sábado, 12 de agosto de 2017

Nacho Vegas - Resituacion (2014)


Resituación is the sixth album of Nacho Vegas published by Marxophone in 2014.
Nacho is a Spanish singer-songwriter who stylistically oscillates between folk and rock music.
As a songwriter, the influences of Will Oldham, Nick Cave, Leonard Cohen, Nick Drake, Bob Dylan, Tom Waits and Townes Van Zandt are recognized. 
He explores the intimist ways of singer-songwriter in his music, intense but elusive; His texts have a strong autobiographical character, self-referential, is somehow postmodernist in that it resorts to references of speeches or elements of other musicians, filmmakers, writers.
Vegas music is also reminiscent of Spanish indie figures, but mainly his style is identifiable with singers of modern folk and rock, of which he has recognized to extract chords, refrains, pieces of letters, etc., to compose his songs.
My favorites songs are "Actores poco memorables", "Rapasa de San Antolin", the extraordinary "Adolfo Suicide", y the beauty "Luz de Agosto en Gijon".
An album that flows calmly and smoothly. Takes you through almost hypnotic spots that have much of his folk style.
I saw him live in Buenos Aires in Teatro Konex, I was pretty excited about that show and was, in fact, a very good concert. The bad moment was not the artist, but the public himself, making in each possible occasion invasions of stage with political banners and all that stupid and shitty attitude. You are in a music concert for god-sake! Stop talking and screaming political phrases that come to mind and enjoy the show, or at last, (if you are a stupid and pathetic underground politic activist) let the other people listen to the music.
  

viernes, 11 de agosto de 2017

Alice Cooper - Pretties for You (1968)


Pretties for You is the debut album by Alice Cooper. It was released in June 1969 by Straight Records. At this time, the name "Alice Cooper" referred to the band, not its lead singer Vincent Furnier, although he was later also known as Alice Cooper. The music has a psychedelic flavor to it; the group had yet to develop the more concise hard rock sound that they would become famous for. A few songs, such as "Levity Ball," show the influence of Syd Barrett-era Pink Floyd, with whom Alice Cooper hung out during the British group's U.S. tour. Too bizarre and avant-garde for its time, Pretties for You was a critical and commercial failure, only briefly denting the Billboard Top 200, and none of its songs have ever been played live by Cooper since the release of the band's breakthrough album Love It to Death.

The song "Reflected", Alice Cooper's first single, was later rewritten as "Elected" (which featured on their 1973 album Billion Dollar Babies). The band also performed during a party scene in the film Diary of a Mad Housewife (1970). The artwork for this album was hanging on the wall of the living room in Frank Zappa's house. However, his wife Gail Zappa claims that it was later stolen from them. The original painting was done by Edward Beardsley. On November 8, 2015 the entire record was performed live at The Stone in NYC as part of Nick Didkovsky's residency there. Neal Smith, Dennis Dunaway and Cindy Smith Dunaway were in attendance. Dennis Dunaway joined the band for "Nobody Likes Me" as an encore, a song that was originally slated to be on the record.

According to Alice Cooper's band manager, Shep Gordon, when recording at Whitney Studios in Burbank, Frank Zappa left his brother in charge of recording while Zappa left the studio. Zappa returned later that day and informed them the album was finished, having only recorded the band rehearsing. Gordon states that there was no producer during recording, that the band had no complete songs written, that Zappa "didn't spend 5 minutes in the studio" and never asked to hear their material, and that the band's debut album was made up entirely of that rehearsal recording.

I really love this debut album! Most of the tracks feature unusual time signatures and arrangements, jarring syncopation, expressive dynamics, sound effects, and an eclectic range of music influences.
We have a psych-prog touch, most of the songs have drastic changes of rhythms, which transform this album in a very enjoyable record. Very interesting for the listeners.


  

sábado, 5 de agosto de 2017

Black Sabbath - Black Sabbath (1970)

Black Sabbath is the debut album by Black Sabbath. Released on 13 February 1970 in the United Kingdom and on 1 June 1970 in the United States, the album reached number eight on the UK Albums Charts and number 23 on the Billboard charts. Although it was poorly received by most contemporary music critics at the time, Black Sabbath is now widely considered the first heavy metal album. 
To be precise that is not a quite correct definition. There we have some rockers, blues style's songs and just a little of Heavy metal's roots, but not the first Heavy Metal album at all! This is perhaps the first album in where we can hear the birth of heavy metal as we now know it. But in the next months with "Paranoid" and later with "Master of Reality" the band transcended its clear roots in blues-rock and psychedelia to became something more. Maybe there, with second and third album we are able to say that there we got the first two Heavy Metal albums!

