January 29, 2017

Nirvana - MTV Unplugged In New York (1994)

Country: U.S.A
Genre: Acoustic Rock
Label Number: DGCD-24727
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 1994 DGC
AllMusic Review by Stephen Thomas Erlewine
If In Utero is a suicide note, MTV Unplugged in New York is a message from beyond the grave, a summation of Kurt Cobain's talents and pain so fascinating, it's hard to listen to repeatedly. Is it the choice of material or the spare surroundings that make it so effective? Well, it's certainly a combination of both, how the version of the Vaselines' "Jesus Doesn't Want Me for a Sunbeam" or the three covers of Meat Puppets II songs mean as much as "All Apologies" or "Something in the Way." This, in many senses, isn't just an abnormal Nirvana record, capturing them in their sincerest desire to be R.E.M. circa Automatic for the People, it's the Nirvana record that nobody, especially Kurt, wanted revealed. It's a nakedly emotional record, unintentionally so, as the subtext means more than the main themes of how Nirvana wanted to prove its worth and diversity, showcasing the depth of their songwriting. As it turns out, it accomplishes its goals rather too well; this is a band, and songwriter, on the verge of discovering a new sound and style. Then, there's the subtexts, as Kurt's hurt and suicidal impulses bubble to the surface even as he's trying to suppress them. Few records are as unblinkingly bare and naked as this, especially albums recorded by their peers. No other band could have offered covers of David Bowie's "The Man Who Sold the World" and the folk standard "Where Did You Sleep Last Night" on the same record, turning in chilling performances of both -- performances that reveal as much as their original songs.

tags: nirvana, mtv unplugged in new york, 1994, flac,

January 28, 2017

Mount Salem - Endless (2014 Reissue)

Country: U.S.A
Genre: Doom Metal
FLAC via Mega (Link)
FLAC via Mega (Mirror Link)

© 2013-2014 Metal Blade Records
Review by Dom Walsh for LouderThanWar.com
Endless comes roaring at you like a rabid dog. A cacophony of guitars, drums and organ helps set the stall out immediately on the aptly titled Good Times. When this awesome mix is complemented by the glorious vocals of singer Emily Kopplin, you can tell straight away that this album is going to be good.
The Tower sees the guitars continue to snarl in a mist of reverb, creating a suitably doomy atmosphere. Around the track’s mid point the guitar part allows the band to add another facet to their sound and leads to the song’s crushing end with the drums being battered and again the vocals are blisteringly good.
A bluesier introduction adorns Lucid before it settles into another mid tempo, chugging slab of doomy rock. As the track matures, the blues feel is more prevalent as the organ adds a cold and haunting atmosphere against an increasingly heavy back drop.
Full Moon sees Kopplin  serenading your ears with a mournfully sung introduction. The guitars and drums slowly build towards the fastest paced track of the album so far. The whole track motors on and is a real neck wrecker of a track. Mescaline has a heavier harmonic feel to it, with the organ providing the mainstay of the mix. This serves as the introduction to the towering Mescaline II. The aforementioned vocals are sublime throughout and the range and delivery on Mescaline II is spine tingling. Along with a great solo to close, this is definitely one of the many highlights here.
Penultimate track, Hysteria, carries many of the same characteristics of the album and the slow, doomy chug of the guitars is one of the most Sabbath sounding moments here. Again, the organ gives a ghoulish slant to proceedings making the album an exciting and sinister listen. The End signals the album’s closure with more doom-laden worship, Mount Salem saving some of the most powerful riffs until the end to really close out the album in crushing style.
I can’t emphasise enough how wonderful the vocals are on this album. Ranging from devilish snarl to bluesy, soulful cries, it certainly helps set the album apart from your regular doom record. The guitar work is also varied throughout. Obvious influences such as Black Sabbath and Saint Vitus underpin the sound, but the skill with which the band execute their formula is excellent. This album is certainly going to be one of my highlights of the year.

