Subtle, yet powerfully potent.
358140
These purple plates definitely affect the viscosity of my water as well as various herbs and produce that I 'charge' with the plates. You can also feel a slight change in the friction associated with your dermis (skin). In other words, while working with/handling the plates, you should be able to notice a substantial change in the way your skin feels when you rub your fingers together. I assume this is related to the pitch of dielectric forces in your skin (in the water in your skin). I can amplify the effects of these plates by using a joe cell and transferring the joe cell effect to the purple plate in the same way you would transfer the field to any other body of matter using the joe cell. I would like to setup some serious experiments on growth of various biology along with some radionics devices available to measure the field effects under different configurations.
951534
Wechsel Garland's LIBERATION VON HISTORY glides easily into your ears, like a warm, fuzzy icepick. The quiet bliss of "Gift" and the disconnected accordion of "Verbluten" sail across your consciouness like leaves down a stream, and all is placid in the world. The accordion continues into "Eins Aus Tausend," but "The Master" gets down and funky... or as funky as this album will get, anyway. The title track takes a deep dub approach, but "Steps" end the album on a chopped, string-drenched note that seems to float away effortlessly. Subtle and gorgeous.
4198368
POTENT!! This is a tiny package, but you really only need a dusting of this stuff to make an item sweet, so it is lasting quite a while.
3517266
This album is actually quite phenomenal. It's catchy, and singer Stephanie Bohm's voice is almost hypnotic. One thing I haven't heard other reviewers mention are the punk influences, such as the likes of Interpol, The Strokes, Spoon, and The White Stripes. I suppose it's the softness in her voice and the elements of electronica that prevent people from noticing. Nevertheless, it creates a very unique, superbly memorable sound. I highly recommend this album. However, it's music is more subtle. Some may find the lack of personality in Bohm's voice unengaging, and the music itself comes across as largely apathetic. The album invites you to explore it's catchy melodies, yet keeps itself distant and inaccessible at the same time. Highlights: Scan The Ways, Outlined View, and Number One.
3130576
Since I have a small library, I wanted to add some atmosphere to it, so I bought this candle.

The sharpness of the absinthe is tempered by the cardamom and sandalwood, giving it a sweetness - somewhere in between lotion and tea.  I would say that it's a little bit unexpected given that it's an absinthe-based scent, but it's pleasant.  Albeit, seductive if you want to put it in that sort of context.

In a way, I think the scent does reflect the richness and complexity of the author himself, and of his writing.
1215659
Works well. Has a subtle fragrance that dissipates quickly.
2383771
This album represents a step forward in If These Trees Could Talk's musical carrier.  It paints an overall mystical vibe while layering heavy guitars throughout.  Each listen through the album reveals more layers and beauty.

Red Forest opens with a quiet chord and feedback, setting a scene of a desolate and mysterious forest.  The second track continues this vibe, with a bit of heavy passages thrown in throughout.  It finally explodes to a climax at 4:58 and give you a sense of the fog lifting, really driving the ending of the song.

The third song, "Barren Lands of the Modern Dinosaur," is one of my two favorites on this album.  It starts with a light and ethereal feel, making me feel like I'm floating.  It then breaks open in their heavy and full distorted guitar sound to provide a beautiful but heavy close to the track.

The rest of the album truly does shine, but I'm having a hard time reviewing each track because I would rather listen than write at this time!  As I've mentioned before, the overall feel is mysterious and beautiful, but is taken to a different realm by the heavy, driving guitars.  ITTCT do a great job of using the lead guitar to lay a dancing, winding, haunting line over the distorted guitars that truly shines without being over-complicated.

The last track (and the second of my favorites) "When the Big Hand Buries the Twelve" is how bands should close an album.  Brooding, power, intensity, brooding, more intensity, a final climax, and the slow fade as you are lost in the forest that they built around you throughout the album.  The bass guitar in this track truly stands out to me, and provides a crucial foundation to the song.  Just the bass line alone at 2:12 and how it reinforces the rhythm guitar sells me on this track.  This line is repeated a few times, but over clean guitars, throughout the track, providing a tension that builds throughout the brooding of the song.

Overall, a superb album, a logical evolution in IFFCT's songwriting, and a must-have for any fan of rock, metal, post-rock, or a fan of beautifully constructed dynamics.
2381549
This little film is just that, but it has a quiet power and sincerity that carries through.  No big scale romance, action, or sets... but a pervasive quietness that slowly steals the show.  One wishes it could have gone a little deeper, a little keener.  But it is more than reasonably well-done for a small budget, has a ring of authenticity, engaging lead characters... and a very repetitive, yet sweetly haunting score.  One wishes it had gone more to the heavier, heartier side, rather than skimming the surface so much; but you are not left with just light and shallow... but are indeed directed to the unexplored clues of something far deeper, and achefully wish they would truly have been more vibrantly clear.  So it gives one a feeling of being only half done, and not quite complete, with only a modestly wistful resolution.
3052898
intricate, delicate and distinctive.  enough said.
3136121
Really potent,one or two sprays is all I need. Doesn't linger.
2033401
Even though her only other album that I have is 'Jagged Little Pill', I'm quite a fan of Alanis Morissette; but her distinctive music is an acquired taste and will not appeal to everyone. 'Flavors of Entanglement' is a collaboration with Guy Sigsworth - electronica whizz kid from my own sunny shores; he produced the album and co-wrote the songs (but AM wrote the lyrics - and can't you just tell). Her vocals sound a little mellower than on 'Jagged', but they still retain much of her earlier quirkiness - and she is definitely in fine form vocally.