According to Black Sabbath guitarist and founder member Tony Iommi, the group's debut album was recorded in a single day on 16 October 1969. The session lasted twelve hours. Iommi said: "We just went in the studio and did it in a day, we played our live set and that was it. We actually thought a whole day was quite a long time, then off we went the next day to play for £20 in Switzerland.
Aside from the bells, thunder and rain sound effects added to the beginning of the opening track, and the double-tracked guitar solos on "N.I.B." and "Sleeping Village", there were virtually no overdubs added to the album. Iommi recalls recording live: "We thought, 'We have two days to do it and one of the days is mixing.' So we played live. Ozzy (Osbourne) was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff.

Black Sabbath's music and lyrics were quite dark for the time. The opening track is based almost entirely on a tritone interval played at slow tempo on the electric guitar.
Black Sabbath was recorded for Fontana Records, but prior to release the record company elected to switch the band to another of their labels, Vertigo Records, which housed the company's more progressive acts.
Received primarily unfavorable reviews from contemporary music critics. Rolling Stone's Lester Bangs described the band as, "just like Cream! But worse", and he dismissed the album as "a shuck – despite the murky songtitles and some inane lyrics that sound like Vanilla Fudge paying doggerel tribute to Aleister Crowley, the album has nothing to do with spiritualism, the occult, or anything much except stiff recitations of Cream clichés"


Rex Brown - Smoke on this... (2017)


Rex Brown has never up until shown much inclination for being a solo artist, and to be honest, before listen to this Smoke on this... I was pretty sure to find a Pantera re-make or at last a Down re-make, but (one more time) I was wrong!

Blues riffs and a general sense of Southern rock-inflected soulfulness, some moments sound a little bit "nasty", which is great, catchy beats and a firm grasp of rock’s blues influence have given Brown a solid base to work.
In a resent interview, Rex said:- After thirty years of doing the same shit I've wanted to give me the opportunity I deserve, so  I think that this debut solo album was in his mind for a long time.

I know what you are waiting for, so... Smoke On This has enough strong moments to keep Pantera's fans hooked, yes.


Queen - Queen (1973)


This is the debut studio album by Queen, released on 13 July 1973 by EMI Records in the United Kingdom and by Elektra Records in the United States. It was recorded at Trident Studios and De Lane Lea Music Centre, London, with production by Roy Thomas Baker,  John Anthony and Queen. The album was influenced by the hard rock, progressive rock and heavy metal of the time and covers subjects such as folklore ("My Fairy King") and religion ("Jesus"). 
Queen had been playing the club and college circuit in and around London for almost two years when the band had a chance opportunity to test out the new recording facilities of De Lane Lea Studios. Taking advantage of the opportunity, they put together a polished demo tape of five songs: "Keep Yourself Alive", "The Night Comes Down", "Great King Rat", "Jesus", and "Liar". Despite the demo tape's quality, the band received only one offer from a record company – a low bid from Chrysalis Records, which they used to try to entice other companies.
They were finally given a break and signed in 1972 by Barry and Norman Sheffield, who ran the successful Trident Studios; however, because the studio was very popular, Queen mainly recorded during the studio's downtime but were given free use of everything after the paying artists had left; including the latest technologies and production team. 
The arrangement of recording only during downtime lasted from June to November 1972. The limitations this imposed on them led the band to focus on completing one track at a time, but problems arose almost immediately. The band had thought highly of their De Lane Lea demo tracks, but producer Roy Thomas Baker asked them to re-record the songs with better equipment. "Keep Yourself Alive" was the first song to be re-recorded, and Queen did not like the result. They recorded it once again, but during the mixing sessions, no mix met their standards until engineer Mike Stone stepped in. After seven or eight failed attempts, Stone's first try met with Queen's approval. Stone would stay on to engineer and eventually co-produce their next five albums. Another track that proved problematic was "Mad the Swine", which was recorded for the album but then derailed by Baker and Queen disagreeing on the quality of the percussion. The song was meant be the fourth track on the album between "Great King Rat" and "My Fairy King". With the issue unresolved, the track was left off the album. It re-surfaced in 1991 as both the B-side to the "Headlong" CD single in the UK, and on the Hollywood Records re-release of the album. The version of "The Night Comes Down" which appears on the album is, in fact, the De Lane Lea demo recording, as the band were unsatisfied with any attempt at rerecording it.
Though the album was completed and fully mixed by November 1972, Trident spent months trying to get a record company to release it. After eight months of failing that, they took the initiative and released it themselves in 1973. During this time, Queen had begun writing material for their next album, but they were disheartened by the current album's delay, feeling they had grown past that stage, even though the record-buying public was just getting wind of them.

