no compromises with Shapey's structural musical strength
927373
The music of Ralph Shapey is hardly known anyplace, yet his music reflects a consummately original integrity, a music which summons the vigours of modernity,post-European from different strains His music engages a  conceptual power of whatever we have learned and mastered this side of the  Atlantic, Edgar Varese for one, was part of Shapey's initial departure of  rendering sounds as beacons of powerful light and manipulation of pitch in  motivic cells. With all do respect Shapey has an internal vision,almost  prophetic which outdoes both Varese and another American master,Stefan  Wolpe. But here the "Kroslish Sonata" is a relatively modest  affair. It's dedicatees,cellist Joel Krosnick and pianist Gilbert Kalish  have long been Shapey devotees, they both understand his music immesely,the  overwhelming lyricism,the gruff,rugged power and precision necessary to  impart Shapey's uncompromised sense of musical statement and severity. This  "Sonata" however has an unfamiliar lightness, especially this  first movement with obvious afterbeats in the piano,almost like a Waltz.  The "Second" movement is simply a masterpiece in an of itself, 13  minutes of unrestrained beauty over a frozen terrain of rolled sonorities  in the piano with the cello trying to maintain a sense of lyricism spread  over triple octaves. Shapey's best music always engages the family of  strings(look for his late "Quartets"),so the cello here  encompasses a wide emotive field from the rounded sonorities in the lower  depths to harmonics up in the stratospheres. The "Concertante" as  well has relatively light means which features the trumpet .High energy and  a richly diverse sound constitution which traverses ever changing sonic  reliefs of structure from single exposed lines to full-bodied impenetrable  chordal statements controlled always with a ferocious balance of  contrapuntal voices, a Shapey hallmark. Silverman has yet to find a voice  ,the "Quintet" does all the right academic renderings but never  breaks free of itself into its own world. I didn't find a world-view  through her beautiful music. The flute solo however in contrast was a more  positive wistfull tale with well shaped lines and a devoted performer.
4956193
You won't be disappointed as 311's style continues to evolve while remaining true to its distinctive alternative sound.

 "Don't Tread On Me" separates itself from 311's discography as more melodic and soft. Overall, this album sounds less chaotic than 311's last album, "Evolver." The beats are more reggae-inspired and the vocals aren't as rushed.

 You'll hear a wide-range of vocal style from SA Martinez who sings more than he raps in this album.

 As with 311's earlier albums, you may need to listen to this album a few times to digest it; but once you do, you'll be hooked! The album's single, "Don't Tread On Me," and the song "Frolic Room" are irresistibly catchy.

 "Solar Flare," a beefed-up "Hydroponic" that's reminiscent of "Omaha Stylee" is the hardest-sounding song on the album that you'll either love or hate.

 "Whisky and Wine" and "Getting Through To Her" will instantly become favorites.

 Look forward to hearing "It's Getting OK Now," a collaboration between guitarist Tim Mahoney and vocalist Martinez.

 "Long For The Flowers" sounds amazing, musically, but the lyrics may leave you cringing.

 "There's Always an Excuse" sounds as repetitive as Evolver's "Same Mistake Twice" but makes a great caboose for the album.

 My only complaint is that the album is way too short! (Only 37 min long!)
857516
While watching the "Freaks and Geeks" DVD's recently, there was an episode where Sam buys a Parisian nightsuit and wears it to school, all with the hope of impressing a girl.  The song playing as he walks down the hall is "Look Sharp," and it's a perfect marriage of visuals and music.  If you watch the episode with the commentary, one of the commentators waxes about how much he loves the song, and especially Graham Maby's bass playing.  I couldn't agree more.  This is a dynamite album that still sounds phenomenal and that is due in large part to the excellence of Graham Maby.  He has to be one of the most unsung bassists ever, but his liquid lines bring the groove to the entire album.  The remastering sounds better than the LP I had many moons ago, and I can tell it's one album that I will never tire of.  If you want to "look sharp," you should make this your nxt purchase.
4681664
In a very unusual move for me, I bought this CD on the strength of one track, being the lovely Gai Soleil. This track exhibits the moody, gentle, watery, and slightly spacey effects that dominate the whole album, so I was neither surprised nor disappointed when I finally bought the album. The album is definitely a down-tempo piece, so if you like something that rocks along, it aint this. However, a number of the pieces develop some quite insistent beats that vary from drum and bass inspired to an almost funky drive (such as Gai Soleil). In the time that I have had the album I find myself liking it more and more and I look forward to listening to it when down-tempo is the only tempo I am after.
2342143
First, have no fears concerning the quality of the sound here: good, clean mono with minimal distortion on top notes and loud passages, a very well behaved audience and an excellent balance between voices and orchestra which preserves the atmosphere of a live performance. After the initial pleasant discovery that the sound is more than acceptable, comes the second agreeable surprise: Susan Marsee's strong, pliant mezzo, with excellent top notes and a wholly engaged characterisation. I was previously unfamiliar with this stalwart of the New York City Opera and am impressed by her quality; in fact, the supporting singers are invariably excellent, which is not always the case in festival performances - although Furuccio Furlanetto is so young here that his beautiful bass voice lacks gravitas as Cecil. Three Spaniards head the cast and all are in their prime; it is quite absurd of previous reviewer M. DeClercq to call Caball "awful". There are one or two discoloured top notes, forgivable in a live performance but she is not only in fine voice, but quite unafraid to take risks and make some "ugly" sounds in order to bring her character alive. The trademark floated pianissimi are a dream. Carreras, too, sings meltingly and reminds me why, before his illness and the assumpion of rles too heavy for his lyric instrument (shades of Di Stefano?) encouraged forcing, he was, alongside "the other two", the foremost tenor of the 1970's. Sardinero has a fine, dark baritone similar to Paolo Coni or Piero Cappuccilli. Rudel's conducting is flexible and affectionate, the orchestra perfectly fine. I don't think the music itself is always top drawer Donizetti compared with his finest works but there is enough here to satisfy any aficionado of 19C Romantic opera.

