I Recommend... |
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eugene
Forum Senior Member Joined: May 30 2005 Location: Ukraine Status: Offline Points: 2703 |
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"From The Gutter To The Stage" - The Best of Savatage 1981-1993
This is 2CDs compilation of really best of their works.
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carefulwiththataxe
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avestin
Special Collaborator Honorary Collaborator Joined: September 18 2005 Status: Offline Points: 12625 |
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I was gonna recommend Zaar next, but I will delay this recommendation and instead introduce you to an interesting outfit called:
My Skinny Wonderland. Here are some quoted sources: My Skinny Wonderland - What Went Wrong? taken from : http://www.soundoo.com/listen/en/view_cd?cd=35
This nagging question is the title of Philippe Tasquin’s first album in English. Assuming the identity of "Skinny", he has composed, orchestrated, performed and produced 13 tracks that defy pigeonholing. Whether original songs, covers or instrumentals, they open a window into an inner world that is dark and lyrical, ironical and sprightly, and supply Skinny with a unique chance to make a Technicolor display of his many skills.
Skinny manages to transform “Quiet Village”, an obscure Les Baxter hit from the 1950s, into a British-TV signature tune. He also possesses an uncanny ability to adopt the most diverse personas: a romantic murderer in “Christmas Crime”, a paranoid fugitive in “Blind Alley”, an irritated crooner in the quaintly old-fashioned “The New Liberace”.
Strings and noisy guitars, prodigious choirs, celestial pianos, Martenot waves, harpsichords and harmoniums, unbridled saxophones, paroxystic arrangements, all of these are part of the smorgasbord of ingredients offered by an album swarming with influences and feeding simultaneously on a John Barryesque elegance and a lunacy reminiscent of Mr Bungle.
This chameleonic music is like film without pictures - except that Thierry Mondelaers’s superb artwork will haunt you for a good while. Making the most of his numerous registers, My Skinny Wonderland presents the listener with an idiosyncratic universe, a tragicomedy in which disenchanted and guilt-ridden beings live side by side with diamond-winged fairies.
My Skinny Wonderland (Belgium) - 2002 - "What Went Wrong?" (50 min, Uncle Doe)
My Skinny Wonderland - What Went Wrong?
Line upSkinny - vocals, piano, samples, violinsToulouse - bass, guitar DJ Bear - drums Pieter Hespinetszki - flutes Manuela Butcher - violas Tracks
SummaryThis is the first release on Uncle Doe, and with that the likely debut in English of Belgian oddball Philippe Tasquin as Skinny, or My Skinny Wonderland.The musicIntroduction is exactly that. A strange voice tells us about covers and this album. Makes you really wonder what you're in for.Quiet Village is a cover of a Les Baxter song. The use of keyboards is reminiscent of variety shows from the 1920's ballroom time, with its violin and choir sounds. Then again, there's a bit of Charlie's Angels in it too. For one thing, I can't take this seriously. Christmas Crime is the combination of a gentle family round the tree song with comedy lyrics. The vocals on this one remind a bit of Faith No More, as do the odd combinations. Harry Finally Found A Job is a strange instrumental intermezzo. 216 starts another 1920's song, with angelic choirs and friendly vocal lines. As it progresses the keys get heavier and the vocals distorted, sort of nice, but this is soon ended by the return of the angels. Whodunit lunches us into sax driven antics, framed with guitar and single drum. Yet another track bouncing all around the room. Finally seems to be a track focussing on a melody line with vocals, and controlled accompaniement. Quite novel, really. But, how could I expect differently, the middle section brings out the oddball in Skinny again. What do you expect of a song named The New Liberace? It starts with sort of a humpty dumpty rhythm, and remains the showman Liberace like music, albeit using more electronics than the man himself would have done. The title track starts with wah wah guitar and quiet percussion, later dominated by piano. Amazingly, this track stays serious for its full length, making it an odd title track, being far from representative. Blind Alley has a nice build up, with driving guitars and threatening vocals. The instrumental mid section has grave key carpets and wind instruments. The silly voices are enough in the background not to break the tension. Good track, this is. Damned Messiah is less serious, but does appear to do better in finding a balance between seriousness and ridicule. The heavy guitars and melodious saxes are positive points in this one. The Paramount has the humming angel choir again, sometimes reminding of the choir of Freddie Mercuries Queen used to have for backing vox on some tracks. Beside that, Skinny's doing that thing with his voice again, which makes things sound unserious. The clear piano is nice. Town Without Pity is another cover, sounding as if from days long gone, sort of big band feeling. Skinny sounding unserious again. Niceish track, still. The length of the track is created by the five minutes worth of ghost material, being tape loops with piano. Good stuff. ConclusionFaith No More has been known to do the odd thing on their B-sides. This album is mostly in that style. This makes it interesting, yet tiring. Nice, at times, but irritating just as often. More serious tracks, such as Blind Alley, the title track and Damned Messiah show that there is a basis for a good serious album, but apparently Skinny chose otherwise. At the end of the day, I see it more as an experience, than as a musical album. It seems to hold 20 minutes of good material, but most of the rest I would prefer to not hear again.