The debut and the next 3 albums are among my Queen's favorites also with The Game, but specially Queen I is fantastic. There are many interesting ideas and great compositions. My favorites “Great King Rat”, vocally, melodically, and lyrically, it is killer, and the change of rhythm at the middle of the song is awesome! “Liar” is another great piece of early hard rock with a heavy guitar riff! And what can I say about “Son & Daughter”, It’s heavy and to the point with great hooks, a mix of Black Sabbath, Alice Cooper and many more hard and heavy bands, all in one song! They got some heavy groove going on there!

Sepultura - Arise (1991)


Arise is the fourth studio album by Sepultura, released in 1991 by Roadrunner Records. Upon its release, the album received top reviews from heavy metal magazines such as Rock Hard, Kerrang! and Metal Forces. Arise is considered Sepultura's finest hour among longtime fans. 

The album presented their first incursions with industrial music, hardcore punk and Latin percussion. The tour (1991–1992) that supported the album was the group's longest at that time, totalling 220 shows in 39 different countries. During this trek, the album went gold in Indonesia—the band's first music industry certification. By the tour's end, Arise had achieved platinum sales worldwide.
In August 1990, the band travelled to Florida to work on the album. Scott Burns reprised his role as producer and audio engineer, and now with a major advantage: Sepultura were at his home studio, Morrisound, a studio properly equipped to record their music style. Their label Roadrunner granted a $40,000 budget, which helped explain the album's improved production values. That allowed Igor and Burns, for example, to spend a whole week just testing the drum kit's tunings and experimenting with microphone practice.
Although lead guitarist Andreas Kisser stated that Arise "took a lot of the same direction" as their previous LP, Beneath the Remains, it was clear that their music had somehow changed. Sepultura's usual breakneck pace became toned down a bit; drummer Igor Cavalera started using groove-laden rhythms. According to metal specialist Don Kaye, the album "represented the band taking their initial death/thrash sound to its logical conclusion."

Arise also found the band opening up to non-metal influences. Bands such as Einstürzende Neubauten, The Young Gods and Ministry were already part of Sepultura's listening habits, and slight touches of industrial music can be traced through the use of samples and sound effects. A trademark of a later phase—Latin percussion and "tribal" drumming—made its first appearance on the song "Altered State". The band's old love for hardcore punk is evident on "Subtraction" and "Desperate Cry".

Arise is fast, heavy riffs, and a vocalist who sounds like the perfect bridge between death and thrash metal. 
Sepultura had grabbed international attention with Beneath the Remains and they had gone faster than ever when doing so.
Many of Sepultura's most notable songs are on this album, Desperate cry, Arise, Dead embryonic cells, Subtraction... I think that all the tracks are classics in a way!
The mix and sound of the album is quite unique, even if you listen now a unreleased track recorded during those sessions, you instantly will know that comes from that days!


Blaze Bayley - Silicon Messiah (2000)


Silicon Messiah is the debut studio album by Blaze Bayley, then known as Blaze, released in 2000. The South American and Japanese versions of the album include several bonus tracks ("Motherfuckers R Us", "Steel" and "Interactive Track" and "The Day I Fell to Earth" on South American versions, with the last track being the only Japanese one). 

Following Blaze Bayley's departure from Iron Maiden in 1999, he formed his own band, BLAZE, in March that year. Bayley recruited guitarist Steve Wray, guitarist John Slater, bassist Rob Naylor, and drummer Jeff Singer, and signed a deal with German label SPV, releasing this band's debut studio album in 2000.

He never got much mainstream recognition, and he used to get a lot of flak for his vocal participation in Iron Maiden in the 90s, but really his side project is a whole different beast altogether. The voice is fantastic and the songs fit to perfection as a whole thing. The guitars are heavy and precise, with some really good solos, the riffs are crunchy and melodic. The Blaze's voice is more natural with the lower tuned guitars. 
Over all, this is a very original piece of music, a highly recommended piece of Heavy Metal, with Power/Thrashers touches.
It's true that it has some Iron Maiden influences. There is, in fact, only one song where the structure of the track is quite similar to Iron Maiden.

