Heavy Metal


Unknown Title - The Peaks (4) - 30 Non-Stop Hits (Vinyl, LP, Album)


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We do not offer pre-written essays All our essays and assignments are written from scratch and are not connected to any essay database. Urgent orders are delivered on time Do you LP an urgent order that you need delivered but have no idea on how to do it? We provide quality assignment help in any format We have writers who are well trained and experienced in different writing and referencing formats. Tempers describe their creative process as a telepathic kinship they've developed since they started making music together: "We have this sort of unspoken criteria when we're writing music.

We never really need to explain what that is, but we both know when it's missing or when we've hit it. Following a string of critically acclaimed download only singles including from "Eyes Wide Wider" the duo released their debut Album) "Services" which resulted in the underground club hit "Strange Harvest". A debut album that is super clean and precise.

In the U. Non-Stop Erotic Cabaret, originally released in Britain in the fall ofcontained both the band's first hit and its follow-up, "Bedsitter," its title referring to what in America would be called a studio apartment. A third U. At full album length, lyricist Almond's primary preoccupation, only suggested in "Tainted Love," was spelled out; this was a theme album about aberrant sexuality, a tour of a red-light district. The insistent beats taken at steady dance tempos and the chilling electronic sounds conjured by Ball emphasized Almond's fascination with deviance; it almost seemed as though the album had been designed to be played in topless bars.

British listeners saw through Almond's pretence or were amused by him, or both; more puritanical Americans tended to disapprove, which probably limited the group's long-term success stateside. But the music was undeniably influential. This deluxe edition of Marc Almond and Dave Ball's debut includes all the B-sides and extended mixes from the synth duo's first and best period, plus the pioneering Non-Stop Ecstatic Dancing remix album.

Totally captivating while maintaining an important air of mystery, Erin and Ryan Hawthorne are most definitely an act to keep an eye on for the future. Now a trio, Client continue to craft chilly, elegant electro-pop that's poised and business like, full of hooks, and tries to conjure feelings of luxury and efficiency.

Synth-pop has always been filled with deliberate coldness and facelessness-- nothing new about that. But that's not Client's style: They're one of few synth acts I've heard who seem to lack personality mostly by accident. It's hard to even pinpoint where that sensation comes from. It's not in their music, which is certainly up one of my alley s : chilly, elegant electro-pop, poised and business like, full of hooks.

It's not in their image, which is a good match for the sound-- first two and now three women, semi-anonymous, dressed up in sleek 80s business wear and flight-attendant uniforms that go perfectly with the luxury and efficiency they're trying to conjure. Heartland, their third album, is the kind of full-on solid record I barely even expect to hear these days, every track as concise and hook-filled as the last.

Apart from the lyrics, they have all the bases covered: Anyone looking for reliable synth-pop thrills will find something to enjoy in just about every song.

The vagueness of those lyrics might be a clue to the problem, though: Client don't seem to have much that they're actually trying to get across to us. It's not just a matter of electro detachment, either. This, after all, is music that descends in large part from Depeche Mode, whose Andy Fletcher was the first to sign Client-- and god knows those guys are big enough drama queens to inspire deep personal attachment, fervent teenage under-the-covers listening.

The band Ladytron, Client's closest English peers, have been learning to pack their tracks with the same kind of emotion; Goldfrapp, probably the next closest, just ramp up their glitter and physicality to the point of decadence. The problem with Client is that they're offering It's strangely hard to find an angle in there, the right aesthetic particulars to give the band a face and a feel.

And if you've located it, feel free to write in and tell me where. The funny part is that Heartland really is awfully well-made-- great hooks, structure, production, the works.

The introduction of a new member on bass gives their sound a new smoothness, which they use to cruise beautifully up to any number of great hooks.

There's one on "Drive" with the casual cool of Elastica. There's one in "Monkey on My Back", with beautifully scripted pulsing and call-and-response chants. There's a Goldfrapp-style glam shuffle on "Lights Go Out", the most fetching of several songs that all might as well be singles-- I'll bet anything you'll hear it in a commercial one day, get it stuck in your head, and wind up thinking it sounds great.

It's probably telling, though, that the big fun surprise comes from one of the band's Unknown Title - The Peaks (4) - 30 Non-Stop Hits (Vinyl tricks, bringing in guest musicians to inject some personality. Simon Tong adds guitar to a cover of Adam Ant's "Zerox Machine", and while it's not quite the record's most memorable tack, the band suddenly seems to muster up some of the verve and spark that's oddly absent elsewhere.

What's really strange is that Client seem to think of their faceless, uniformed image as some kind of commentary on "manufactured" mainstream pop. Weird, given that that's actually the context where these songs work best-- as tight, stylish singles, the sort you can love hearing on the radio or the dance floor for a few months, all without stressing over what the band as a whole is all about. It's when you bring this stuff home, at LP length, that you start wondering: excellent craftsmanship, but what's your thing?

Other bands are doing this too, after all-- and even when they're not as consistent, a lot of them have something in their music that we stand more of a chance of really falling for. Experimenting with other producers, the Twins worked with fellow Scot and Associates member Alan Rankine on this three song effort, though not to fully successful effect.

Guthrie later groused that Rankine didn't appreciate the band's music to begin with and swore never to hand over production duties again, though the single itself was a notable independent chart success. The title track appeared in both 7" and 12" versions; either way, the song was definitely a bit atypical for the Twins even at that stage, with cleaner guitar, light keyboards and a tight arrangement which sounds more like early Associates than anything else.

The 12" mix is all the more unexpected, aiming for the dancefloor in a way which they would never really try again. Fraser's vocals mark it as a Twins song and no other, at least. As for the other two tracks, "Laugh Lines" has Heggie's bass brought up very prominently in the mix and extra live tambourine from Fraser, while the pounding "Hazel" does its job well enough.

The EP was also notable as being the last release on which Heggie appeared Album) splitting to form Lowlife. Read more ». Labels: Type O Negative. Type O Negative - Christian Woman. Monday Curve - Pubic Fruit. Labels: Curve. No, seriously…they did. This was the year that changed my life musically anyway for the better. In earlyOverkill was released and its title track is to this day considered an indispensable influence on speed metal, and in the band would release the not even remotely overrated Ace of Spades which was the recipe for sheer badassery.

However, having been released in Octoberit was sandwiched between their two most popular albums. Despite this, it doesn't really matter to me that Overkill came first, because Bomber was still ahead of its time for and showed enough song writing progression from Lemmy and co. And the music here on Bomber explodes on song after song, thanks to the crazed performances of the aforementioned band members as well as the well-overdriven, ear-rattling production perfection of Miller.

The band was really on fire during this point in time and could seemingly do no wrong. Herein, though, Lies the disadvantage of releasing more than one album in such a short span of time. One or more of them is likely to be overlooked, and it just so happens that the two more canonically important albums overshadow the one that is the most varied and consistent of the bunch. Like I said above, there's a great deal of fully realized song writing chops on display on Bomber; it's got plenty of hooks which are usually just a few simple notes or power chords like in the main riffs of "Lawman" and "Sharpshooter", not to mention the main bassline of "Stone Dead Forever.

Bomber is also really well-paced, and I love that. Make sure to specify the deadline in the order form and our writers will write a paper within the indicated timeslot. Just proceed to submit your requirements here. Once you order a custom written essay, our managers will assign your order to the most well-suited writer, who has the best skills and experience for preparing your specific assignment.

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