Violence

1. Make Your Own Bones

2. Bleeder

3. Same Solution

4. For All the Sin

5. Can't Wait for Violence

6. Dead Like Me

7. Blue Skin

8. Filthy

9. Hidden Hands

10. American Love

11. Everlasting Godstopper

12. Piss and Vinegar

Violence,Nothingface,Tvt,Alternative Metal,Heavy Metal,Pop,Rock,Rock/Pop

Average customer rating: A rocking joy. It's Been Emotional eh.... Surprise, surpise...oh, another surprise.. Pure Rock and Roll

Language. Sex. Violence. Other? Stereophonics Manufacturer: V2 Ada ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Britpop | British Alternative | Alternative Rock | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Adult Alternative | Pop | Styles | Music Similar Items: Live from Dakota Employment Final Straw Eyes Open Sam's Town ASIN: B0007OTWQW Release Date: 2005-03-29

Tracks:

1. Superman
2. Doorman
3. Brother
4. Devil
5. Dakota
6. Rewind
7. Pedalpusher
8. Girl
9. Lolita
10. Deadhead
11. Feel

Amazon.com

Stereophonics' fifth album will inevitably provide more material for the band's critics, if only for the fact its title has clearly been rather lazily inspired from the back of a rental video case. The music within, however, is anything but laid-back: the employment of Argentinean drummer Javier Weyler, who replaces founding member Stuart Cable, sees the band venturing further along the hard-rock path that spawned previous denim-and-leather-clad tracks like "Moviestar". The first three tracks find frontman Kelly Jones is in downbeat mood, his vocals drawled and insouciant, and his lyrics distinctly sour--take the raging "Doorman", where he rails against some faceless bouncer with surprising and rather paranoid ferocity: "You like nothing more than to break my face/ You like to throw me out on the street!". Things sweeten towards the album's middle, providing two of the album's stand-out tracks: the chiming, electronic-tinged "Dakota" is a light, buoyant anthem that deserves to be a hit, while "Rewind" is a reflective moment that pricks memories of mid-period U2. But on the whole, Language. Sex. Violence. Other? isn't an album out to win new fans - it's an album that caters to the Stereophonics' rock faithful, and it's them who'll really dig it. --Louis Pattison

Customer Reviews:

A rocking joy........2006-08-09

There's some great stuff on this. Some of it's a little poppy, like Dakota, but for all out ball crunching rock, take a listen to Deadhead or Devil - Devil's just superb. Thought the band was heading down a more bluesy road until I heard this album. Terrific stuff.

It's Been Emotional.......2006-03-13

On paper it doesn't bode well. Stuart Cable, the arse-bearing gonzoid party fiend who acted as the sole respite from the po-faced demeanour of the Stereophonics, was given the boot at the tail-end of fourth album You Gotta Go There To Come Back's promotional duties. The trio of Cable, drummer Richard Jones and commanding officer Kelly Jones had built up a massive UK following since humble Welsh beginnings in the 1990s, however it was only Cable's effervescent personality that made the group interesting music magazine fodder. While their albums - mighty debut Word Gets Around, Performance And Cocktails, Just Enough Education To Perform and You Gotta Go There To Come Back - sold like proverbial hotcakes in the UK (just like their Australian equivalent Powderfinger), it didn't always mean that their music sounded inspired or progressive (just like their Australian equivalent Powderfinger). Without joker Cable to fluff about unconventionally during recording, Kelly Jones - the pint-sized dictator of the Cwmaman group - has apparently now seized total control of Stereophonics, with the resulting Language. Sex. Volence. Other? being a new beast entirely. From the sneery opening sound of Superman (with its `You don't know what it's like' refrain baiting the media in a similar manner to former single Mr Writer), Jones takes his vocals to a higher plane than earlier works, with his guitar dipping into equal parts funk and fuzz. Such is Kelly's change in song delivery that on Brother - almost certainly a flimsily hidden diss directed at former pal Cable - his singing will surely have even long-time Stereophonics fans raising eyebrows in surprise. There's still the required tally of songs detailing birds, pubs and humdrum lifestyles, but Language. Sex. Violence. Other? finds tracks such as Dakota and Deadhead registering as their finest work since 1997's Local Boy In The Photograph saw them explode onto the international scene. When Kelly quotes Lock, Stock And Two Smoking Barrels' Big Chris in the sleeve note thank yous with the departing line `It's been emotional', odds are you'll believe him.

eh...........2006-02-27

This album is just average. I don't feel there are any strong track on this album. I think this group has a very generic sound.

Surprise, surpise...oh, another surprise.........2006-01-11

I am one of the many who bought and loved this band's first lp then kind of let this band slip away. 'Local boy' was the epitome of a heartfelt, irresistable pop song but then nothing really jumped out.
I read a few interesting reviews of this new lp, so when I saw it in a second hand shop at a delicious price, I ventured forth with the moolah. I was half expecting another journo-cashola pay off hype where's the tunes type situation and a return trip to the store with tail between legs.

Nope! This is a stunning return to form. Some blistering songs, swaggering riffs, great meaty production, enough to mobilize some air guitar when the wife's not looking and a couple of beautiful songs too.

The likes of 'Doorman', 'Devil' and 'Girl' make your toe tap and the hips gyrate whilst 'Lolita' and 'Feel' are just gorgeous summer songs. Then there's the chirpy 'Dakota' with its slamming chorus to round it off.

Hope they do a US club tour because this set plus a few oldies will be one goood night out. Can't wait to hear what they do next.

Pure Rock and Roll.......2006-01-08

This is the album that I've been waiting and looking for. Amazing. There really isn't a better word to describe it. This is pure rock and roll at its best. I'm a huge fan of Brit rock to begin with, and Stereophonics are a perfect modle of how great Brit rock should sound. I got turned on to these guys from the Wicker Park soundtrack where I heard their song "Maybe Tomorrow", which made me go out and buy their album You Got to Go There to Come Back. That album itself I found incredible, which made me want to hear how they had evolved as a band; henceforth, I went out and bought Language. This is a totally different sound than the aforementioned album, but one to be embraced. Kelly Jones has easily become one of my favorite lyricists and vocalists. His raspy vocals just lodge in the brain and keep the lyrics repeating in your mind. But the music is just clever in a way that other bands have seemed to want to abandon somewhat. Others may compare Stereophonics with Oasis or Coldplay or other Brit bands, but I think they've got their own sound, which is a mixture of many different types of music. But this review isn't supposed to be about the band, but the album right? Right off, from the beginning, with "Superman", this record takes off. In fact, the only songs that I don't fancy on the entire album are "Doorman", and "Girl", and they're not even that bad. I've got a fondness especially for "Devil","Rewind", and the standout of the album, "Dakota", but the whole thing rocks and just makes you happy. I can't think of many other records that do that to me.
A must have.

Average customer rating: Solid, but still not quite great third time's a charm Not bad Dry Kill Logic's third album long time fan says...