This album had one problem - it came out at the same time as Maiden's Brave New World, which of course drowned attention and sales, but believe me when I say that if it had been published at differet moment, would have become a new Metal's classic album.


Pink Floyd - Animals (1977)


Animals is the tenth studio album by Pink Floyd, released on 23 January 1977 by Harvest Records in the United Kingdom and by Columbia Records in the United States. It is a concept album that provides a scathing critique of the social-political conditions of late-1970s Britain, and presents a marked change in musical style from their earlier work. Animals was recorded at the band's studio, Britannia Row, in London, but its production was punctuated by the early signs of discord that three years later would culminate in keyboardist Richard Wright leaving the band. The album's cover image, a pig floating between two chimneys of the Battersea Power Station, was conceived by the band's bassist and lead songwriter Roger Waters, and was designed by long-time collaborator Storm Thorgerson of Hipgnosis.

In 1975, Pink Floyd bought a three-storey block of church halls at 35 Britannia Row in Islington, north London. Their deal with Harvest Records' parent company EMI for unlimited studio time in return for a reduced percentage of sales had expired, and they converted the building into a recording studio and storage facility. Its construction took up most of 1975, and in April 1976 the band started work on their tenth studio album, Animals, at the new facility.
Animals was engineered by a previous Floyd collaborator, Brian Humphries, and recording took place at Britannia Row from April to December 1976, continuing into early 1977. "Raving and Drooling" and "You've Got to Be Crazy", two songs previously performed live and considered for Wish You Were Here, reappeared as "Sheep" and "Dogs" respectively. They were reworked to fit the new concept, and separated by a Waters-penned composition, "Pigs (Three Different Ones)". With the exception of "Dogs" (co-written by Gilmour) the album's five tracks were written by Waters. The song contains references to Waters' private life; his new romantic interest was Carolyne Anne Christie (married to Rock Scully, manager of the Grateful Dead). Gilmour was distracted by the birth of his first child, and contributed little else towards the songwriting of the album. Similarly, neither Mason nor Wright contributed as much as they had on previous albums, and Animals was the first Pink Floyd album not to contain a composer's credit for Wright.
The band had discussed employing another guitarist for future tours, and Snowy White was therefore invited into the studio. When Waters and Mason inadvertently erased one of Gilmour's completed guitar solos, White was asked to record a solo on "Pigs on the Wing". Although his performance was omitted from the vinyl release, it was included on the eight-track cartridge version. White later performed on the Animals tour. Mason recalled that he enjoyed working on Animals more than he had working on Wish You Were Here.
Loosely based on George Orwell's political fable Animal Farm, the album's lyrics describe various classes in society as different kinds of animals: the combative dogs, the despotic ruthless pigs, and the "mindless and unquestioning herd" of sheep. Whereas the novella focuses on Stalinism, the album is a critique of capitalism and differs again in that the sheep eventually rise up to overpower the dogs. The album was developed from a collection of unrelated songs into a concept which, in the words of author Glenn Povey, "described the apparent social and moral decay of society, likening the human condition to that of mere animals".

This is one of my favorites Pink Floyd albums, with genius Roger doing great compositions as always. Without a doubt Pink Floyd was the greatest band of the world with Roger Waters on it, and after departure wasn't the same. In this album we have some of the David Gilmour's finest work, but the heart is with Waters, the primal ideas are with Waters!


Orphaned land - El Norra Alila (1996)


El Norra Alila is the second full-length studio album by the Israeli band Orphaned Land, released on July 18, 1996 by Holy Records. The album was reissued as a deluxe edition in July, 2006 as a 10-year-anniversary for the album and contains extras; the song "Disciples of the Sacred Oath" and video clips of "Ornaments of Gold" and "The Evil Urge".
There are religious translations within the album name, "Nor" means "the light" in Arabic, "Alila" meaning "the night", "El" meaning "God" in Hebrew and "Norra" meaning "terrible", and "Alila" meaning "tale". This means that the album can be translated as; "God of Light – Evil of the Night" and gives reference to its concept.

This album is a masterpiece of experimental fusion music. You know, the guys dare to go beyond the conventional metal sub-genres, and that's great cos there are so many elements to be appreciated!
You can listen a very good vocal arrangement, acoustic and traditional instruments such as Qanun, tambourine, darbuka, zil, tar, bendir and dumbek, powerful guitar's riffs and thousands of details that will keep you captive for sure.