Comparisons with Gencer (in the welcome bonus tracks) are odious if you use them to denigrate either great singer; both are wonderful in their own way: Gencer has the edge for individuality and drama, Caball for sheer beauty of sound, yet neither is a slouch in either department. The selections have been made to give us the bulk of Gencer's part and you can hear just why she was such a favourite with Italian audiences and wonder afresh why the big recording companies never employed her, especially when she was the closest thing we ever had to a successor to Callas. Compared with Carreras, Roberto Bondino (according to the notes, one of few tenors to make the switch from professional footballer) is a bit crude with a fast vibrato that occasionally mutates into a tremolo and he has none of Carreras's plangent fullness of tone, but he is committed and competent. The sound is really good for 1964, not inferior to that of 1977.

This is a great set; so much packed on to two well-filled CD's. Gala must be congratulated for once gain uncovering two superb performances and making them available, pleasingly packaged (at a bargain price on Marketplace) - but why do they insist on putting two discs in a full-size jewel-case, given that there is no libretto? (They do, however, provide good notes containing cues, biographies and a very intelligent essay by Paul Korenhof.) I always save shelf space by putting Gala sets into slimline cases - they might as well do that for me!
4575850
I went and saw Sonic Youth, ably supported by Spiritualized, and a Scottish band which opened called the Delgados.  A bit of a hiding to nothing for the less heralded of the triumvirate.  The fact that the gig was at the Royal Festival Hall (seated) didn't bode terribly well in the offing.  As it transpired it was ideal for a serious and seriously good outfit.
Their music is exceptionally lean and intellectual in its construction; despite the fact that on 'Domestiques' it is relatively muscular and driving.  Bands can be overlooked in more convivial surrounds when punters are slugging beers in excited anticipation of the main event but confined to our seats we caught a terrifically sharp and hook-laden set, with plenty of texture.
This album captures that incarnation of the band.  The music is full of energy and dynamics, the tunes are urgent to articulate and express.  There are many influences which fleetingly are apparent to the listener and there is something of a mosaic quality to the album.  An artful melding of styles and sounds which is never so obvious as to sound derivative.
Unfortunately, the albums to follow lack the bristling energy and bright clarity of 'Domestiques' preferring a production-heavy and at times saccharine feel.  This is an largley overlooked album of great songwriting strength, and cohesive playing.
4448616
This is the greatest well rounded album of our time. This album is great from track one to track thirteen. It is too bad that it has taken America so long to catch on to this artist. Olly was a start on X Factor UK and even though he didn't take the title, is sure to be successful. It is a must for his jazzy take on modern pop-rock.
2822271
The legion of fans following Mary J. Blige knows that her album promises quality - and it's no exception to her 5th album, NO MORE DRAMA - and if anything it's in fact her most diverse and solid effort to root herself as the "queen of hip-hop soul". No longer is she mourning and griping over the loss of love, but she matures into different dimensions of her emotions and talks about life. NO MORE DRAMA produced by Jimmy Jam and Terry Lewis proves just how mesmerizing Ms. Blige is when handling emotive soulful rendition; "Keep it moving" is groovy with heavy beats to make you want to spin the dance floor, "Destiny" is painfully excruciating - a paean on one's fate; "PMS" with Lenny Kravitz breathes maturity and understated grief -"LOVE AFFAIR" produced by Dr. Dre is her hot single - and to the later part of the album, "2U" and "In the Meantime" shows her exuberance in soulful ballads - she ends with a poem FOREVER NO MORE that is surprisingly enlighthening - then sums it up with the mellow "TESTIMONY". "Where I've Been" with Eve and her collaboration with Missy Elliot in "NEVER BEEN" is wondrous.