Of Vengeance and Violence Dry Kill Logic Manufacturer: Repossession Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Styles | Music Alternative Metal | Hard Rock & Metal | Styles | Music General | Hard Rock & Metal | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Savior Sorrow Dead and Dreaming As Daylight Dies The Magellan Complex Internal Revolution ASIN: B000GY72XS Release Date: 2006-09-25

Tracks:

1. L5(Progogue)
2. My Dying Heart
3. 4039
4. Caught In The Storm
5. From Victim To Killer
6. The Innocence Of Genius
7. Boneyard
8. Kingdom Of The Blind
9. Dead Mans Eyes
10. Confidence Vs Consequence
11. Breaking The Broken
12. Lying Through Your Teeth
13. In Memoria Di

Product Description

1) L5 (Prologue)
2) My Dying Heart
3) 4039
4) Caught In a Storm
5) Kingdom of the Blind
6) The Innocence of Genius
7) Boneyard
8) Dead Mans Eyes
9) Confidence vs. Consequence
10) Breaking the Broken
11) Lying through your Teeth
12) From Victim to Killer
13) In Memoria Di


Format: CD

Customer Reviews:

Solid, but still not quite great.......2007-06-07

Westchester County, New York-based quintet Hinge formed 1997, then changed their name to Dry Kill Logic in time to release their debut, "The Darker Side Of Nonsense" in 2001, and a sophomore effort called "Dead And Dreaming" three years later. Although the latter was partially influenced by metalcore, both of those first two albums were predominantly nu-metal (a very popular genre in the early 2000s). Now, in 2006, Dry Kill Logic's officially complete: Album number three, "Of Vengeance and Violence," is almost straight metal/moshcore (though technically speaking, it is probably best described as nu-ish, moshcore-influenced groove metal.)

As a result, "Of Vengeance and Violence" is doubtlessly DKL's heaviest and best record yet. It sports an abundance of jagged, abrasive rhythms, propulsive, industrial-strength, sometimes thrashy riffing, good vocals, and hefty drumming (including a few blast beats -- Phil Arcuri's drumming seems to grow more complex and furious as the album plays.) There are several flashes of brilliance sprinkled on throughout the album, such as the fiery, turgid guitar lead, memorable groove, and ripping, even borderline-wailing solo behind "4039," the blowtorch riffs, bullying rhythm, and forceful double bass/blast beat pummel that anchors the heaviest tracks ("Boneyard" and "Dead Man's Eyes"), and the deft, almost blistering rave-up, "Lying Through Your Teeth." But surprisingly, the album's biggest highlights are definitely the two soft numbers: "Kingdom of the Blind" and "In Memoria Di." The former is a power ballad of sorts where frontman Cliff Rigano takes over and shows the world his astonishingly great, proper-singing abilities; and the latter song is an acoustic-strummed, lighter-waving set closer with more exceptional vocals.

At the end of the day though, there's an indefinable "something" that seems missing from "Of Vengeance and Violence." For one, most of the heavier fare blends together too much. Plus, a substantial amount of the record seems a bit flat, flaccid, and/or formulaic - catchy, technically proficient, and sufficiently heavy, but lacking a noticeable flare, backbone or timeless innovation, thus giving off an air of somewhat tired or uninspired songwriting. And whatever the problem may be, one thing is for sure: The members of Dry Kill Logic obviously put a respectable amount of work into "OVAV," because this is by far their finest, and most accomplished, realized, and relevant release to date, but the album (and the band, in general) are still a ways behind most of their peers, and miles behind groups like Lamb of God, Chimaira, and Machine Head. It does not speak well for DKL that they are three full-length albums into their career and have gotten only so far. This is a very competent band, they have all of the tools they need to get the job done, but they just haven't completely done it yet. Hopefully they will get another shot at greatness before the music industry (and the rest of the world) gives up on them.

Lest this review comes across as too harsh, it should be noted that "Of Vengeance and Violence" isn't a bad album by any stretch of the imagination -- in fact, this is a good, solid record. But is it worth buying? Well, that all depends on your loyalty to this band and/or this genre. If you are already a big Dry Kill Logic fan, or if you just can't seem to get enough of this whole moshcore/metalcore/New Wave Of American Heavy Metal scene, then by all means, pick this album up. And "Of Vengeance and Violence" is still worth hearing even if neither of those apply to you, just don't expect too much.

third time's a charm.......2007-04-21

This is by far DKL's best record to date. They have matured by leaps and bounds and have grown both musically and lyrically. They have not sacrificed any of their heaviness, but are getting better at writing great hooks. They usually have some softer songs on their albums, and this is no exception. Song number 8 may be my favorite DKL song. It is really catchy. If you are new to DKL, this is the one to get first. If you like it, you will like the other two cds, but their debut is very chaotic and immature compared to their newer stuff.

Not bad.......2007-01-05

I'm a fan of DKL after hearing their last alubm, The Dead and Dreaming. All I can say for this latest release is not as good as the last outing. For fans of DKL only....

Dry Kill Logic's third album.......2006-12-17

In my opinion, there is no way Dry Kill Logic could possibly do anything bad. This is their third album as Dry Kill Logic, previously Hinge, and it's another amazing one. As you listen, you can tell they're growing more comfortable exploring their talents. With a few tracks you can see them get away from their normally metal-core songs. I would have had a problem with this if it wasn't executed so perfectly. The album flows well and there is never a time where I would want to skip a track. Pick up all 3 albums and support Dry Kill Logic. They don't get nearly enough attention, especially for being so damn good.

long time fan says..........2006-12-04

I finally got this album just a week ago (it was hard to find actually). At first I felt a little let down but after a few times through I've decided it's a great album just different from their last. But wasn't Dead and Dreaming different from The Darker Side of Nonsense. They've simply grown and changed, as any band will do. I think the distortion on the guitar is a little weaker on this album and for me that plays a huge role. The riffs are still DKL - heavy, fast and dynamic. For the most part this is a solid album and anyone who loves DKL will enjoy this album in one way or another so don't be hesitant. Run out and spend the ten bucks. You won't regret it!

Average customer rating: Excellent "Final" album from Boogie Down Productions Great album with an important message Better than I remembered! My Favorite from the Teacher!!! Question? Why everything you do is Fresh?

Sex and Violence Boogie Down Productions Manufacturer: Jive ProductGroup: Music Binding: Audio CD General | Soul | R&B | Styles | Music East Coast | Rap & Hip-Hop | Styles | Music Gangsta & Hardcore | Rap & Hip-Hop | Styles | Music General | Rap & Hip-Hop | Styles | Music Old School | Rap & Hip-Hop | Styles | Music Pop Rap | Rap & Hip-Hop | Styles | Music Similar Items: Edutainment Ghetto Music: The Blueprint of Hip Hop By All Means Necessary Return of the Boom Bap KRS-One ASIN: B0000004YH Release Date: 1992-02-25

Tracks:

1. The Original Way
2. Duck Down
3. Drug Dealer
4. Like A Throttle
5. Build And Destroy
6. Ruff Ruff
7. 13 And Good
8. Poisonous Products
9. Questions And Answers
10. Say Gal
11. We In There
12. Sex And Violence
13. How Not To Get Jerked
14. Who Are The Pimps? - Boogie Down ProductionsBoogie Down Productions
15. The Real Holy Place

Customer Reviews:

Excellent "Final" album from Boogie Down Productions.......2007-06-05

Sex & Violence--

Released in the winter of 1992, this fifth studio album from Boogie Down Productions found its frontman, KRS-One in a state of transition. In his personal life, he was recently divorced from wife and fellow rapper Ms. Melodie, and had been recently sued by a former manager; the `BDP crew' was whittled down to DJ Kenny Parker and sideman Will `Willy D' Broady (in the liner notes a bitter KRS takes the time to point out that others "are not down, so stop frontin'"). West coast-based rap acts were coming into their own as a collective, from Ice Cube to Cypress Hill. The Geto Boys gave a southern face to gangster rap and east coast-based rap had a handful of new faces like Black Sheep and Naughty by Nature. What's more, a trend of infighting began with some of BDP's fellow politically-minded peers like X-Clan and Poor Righteous Teachers, who took to criticizing KRS on records or interviews. KRS-One's response to all of this was not as the pacifist he had gained a rep for being, but to come out with guns blazing, Criminal Minded style. The stark cover art by Robert Williams lets listeners know this will not be the average hip-hop statement. This was perhaps KRS-One's angriest album since his first, taking swipes at various perceived enemies, both internal and external to hip-hop culture.