Preamble. According to the CD booklet, "What Went Wrong?", the debut album by the Belgian band My Skinny Wonderland, represents a musical story-tragicomedy where disenchanted and guilt-ridden beings live side by with diamond-winged fairies. The Album. It's time to use my brains again and recall the epithets that would not only be worthy of this concept album, but would also represent the key aspects of it. Well, well, well: Well, these are - inspiration, innovation, originality, inventiveness, intricacy, eclecticism, theatricality, tension, richness (of sound: just have a look at the line-up on this album!), and magic. "What Went Wrong?" by this Belgian Wonderband is a brilliant album that can in many ways be regarded as the further development of the Progressive Rock-Opera movement arisen in the end of the 1960s and revived in the 1980s - by Francois Ribac. The album consists of thirteen tracks, two of which are instrumental pieces: Harry Finally Found a Job and What Went Wrong (4 & 9), while Introduction (1) is just a narrative introduction to a story. Overall, the instrumental musical palette of "What Went Wrong?" can be defined as Fifth Element (New Music), though in particular, the album isn't of a unified stylistics. Which though, in this very case, is just the index of a high diversity of the fifth main genre of Prog. Three songs: Quite Village, 216, and Finally (2, 5, & 7), as well as the first of the aforementioned instrumentals (4), are about a triple union of Fifth Element, Classical Music (Classical Academic Music, to be precise), and a unique Modern Symphonic Art-Rock. The music on Christmas Crime, Whodunit, Blind Alley, and What Went Wrong (tracks 3, 6, 10, & 9 respectively), the latter of which is the second and the last instrumental piece on the album, represents a fusion of Fifth Element, Classical Music, Symphonic Art-Rock, and Prog-Metal. Though on the second of them, as well as on Damned Messiah (11), there also are the bits of Jazz-Fusion. As for Damned Messiah as a whole, it's about a very heavy Prog-Metal with elements of Fifth Element rather than vice versa. The Paramount (12) features only the amazing, Classical Music-like passages of piano, vocals, and a mixed choir, most of the parts of which remind me of those in Queen (on "A Night At the Opera", for instance). The arrangements on each of the said ten tracks are most often in the state of a constant development and, sometimes, feature atonal (at least - seemingly atonal) interplay between some of the soloing instruments. The continuous use of complex time signatures and frequent changes of different musical dimensions are typical for all of them, too. Both of the vocal and instrumental contents of the remaining two tracks: The New Liberace and Town Without Pity (8 & 13) represent a blend of an old-fashioned chanson-like music and Symphonic Art-Rock. But while on the latter of them, as well as everywhere on the album, the parts of a lead vocal and those of a mixed choir are mainly clearly operatic and are mostly of a dramatic character, The New Liberace is about an old-fashioned operetta. The lead vocalist (and also the pianist / keyboardist and violinist, the founder and the main mastermind behind the band), Philippe "Skinny" Tasquin, is a wonderful chameleon singer and is capable to change his voice both suddenly and radically while singing the same song. (By the way, I think that he is familiar with the creation of King Diamond.) Finally, here are a few mentions that, in my view, are still topical. While I had to label the different aspects of this music with traditional terms, you shouldn't forget that all of them are only relatively applicable for the description of such flexible and polymorphous styles as those related to the Fifth Element genre. Summary. Let me add here some bit of honest advertising, which is based on real facts, OK? Let's start: Tired of an unoriginal and sugary Neo and want something really fresh and intriguing? Get this CD at any price and you'll be more than merely satisfied! VM: February 21, 2003 |
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erik neuteboom
Prog Reviewer Joined: July 27 2005 Location: Netherlands Status: Offline Points: 7659 |
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DVD SATELLITE-EVENING GAMES : SPLENDID, VERY COMPELLING NEO-PROG!!!