Anyone who listens to her knows that it is not her vocal range that enchant, but her sincerity towards her crooning. The glossy cover of Ms. Blige on NO MORE DRAMA is deceiving - her flamboyance does not do justification to the goods inside; she is an artiste who strives to be creative. Her much-missed soul and rapping is delightfully showcased; the poignancy and maturity is much appreciated. Fortunately, there are no dramatic changes in her honed singing skills - it proves that astute listners can trust vintage Mary J. Blige to deliver with NO MORE DRAMA. It's been long since we ever heard such an incredible feat in 2001.
1545849
This album is beautiful!  Full, rich sound with angelic vocal stylings by Christie DuPree.  And another family affair, which, like Eisley, I think benefits their sound a great deal, as opposed to being a detriment.  They work well together and, considering there are only three of them, the sound is just as full and robust and lovely as any five- or six-piece band out there.  Sway will literally make you sway, so it's the perfect title.  This was all I listened to for 2.5 months when it first came out.
2452182
I am an audiophile. A lover of sound. I'm very, VERY picky about my audio equipment. I want a perfect balance of lows, mids, and highs that I can make slight adjustments to on my own. There are few things I hate more than headphones with Bass that overpowers and drowns out the mids and highs. You essentially just wind up with a muddy mess of vibrations that used to be music.
That is why I'm so appreciative of Sennheiser for refusing to follow the trend of fashion or lifestyle headphones that has soiled so many other brands. Instead, they took the best elements of their award winning HD-series headphones and incorporated them into a portable, lighweight, and honestly quite pretty bundle of aural goodness. The Sennheiser momentum sounds better than any other pair of headphones I've ever used. Even my trusty Steelseries Siberia V2's pale in comparison.
The only thing I can criticizeabout the momentum is the fit. Or more specifically, the size of the earcups. I know that the hole the ear rests in was made small to promote noise isolation, but it makes it hard to wear these for a long period of time if you have large ears.
But apart from that, these things are truly spectacular.
1135995
Charlotte Martin's second record, "Stromata" is much different from "On Your Shore," but just as good. Charlotte continues her foray into the electronic world which she began on her first EP "Test Drive Songs" back in 2002.

The album begins with "Stromata", the most powerful song on the album, with mysterious lyrics and harsh, thrashing vocals.

"Cut the Cord" smashes in with resonant tribal drum beats and a crazy rocking sensibility.

"Drip" follows with flowing keyboard/piano work and tounge-twister lyrics.

"Little Universe" is the most experimental song on the album, and she definitely gets her Bjork on here. Listen to this song with headphones. It's a sonic and epic journey.

"Civilized" is rocking with fast piano work reminiscent of Fiona Apple and Ben Folds. You get to hear angry Charlotte in this song too: "Why can't we keep this civilized? / Why can't the girl just shut her mouth?"

"A Hopeless Attempt" is a lullabye-like song that will bring the well-versed fan back to "Bones," the second track from her 2005 EP "Veins."

"Four Walls" is the most accessible song on the album, with a catchy chorus and dance-inducing beats.

"Inch" is a piano ballad that she's played live many times before finally releasing it, and it's as good as it always was. I could do without the dream-like guitar in the background though.

"Keep Me In Your Pocket" is a fun, clap-along song with a great chorus.

The album takes a bit of a downhill slip at this point, which is why I give the album 4 stars. "Pills" is a cute, playful song with lyrics like "Pills that make the boys a little frisky / Pills the help the girls fight PMS". Kind of a throw back to the live, loosen-the-crowd-up songs like "I'm Normal, Please Date Me" and "Uncomfortable Things." But it probably would have been better suited as a b-side, because it kind of interrupts the flow of the album.

"Just Before Dawn" shows off her classically trained opera skills. Impressive, but I find myself skipping it most of the time.

"Cardboard Ladders" is a thought-provoking song whose lyrics are the most important element, but aside from the beautiful bridge, musically this song is a little boring.

Charlotte brings it back with "The Dance," which is THE song of the album, and most Charlotte Martin fans will agree with me, with echoeing drums and soaring vocals.