Throughout the LP there are superb production values by the artists (DJ Kenny Parker & KRS-One), and guest collaborators Prince Paul ("Who are the Pimps?", title track) and Pal Joey ("Duck Down"). "Questions and Answers" takes on hip-hop journalism with a skeptical eye; "Build and Destroy" questions whether Islam-influenced rappers are just bandwagon-hopping; "Say Gal" bashes backstage groupie behavior. "Drug Dealer" admonishes street-level drug merchants to at least try to go legit; appealing to civic-mindedness in drug lords may seem uncouth, but in KRS' worldview, "organize and legitimize your business; remember, everybody else did this." The album's other subversive track is "13 & Good", a tale of a disco club hookup gone terribly wrong: Guy meets girl at nightclub, they go home to be intimate, girl admits to being 13, gets mad, calls her cop father who's apparently on the `down-low'... This predates R. Kelly's "Trapped in the Closet" songs by over 10 years, by the way. The album hearkens back to By All Means Necessary with a spoken-word closer, "The Real Holy Place", where KRS waxes philosophic about contemporary religious trends.

The anger reflected on this album spilled over into real life, as KRS & crew would bum-rush alternative-rap act PM Dawn at a performance and physically remove them from the stage. Album sales were overshadowed by rap's newer superstars (and likely the Soundscan system which wasn't kind to anyone who didn't post big numbers in their first week). As a result, this is arguably the most slept-on release from BDP. A deluxe re-release should include the excellent remix to "We in There" and any other bonus material.

Great album with an important message.......2007-04-23

Its kind of hard to deny what Krs-One has brought to the game. His flow is phenomenal and the insight he gives is precious even now. Standout Tracks: DUCK DOWN, RUFF RUFF(dope match up with Freddie Foxx), 13 AND GOOD(the story of a guy who sleeps with a teen that calls her father who is a gay cop will have you in stitches), POISONOUS PRODUCTS, QUESTIONS AND ANSWERS, LIKE A THROTTLE, WE IN HERE, THE REAL HOLY PLACE(the deepest track on here), WHO ARE THE PIMPS? and the reggae tinged joints like SAY GAL and SEX AND VIOLENCE are gems also. Filler: NONE! Bottom Line: BDP's six album is still a classic with a message that still isnt heeded till this day. Besides the slammin production, Krs showed that he was 100 steps ahead from the average rapper with this album. Any born again hip hop head would do well to start off with Edutainment and work their way down to this album.

Better than I remembered!.......2007-01-19

For those who like real hip-hop, who know it's not about the bling bling and who want the real thing.

My Favorite from the Teacher!!!.......2006-08-11

I really feel like this was the best BDP album. KRS-1 is always amazing yes...but this is just mind blowing! It deserves 10 stars. Start your hip hop collection with this.

Question? Why everything you do is Fresh? .......2006-05-30

I've attempted to write this review before but it would not post due to it's length, so I'll attempt to be brief, (notice I said attempt). Why would I run out of space writting about a seldom heralded little known BDP album?

Well, first being that I consider this album to be perfect. And I mean perfect in every sense of the word. Sex and Violence is my all time favorite album and I ain't scared to admit it...

But first, let's set the historical context. The Blastmaster was at a very strange time in his life when he made this album. He had just divorced his wife Ms. Melodee. He had split up from the majority of the BDP crew (hence the harsh liner notes for anyone but Kenny Parker and Ill Will to "Stop Frontin'"). He'd been subliminally dissed by X-Clan, (RIP Professor X), Wise Intelligent from Poor Righteous Teachers, and Prince Be of P.M. Dawn. Maybe even a little subliminally by Ice Cube and NWA, (although that one's gotta be read into really deeply). Hell, even D-Nice was talking bad about Kris in the Source. The Heal project had failed. BDP's live album and corresponding video did not move the units that he or his label had desired. Even worse, East Coast Hip Hop seemed to be on a decline, (this album was released prior to Illmatic). What to do? Well, for starters, Krs showed up impromptu at a P.M. Dawn concert and unceremoniously through Prince Be off the stage, ("Damn, Kris IS kinda big"), and then proceeded to rock the house to the tune of "I'm Still Number One". Proof positive KRS was not havin it in '92.

Unfortunately, all of these incidents led to a very confused fan base. Seems everyone had gotten used to KRS' Stop the Violence and Edutainment messages and forgotten Criminal Minded and By All Means Necessary. They also forgot that KRS is still a human being and not some sort of deity. Ultimately, his fan base left him as it has done and will probably continue to do for years to come. The fact that KRS is an artist and will express himself with how he is feeling at the time needs to be recognized. I'm sure ALL Hip Hop fans have felt alienated by KRS albums or ideas at some point (myself included).

Sex and Violence is the culmination of all of KRS frustration. The Blastmaster of old reared his ugly head and spit hard and fast. KRS bludgeons the competition with tracks like...well, everything except "The Real Holy Place" which is a sort of spoken word piece about God being within us all and "Drug Dealer". On the later, KRS brilliantly advises drug dealers of the world to unite and use their money to improve the community. Of course, all anyone heard was that the dealers should "Organize (their) business and open up a school. This was again interpreted by any of his fickle fan base left that KRS wanted to make Drug Dealer High School, (c'mon now, Open your mind and put a book in it!!!).

Other than those two songs, from the intro where KRS plays the role of a DJ dying from lack of vinyl, (a BIG issue back in 92, believe me) to the final grand indictment of the IRS on "Who Are the Pimps?" KRS seems to have no end of material for fueling his fire. For the sudden prevalence and dominance of Gangsta Rap, (and most specifically NWA's Efil4zaggiN album), the fire of the singles "Duck Down" and "We In There" came out punching with lines like "I spit on your #1 hit" and "in jail in a pair of panties you'll look just stunning". For X-Clan and PRT there's "Build and Destroy" where KRS scientifically breaks both crews and his philosphy down with classic lines like "Too many teachers in the class spoil the school/after awhile you've got blabbering f*ckin fools" (ouch!!!). For society at large there's the second single "13 and Good", "Say Gal" and "Poisonous Products". Here Krs edutains the masses about our musical and societal problems with infidelity, morality, vanity... Basically holding up a mirror for us to look at and ask "What the f*ck is wrong with you?"

To explain all this "madness", KRS supplies "Question and Answer". Here KRS breaks down the point of the whole album. In a format similar to "Imma Break It Down" by Eazy-E, KRS interviews himself about various times in his career, his overall message, his own sincerity, and what he's doing to help. Sadly, this track was never a single so no one ever heard KRS explanation and most of the singles fell on what were becoming deaf ears.

Next come the biggest surprises of all. The first is the crazy allout breath control fest of "Like a Throttle". This is the ABSOLUTE BEST exercise in breath distribution ever. I've memorized every line in this album and am amazed to this day how KRS rips this sh*t!!!! The second big surprise comes in the form of a newly invigorated Freddie Foxxx. While Foxxx had appeared earlier on Kool G Rap's Wanted Dead or Alive track "Money In The Bank", it is on tracks "The Original Way" and "Ruff Ruff" where Freddie starts repping the sound that made him the commodity he became a short while later. His LOOOOOOOOOOONG verse on Ruff Ruff is one of his best ever and, if you ever meet me or KRS or Freddie and are so inclined to hear, has a great story behind it.