The combination of electronica and AM's idiosyncratic style isn't quite a 'marriage made in heaven' (more a burgeoning love affair), but I think the balance is about right - thanks, in no small part, to some gutsy vocals from AM, which she projects with laser-guided precision. The synthesized sounds are both interesting and exhilarating, but there can be no denying that the real substance of this album, is in the songs (especially the lyrics) and AM's delivery of them. One only has to listen to 'Not As We' and 'Torch', to realize that AM is still more than capable of rendering some stirring songs with well crafted lyrics, without resorting to an over-reliance upon electronic wizardry.

Some comments about may favourite tracks :

CITIZEN OF THE PLANET - The song starts with synth laden strains of 'Arabian Nights' - pleasant, 'easy on the ear' stuff. However, don't get too 'cumfy', because the chorus which follows, with its fusion of powerful vocals and high density synths, will literally blast you into the cosmos. Strange lyrics (but great to listen to) - something to do with sacrificing family ties to go forth and seek 'enlightenment' by experiencing the wider world (I think).

VERSIONS OF VIOLENCE - Another high-octane offering, with pulsating electronic pyrotechnics aplenty - including some noteworthy bass harmonics. AM sings in two different keys on this one. The overall sound is somewhat reminiscent of Evanescence and, arguably, the track is a little over-produced.

NOT AS WE - A wistful, slow tempo song with piano accompaniment only, and featuring ethereal vocals and exceptionally fine lyrics. AM reflects, with sadness, upon (yet another) relationship which has crumbled. She puts on a brave face ('I'm faking it, 'til I'm pseudo making it') - but, at the same time, the song is tinged with a sort of 'life goes on' resilience ('...... begin again but this time I as I, And not as we'). 'Torch' has a similar theme, and is also fairly light on the electronics.

MORATORIUM - Fans of sequenced drum loops (at least, I think that's what they are) should enjoy this track; also, listen out for some ghostly chorals (electronic, of course) in the background. I liked the song for its lyrics - AM is telling us that emotional relationships are all 'getting a bit too much' for her, and she needs a break. Scarcely original, but she manages to convey this sentiment in four different ways by her colourful use of words - and besides, any songwriter who can work a word(?) like 'focusless-ness' into the lyrics, gets my vote.

Of the remaining songs, only 'Underneath' comes as a disappointment; it's due for release as a single, so it must have something about it. I guess a lot of people will like it, but I'm afraid it didn't push many of my buttons. I don't dislike 'Incomplete', it's a pleasant (almost folksy) song but, within the context of the album', it's a bit too 'pretty' for me.

To sum up, 'Flavors of Entanglement' is a rather mystifying melange of disparate vocals, sharp (if occasionally impenetrable) lyrics, frequent tempo changes and techno trickery. It's an album that can be enjoyed in it's entirety - but I found it easier to take in small doses. 'Flavors of Entanglement' is a good example of well executed modern pop-rock (but for grown-ups only?). Apart from maybe 2 or 3 tracks, not recommended for lovers of soothing music.
4858203
I'm surprised that there isn't a little more reviews for this album. It's a soft sounding dancable and slightly tribal mix with a intricate construction that doesn't fully appear in the first listenings.

Some other electronic bands tend to construct ambitious albums more than mere collections of tracks, though i find the result sometime a little vain. But i like this one: energic, polite and dancable, that's a kind of achievement.
3995502
I'll admit that when I first heard "Bloodflowers," I wasn't blown away. I suppose that at the time of its release, I was more into the pop side of The Cure, having been a fan since 1985's "Head on the Door." However, after witnessing the album performed live on the "Trilogy" DVD, I've had a "change of head." I now believe that "Bloodflowers" is an amazingly understated piece of work. It's a guitar-drenched and somewhat psychedelic affair, and, like "Pornography," a little impenetrable upon first listen. And, like "Pornography," it gradually grows on you, indeed nearly attaches itself to you, immersing the listener in a world of brooding introspection. However, unlike "Pornography," "Bloodflowers" is never scary, only darkly ethereal.

"Bloodflowers" represents the classic and art rock facet of The Cure, and at times calls forth the influences of Led Zeppelin and Pink Floyd. The title track, the album's most haunting song, and certainly the band's darkest since "The Hanging Garden," even boasts a delicious Hendrix-style guitar solo.

Aside from the title track, highlights of this album include the lushly solemn "The Loudest Sound" (which provides an unsual flourish when Robert Smith croons the song's title and a chiming guitar riff competes with his lyric), the contemplative "The Last Day of Summer," the exquisitely existential "Where the Birds Always Sing," and "There is No If...," which showcases Smith's quirky romantic humor. For some, the album's weakest moment is the epic "Watching Me Fall," but for me, it's one of the best tracks, and it's enhanced by eerily erotic lyrics.

