good dance music. Eat that, Groove Armada!

IN CONCLUSION

Imagine what people from the past thought the future would sound like, or how dance music could perfectly infuse rock and rave. Then think about how these things could happen both in a perfect world, and beyond it. And here are the results!

all music guide said:
Sometimes it's electronic music you can rock to, sometimes it's neo-disco tech-house you can sing with, but it's always the fringe of dance-pop at its peak put together in a razor-sharp package.
 
Last edited:
Here are two absolutely sublime ambient, minimalist electronica albums I've come across recently:

Vidna Obmana - The River Of Appearance

51kkb003nwlss500lj0.jpg


Steve Roach - Dreamtime Return

519by4vm9flss500yf1.jpg


The River Of Appearance is nothing short of godly, pure, serene musical bliss. Both are very simplistic but immensely moving, making use of long stretched out synths that gently grace your ears and transport you away. Any instruments used seem to be perfectly in balance, creating surreal yet completely organic soundscapes. I read somewhere that Vidna Obmana uses the following,

"Electronics, loops, five rainsticks in different tunings, shells, claypot, click sticks, maracas, waterbottles, Bolivian flutes, bamboo flute, ocarina and harmonica."

My favourite track is "The Other Side" on Dreamtime Return. An electronic woodwind instrument called the the Steiner EWI is used here with absolutely gorgeous results, words simply cannot describe how beautiful this instrument sounds.
 
Back
Top Bottom