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  #4001  
Old 11-02-2011, 11:47 AM
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  #4002  
Old 11-02-2011, 02:53 PM
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Quote:
Review by Mike DeGagne
Released as another lengthy composition, Hergest Ridge was the album that followed Mike Oldfield's momentous Tubular Bells release, with many of the same instrumental elements and methods employed throughout its two sections. Because of the time of its release, Hergest Ridge was overshadowed by the effects of Oldfield's first album for Virgin, but even so, he still manages to invoke some interesting patches of music by using instruments like the glockenspiel, sleigh bells, the lowrey organ, oboes, and a variety of mandolins and guitars to maintain the same type of diversity as Tubular Bells. Symphonic throughout most of the album's two parts, the highlight of Hergest Ridge is Oldfield's use of 90 multi-tracked guitars which are clustered together to create one of the most unique sounds ever to surface on his albums. Actually, Hergest Ridge entered the British charts in the number one spot in the fall of 1974, but Tubular Bells finally took its place only three weeks later. The album was highly regarded in the U.K. upon its release and it continues Oldfield's creativity, proving that the genius put forth on his claim-to-fame album would indeed have some effect on works to come.
http://www.allmusic.com/album/r129946
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  #4003  
Old 11-02-2011, 04:17 PM
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Quote:
Review

by Dave Thompson
First things first. Anybody expecting the 5.1 surround sound mix of Ommadawn to follow the preceding Tubular Bells and Hergest Ridge in reassessing, and sometimes wholly re-evaluating the work, is probably in for a disappointment. While it there is still one aspect of Ommadawn upon which we should all agree; that, beginning around the fifteenth minute of side one, and continuing until the end of the side, Oldfield created one of the most dynamic, explosive, and, in places, frightening pieces of music ever composed. Percussion races like a heart attack, choirs awaken the dead, and searing guitars pursue one another into oblivion.

Reflecting upon the sequence in period interviews, Oldfield admitted that even he was terrified by the sheer passion of the piece. Maybe he did not want to relive old memories (his mother died shortly before Ommadawn was recorded, surely one reason for the sense of pervasive doom that hangs over the finished piece); maybe he simply forgot. But revisiting the tapes in 2010, he he certainly subdues the sequence, neutering the mania, halting the horror, and even dispensing with some of the oh-so-effective speaker shifts that made the 1976 quad remix such a revelation. It's a disappointment to be sure, and it would be disingenuous to claim that it doesn't sour the entire Deluxe Edition experience a little.

But it is only a little, for elsewhere, the 5.1 Ommadawn is as revelatory as its predecessors, and the inclusion here of Oldfield's long-lost original draft of the piece, labeled a demo but originally intended as the finished piece, makes this set worth every fan's attention. Plus, a newly remastered version of the original 1975 mix leaves everything as it ought to be, and Ommadawn still stands as -- if not Mike Oldfield's greatest achievement (can anything displace Tubular Bells?), then at least his most visionary.
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  #4004  
Old 11-02-2011, 05:13 PM
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Marv, you listening machine.

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  #4005  
Old 11-02-2011, 05:15 PM
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Quote:
Originally Posted by steinburger1109 View Post
Marv, you listening machine.
Had the house to myself today, and nothing to do....lol.
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  #4006  
Old 11-02-2011, 07:31 PM
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Mike Oldfield, nice!

...And You Will Know Us By The Trail Of Dead - Source Tags & Codes

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  #4007  
Old 11-07-2011, 11:26 AM
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The Goat Rodeo Sessions is a 2011 collaborative album by Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile. The album is Ma's third collaboration with Meyer.

Meyer has previously collaborated with both Ma and Thile, and in 2008 suggested Thile to work on Ma's Songs of Joy and Peace. The three expressed an interest in a future collaboration. Along with Duncan, they held their first rehearsal at Ma's house.[1] The compositions are credited to Meyer, Thile, and Duncan.[2]
The term "goat rodeo" in the album's title means 'a chaotic situation', a reference to the unusual and challenging aspects of blending the classical and bluegrass genres. The resulting sound has been dubbed "genre proof" by the group.
http://en.wikipedia.org/wiki/The_Goat_Rodeo_Sessions
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  #4008  
Old 11-07-2011, 04:08 PM
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Some of Robyn's songs on this album remind me of Syd Barrett, so if you like his stuff, might be worth checking out ...

Robyn Hitchcock
Black Snake Dîamond Röle
"Brenda's Iron Sledge"

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  #4009  
Old 11-07-2011, 06:43 PM
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Marv, I heard those guys on Colbert. Not my thing, but pretty cool.

I feel bad that I'm starting to like this song.