The key emphasis is upon the embellished guitars.

Band members:
Kobi Farhi - vocals
Yossi Sasi - lead guitars
Matti Svatitzki - rhythm guitar
Uri Zelcha - bass
Sami Bachar - drums





domingo, 30 de julio de 2017

Proyecto Esencial - La noche mas larga (2017)


I found this band almost by casuality. 
At the beginning of 90's I've started to follow an argentinian Rock band called Halogena. I remember the first thing that called my atention was those bass lines, quite melodic and powerful! That was in the 90's, yes. 
In 2015 I re-discover an old cd of Halogena, called Perdiste from 1995 and was the same feeling when I heard it again.
The boys disbanded in 1998/99 I think, so I search the bassist Pablo Di Giorgio through Facebook and I've found him, so I thought to wrote to him telling about how much I've enjoyed the band and his bass lines!... AGAIN... THAT WAS IN 2015.
May 2017, I found a Facebook message and when I open it... yes... was Pablo Di Giorgio that saw my message two years later, cos Facebook setup and configuration is a crap (all of us we know it well). He thanked me for the words and added a link to a band in what he is envolved currently.
THAT-WAS-AWESOME!!! 

The first work I listen is Melatonina (2014), actualy the third record of Proyecto Esencial in which Pablo is not the bassist (He joined the band after that album). I enjoyed fully the songs and I decide to go and see them in the next show in which the band will launch the fourth work called La noche mas larga.
About the show, was incredible! Very professional, high category and extremely well played! All the musicians are perfectly assembled as a band and that's important!
They played all the new album and after a little break we enjoyed the old songs.
About "La noche mas larga" is an excelent pop-rock album, (more Pop than Rock), pretty dark and deep. I'm a night lover and this is, without a doubt, the perfect soundtrack for all who love to spend the night just gazing through the window and thinking about life! 
The songs are linked to the 80's but sounds fresh and with own identity. I say this just for give you an idea about how it sound,  but believe me, they are purely 2017 and this album will remain fresh and actual for a long long time.
I feel very lucky for this great discovery in a vast and endless musical world!




sábado, 29 de julio de 2017

Deep Purple - Shades of Deep Purple (1968)


Shades of Deep Purple is the debut studio album by Deep Purple, released in July 1968 on Tetragrammaton in the United States and in September 1968 on Parlophone in the United Kingdom. The band, initially called Roundabout, was the idea of former Searchers drummer Chris Curtis, who recruited Jon Lord and Ritchie Blackmore before leaving the project. The Mark. I line-up of the band was completed by vocalist/frontman Rod Evans, along with bassist Nick Simper and drummer Ian Paice, in March 1968.

After about two months of rehearsals, Shades of Deep Purple was recorded in only three days in May 1968 and contains four original songs and four covers, thoroughly rearranged to include classical interludes and sound more psychedelic. Stylistically the music is close to psychedelic rock and progressive rock, two genres with an ever-growing audience in the late 1960s.

The album was not well received in the UK, where it sold very little and did not chart. In the US, on the other hand, it was a success and the single "Hush", an energetic rock track originally written by Joe South, became very popular at the time, reaching number 4 on the US Billboard Hot 100 chart. The good sales of the album and the intense radio play of the single contributed largely to the attention Deep Purple would get in their early US tours and also during the 1970s. Modern reviews of the album are generally positive and consider Shades of Deep Purple an important piece in the history of Deep Purple.
With a possible set list shaping up during rehearsals, Blackmore convinced a friend of his, Derek Lawrence, to be the band's producer. They had met years before, when both worked for producer Joe Meek and Lawrence ran an independent production company that recorded singles for release in the United States. Lawrence had many contacts in the US and was present at some of Roundabout's sessions, remaining impressed.