"Redeemed" is another live-favorite that finally got a studio version, and is a great note to end the album on.

All in all, this is a wonderful album. Buy it. For the record though, while I love and am very impressed with Charlotte as an experimental artist and producer, I hope the third album has a little bit more acoustic piano songs, because that's what made me fall in love with her on "On Your Shore."
3878516
This is a strong album - it contains the powerhouse pop ballad "Musica" which, according to Wikipedia, is the best selling single in Italian history. But, the other songs are strong as well - there is no placeholder material here. It's a great mix of uptempo songs and pop ballads, but it has just enough of a clubby edge to not sound like the standard stuffy pop music you get from a lot of latin artists. His background as a DJ may be what helps him out in this regard. I'd opt for the Italian version over the Spanish version of the album - when you listen to both, the Italian versions just seem to have more life.
1084593
This is perhaps one of the most charismatic bands of all time.  They musically connect with the listener on every tune.  Their ability to effortlessly change their musical style, quality track to quality track, is a tribute to the sheer talent of this group.  Whatever style they're playing, it's at the top of its form.  If you only get one Clash CD, get this one and enjoy!  I'd also recommend Sandinista for the sheer number of quality musical gems amidst the quantity of tunes.
1799770
the importance of the music here cannot be understated. the influence, style and sheer fun is a sound of a band who knows what they want to do and can create short, concise and witty songs. just flat out awesome pop-psych.
4707145
This trio from Boston has been getting positive attention on a few music sites, mostly European ones. Naturally, as these days most good homegrown bands have to go overseas just to get a record deal. Yoke Shire didn't, enacting Plan B (record and release the cd themselves). This isn't amateur hour, however - thanks to high-tech and its increasing affordability, MASQUE OF SHADOWS is home-cooking that sounds as clean and powerful as any major-label offering. The album is pleasingly schizophrenic, moving from classy hard rock to austere atmospheric progressive, often in the same song. Craig Herlihy is the chief cook & bottle washer here, handling most of the composition chores as well as production (excellent, as I've noted), playing scads of instruments (impressively) and vocals (deep, echoey and sonorous - Yoke Shire might want to add a full time singer for future albums). The cd starts out as heavy rock with an eldritch, medieval flavor: the opening cuts "Black Tower" and "Shape Of A Dancer" have been described as 'Jethro Tull meets Santana'. I can hear echoes of both but neither are dominant: the expert mix of various influences and Herlihy's own muse creates a sonic stew unique unto itself. In fact, the rockier moments on this cd are where Herlihy's Benedictine-monk-on-blotter-acid vocals come off best. The middle part of MASQUE is a handful of fragments and longer pieces stitched into a continuity. It is this middle span where the proggiest sections reside, as the music ebbs and flows from muscular rock to ghostly medieval dream-state before surging back to full-throttle, though by the end of the disc Herlihy's endlessly chanted refrain 'She'll be down by the water' begins to grate on my nerves a bit. Make no mistake, however, Yoke Shire have a winner on their hands: they may falter here and there, but they cross the finish line full of run. CDs like this one don't just indicate how clueless the major labels are these days, they also remind us that, if you've got the talent and the will to see it through, you don't need the majors anymore to get your music out there. Nowadays if a cd I love is on Sony or Warner or BMG, it's likely to be by accident: the best new musicians seem to understand they can starve for their art perfectly well without a multi-national corporate hydra's "help".  And about time...
1963570
Listen to her performances of Prludes Op. 32 (DG 1989), and 6 Moments Musicaux (Hnssler Classic 2006). And Listen to these performances of the Piano concertos No. 2 & 3.  Miss Zilberstein demonstrates her insights through all these works. Every note is there with tenderness and nostalgia in the quiet passages, and emotional opulence in the climaxes. Never lacks of poetry, and never lacks of strength. Memorable interpretations

This CD, recorded live in 1991 (no. 2) and 1993 (no. 3) is perfectly balanced, quite dynamic with a very good definition (though it shows slight signs of digital glare in the second).
2058399
I usually don't buy EP's as I prefer the longer format, but have been following Death Cab for Cutie for several years (though have yet to have the opportunity to see them in concert) and thoroughly enjoyed their more rounded musical sound and the more approachable lyrics of&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Narrow-Stairs/dp/B0017I1RH4/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Narrow Stairs</a>. The Open Door EP adds further depth to their last full length record and contains two of their best songs, the too short Little Bribes and the excellent A Diamond and a Tether.

Some people may have felt that Death Cab for Cutie were selling out when they moved on from Barsuk to Atlantic, but I feel that they have only progressed as a result with a richer sound and more confident singing.