WWF: We Gotta Wrestle! (Hits of The World Wrestling Federation) (1997)

Country: U.S.A
Genre: Theme Music
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 1997 Concrete Records
*No professional reviews available for this release.

tags: wwf, we gotta wrestle, hits of the world wrestling federation, 1997, flac,

Motörhead - March ör Die (1992)

Country: United Kingdom
Genre: Heavy Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)

© 1992 WTG/Epic Records
AllMusic Review by Eduardo Rivadavia
This is where everything almost went horribly wrong. Encouraged by a new distribution deal through Epic Records and his recent collaboration with old friend Ozzy Osbourne on his wildly successful No More Tears album, Motörhead's Lemmy set out to pursue commercial success like never before and, as a result, almost managed to toss their impeccable legacy in the dumpster. Sure, Motörhead (arguably the most important underground band in rock history) had flirted with accessibility before, but with 1992's March ör Die, the English legends shed much of their unbridled power and skull-crushing distortion in order to break down the radio barrier once and for all. Needless to say, it didn't work in attracting new fans, and lukewarm material like "Hellraiser" (in a different version than on No More Tears), the piano- and acoustic guitar-laced "I Ain't No Nice Guy" (a duet with the Ozzman featuring Slash), and a straightforward cover of Ted Nugent's "Cat Scratch Fever" (it just sounds wrong -- maybe if they'd tripled the beat or something) had longtime fans gritting their teeth in frustration. Elsewhere, tracks like "Stand," "Bad Religion," and "Too Good to Be True" found Lemmy making a serious effort to transform his trademark croak into actual singing, and only a few numbers ("Name in Vain," the title track) bear any vague resemblance to the Motörhead of old. At the end of the day, simply attacking the band's motives may seem rather harsh (and is certainly subject to opinion), but there is no denying that March ör Die ranks among Motörhead's least-celebrated offerings; nor can one ignore Lemmy's swift about-face toward more extreme fare on 1993's excellent Bastards.

tags: motorhead, motörhead, march or die,

Rage Against The Machine - The Battle of Los Angeles (1999)

Country: U.S.A
Genre: Rapcore
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 1999 Epic Records
AllMusic Review by John Bush
Rage Against the Machine isn't really the only metal band that matters, but their aggressive social and political activism is refreshing, especially in an age of blind (or usually self-directed) rage due to groups like Limp Bizkit, Bush, or Nine Inch Nails. Recorded in less than a month, The Battle of Los Angeles is the most focused album of the band's career, exploding from the gate and rarely letting go the whole way through. Like a few other famous revolution-in-the-head bands (most notably Minor Threat), Rage Against the Machine has always been blessed by the fact that the band is spewing just as much vitriol as its frontman. Any potential problems created here by Zack de la Rocha's one-note delivery and extremist polemics are smoothed over by songs and grooves that make it sound like the revolution really is here, from the single "Guerrilla Radio" to album highlights like "Mic Check," "Calm Like a Bomb," and "Born of a Broken Man." As on the previous two Rage Against the Machine albums, Tom Morello's roster of guitar effects and vicious riffs are nigh overpowering, and are as contagious as the band has ever been since their debut. De la Rocha is best when he has specific targets (like the government or the case against Mumia Abu Jamal), but when he attempts to cover more general societal problems, he falters. If anything less than one of the most talented and fiery bands in the music world were backing him, The Battle of Los Angeles wouldn't be nearly as high-rated as it is.

tags: rage against the machine, the battle for los angeles, 1999, flac,

January 26, 2017

Rage Against The Machine - Renegades (2000)

Country: U.S.A
Genre: Rapcore
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)