Finally, the results. After all that, the album didn't sell. In fact, it remains the worst selling BDP album of their carreer. The first album to receive a "Mic" in the source, (they were records before this album was reviewed), received a 4 1/2 rating. The label released 3 singles (all of which have near classic, must have extra tracks). They did three videos. Everything was in place except for the alienated fan base. Maybe they'd all jumped on the West Coast band wagon of Gangsterism and Mysogyny. More likely, they just weren't ready for the new Boom Bap. I figure when the revolution that Nas, Wu-Tang, Boot Camp Clik, and DITC was brought to the table, KRS had to feel like he was slapped. The Teacha and more importantly innovator was ahead of his time again. Pick it up so you can make it your time now.

(Guess that wasn't very brief, huh?)

Average customer rating: I can't wait for this Violence. It's that good. Apt and Important In The Bloody Backseat Of My Black Hearse They Were Gods Amoung Their Peers violent and freaking ridiculously good

Violence Nothingface Manufacturer: Tvt ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Styles | Music Alternative Metal | Hard Rock & Metal | Styles | Music General | Hard Rock & Metal | Styles | Music Pop Rock | Pop | Styles | Music Metal | Hard Rock & Metal | Rock | Indie Music | Stores | Music Similar Items: Skeletons The Darker Side of Nonsense The War of Art No One Invitation to the Dance ASIN: B00004XSRZ Release Date: 2000-10-10

Tracks:

1. Make Your Own Bones
2. Bleeder
3. Same Solution
4. For All The Sin
5. Can't Wait For Violence
6. Dead Like Me
7. Blue Skin
8. Filthy
9. Hidden Hands
10. American Love
11. Everlasting Godstopper
12. Piss & Vinegar

Amazon.com

With a nihilistic CD title and band name, you'd expect Nothingface to be heavy, serious, and dark. And you'd be correct. The Washington, D.C.-based band, however, is not really nu metal. In fact, Nothingface displays a kinship to Trouble and King's X, thanks to wonderfully complex and layered production and a taught progressive-rock musicality. Which isn't to say Nothingface aren't modern; thanks to in-your-face aggression and ferocity, they're definitely mosh-pit worthy. From "Make Your Own Bones," where singer Matt Holt takes on a fierce, growling death-metal timbre to the more melodic "Bleeder" and "Filthy," the vocals and instrumentation segue smoothly from melodic interludes to raging, head-banging segments, often within one song. With their third album, Nothingface have created a creative, cohesive, diverse breakthrough. --Katherine Turman

Customer Reviews:

I can't wait for this Violence. It's that good........2007-04-13

Nothingface bows to no one. In my opinion, Matt Holt has the best voice in heavy music today. Right up there with Maynard from Tool. This cd is probably the best example of the diversity of Nothingface's music. There are brutally heavy songs where Matt does an awesome job of screaming and growling, and there are some more melodic, progressive moments. "For All the Sin" is my personal favorite Nothingface song, and I sing this one all the time. It hasn't left my head in seven years since this was released. No other song has had this much of an impact on me. If you love heavy music, buy this and their other cds immediately. It may take a few listens to get into it, as it is not for the faint of heart. This is not nu-metal, rather, they prefer to call themselves extreme rock. And I think that is a good term for them. They belong in their own category because they have aspects of so many styles evident in their music.

Apt and Important.......2006-05-26

When a band are really firing on all cylinders you can tell. It makes no difference what type of music you're listening to, be it classical or jazz or metal or pop; the key is that the album will be easy to listen to all the way through. "Violence" is an excellent example of an album where everything is working perfectly. From the first driving riff in "Make Your Own Bones" to the voice-shredding, headbanging final strains of "Piss & Vinegar", this is an album that amounts to more than the sum of its 12 tracks.

I was originally drawn to Nothingface by Matt Holt's stunning vocals and they remain the most important thing about this band for me. There are other vocalists who are more technically proficient and there are other vocalists who are more adventurous, but seldom have I heard a vocal performance with the sheer weight and intensity that Matt delivers. You can hear it in every scathing lyric and every screamed obscenity; this guy means what he sings. Not every lyric makes perfect sense to the listener, but they all must make sense to Mr. Holt because you feel the vocals as much as you hear them.

The guitar and bass work on this album are also not to be missed. Tom Maxwell has one of the most ridiculous right hands in the guitar world. His riffing is technically proficient and very fast, but it never sounds thrashy or uncontrolled. There are a few short solos (or solo-like moments) but they're only for accent. It's all about the riff for these guys and there are some big, groovy monsters on this disc. Think southern rock played at 2x speed, that'll give you and idea. Bill Gaal's basswork only adds to the groove-heavy vibe, acting as an excellent compliment and contributing an almost stiflingly heavy bottom end.

And then of course, there's the substantial wall of drumming coming from behind it all and really driving the music on this album. Chris Houck throws more fills on this beast of a record than seems possible. The first few times I listened, I was actually a bit annoyed by it, but it grew on me because it's done differently than most other spastic metal performances. How so? It isn't driven by heavy reliance on staccato double bass. He does use some, but it's more of an accent than the backbone of the rhythm section. Instead, the fury and intensity of his performance is driven by his snare. If you're wondering what the hell I'm talking about, just listen to "Everlasting Godstopper" (especially the first minute).

So there are excellent performances all around. That still doesn't guarantee a standout CD. You also need good production and execution. "Violence" has both. The production is tight, just a tiny bit dirty, and thickly layered. There are little electronic elements thrown in everywhere, voice samples (a Nothingface tradition), even a few momentary acoustic breakdowns. On the execution side of things, the presentation of the lyrics in the liner notes is both entertaining and properly disturbing. Read the lyrics along as you listen to the disc and you will get an excellent feel for the emotional road this album is taking you down.

All of the above are great reasons to buy a cd, but none of them are really why you should buy this particular cd. Here's the real reason: this is an album that dropped right in the middle of the "Nu-Metal" movement and right at the beginning of the post-hardcore/metalcore/emo/mallcore clone-fest that has become modern hard rock. Going back to 1996 and the "Pacifier" days, Nothingface has always been one of the only bands to successfully take little pieces of all those genres and turn them into something unique and refreshing. Yes, you will hear screamed verses that lead into singing choruses but it won't sound anything like Killswitch Engage or any of their clones. And yes, you will hear electronic elements and sound samples, but it won't sound like Fear Factory or Rammstein or Mudvayne.

In the end, I recommend buying this album because it's full of honest-feeling, genuinely angry, uniquely delivered, make-you-want-to-drive-fast hard rock/metal. It's an important release that will (or at least should) be remembered as one of the only good things to come of the Nu-Metal era. Pick it up.

Standout Tracks:
Bleeder
Same Solution
For All The Sin
Can't Wait For Violence
Dead Like Me
Blue Skin
American Love
Everlasting Godstopper
Piss & Vinegar

(So...basically all of them!)

In The Bloody Backseat Of My Black Hearse.......2005-09-15

Nothingface will cut into your wrists then lick the wound close. The band can perform many different forms of metal and rock, On just this album alone. Though they bring it all together to make their own original genre which I've heard Matt Holt call "Metal of The Wretched". I don't consider Nothingface Nu Metal, They are beyond most Nu Metal bands skills! With Bill Gaal putting down incredible bass lines and keyboard melodies. Tom Maxwell shredding up headbang worthy riffs and rememorable rhythm that will bw stuck in your head for days to pass. Then theres Matt Holt, Which happens to be one of my fav singers, His Death Metal like growls are clean enough to understand, and his actual singing.. Is amazing, Clean voiced and powerful. The lyrics are personal "You know its hard to face you, When I know what you did.. Your sorry. Stay far away from you, Im sick and tired of you too. But theres the way you move, Dressed up in lies, Beds in truth" for instance. The one thing thats stands out above all is that this album was the last that drummer Chris Houck played on!Infact both Chris and new drummer Tommy Sickles played on this one, whom did which songs.. I have no clue but the drumming is excellent through out this album and brings the music together.