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Apsalar
Forum Senior Member Joined: June 06 2006 Location: gansu Status: Offline Points: 2888 |
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Well here is my first recommendation.
For me they are one of the best Jazz/rock Fusion around today! Machine and the Synergetic Nuts last Album: Leap Second Neutral Great second release from this high-energy Japanese instrumental ensemble of soprano and tenor sax, keyboards (mostly electric piano and organ), bass and drums, with guests on guitar and percussion. Their 2003 debut blew the minds of those who were lucky enough to hear it, and this confident & powerful release will convert the rest! "The main thing that sets these guys apart is the intense and aggressive energy level...like a runaway train approaching that sharp curve, you just know it's going to go over the edge, but somehow it stays on track"-Expose. This features combined monster grooves and head-crunching heaviness. You wll hear traces of fusion bands like mid-period Soft Machine/Canterbury fusion, early Passport, Nucleus, Mushroom, The Mothers Of Invention, all filtered through Japanese over-driven rock ala Happy Family or Tatsuya Yoshida's Koenjihyakkei or Keorekyojinn; they tear into these jazz/rock grooves with a great ferocity, which makes complete sense when you learn that the drummer/leader was the original drummer for Melt Banana, and was on their first two album. "...a perfect marriage of 70's Canterbury and burning jazz-fusion, with complex time signatures, ripping keyboards and squonkin' sax lines... reeks of promise and delivers on many fronts"-Sea of Tranquility Excert from 'www.cuneiformrecords.com' They can be found on the archives http://www.progarchives.com/Progressive_rock_discography_BAND.asp?band_id=1855 |
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Jimbo
Special Collaborator Honorary Collaborator Joined: February 28 2005 Location: Helsinki Status: Offline Points: 2818 |
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^^
If my memory serves me well, I already recommended them once in this thread, but it can't hurt to do it again! They certainly deserve the recognition. |
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Apsalar
Forum Senior Member Joined: June 06 2006 Location: gansu Status: Offline Points: 2888 |
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Oops sorry, but hopefully it will open peoples eyes up to see what a fanstic band this is
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Apsalar
Forum Senior Member Joined: June 06 2006 Location: gansu Status: Offline Points: 2888 |
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Well here is for my next recommendation. Hopefully this one has not been mentioned
This Next band is a Canadian Post Rock band. They are not on the Archives at the moment, but I find them progressive and would be my favourite post rock band out there. If anybody is interested in this album just give me a PM. This album is a must for anybody into the Post Rock scene. SAXON SHORE - The Exquisite Death Of Saxon Shore Track list: The Revolution Will Be Streaming
04:16 This Shameless Moment 04:15 With a Red Suit You Will Become a Man 03:37 Silence Lends a Face to the Soul
04:40 Isolated by the Secret of Your Fellow Men
07:09 The Shaping of a Helpless Joy 04:52 Marked with the Knowledge 03:38 A Greatness as the Cost of Goodness
05:47 How We Conquered the Western World on
Horseback 03:52 The Lame Shall Enter First 06:30 Matt Doty - Guitar,
Keyboards, Programming You will be able to find more information about the guys from their website
REVIEW The Exquisite Death Of Saxon Shore isn't just a clever name --
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Abstrakt
Forum Senior Member Joined: August 18 2005 Location: Soundgarden Status: Offline Points: 18292 |
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GONG - Radio Gnome Invisible Part II, "Angel's Egg"
Track listing:
1. Other side of the sky (7:40) - Daevid Allen / vocals, guitar LP: UK Virgin V 2007 / CD: Decal CD LIK 75 (1990) |
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avestin
Special Collaborator Honorary Collaborator Joined: September 18 2005 Status: Offline Points: 12625 |
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Today's suggestion is Israeli band Hot Fur (Parva Hama)
To quote from their myspace site: Hot Fur is a musical emsemble founded in 1998 by the guitarist and composer Lior Frenkel. The group plays a mixture of Rock, Jazz and Classical. In their myspace and official site you can hear samples http://www.myspace.com/hotfur http://www.hot-fur.com/
They are currently on the RIO/Avant team's voting list. |
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Certif1ed
Special Collaborator Honorary Collaborator Joined: April 08 2004 Location: England Status: Offline Points: 7559 |
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A bit of psychedelia to make your summer complete!
My (strong) recommendation to all is Ta Det Lugnt by Dungen A bit derived, possibly, but I hear it as a new, and very well composed take on old styles rather than a re-hash. I can't emphasise strongly enough how good this album is - even if you don't understand Swedish! |
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The important thing is not to stop questioning.