© 2000 Epic Records
AllMusic Review by John Bush
Rush released after the late-2000 split between Zack de la Rocha and the rest of Rage Against the Machine, the covers album Renegades salutes the band's musical and philosophical roots, ranging from the old-school Bronx to the hard-rockin' Motor City to protest-central Greenwich Village to gangsta-ridden L.A. As could be expected, the set works best when the group focuses on material from its most recent forebears: rappers and hardcore bands. Indeed, Renegades begins with a pair of powerful hip-hop covers -- Eric B & Rakim's "Microphone Fiend" and Volume 10's "Pistol Grip Pump" -- that spotlight Rage's immense strengths: Tom Morello's clean, heavy riffing and vocalist de la Rocha's finely tuned spray of vitriol, just this side of self-righteous. Another hip-hop blast (and the one closest to home), Cypress Hill's "How I Could Just Kill a Man," is even more devastating, an easy pick for the highlight of the album. Listeners familiar with the originals, however, may have trouble with Rage's covers of EPMD's "I'm Housin'," the Stones' "Street Fighting Man," and Dylan's "Maggie's Farm," a trio of original versions whose anger and emotion were conveyed more in the lyrics than the performances. Still, drummer Brad Wilk sets an appropriately frenetic hardcore tempo for the excellent version of Minor Threat's "In My Eyes," and de la Rocha stretches out well on the MC5's "Kick Out the Jams." With just a bare few excepions, Renegades works well, in part because Rage Against the Machine is both smart enough to change very little and talented enough to make the songs its own.

tags: rage against the machine, renegades, 2000, flac,

Rage Against The Machine - Rage Against The Machine (1992)

Country: U.S.A
Genre: Rapcore
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 1992 Epic Records
AllMusic Review by Eduardo Rivadavia
Probably the first album to successfully merge the seemingly disparate sounds of rap and heavy metal, Rage Against the Machine's self-titled debut was groundbreaking enough when released in 1992, but many would argue that it has yet to be surpassed in terms of influence and sheer brilliance -- though countless bands have certainly tried. This is probably because the uniquely combustible creative relationship between guitar wizard Tom Morello and literate rebel vocalist Zack de la Rocha could only burn this bright, this once. While the former's roots in '80s heavy metal shredding gave rise to an inimitable array of six-string acrobatics and rhythmic special effects (few of which anyone else has managed to replicate), the latter delivered meaningful rhymes with an emotionally charged conviction that suburban white boys of the ensuing nu-metal generation could never hope to touch. As a result, syncopated slabs of hard rock insurrection like "Bombtrack," "Take the Power Back," and "Know Your Enemy" were as instantly unforgettable as they were astonishing. Yet even they paled in comparison to veritable clinics in the art of slowly mounting tension such as "Settle for Nothing," "Bullet in the Head," and the particularly venomous "Wake Up" (where Morello revises Led Zeppelin's "Kashmir" riff for his own needs) -- all of which finally exploded with awesome power and fury. And even listeners who were unable (or unwilling) to fully process the band's unique clash of muscle and intellect were catered to, as RATM were able to convey their messages through stubborn repetition via the fundamental challenge of "Freedom" and their signature track, "Killing in the Name," which would become a rallying cry of disenfranchisement, thanks to its relentlessly rebellious mantra of "Fuck you, I won't do what you tell me!" Ultimately, if there's any disappointment to be had with this near-perfect album, it's that it still towers above subsequent efforts as the unequivocal climax of Rage Against the Machine's vision. As such, it remains absolutely essential.

tags: rage against the machine, rage against the machine album, 1992, flac,

Rage Against The Machine - Evil Empire (1996)

Country: U.S.A
Genre: Rapcore
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 1996 Epic Records
AllMusic Review by Stephen Thomas Erlewine
Rage Against the Machine spent four years making their second album, Evil Empire. As the title suggests, their rage and contempt for the "fascist" capitalist system in America hadn't declined in the nearly half-decade they were away. Their musical approach didn't change, either. Lead vocalist Zack de la Rocha is caught halfway between the militant raps of Chuck D and the fanatical ravings of a street preacher, shouting out his simplistic, libertarian slogans over the sonically dense assault of the band. Since the band didn't perform together much after 1993, there isn't a collective advance in their musicianship. Nevertheless, guitarist Tom Morello demonstrates an impressive palette of sound, creating new textures in heavy metal, which is quite difficult. Even with Morello's studied virtuosity, the band sounds leaden, lacking the dexterity to fully execute their metal/hip-hop fusion -- they don't get into a groove; they simply pound. But that happens to fit the hysterical ravings of de la Rocha. Though his dedication to decidedly left-wing politics is admirable, his arhythmic phrasing and grating shouting cancel out any message he is trying to make. And that means Evil Empire succeeds only on the level of a sonic assault.