SONG RATING

-Make Your Own Bones ***** Good N' Heavy right off the get go. Very good opening song, Giving you a taste of Nothingface's originality

-Bleeder ****** Amazing!! This is a stand out song on Violence, The Vocals are very melodic and the lyrics will get stuck in your head!

-Same Solution ***** Brutal pummeling, The lyrics wickedly talk of murder & killing you. This song shows how brutal and heavy the band gets.

-For All The Sin ****** This is easily one of my favs on the album, With clean vocals through out of what seems to me a Cheating Relationship.

-Can't Wait For Violence ****** This mixes Nothingfaces Brutal & Calm styles well! Making one amazing song. This is a MUST HEAR!!

-Dead Like Me ****** This is a very melodic and dark song. The lyrics are depressing, But yet done very well. The Vocal work is excellent.

-Blue Skin ***** The reason I give this five stars not six is cause the lyrics lack here. Though this is easily the best Bass line on the album!!

-Filthy ****** Another stand out song. The band really come together on this one. My fav vocals & lyrics on the album. Very Melodic Very Dark.

-Hidden Hands ****** This is a VERY intelligent song, Both lyrically and musically. Matt uses both his Clean and Death Metal vocals.

-American Love ***** Brutal, But with melodic breaks. This song is also about murder and killing.

-Everlasting Godstopper ******* My fav song on the album, This is about god holding you back. And the suffering of the world by him.

-Piss & Vinegar ****** A brutal finish to a great album, This song really shows where they went to musically after Violence.


All an all, Nothingfaces Violence is not for your average Nu Metaler only but for avid metalers as well. On another note I can't help but see the similairities between Nothingfaces style and Mudvaynes. And seeing how Mudvayne happens to be friends of Nothingface its easy to say they might have rubbed off on each other musically. Get this album, Even if your a bit skeptical of the Nu Metal undertones.. You'll thank me in the end.

They Were Gods Amoung Their Peers.......2005-08-24

I remember when I bought my first Nothingface album-it was "Skeletons", and I bought it about a month or so after it came out. I had never heard a full Nothingface song before, only short sample clips, but I did like what I heard. So I put in "Skeletons" and wasn't too impressed, but after time, it grew on me...a lot. So then I purchased their release prior to "Skeletons", "Violence". I really wasn't expecting what I heard.

"Skeletons", with the exception of a few songs, is a very accessible album. Not Simple Plan or Limp Bizkit accessible, but any fan of modern rock could put it in a more than likely get a kick out of it. "Violence" is a different kind of album. Basically, it's heavier...WAY heavier. Sure, it's got nothing on Decapitated or Cannibal Corpse in terms of sheer brutality, but for a band that released "Skeletons", wow, I was shocked. And displeased. The album simply didn't grow on me. I tried to listen to it, but I just got bored. I mean, the songs dragged on, Matt's voice often sounded like a monotone drone, etc. So I put it up on the shelf and never listened to it again.

Until three days ago that is. And wow, what a change time can make. "Make Your Own Bones" sounds so much more awesome than it did two years ago. As I said, this is not an accessible album, and when I first listened to this album two years ago my favorite band was Linkin Park; now it's In Flames.

So does that mean the album won't grow on YOU? Probably not, as I noticed this album has had a lot of praise in reviews on Amazon and by critics. But as I said, you have to listen to it a few times, pay close attention to the music. This isn't mind boggling complex music; however, it's not extremely simple either. Matt Holt's voice has power in it-power I mistook for droning when two years ago. I mean, this guy can sing. His vocal lines in the chorus in "Bleeder", "Blue Skin" and all throughout "Filthy" are haunting. And what a scream. Listen to "Make Your Own Bones" or "Blue Skin" to see what I mean.

Tom Maxwell isn't an amazing guitarist, but he sure is solid. His riffs aren't too simple, and they're catchy, heavy, and deliver punch. But they're not easily forgettable either, at least not after the first few listens. Bill Gaal's bass actually cuts through, providing clear added distortion for the rest of the band. The band has two drummers on this record. Why? I'm not sure. It sounds like one drummer to me. But anyway, the drummer(s) do(es) a good job on this record, making good single-bass backing beats for the band to jam over.

Nothingface specializes in mixing brutality with beauty. One second they're a death metal band, the next they're a melodic rock band. The contrast works amazing on this record. But they don't stray too far from writing catchy hooks-listen to the verses of "Blue Skin" and try not to bob your head to Matt's menacingly catchy vocal lines.

So, in conclusion, this is a record for a fan of hard rock, metal, heavy metal, nu-metal, hell, even melodic death metal. Nothingface was truly a great, innovative band in a time where Limp Bizkit clones were endless; they truly stood out, but sadly never got the fame they deserved. But their works remain for us, the fans, to enjoy. So give `em a try.

violent and freaking ridiculously good.......2005-01-01

i was just about to turn this album in used a couple of years ago, as it got lost int he shuffle of my collection.i decided to give it a fair chance and boy i made the right choice.this album rocks.and thats an understatement."make your own bones" blows up track one and lights the fire which becomes an all out blaze throughout the rest of the record."bleeder", the catchy metal song on here,is a brilliant piece of heavy radio rock."same solution" is a scathingly heavy song that cuts thru the ears."for all the sin" mellows out a bit.my favorite song, "blue skin",wow.very catchy chorus and the breakdown in the middle of the song is sick tight.this album is incredible.singer matt holt really knows how to control his voice, the drumwork is fabulous, and the guitars just explode.amazing cd.for fans of spineshank,slipknot,and system of a down.

Average customer rating: The Perfect Soundtrack

The End Of Violence: Songs From The Motion Picture Soundtrack Medeski Martin & Wood Manufacturer: Outpost Records ProductGroup: Music Binding: Audio CD Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Similar Items: Until The End Of The World: Music From The Motion Picture Soundtrack Faraway, So Close: Original Motion Picture Soundtrack The End Of Violence: Score From The Motion Picture Soundtrack Stay (Faraway, So Close) The Million Dollar Hotel: Music From The Motion Picture (2000 Film) ASIN: B000002RC2 Release Date: 1997-09-09

Tracks:

1. Define Violence - Ry Cooder
2. Shouldn't You Know - Traci Lind
3. Every Time I Try - Spain
4. Untitled Heavy Beat (Part 1 & 2) - DJ Shadow
5. I'm Not Your Baby - U2 & Sinead O'Conner
6. Strange World - Bill Pullman
7. Little Drop Of Poison - Tom Waits
8. Disrobe - Medeski, Martin & Wood
9. Injured Bird - Michael Stipe & Vic Chestnutt
10. Bailare (El Merecumbe) - Raul Malo
11. Me Estas Matando - Los Lobos
12. Mr. Wobble - Latin Playboys
13. Theme For A Trucker - Whiskeytown
14. Unintinetional Prayers - Andie McDowell
15. You May Feel Me Crying - Roy Orbison
16. Bad News - Eels
17. Don't Even Know She Got One - Howie B.
18. In A Heartbeat - Bill Pullman

Amazon.com

Every Wim Wenders soundtrack delivers heaping helpings of class, intellect, and soul, and these 18 all-new tracks rate with Until the End of the World as a start-to-finish treat. There are too many sublime moments to mention, but definitely check out Spain (the low-key combo led by jazzman Charlie Haden's son Josh), D.J. Shadow, Roy Orbison (a newly discovered track massaged by Brian Eno of all people), Raul Malo of the Mavericks, and Michael Stipe with Vic Chesnutt (the pleasingly primitive "Injured Bird"). Sinead O'Connor's tangle with U2 on "I'm Not Your Baby" is also particularly intriguing. --Jeff Bateman

Customer Reviews:

The Perfect Soundtrack.......1999-09-03

Usually, most soundtracks plain suck. But this is a very well thought out, arranged mix that keeps you involved the whole album through. It's not one that you put on for just one or two tracks. Standout tracks include Spain, the Eels(Beck Jr.), Vic Chestnutt and Michael Stipe.