Through Lawrence, HEC Enterprises contacted the new American record label Tetragrammaton Records, which was looking for a British band to work with. HEC arranged for the band to cut some demos for the American label in late March and early April at Trident Studios in London. They taped two of their previously developed songs, "Hush" and "Help!", as well as two new songs: "Love Help Me" had already been developed before Evans and Paice joined, while "Shadows" was quickly written and arranged by the band for those recording sessions. Lawrence also played the demo of "Help!" to the British recording company EMI, which offered a deal for distribution in Europe with its sub-label Parlophone. All the demos, with the exception of "Shadows", were sent to Tetragrammaton for approval.
The recording of the demos was followed by a short promotional tour of eight dates in Denmark and Sweden through April and May, booked as Roundabout by a friend of Lord. The band name was changed at this time, after Blackmore suggested the title of his grandmother's favourite song, "Deep Purple" by Peter DeRose. Deep Purple played their first gig at the Park School in the district of Vestpoppen, Tastrup, Denmark on 20 April 1968 and the live set comprised all the new songs and the cover of "Little Girl", originally by John Mayall and Eric Clapton. When they returned to England, Tetragrammaton confirmed the decision to sign the band. This was a saving grace, because HEC had spent nearly all their budget for promotion and equipment. The band relocated to Highleigh Manor, in Balcombe, West Sussex, because Deeves Hall was no longer available.

Deep Purple's members were experienced musicians with different musical backgrounds: Lord had trained in classical music and had played in jazz and blues rock ensembles, Blackmore and Simper came from session work in pop rock, Paice and Evans from beat bands. However, no one was an accomplished songwriter. The only one with experience in musical composition was Lord, who treated the arrangements and wrote the bulk of the music for the first album, with some guitar riffs added by Blackmore. The album shows the potential of the band but does not focus on a distinct sound. Clearly identifiable on the album are the musical styles which were developing in the UK in that period and that influenced the young musicians in Deep Purple, a mix of psychedelic rock, progressive rock, pop rock and hard rock, the latter mostly evident in Blackmore's guitar parts.

Reception of the album and the band in their home country was generally negative. Despite being presented as a "polished commercial group" in their radio appearances, Deep Purple's stage excesses and success in the US did not make a good impression on British audiences. The Deviants frontman and later journalist Mick Farren described Deep Purple's music as "a slow and pompous din, somewhere between bad Tchaikovsky and a B-52 taking off on a bombing run." They were also criticised for being too American and the "poor man's Vanilla Fudge". As Brian Connolly of Sweet recalled, "they were so out of place that you really felt sorry for them.

For me this is a decent record that show an eclectic taste of music from all the members. I'm not a big fan of covers at studio albums, (4 in this case) but I must admit that in the 60's-70's was a common album's structure.
Deep Purple is just a shade of what will be, however the album is ok... just a little.

Deep Purple is:
Rod Evans – lead vocals
Ritchie Blackmore – guitar
Jon Lord – organ, backing vocals
Nick Simper – bass, backing vocals
Ian Paice – drums


viernes, 28 de julio de 2017

Motley Crue - Saints of Los angeles (2008)


Saints of Los Angeles is the ninth and final studio album by Mötley Crüe, released on June 24, 2008. It marks the first full-length studio album with the band's original lineup since 1997's Generation Swine, following the return of long-time drummer Tommy Lee.

Bassist Nikki Sixx stated in his blog that he believed the band were "on to some of the better songs [they've] had in years". A tentative title for the album was The Dirt, however this was eventually scrapped. Nikki Sixx notes that: "the album is loosely based on The Dirt. Each song is like a mini-story, and you can plug it into the book. Some of it's funny, some of it's serious and in-your-face. It's like a typical, successful Mötley Crüe record."

Saints of Los Angeles debuted at No. 4 on the Billboard album charts, selling about 100,000 copies in its first week of release. 

Though the band's first single, the title track "Saints of Los Angeles", was their second highest charting single in the US mainstream rock charts ever, peaking at number 5, subsequent singles fared less well. "Mutherfucker of the Year" peaked at number 29 and "White Trash Circus" peaked at number 37 on mainstream rock charts.

Two tours, Crüe Fest and the Saints Of Los Angeles Tour, supported the album. Crüe Fest ran during the summer of 2008, with supporting bands were Buckcherry, Papa Roach, Sixx:A.M., and Trapt. The Saints of Los Angeles Tour ran during early 2009 and supporting bands were Hinder, Theory of a Deadman, and The Last Vegas.
Every song is written by bassist Nikki Sixx and his chums James Michael, DJ Ashba (both of whom are Sixx's Sixx:AM bandmates) and Marti Frederiksen. The thing here is that SOLA doesn't sounds like Classical Motley Crue, which is not bad, but the music runs through a path linked to Sixx AM.
Sounds better than Generation Swine and New Tattoo, the album is ok and enjoyable, nothing more.