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  #4010  
Old 11-08-2011, 12:23 AM
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Quote:
Originally Posted by steinburger1109 View Post
Marv, I heard those guys on Colbert. Not my thing, but pretty cool.
That's where I first heard it too. Thought to myself, "that might be cool to listen to once in a while" and when I mentioned to to my sister she said she had just bought it....so I didn't have to. It's not something I'd listen to daily, but it is cool.
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  #4011  
Old 11-08-2011, 08:06 AM
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First comment on the YouTube page is priceless.
Quote:
"he's not gay. he's so tough he f*#@ks men!"
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  #4012  
Old 11-08-2011, 02:17 PM
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  #4013  
Old 11-09-2011, 07:23 AM
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Quote:
Review

by John D. Luerssen
Porcupine Tree have always been pigeonholed with the modern prog movement, but the reality is that they're both a riff-addicted metal band and a troupe obsessed with rich harmonies and memorable refrains. Take the grinding guitar work of "Shallow" which dukes it out with frontman Steve Wilson's undeniably melodic chorus before easing into the delicate, beautifully crafted "Lazarus." Few bands exhibit this kind of depth, be it the dreamy, Pink Floyd-inspired hallucination "Halo" or the Queensr˙che echoes of "Open Car." If the 12-minute sonic meander known as "Arriving Somewhere but Not Here" is as head-trippy as rock music gets anymore, it is reassuring to know that this Tree is still growing. Ideal for headphones, Deadwing -- despite its title -- takes flight nonetheless.
http://www.allmusic.com/album/r735039
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  #4014  
Old 11-09-2011, 12:08 PM
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  #4015  
Old 11-09-2011, 09:36 PM
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Porcupine Tree <3!

Am I the only one slightly alarmed that those noises are coming out of people at that speed? o.o'
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  #4016  
Old 11-10-2011, 10:19 AM
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I wanna get stooooooned, with Indiana Jooooones.
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  #4017  
Old 11-10-2011, 02:03 PM
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Quote:
Who would have thought visionary headfuck director David Lynch’s first venture into long-player music would have resulted in 14 cute ‘n’ cuddly pop anthems?

Just kidding. If you’ve ever seen one of David Lynch’s nightmarish, nonsensical, unmistakably devastating films, you’ve been ably primed for Crazy Clown Time, the year’s most freakish musical experience (Too bad this couldn’t have been released a week earlier—or perhaps a Halloween-timed release was too obvious…).

Lynch’s films are saturated in darkness. Characters are usually either mentally deranged, socially disturbed or stuck in some sort of paralyzing trauma. Plots? More like black holes—when you enter a David Lynch film, you leave logic at the door, surrendering your brain to colors and awkward juxtapositions and the oozing horrors that leak from your hypnotized id. At his visual finest (Mulholland Dr., Eraserhead, the lost TV classic Twin Peaks), he is master of his own bizarre domain. At his worst (Twin Peaks: Fire Walk with Me, the tiring, Nic Cage-starring Wild at Heart), the effect is, to borrow a ridiculous quote from one of his own films, “blank as a fart.”

Crazy Clown Time, recorded in Lynch’s personal studio with engineer Big Dean Hurley, isn’t exactly fart-blank, but this visual master shouldn’t quit his day job. Music has always played a crucial role in Lynch’s film and TV projects, partly because his musical collaborator, Angelo Badalamenti, is a master of audible mood-setting (Imagine Twin Peaks without those creeping jazz interludes—totally different show!). Without his longtime partner’s deft compositional skills and genre-specific taste, Lynch too often flounders around in moody, broody texture—most of which feels lacking without a visual counterpart. You know the scenes in Twin Peaks where the teenagers raise ruckus at The Bang Bang Bar, the local roadhouse? Remember that strangled, creepy-ass blues waltz the house band played all the time? That’s pretty much half of Crazy Clown Time: staggering Meg White-level beats, tremolo-drenched minor chords and plenty of bloated atmosphere.

Vocally, Lynch either mumbles like a small child (the icky title track), layers his warped tenor in vocoder (the surprisingly nimble electro-pop of “Good Day Today”), or rants in a tiring monotone (the utterly unlistenable “Strange and Unproductive Thinking”). On the awkward goth-blues of “Football Game,” he sounds like a deranged mental patient gargling a mouthful of jelly beans.

What makes this even more disappointing is that Crazy Clown Time opens with a quartet of wonderful tracks that cover every side of Lynch’s personality. Opener “Pinky’s Dream” is downright breathtaking, guest vocalist Karen O’s sensual melody hovering nervously above a rickety tom-tom pulse and Lynch’s colossal guitar thrusts. “Please Pinky, watch the road!” she mumbles to herself, a desperate, deflated mantra. “Pinky, what’s in your mouth?” You can practically visualize this as a scene in one of Lynch’s films—including the inevitable car-crash ending, complete with a horrifying Karen O scream. The aforementioned “Good Day Today” is jarringly upbeat, but the pulsing beats and weaponized sound effects keep things appropriately weird. Meanwhile, “So Glad” works wonders with a crawling blues refrain, and the nearly whispered “Noah’s Ark” builds tension with scalpel-like precision.

What a giant mess. I can’t exactly recommend this, but in no way would I discourage any die-hard Lynch buff, like myself, from throwing 15 bucks in the Maestro’s direction. One thing’s for sure: You won’t hear anything else like it—until, of course, the next David Lynch movie.
http://www.pastemagazine.com/article...lown-time.html

I think it's a pretty great album. I definitely like that psychopath mixture of dark soundtrack/movie score, blues, electro, delays, drone, and lo-fi. "Strange and Unproductive Thinking" is my favorite track, the one the reviewer quoted above seems to really dislike.
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  #4018  
Old 11-10-2011, 03:52 PM
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  #4019  
Old 11-10-2011, 07:20 PM
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  #4020  
Old 11-13-2011, 08:44 AM
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