Average customer rating: If you love Dim Mak, you'll like this SUPERCALAFRAGILISTINESPEALIDOCIOUS!

Violence Is Golden Scanners Manufacturer: Dim Mak Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music Britain | British Isles | Europe | International | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Notes from the Underworld Songs to Love and Die by... We Are Pilots Sound of Silver Carnavas ASIN: B000FFP082 Release Date: 2006-06-06

Tracks:

1. Joy
2. Lowlife
3. In My Dreams
4. Changing Times
5. Bombs
6. Air 164
7. Evil Twin
8. Raw
9. Look What You Started
10. High Flyer
11. Violence Is Golden

Album Description

The debut by London's Scanners showcases smooth Chrissie Hynde style raspy vocals and distinctive and catchy guitar work that combines to make a stunning and haunting record. Following in the footsteps of The Kills, Bloc Party, and The Rakes, Scanners are Dim Mak's newest priority import band. Look for them on tour this year.

Customer Reviews:

If you love Dim Mak, you'll like this.......2007-01-11

DIM MAK is the new SUB POP - almost every release/act on their roster is pure quality - and UK's new SCANNERS are no exception - imagine the punky howl of PJ HARVEY mixed with the early swagger of PRETENDERS and some 80s synth-rock in between, and you'll approximate the sheer force of SCANNERS - truly one of the best bands I've heard in some time, VIOLENCE IS GOLDEN is also one of the best debuts I've heard of the last few years, seriously. Rushing out of the gate with the one-two punch of opener JOY and should-be-hit-single-if-they-get-a-video-on-mtv LOWLIFE, this CD never lets up - varied, insistent, sexy, ragged, raw, powerful. SCANNERS' debut CD deserves to be much higher than 21,000+ in sales!

SUPERCALAFRAGILISTINESPEALIDOCIOUS!.......2006-12-24

ThIS bAND IS REALLY AWESOME...YOU SHOULD BUY IT RIGHT NOW!!!!!IT IS INCREDIBLE..ITS LIKE A MIX OF SUPER SYNTH MANIA AND SONIC YOUTH WITH A HOT BABE SINGER...BUY! BUY! BUY!

Average customer rating: Cale's First Solo Outing Holds Up Well John Cale the Instrumentalist as a Songwriter! a spectacular solo debut John Cale's pop music Not like newer John Cale

Vintage Violence John Cale Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Proto Punk | Hardcore & Punk | Alternative Rock | Styles | Music Experimental Rock | Rock | Alternative Styles | Alternative Rock | Styles | Music General | Pop | Styles | Music Pop Rock | Pop | Styles | Music Adult Alternative | Pop | Styles | Music General | Rock | Styles | Music Progressive Rock | Progressive | Rock | Styles | Music 4-for-3 Alternative Rock | 4-for-3 Music | Stores | Music 4-for-3 Pop | 4-for-3 Music | Stores | Music 4-for-3 Rock | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Paris 1919 The Academy in Peril Hobo Sapiens Black Acetate Chelsea Girl ASIN: B000058T7J Release Date: 2001-02-13

Tracks:

1. Hello, There
2. Gideon's Bible
3. Adelaide
4. Big White Cloud
5. Cleo
6. Please
7. Charlemagne
8. Bring It On Up
9. Amsterdam
10. Ghost Story
11. Fairweather Friend
12. Fairweather Friend (Alternate Version)
13. Wall

Customer Reviews:

Cale's First Solo Outing Holds Up Well.......2007-06-08

This is one of those $9.98 purchases I have made on Amazon lately where I replaced a well-worn piece of vinyl from my record collection with the CD version. Many times when I have done this, some aural magic has been lost due to shoddy re-mastering. Not this time! "Vintage Violence" holds up extremely well and like Cale's "Paris 1919" has a distinctive Welsh feel to it, although I would characterize "V.V." as more country manor and "1919" as more townhouse. Hearing songs like "Gideon's Bible" and "Ghost Story" again after all this time is a treat, and they fit very well next to his new material on the e.p. "5 Songs."
One of the bonuses of updating my vinyl to CD is the new liner notes that are very enlightening. For instance, I had no idea that it was Garland Jeffreys and his band that provided most of the instrumentation.
My three favorite Cale albums remain "Vintage Violence," "Paris 1919" and "Fear."

John Cale the Instrumentalist as a Songwriter!.......2005-11-23

John Cale first solo album, originally released in 1970, came as a pleasant surprise to many fans of Velvet Underground. After his departure from V.U. in 1968 Cale had among other things produced for Nico, and some may have expected a more radical album, but here Cale reveals himself as a brilliant songwriter capable of writing and producing in a very melodic way, and several of these songs may even have had hit-potentials. Especially the catchy "Gideon's Bible" with its Beach Boys harmonies could very well had hit the charts, given the right exposure.

Among other very memorable tracks is the great opener "Hello There", featuring Cale driving piano. The majestic "Big Cloud" is another stand-out; sound almost like a Robbie Robertson song.

There's a slight country feel to another favourite,"Please", and the haunting "Ghost Story" features lyrics that make you think of Keith Reid of Procol Harum.

This could very well be John Cale's artistically most consistent album; which obviously says quite a lot, and at any rate this is without question the first time he really proves himself as a prolific songwriter.

a spectacular solo debut.......2005-02-13

Though I'm only really familiar with Cale's work with the velvets, and his work producing and playing with Patti Smith, the Stooges, Nick Drake, Nico, etc. this is the only solo album of his which I'm really familiar with. While I can't make comparisons with his later work, I can say that this album is just a really well written, well performed piece of work which surpassed my expectations. While there is quite a variety of material on the album, there is a certain sensibility and overt moodiness which pervades throughout. I find it is one of those rare albums that can really change your mood every time you hear it. This is a rich work which only sounds better each time I hear it.

John Cale's pop music.......2003-11-29

Vintage Violence is one of those albums where you just can't believe your ears the first time you hear it. Any expectations at all you bring into this will be blown away about four bars into "Hello There"; you'll realize there is so much more to this guy than the feedback/experimental genius you hear on the first two VU albums. Cale reveals himself here as a student of pop songwriting in the line of the early BeeGees and Paul McCartney. Actually, songs like "Adelaide" and "Cleo" sound like lost B-sides from the Merseybeat era. His adventurousness displays itself on the swirling climax to "Ghost Story" where he finds the perfect instrumental only to mercilessly cut the song short, leading into the closer "Fairweather Friend." The highlight here is "Amsterdam," a drop-dead beautiful song that Lou Reed could never have written. This isn't John Cale's best album (try the more cohesive "Fear"), but this is a gem that ought to be in every record store and in any pop fan's collection.

Not like newer John Cale.......2002-07-07

If you've heard some Cale music in collaborations such as with Brian Eno or have heard some of his later stuff (e.g. Helen of Troy--which is quite good), don't expect the same. It's really bad.