Nailbomb - Point Blank (1994)


Nailbomb was a band formed in 1994 as a side project by Brazilian musician Max Cavalera of Sepultura, and English musician Alex Newport of Fudge Tunnel. The band recorded just this Point Blank album, and played one live performance before disbanding the next year.
Nailbomb hosted other musicians to play guest spots, including D.H. Peligro (Dead Kennedys), Max Cavalera's brother Igor Cavalera (Sepultura co-founder), and guitarist Dino Cazares (co-founder and guitarist of Fear Factory). Nailbomb's second album, Proud to Commit Commercial Suicide, was a live recording capturing the band's appearance at the 1995 Dynamo Open Air Festival in Eindhoven, the Netherlands.


Point Blank was released on March 8, 1994 by Roadrunner Records
In 1993, Sepultura released the album “Chaos A.D.”, clearly hugely influenced by the newer “alternative” rock/metal subgenres of those years, and at the same time, that Chaos A.D. became an album that would influence a lot of modern metal bands since then,  One of Sepultura’s biggest influences, in that period, were surely the groove/sludge/noise masters Fudge Tunnel, so, from this connection was that Nailbomb was formed.
Going to the point, this is an industrial metal album, largely dominated by electronic/noisy and experimental elements.


Depeche Mode - Songs of Faith and Devotion (1993)


Songs of Faith and Devotion is the eighth studio album by Depeche Mode, released in the United Kingdom on 22 March 1993 by Mute Records and in the United States and Canada on 23 March by Sire and Reprise Records. The album incorporated a more aggressive, darker rock-oriented tone than its predecessor, Violator (1990), largely influenced by the emerging alternative rock and grunge scenes in the United States.

Upon its release, Songs of Faith and Devotion reached number one in several countries, and became the first Depeche Mode album to debut atop the charts in both the UK and the US. To support the album, Depeche Mode embarked on the fourteen-month-long Devotional Tour, the largest tour the band had ever undertaken to that date.

Recording the album and the subsequent tour exacerbated growing tensions and difficulties within the band, prompting Alan Wilder to quit, making this album the final with him as a band member. The ordeal had exhausted their creative output following the enormous success they had enjoyed with Violator, leading to rumours and media speculation that the band would split. Depeche Mode subsequently recovered from the experience, and released Ultra in 1997.

The album was recorded over eight months in a rented villa in Madrid during 1992, as well as later sessions in Hamburg and London. Following his work on U2's seventh studio album, Achtung Baby, producer Flood suggested the idea of building their own studio in a rented house where the band would live and work, the same process having yielded huge successes for U2. A studio was set up in the basement of the villa, with two drum kits using different spaces to achieve different sounds. The recordings from the kits could then be processed through synthesizers, such as the large Roland System 700 the band had installed in the studio. The band had become aware of getting caught in easy routines in the studio leading to boredom and thus wanted to change as many aspects to their approach to the recording as possible.

Wilder recalled on Violator the band had relied heavily on sequencing; though the album used a great deal more live recorded audio than previous Depeche Mode releases, the audio had been quantised to the exact beats of the bars, resulting in a slick but sequenced feel. For making Songs of Faith and Devotion, the band wanted the sound to be looser and less programmed. Tracks such as "I Feel You" included drums performed live by Wilder which were then sampled and sequenced to form drum loops using Cubase, in a different structure to how they were originally performed, keeping all the dynamics and inherent mistakes of a human performance. Embellishments like reversed cymbals were added later at the behest of Wilder, who often suggested such experimentation.

Further techniques used in recording included the reversed piano on the outro to the track "Mercy in You". The introduction of the track "Judas" has uillean pipes recorded with reversed reverberation mixed into the sound, to achieve a haunting, atmospheric feel. "Walking in My Shoes" included a piano part which was processed through a guitar processor to add distortion. A harpsichord sample was then played and recorded over the top, giving a unique, layered sound to the riff. Early demos for "Condemnation" included all four band members performing in the same space—Andy Fletcher bashing a flight case with a pole, producer Flood and Dave Gahan clapping, Alan Wilder playing a drum and Martin Gore playing an organ. The sound produced was very embryonic, however it gave the band a direction as to how the track should sound. Guitars were processed through devices such as Leslie tone cabinets, originally designed for organs, to achieve different sounds.

Summarizing, this record is between my all time favorites. Deep, darker as few, and very enjoyable! From this album, was a before and after in the Depeche Mode's discography.