tags: rage against the machine, evil empire, 1996, flac,

Accept - Staying a Life (1990)

*U.S. pressing
Contains 15 tracks total.
Country: Germany
Language: English
Genre: Heavy Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)

© 1990 Epic Records
AllMusic Review by Greg Prato
Shortly after Accept's inaugural split in 1990, Epic dusted off some live tapes and issued the group's first live full-length, Staying a Life. Although not the group's first-ever live release (it was predated five years earlier by the EP Kaizoku-Ban), Staying a Life does a faithful job of capturing Accept at the peak of their arena metal powers, circa their Metal Heart era. The proof why the German band was handed opening slots on quite a few popular mid-'80s tours (Kiss, Iron Maiden, etc.) is evident throughout -- rocking versions of "Metal Heart," "Screaming for a Love Bite," "Restless and Wild," and "London Leatherboys" surely got a few mullets headbanging on this fateful night. And of course, Accept's two best-known tracks -- "Fast as a Shark" and "Balls to the Wall" -- are included, as they close out the set. They may never have reached arena headlining status Stateside, but Staying a Life proves that Accept was on equal footing with just about any metal chart-topper from around this time -- especially when it came to the concert stage.

tags: accept, staying a life, 1990, flac,

January 25, 2017

Sugar Ray - Lemonade & Brownies (1995)

Country: U.S.A
Genre: Alternative Rock, Nü-Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 1995 Atlantic Records
AllMusic Review by Stephen Thomas Erlewine
Sugar Ray's major-label debut is a competent set of alternative funk/metal, though nothing on Lemonade & Brownies is particularly distinctive.

tags: sugar ray, lemonade and brownies, 1995, flac,

Metallica - Ride The Lightning (1984) ☠

Country: U.S.A
Genre: Thrash Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)
☠: Selected by Buccaneer
© 1984 Elektra/Asylum Records
AllMusic Review by Steve Huey
Kill 'Em All may have revitalized heavy metal's underground, but Ride the Lightning was even more stunning, exhibiting staggering musical growth and boldly charting new directions that would affect heavy metal for years to come. Incredibly ambitious for a one-year-later sophomore effort, Ride the Lightning finds Metallica aggressively expanding their compositional technique and range of expression. Every track tries something new, and every musical experiment succeeds mightily. The lyrics push into new territory as well -- more personal, more socially conscious, less metal posturing. But the true heart of Ride the Lightning lies in its rich musical imagination. There are extended, progressive epics; tight, concise groove-rockers; thrashers that blow anything on Kill 'Em All out of the water, both in their urgency and the barest hints of melody that have been added to the choruses. Some innovations are flourishes that add important bits of color, like the lilting, pseudo-classical intro to the furious "Fight Fire with Fire," or the harmonized leads that pop up on several tracks. Others are major reinventions of Metallica's sound, like the nine-minute, album-closing instrumental "The Call of Ktulu," or the haunting suicide lament "Fade to Black." The latter is an all-time metal classic; it begins as an acoustic-driven, minor-key ballad, then gets slashed open by electric guitars playing a wordless chorus, and ends in a wrenching guitar solo over a thrashy yet lyrical rhythm figure. Basically, in a nutshell, Metallica sounded like they could do anything. Heavy metal hadn't seen this kind of ambition since Judas Priest's late-'70s classics, and Ride the Lightning effectively rewrote the rule book for a generation of thrashers. If Kill 'Em All was the manifesto, Ride the Lightning was the revolution itself.

tags: metallica, ride the lighting, 1984, flac,

Metallica - Metallica (1991)

*Also known as "The Black Album"
Country: U.S.A
Genre: Heavy Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)