Average customer rating: Reppin for Savannah Camouflage...as real as they come Missing my dog Camoflauge Camoflauge-Strictly 4 Da Streets

Strictly 4 da Streets: Drugs Sex and Violence, Vol. 1 Camoflauge Manufacturer: Umvd Labels ProductGroup: Music Binding: Audio CD Gangsta & Hardcore | Rap & Hip-Hop | Styles | Music General | Rap & Hip-Hop | Styles | Music Southern Rap | Rap & Hip-Hop | Styles | Music Pop Rap | Rap & Hip-Hop | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Keepin It Real I Represent Crime Pays We Ready - I Declare War Tool Muziq ASIN: B00005LZT4 Release Date: 2001-07-31

Tracks:

1. Intro
2. Sh*tty Baby
3. You Like Rap (Skit)
4. F**k Friends
5. Get Up Off Me
6. Y'All Ni**az Know
7. Whatchunoabout
8. I Let Rounds Go
9. Murda Still Da Case
10. Missin My Block
11. Raised In Da Ghetto
12. Hustler
13. Ruff Ni**az
14. A Letter
15. Guilty
16. I.D.s And Money (Skit)
17. Shake It
18. Dat Real Sh*t
19. Ga Ni**az (Remix)
20. Cut Friends

Customer Reviews:

Reppin for Savannah.......2005-08-26

I moved to Washington, DC from Savannah. I used to hang out with 'flauge alot, until he got paranoid and rich and moved to Richmond Hill. Then when he was out in front of Pure Pain, he got shot and when I heard about it I broke down. Anyway, he is one of my favorite rappers of all time. This is a wonderful CD if you like real southern rap. It's not filled with candy and sugar like Nelly, or anything like that. It's real, and it's hard.

Camouflage...as real as they come.......2004-12-10

'Flage really put out a good album in "Strictly 4 da Streets." Almost every song is filled with nice beats, great flows, and lyrics that let you know he's from "da streets." Too bad it was his last album before he was murdered. Definitely pick this one up if you want to hear how the Dirty South movement is supposed to sound.
5 Stars

Missing my dog.......2004-05-13

(...). I'm a big fan of Camoflauge. I moved from Savannah to Jacksonville with my mother, and I'm always asking my people to send me a copy of a Camoflauge record. My favorite song is I let rounds go, and if i can get a copy of that CD i will be fine. I'm always talking about him here and no one thinks he's that good of a rapper but I do. I grew up with Flauge, "thats what6 we called him for short" I use to live with him in the projects. I wanted him to get big but things happen for a reason.

Camoflauge.......2003-08-12

Camoflauge aka Jason Johnson who is now dead really put out a great album on dis one.He keeps it real and holds it down 4 da south and savanah,GA.The best songs are Ruff n*****,i let rounds go,s***** baby,f*** friends,missin my block,and get up off me.

Camoflauge-Strictly 4 Da Streets.......2003-08-07

This cd is my favorite of all time.He keeps it real and doesn't floss too much.He'z been my favorite rapper since I bought Keepin it Real.The best songs are S**** Baby,I Let Rounds Go,Get Up Off Me,Ruff N*****,and F*** Friends.R.I.P. CAMOFLAUGE

Average customer rating: A beautiful, thoughtful album A nice follow-up to a 5 star album... Not as good as the last...... Mesmerizing combination of lyrics, folk, country and rock

Violence in the Snowy Fields Dolorean Manufacturer: Yep Roc Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music General | Folk | Styles | Music Singer-Songwriters | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | Rock | Styles | Music Similar Items: Not Exotic You Can't Win Here's Luck The Trials of Van Occupanther Dreamt for Light Years in the Belly of a Mountain ASIN: B0002Y4SX4 Release Date: 2004-10-05

Tracks:

1. The Search
2. Put You To Sleep
3. Dying In Time
4. Holding On
5. The Destruction
6. Violence In The Snowy Fields
7. My Grey Life (Second Chances)
8. The Righteous Shall Destroy The Precious
9. In The Fall

Amazon.com

Sounding like a cross between timeless murder ballads and the crisply emotive chamber folk of Nick Drake, Dolorean's third album finds them deepening their subtle resolve. Built around the songs and singing of guitarist Al James, this Portland, Oregon quartet are no mere songwriter's showcase. They are the sound of a true band, a fact which can be witnessed by the continually evolving interplay amongst the sympathetically matched players. The songs offer orchestral details which are sometimes actual, as in "Dying in Time," but are also written into the fabric of the songs. Their sturdy chord structures and slowly revealed melodies are full of subtle tensions throughout. Beautiful on the surface, these songs are broader and deeper than many of the Americana contemporaries they're often erroneously pigeonholed with. --David Greenberger

Customer Reviews:

A beautiful, thoughtful album.......2005-11-10

It takes a few plays, but this album totally gets under your skin. Al James is a very talented songwriter and has a great voice for this kind of material, sounding world weary at times, upbeat at others. The songs are very melodic and the band are augmented by other musicians to give a fuller sound than their first two records, but it's still beautifully understated - never overdone. The production and recording quality are really first rate - and they can deliver the goods live too. Particularly great songs are "Dying in Time" "To Destruction" and the title song. My favourite and most played album in a long time

A nice follow-up to a 5 star album..........2005-01-23

Being a big fan of Dolorean, my expectations were set high for their newest release "Violence in the Snowy Fields." 'Violence' proved to be a very nice record, mixing remnants of their previous "Not Exotic" with some new sounds. This album overall is more produced and lacks the "rawness" that attracted me so much to "Not Exotic." Singer/songwriter Al James does continue to do a great job at tugging at the heartstrings of the listener providing us with tracks like "Dying In Time" and "My Grey Life (Second Chances)." The CD is quite catchy and did grow on me after several listens.

Not as good as the last.............2005-01-21

Pretty solid album but not nearly as good as "Not Exotic". 'To Destruction' is a pretty good tune but the other 8 tracks are average. Frontman Al James is no doubt a terrific musician but I found it was difficult for me to relate to his lyrics in this one. If this is going to be your first Dolorean purchase, buy "Not Exotic" instead.

Mesmerizing combination of lyrics, folk, country and rock.......2004-10-27

The opening track of this Oregon band's third CD is one of the most mesmerizing country-folk-rock tunes to come around in quite awhile. The loping two-step tempo is layered with hints of psychedelia in the fuzzed guitar and drifting piano lines, and the bunched male vocals bring to mind the harmonies of The Band and the Ozark Mountain Daredevils. A similar groove is captured on the title track as well, but the rest of the album has other styles on its mind.

At the band's core are Alex James' wordy folk songs and quietly rendered vocals; think Nick Drake, Elliot Smith, and the introspective desolation of Leonard Cohen. Strummed and finger-picked guitars are often balanced by strings, keyboards, vibraphone, and brushed drums that provide moodily shifting underpinnings. The most startling tracks feature vocals backed starkly by acoustic guitar and light touches of violin or keyboard, including the weary goodbye "My Grey Life (Second Chances)," dreamlike salvation of "Put You to Sleep," and autumnally Alex Chilton-esque "In the Fall." Drummer Ben Nugent brings a few tracks to a rolling boil, including "The Righteous Shall Destroy the Precious."

Like many in the quiet-is-the-new-loud vein, Dolorean won't jump out and grab your ears with catchy riffs or startling dynamics. It's the depth of James' lyrics, and the heart and subtlety with which they're rendered that stand up to repeated listenings and yield evolving appreciation. Play this for yourself, on headphones or on a long drive along a lonely road and its charms will reveal themselves.

Average customer rating: Spirited Performances You'll Be Surprised A much needed set!