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avestin
Special Collaborator Honorary Collaborator Joined: September 18 2005 Status: Offline Points: 12625 |
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^^^
I was pleasantly surprised by this album and I second this recommendation. |
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avestin
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I'd like to recommend the Portuguese band Forgotten Suns. They draw different influences in ther music, from a slightly metal sound to a more neo-prog approach.
As their bio here says: "Style and similar bands: Progressive Rock (Neo Prog Metal) - Old MARILLION, DREAM THEATER, ARENA, PINK FLOYD, METALLICA, FATES WARNING." The music is played meticulously and they sure know their stuff. An enjoyable listen that manages to carry you away during it. They released thus far two albums: Fiction Edge 1 (Ascent) 2000 Snooze 2004 some links: PA artist page http://www.guitarnoise.com/review.php?id=140 - Review http://www.progressiverockbr.com/intervforgottensuns.htm - Interview http://www.progressor.net/review/forgotten_suns_2001.html - Review http://www.cs.uu.nl/~jur/reviews/fictionedge1.html - Review |
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Apsalar
Forum Senior Member Joined: June 06 2006 Location: gansu Status: Offline Points: 2888 |
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I would like the recommed the Kraut Rock group Kollektiv, in particular their SWF - Sessions Volume 5 album.
For me this another one of those long forgotten Kraut Rock bands that diserved far more attention than they ever received. A review on the site: http://www.progarchives.com/Progressive_rock_discography_CD.asp?cd_id=9066 For a more extensive read on the band and song samples visit their MySpace page. http://www.myspace.com/kollektivkrefeld |
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The Wizard
Prog Reviewer Joined: July 18 2005 Location: United States Status: Offline Points: 7341 |
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This ones a no brainer, read my review!
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Certif1ed
Special Collaborator Honorary Collaborator Joined: April 08 2004 Location: England Status: Offline Points: 7559 |
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Here's the proper cover (sorry the LP is a 1980s pressing, but I took that picture to sell it on eBay)
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The important thing is not to stop questioning.
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YOU
IS MUCH BETTER |
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Apsalar
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Well it has been a while since anybody has made a recommendation in this thread so here it goes.
I know they are not on the archives, but I find the band draws a lot of its influences from progressive psychedelic and would interest people on this site. Over the last little while I have been diving deeper into the realms of Japanese music. It was only a matter of time before I stumbled across the Band "Acid Mothers Temple" The album I would like to recommend is. Acid Mothers Temple and the Melting Paraiso UFO - New Geocentric World of Acid Mothers Temple 1. Psychic Buddha (21:27) 2. Space Age Ballad (3:59) 3. You're Still Now Near Me Everytime (10:44) 4. Universe Of Romance (5:21) 5. Oggie Lady (8:31) 6. Mellow Hollow Love (4:38) 7. What Do I Want To Know (Like Heavenly Kisses Part 2) (15:06) Review: taken from www.pitchforkmedia.com Japan is a strange place for music, a cauldron of underground activity which continually threatens to bubble to the surface and vanquish the world of rock once and for all. Very few of these underground artists have made a name for themselves on American shores (Boredoms, Melt-Banana, Ruins), but the number of artists that continue to ply their craft continues to mount, all the while unbeknownst to us poor souls across the Pacific. At the forefront of this underground movement is guitarist Makoto Kawabata and the noise freaks of Acid Mothers Temple & the Melting Paraiso UFO (short for "Underground Freak Out"). A self-described "millennial hippy group," Acid Mothers Temple have been traveling the world, unleashing their particular brand of psychedelic bliss upon an unwitting public for four years. Releasing three albums early in their career on the Japanese underground label, PSF, the group slowly built a name for itself, specializing in what Kawabata termed "trip" music. It's a meltdown of entire genres and movements-- drawing equally from French folk and Western psychedelia-- all re-imagined in a form intended to liquefy your brain. Part of a community known as the Acid Mothers Temple Soul Collective, Kawabata and friends have been inhabiting the Japanese countryside and living out their own unique brand of utopianism for the last few years. Recalling the countercultural spirit of the 60's and other hippie communes, Acid Mothers even paid homage to that Californian group of restaurant-owning weirdos, Ya Ho Wha 13, with the album The Father Moo and the Black Sheep. But with this, their first release on Massachusetts' Squealer label, Acid Mothers Temple finally free the rein on their noise parade. I'm not sure if the Acid Mothers are trying to win any converts with their most recent offering, but the make-or-break