© 1991 Elektra Records
AllMusic Review by Steve Huey
After the muddled production and ultracomplicated song structures of ...And Justice for All, Metallica decided that they had taken the progressive elements of their music as far as they could and that a simplification and streamlining of their sound was in order. While the assessment made sense from a musical standpoint, it also presented an opportunity to commercialize their music, and Metallica accomplishes both goals. The best songs are more melodic and immediate, the crushing, stripped-down grooves of "Enter Sandman," "Sad but True," and "Wherever I May Roam" sticking to traditional structures and using the same main riffs throughout; the crisp, professional production by Bob Rock adds to their accessibility. "The Unforgiven" and "Nothing Else Matters" avoid the slash-and-burn guitar riffs that had always punctuated the band's ballads; the latter is a full-fledged love song complete with string section, which works much better than might be imagined. The song- and riff-writing slips here and there, a rare occurrence for Metallica, which some longtime fans interpreted as filler next to a batch of singles calculated for commercial success. The objections were often more to the idea that Metallica was doing anything explicitly commercial, but millions more disagreed. In fact, the band's popularity exploded so much that most of their back catalog found mainstream acceptance in its own right, while other progressively inclined speed metal bands copied the move toward simplification. In retrospect, Metallica is a good, but not quite great, album, one whose best moments deservedly captured the heavy metal crown, but whose approach also foreshadowed a creative decline.

tags: metallica, the black album, metallica album, 1991, flac,

Madonna - Music (2000)

Country: U.S.A
Genre: Pop
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)

© 2000 Maverick, Warner Bros. Records
AllMusic Review by Stephen Thomas Erlewine
Filled with vocoders, stylish neo-electro beats, dalliances with trip-hop, and, occasionally, eerie synthesized atmospherics, Music blows by in a kaleidoscopic rush of color, technique, style, and substance. It has so many layers that it's easily as self-aware and earnest as Ray of Light, where her studiousness complemented a record heavy on spirituality and reflection. Here, she mines that territory occasionally, especially as the record winds toward its conclusion, but she applies her new tricks toward celebrations of music itself. That's not only true of the full-throttle dance numbers but also for ballads like "I Deserve It" and "Nobody's Perfect," where the sentiments are couched in electronic effects and lolling, rolling beats. Ultimately, that results in the least introspective or revealing record Madonna has made since Like a Prayer, yet that doesn't mean she doesn't invest herself in the record. Working with a stable of producers, she has created an album that is her most explicitly musical and restlessly creative since, well, Like a Prayer. She may have sacrificed some cohesion for that willful creativity but it's hard to begrudge her that, since so much of the album works. If, apart from the haunting closer "Gone," the Orbit collaborations fail to equal Ray of Light or "Beautiful Stranger," they're still sleekly admirable, and they're offset by the terrific Guy Sigsworth/Mark "Spike" Stent midtempo cut "What It Feels Like for a Girl" and Madonna's thriving partnership with Mirwais. This team is responsible for the heart of the record, with such stunners as the intricate, sensual, folk-psych "Don't Tell Me," the eerily seductive "Paradise (Not for Me)," and the thumping title track, which sounds funkier, denser, sexier with each spin. Whenever she works with Mirwais, Music truly comes alive with the spark and style.

tags: madonna, music, 2000, flac,

January 24, 2017

112 - Part III (2001) ☠

Country: U.S.A.
Genre: R&B
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)

© 2001 Bad Boy Entertainment
AllMusic Review by Jose F. Promis
112 have proven themselves as one of the most successful and enduring acts to emerge from the 1990s urban music explosion, and continue to prove their longevity on their third set, Part III. Their second album, Room 112, despite the hits "Love Me" and "Anywhere," failed to hint at any artistic progress for the group, but the third effort is a different story. A lot of the sappy ballads that impaired their previous outings are abandoned in favor of edgier, techno-flavored jams, resulting in a more modern and forward-sounding effort. The album's first single, "It's Over Now," is an aching slice of melodrama that proved to be the group's biggest hit to date, and one of the best singles of the year. Other cuts on the album pick up where that one left off, utilizing cutting beats and electronic sounds, such as the album's dance-flavored opener "Dance With Me," the second single "Peaches & Cream," and "All I Want Is You," which is augmented with rock guitars to fine effect. And as always, the group's vocals are nothing short of stellar. Despite some clichéd lyrics (case in point -- "Don't Hate Me") and sagging ballads toward the middle of the album (although the ballad "Missing You" is a well-crafted slice of true soul), this set is definitely a step in the right direction for a hard-working group one can happily classify as having evolved.