Milhaud: The Complete Symphonies (Box Set) Manufacturer: Cpo Records ProductGroup: Music Binding: Audio CD All Works by Milhaud | Milhaud, Darius | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Symphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music Modern & 20th Century | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Classical | Box Sets | Stores | Music Similar Items: Melartin: The Six SYMPHONIES Hindemith: Complete String Quartets Ture Rangström: Complete Symphonies (Box Set) Kurt Atterberg: The Symphonies (Box Set) Ernst Toch: Complete Symphonies - Rundfunk-Sinfonieorchester Berlin / Alun Francis ASIN: B00004SH7J Release Date: 2000-04-11

Amazon.com

This remarkable set of all 12 Darius Milhaud symphonies (five CDs) raises a number of immediate questions, not the least of which is why Milhaud's symphonies aren't recognized for their overall artistic merit more than they are. Milhaud started off, as so many composers of his generation did, dabbling in various avant-garde techniques, which are to some degree present in Symphonies 1 and 2 (dated 1939 and 1944, respectively). They are youthful, brash, and militantly French (lots of marching drums, trumpet fanfares, salutes, etc.). But by Symphony No. 3 (of 1946), Milhaud's temperament has stabilized and matured. His palette, though, expands in richness, and the symphonies to follow show Milhaud at his inventive best. Outstanding in this collection are Symphonies 5 and 6 (1953 and 1955), which are by turns moody and deliciously sweet, never atonal or dissonant. The fact that Symphonies 5 and 6 are rarely performed and never recorded makes these works alone a selling point for this collection. This is a stellar collection that belongs in every library of 20th-century music. --Paul Cook

Customer Reviews:

Spirited Performances.......2005-08-04

One forgets that Darius Milhaud was such a prolific composer (his catalog of compositions goes out to 441 opus numbers) and that he wrote 12 symphonies. Outside of Camille Saint Saens and Albert Roussel there have been few French composers who have been attracted to the symphonic form. The symphonies or Darius Milhaud are characterized by their impressionism and dedication to the traditional symphonic structure. Those written with three movements mimic the older sinfonia form of Alessandro Scarlatti. Each work has an individual voice.

The First Symphony was written at the start of the Second World War and has an immediate appeal with a strong pastoral melody that continues to develop and unfold during the movement. This is followed by an engaging scherzo and a moody slow movement that seems to float along, as if describing the sea. The final movement returns to the carefree mood of the first movement. The Fourth Symphony commemorated the Revolution of 1848 and was written in the United States where Milhaud was living. Each of the four movements describes an event: the insurrection, the dead of the Republic, the joys of Liberty and Commemoration 1948. The Fourth is a very straightforward symphony whose depictions are easy to understand and enjoy.

The Second Symphony was a commission from the Koussevitzky Foundation in 1944 and premiered in Boston in 1946. Cast in 5 movements, the symphony slowly builds from the peaceful first movement to the third movement (a kind of funeral march) with a fanfare played by the brass that shatters the peaceful mood. The fourth movement returns to the quietly reflective mood of the first two and the final movement is brilliant and exuberant. The Third Symphony was a departure for Milhaud - a symphony with chorus. The symphony bears the title Te Deum and begins with a jubilant fanfare followed by a remarkable second movement where the chorus sets the mood of the Te Deum singing a wordless accompaniment. The third movement is an exuberant short orchestral movement and the final movement brings in the chorus and orchestra in a glorious hymn of praise.

The Fifth Symphony was a commission from Italian Radio and is characteristic of Milhaud's linear symphonic structure. Although the symphony was written during a period of musical experimentation (in 1953) the music remains rooted in the French Impressionist style that makes Milhaud so recognizable. The composer stuck to the four movement pattern for his symphonies. The Sixth Symphony was written in 1955 for the 75th anniversary of the Boston Symphony. The Sixth differs from the Fifth by being more expansive; slower tempi with more shading. The melodies are more broken up than the more straightforward Fifth. Both symphonies contain marvelous melodies and complement each other with their energy and pastoral beauty.

Symphonies 7, 8 and 9 stand as a group, all of them composed during the 1950's and music where Milhaud gave more attention to the slow movements. This is apparent by looking at the timings themselves but as one listens to them. In the Seventh, the slow movement is characterized by choppy bit of melody from the orchestra over a grave melody played by the strings. The Eighth symphony is a depiction of the Rhone River as it travels through France. One immediately notices that the music is more astringent and the themes more broken. The slow movement sounds as if portraying the river at early morning when shrouded by mist and everything is viewed in the soft dawn light. The remaining movements are energetic and boisterous. The Ninth begins with a whimsical theme that quickly develops into an energetic short movement. The slow movement is ominous and melancholy but the mood breaks for the energetic final movement.

Symphonies 10 through 12 all date from the 1960's and all three had American commissions. These late symphonies have been termed neoclassical. The Tenth was commissioned for the 100th anniversary of the state of Oregon. It opens with the feel of a marching band in the use of snare drums and quick tempi to be followed by a quiet and reflective slow movement. The final movement is said to contain a theme based on the name Oregon. The Eleventh was commissioned by the Dallas Symphony Orchestra and Public Library and has a long meditative middle movement that has been interpreted as depicting the Dallas Public Library. The final movement is playful and boisterous. The Twelfth and final symphony was commissioned by the University of California at Davis. The symphony begins with a gentle pastoral theme that remains playful throughout the movement. The second movement has a march-like theme followed by a reflective slow movement. The final movement returns to the pastoral theme of the first movement and the symphony ends with a flourish.

The recordings come from the 1990's and each disc is in its own jewel case. The recording balance is superb and the Radio-Sinfonieorchester Basil, conducted by Alun Francis, play with real passion and commitment. These are highly interesting symphonies that deserve to be heard more often. Hopefully, this set will encourage their performance.

You'll Be Surprised.......2001-10-10

Milhaud's harmonic language is complex and challenging, the Basel band is top-notch, and the recorded sound is superb, so you'll find yourself coming back time and again to this pleasant, fulfilling set. The attractive price (as of this writing) is a major lure, so don't wait.

If you've been finding yourself overly traumatized by the Mahler ethos, perhaps it's time to try the sunny transparency of these symphonies.

A much needed set!.......2000-09-01

This set of five CDs fills a long standing need for a modern version of Milhaud's symphonies. It is easy to think of Darius Milhaud as primarily a miniaturist, and it is true that he resisted the symphonic form for a good part of his vast and surpassingly fecund compositional life (the first Symphony is marked Opus 210!), but this fine series of recordings gives that notion the boot. Meticulously prepared and recorded -the sound is superb!- the Basel Radio Symphony Orchestra under the baton of Alun Francis does Milhaud homage, and gives us a convincing look at these neglected works. The first four symphonies seem the weakest of the lot, a bit overly martial, and the horns have plenty to do, sometimes seeming much ado about nothing. As Milhaud assimilates the symphonic form, however, he naturally conquers it, producing, frankly, some of the most beautiful music around. Nos. 7, 11, & 12 are especially fine. You'll find no Germanic grappling in these works, indeed the smile of Provence is all over them. Milhaud's grasp of the symphonic form is mature and all-encompassing, yet employing such uncanny orchestration that one never loses the sense of hearing fine chamber music. Absolutely delightful. I'd not heard this orchestra before, and they're an impressive lot. If you don't know Darius Milhaud's music, perhaps some of his smaller pieces (even the marvelous songs!) are a better starting point, but these recordings won't disappoint even the unacquainted. If you already know and appreciate Milhaud's cast of mind, what are you waiting for!

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1. White Line Offsides [Explicit Lyrics]
2. Women of Tango
3. Zero One Infinity
4. 20 Years of Highlights and Blackouts
5. Anarchy in the UK [Import]
6. Another Hair of the Dog: Tribute to Nazareth [Import]
7. Axis & Alignment [Import]
8. Best of Def Leppard
9. Between the Senses [Import]
10. Between the Sheets [Import]

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