"Bloodflowers" has been maligned for its lyrical flatness, but honestly, I think these are some of Smith's best lyrics yet. Yes, they are less typically ambiguous and surreal (save for the chilling dialogue that embellishes the title song, and the words adorning the aforementioned "Watching Me Fall"). Their peculiar power lies in their taut simplicity, explicit introspection, and restrained pathos.

Some people have criticized "Bloodflowers" for not living up to the melancholic grandeur of "Disintegration," while others have lamented the lack of sinister edge so prevalent on "Pornography." But I think "Bloodflowers" was not intended to be a replication of either of those albums, but rather an amalgam of the best aspects of both, and I think it works masterfully well. The subtle potency of "Bloodflowers" will elude the masses, but patient listeners will reap many rewards from this CD.
3041226
What feels at first like a novel of suspicion, mistrust and the subtle erosion of jealousy morphs into a tale filled with menace, the subversive threat of the unknown. Stella Lewis is organized, every aspect of her precisely detailed life suggesting a need for control of her environment; that this control provides security is, of course, false, but a prescription she clings to as rigidly as the aromatherapy oils lined in the cabinet of her London treatment room, the labels exactly aligned in rows like regimented soldiers. Perhaps it is this tendency to containment and cleanliness that attracts Ivan to Stella. In her apartment to replace all her gas fixtures with electric, Ivan appreciates the delicate balance of structure and harmony, Stella's calm manipulation of her daily routine as her massage patients come and go.

The couple meshes comfortably together, the rules dictated by Stella before Ivan moves in: "No stories from the past. No unnecessary anecdotes. No questions." When Ivan's past intrudes, bit by bit, the questions begin, thoughts plaguing Stella  that she cannot put aside, intrusions into her carefully restricted world that upset the balance of daily life, at the same time sending an erotic charge through the relationship, unexpected layers of passion, and with it, suspicion. In a deft melding of Stella's inner turbulence and outer calm and the increasing menace that creeps into the story, the harmonious shifts day by day to chaos, with the aid of an overly-friendly, lonely neighbor, a faithless cat, a too-sympathetic sister, a long-lost love and the gradual erosion of a well-planned life.

Taut psychological tension is brilliantly layered into Stella's confused, haunted thoughts and Ivan's increasingly suspicious behavior, events moving toward a startling resolution that will prove Stella's safe constructions a sham. Yellow is a novel that begs to be read in one sitting, impossible to put aside. Scents, sounds, colors, imagination, touch. The author creates a fascinating palette of aberrant human behavior, shifting like an Impressionist painting until the image is suddenly clear. Luan Gaines/ 2006.
4898037
Mighty powerful, strong lemony scent when you first open the package; had to drive with the windows down.  After a few days, it's good.
Would buy again.
2873750
Some literary experiences are sublime, and some are visceral, but it's the rare novel that offers both.  Ryan Rayston's The Quiet Sound of Disappearing is a double-barreled shot of pure adrenalin and lights out descriptive power.  Rayston tells a fictionalized version of her unraveled life.  After a Cheeverian childhood, Feather Harrington washes up in the nation's capitol.  It's the late `70's; America is disco drunk and ready to party.  Cocaine is the nectar of the scene, ingurgitated by prince and pauper alike.  Nowhere are the princes greedier than in Washington, DC.  Feather falls in love with an ambitious trafficker, and quite accidentally, finds her niche.  She and her boyfriend ascend into a life of bespoke drug dealing.  Feather, lit by cocaine, propelled by demons, and high on lawbreaking and love, snorts and deals her way through the power centers of Washington.  No common folk, her customers: media bigs, celebs, and even the people's representatives in the halls of Congress binge on her goods.

With the thudding inevitability of cops pounding on the door, Feather's boogie nights come to an end.  She is scooped up, and stashed in a hotel room by a team of hectoring DEA agents.  They lay out her dismal choice.  Either she rats or does hard time.  In return for evidence against her increasingly violent boyfriend, the government offers witness protection.  Which is how Feather Harrington, prom queen and prodigal daughter, finds herself dead sober and dead alone, on a frozen night in dead-end Minneapolis, MN.

But Feather is nothing is not scrappy, and has a feral cat's instinct for survival.  With the help of the kindly US Marshall assigned to her case, she sets about fashioning a new life.  But cancer has other ideas.  Soon Feather has another battle on her hands, and miraculously, wins this one too.  No common tear-jerker, The Quiet Sound of Disappearing is a majestic work by a writer of enormous power.  Rayston's roman a clef will stun you, shock you, scare you, and ultimately, strengthen you.  At its core, this is a story of survival.  Rayston doesn't pull a punch.  Feather's crimes and passions are laid out in unsparing light.  Yet from the first page, you find yourself rooting for this elegantly damaged woman.  You will cry softly, and cheer loudly, for The Quiet Sound of Disappearing.
4540932
Definitely strong.  At full strength it reminds me of the day after drinking and smoking in a crowded bar.