tags: 112, part 3, iii, 2001, flac,

Madonna - Like a Prayer (1989)

Country: U.S.A
Genre: Pop
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)

© 1989 Sire Records
AllMusic Review by Stephen Thomas Erlewine
Out of all of Madonna's albums, Like a Prayer is her most explicit attempt at a major artistic statement. Even though it is apparent that she is trying to make a "serious" album, the kaleidoscopic variety of pop styles on Like a Prayer is quite dazzling. Ranging from the deep funk of "Express Yourself" and "Keep It Together" to the haunting "Oh Father" and "Like a Prayer," Madonna displays a commanding sense of songcraft, making this her best and most consistent album.

tags: madonna, like a prayer, 1989, flac,

January 23, 2017

Slayer - Diabolus In Musica (1998)

Country: U.S.A
Genre: Thrash Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 1998 American Recordings
AllMusic Review by Steve Huey
By 1998, it seems that Slayer has fully explored the possible variations on their signature style; they've had all the influence and impact they're going to, which means that in order to keep their fans' reverence and critics' respect, it's much more advisable for new Slayer material to offer competent retrenchments rather than experimentation with current trends. And they do indeed follow the former approach on Diabolus in Musica (Latin for "the devil in music"), an album that will certainly please fans while offering little that hasn't been heard before. If Divine Intervention tried (perhaps too hard) to re-create the full-on rush of the classic Reign in Blood, then Diabolus in Musica employs more of the in-between feel of Seasons in the Abyss, albeit with a thicker-sounding production and slightly more emphasis on texture than the formerly almighty riff. It may lack some of the spark and vitality of their 1980s recordings, but it's nothing to be ashamed of either. Even if their liner art keeps getting more and more graphic, the music is still the same old Slayer, and that's pretty much what sellout-wary diehards want to hear.

Megadeth - Endgame (2009) ☠

Country: U.S.A
Genre: Heavy Metal, Thrash Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)

☠: Selected by Buccaneer
© 2009 Roadrunner Records
AllMusic Review by Eduardo Rivadavia
The release of 2009's Endgame brings with it a startling realization: if first-generation thrash metal fans had been polled about which of the genre's "Big Four" -- Metallica, Slayer, Anthrax, and Megadeth -- would prove to be the most resilient and consistently prolific over the next quarter century, the only sure-fire consensus would probably have been "well, anyone but Megadeth!" And yet, 12 studio albums and 150-plus songs later -- more than any of the other three have managed -- that's exactly what's come to pass. It hasn't been easy, and it's rarely been pretty along the way, but despite a few weak efforts, mostly self-inflicted controversy, and no end to verbal diarrhea, none of those other platinum-busting thrash titans have been as productive as Dave Mustaine's bunch -- all of which stands as a testament to the man's stubborn drive to prolong Megadeth's career against all odds, including drug abuse, his unfulfilled vengeance against Metallica, and even a religious reawakening! Of course, one shouldn't overlook the fact that Megadeth have always been a band in name only, thus allowing their leader to cope with voices of dissent by simply showing them the door. The "group" was also broken up for a short spell in the early 2000s while Mustaine recovered from nerve damage to his hands, after which he struggled with inspiration, creative direction, and a never-ending parade of henchmen before finally recovering much of that old Megadeth "mojo" (sonically, lyrically, and even where the cover art was concerned) on 2007's effective return to form, United Abominations. Best of all, this momentum carries on into Mustaine and company's second release for Roadrunner, Endgame, whose title apparently refers to "coming full circle" rather than any sort of goodbye, and finds the latest iteration of Megadeth -- debuting new guitarist Chris Broderick(ex-Nevermore, Jag Panzer) -- working primarily within their technical thrash comfort zone (think Peace Sells through Rust in Peace), with only a few latter-day elements and rare experimental diversions.
As such, deceptively simple guitar-shredding master classes like "This Day We Fight!," "1,320" (surprisingly, written about "funny car" racing), and first single "Headcrusher" are cut from the same bloody cloth as "Wake Up Dead" and "Set the World Afire," while politicized rants such as "44 Minutes," "Bite the Hand That Feeds," and the title cut recall old stalwarts like "Peace Sells" and "Holy Wars." And for those who enjoyed Megadeth's early-'90s shift away from incessant thrashing toward the more "civilized" (but pre-sellout) Countdown to Extinction and Youthanasia albums, there are more methodical and melodically sweetened cuts like "Bodies Left Behind," "How the Story Ends," and "The Right to Go Insane." Indeed, the only song here that breaks entirely from vintage Megadeth templates is the elaborately named "The Hardest Part of Letting Go...Sealed with a Kiss," which surely owes its orchestrated string backdrops to the European metal perspective afforded by producer Andy Sneap, and tells a "love story" about entombing one's beloved behind a brick wall à la Edgar Allan Poe's The Cask of Amontillado. This one anomaly notwithstanding, however, Endgame is arguably the least commercially concerned Megadeth album since Rust in Peace some 20 years earlier, and by touching on so many of the favored songwriting styles of those early years, it should not only give their typically opinionated fan base very little to kvetch and moan about, but also throw new fuel upon the flames of Megadeth's unlikely longevity.