point (if you will) for potential fans will undoubtedly come at 40 seconds into The New Geocentric World, as "Psycho Buddah" opens with the mantra, "What?," in a sound loop that teases the listener into thinking they've brought home some of that experimental locked-groove w**kery. But a few seconds later, the Acid Mothers annihilate all preconceived notions. Dissecting the cacophony, the intense sonic war being waged on human ears, is futile. Best to sit back and let your brain bleed. I asked to hear this at the local record shop, and within one minute of the first track, people had either fled with fingers plugging their ears, or were completely rapt and entrenched within a new world of sonic dimensions. "Psycho Buddah" is unrelenting, moving at a furious pace for over 21 minutes and incorporating Kawabata's searing guitar work within the steady framework of the Acid Mothers' thunderous rhythm section. Cotton Casino, the group's only female, constantly pushes the gurgles, loops, drones and hisses of her synthesizer into the forefront. The song teeters on a hazardous precipice, looking over the edge and waiting to fall, but Kawabata's guitar is the anchor here, effortlessly able to rein all the others into his sonic realm. His ability to create deafening walls of feedback, hiss, and skronk, coupled with his penchant for tearing it all to shreds with a seething solo, is a thing of pure, unadulterated beauty. I'll say it right now: Kawabata is a guitar god. And these other guys are no slouches, either, as they prove while seamlessly incorporating bagpipes (!) and Jew's harps (!!) into this freeform freakout without ever looking back. The next track, "Space Age Ballad," is a haunting acoustic number that recalls contemporaries Ghost and their psychedelic balladry. Comparatively short at four minutes, this track is mere preparation for the slow-burning "You're Still Now Near Me Everytime." Guest vocalist Haco remains the focal point for the first minutes of the song until, at around the five-minute mark, Kawabata emerges with yet another guitar solo-- a trend on each track so far. A bit tiring? For your average indie rock band, yeah. But this is psychedelic madness, and the sheer joy and inventiveness with which Kawabata plays puts most of his contemporaries to shame, and his willingness to explore every possible dimension of sound succeeds with a creation of textures that seem wholly original. Unafraid to don their cartoon masks as well, Acid Mothers unveil their frenetic update on Hendrix's "Foxy Lady" with the scorching "Occie Lady," a pounding, speedfreak revision that subsumes Hendrix's riff within a mountainous din of thuds, screeches, and shrieking guitar. The closing track is a pure departure from everything preceding, abandoning the blistering guitarwork and crashing rhythm sections for a 15-minute drone workout. Here, Kawabata's guitar and the song's multi-layered structure evokes the theatrics of My Bloody Valentine and Spacemen 3. Acid Mothers Temple pride themselves on the drughead obsession of being "cosmic troubadours" in continual search for interstellar communication. But unlike the shoegazers with which their music has so much in common, Makoto Kawabata sincerely believes he's communicating with the cosmos. A strange guy to be sure, but most great musicians are given to some eccentricities. -Luke Buckman, October 03, 2001 |
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Zac M
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I don't like Pitchfork at all, but I'm sure that's a great album nonetheless.
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"Art is not imitation, nor is it something manufactured according to the wishes of instinct or good taste. It is a process of expression."
-Merleau-Ponty |
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CaincelaOreinim
Forum Senior Member Joined: April 21 2005 Location: United States Status: Offline Points: 395 |
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Agreed on the Pitchfork front. They write absolutely atrocious glib reviews that don't even focus on music qua music; namely on the impressions of such relative to groups of 'hip' and 'knowledgeable' abyssmally labelled 'scenesters'. The whole indie movement en masse I find to be some meretricious evolvement of mettles found in high school. They actually put 'prog' fans to shame on the snob gauge...they're really insufferable to me...
Back on topic, Acid Mother's Temple...yes, very strange stuff reminiscent of Can from the little I've heard. They've also managed to release two new albums this year as well: Starless And Bible Black Sabbath (heh) and Have You Seen The Other Side Of The Sky. I'd also chuck those onto Black Velvet's recommendation.
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Apsalar
Forum Senior Member Joined: June 06 2006 Location: gansu Status: Offline Points: 2888 |
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Looks like I will choose a different source next time. It is the first time I have seen the site... but it sounds like I should be steering clear of them in the future.
Good to see other people like them. I have heard Starless And Bible Black Sabbath and can recommend it as well. I have yet to hear Have You Seen The Other Side Of The Sky, but am looking forward to it with anticipation. |
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