tags: megadeth, endgame, 2009, flac,

January 22, 2017

AC/DC - Rock or Bust (2014)

Country: Australia
Genre: Hard Rock
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 2014 Columbia Records
AllMusic Review by Stephen Thomas Erlewine
Economy counts for a lot on an AC/DC record. As meaty as they are, they sound best when they're lean -- when there's not much fat on the bone, when they choose not to indulge in a fourth chord. Rock or Bust, the group's 15th studio album, benefits from a modest sense of scale. It's just 11 songs, the fewest number of cuts since 1995's Rick Rubin-produced Ballbreaker, but a better way to view it is that it's not even 35 minutes long, making it the shortest album AC/DC have ever released. Maybe that's a reflection of the album's difficult birth. During recording, the band revealed that founding guitarist Malcolm Young was suffering from dementia, leaving his brother Angus in full charge of the band. Angus and producer Brendan O'Brien, who helmed the group's 2008 predecessor, Black Ice, enlisted the Young brothers' nephew Stevie to fill out some parts and the band whipped the record into shape in short order (admittedly with not much help from drummer Phil Rudd, who was tardy in the studio and effectively left the band in a cloud of criminal allegations prior to the album's release). Malcolm may have been missing but his presence is felt. Angus completed the songs from old riff tapes he and his brother demoed, so Rock or Bust doesn't feel markedly different than any other AC/DC album. If anything, it's oddly light on its feet, with "Got Some Rock & Roll Thunder" and "Hard Times" containing some swing and air in their rhythms and "Sweet Candy" feeling like part of a line of nasty bubblegum rock that stretches back to the early days of Harry Vanda and George Young. This being an AC/DC album, Rock or Bust isn't perfect -- the biggest stumble is the heavy dirge of "Dogs of War," which may or may not be a protest song -- but the entire thing moves, never wasting time on extraneous licks, and this no-nonsense approach means the songs stick in a way they never did on Black Ice. If Rock or Bust does indeed wind up as the final AC/DC record -- they did indeed weather many setbacks during its creation -- it will stand as a suitable career-capper. It may be no different than what came before, but Rock or Bust is by many measures stronger than most latter-day AC/DC albums, serving as a testament to why their good-humored raunch and industrial-strength riffs made them a rock & roll institution.

tags: acdc, ac/dc, rock or bust, 2014, flac,

Slayer - God Hates Us All (2001)

Country: U.S.A
Genre: Thrash Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 2001 American Recordings
AllMusic Review by Jason Birchmeier
Incredibly brutal, God Hates Us All is Slayer's most effective album since Seasons in the Abyss (1990), thanks in large part to Matt Hyde's raw production and a handful of killer songs. The previous few Slayer albums -- Divine Intervention (1994), Undisputed Attitude (1996), and Diabolus in Musica (1998) -- were relatively disappointing, at least for anyone familiar with the band's defining triptych of Reign in Blood (1986), South of Heaven (1988), and Seasons in the Abyss (1990). While God Hates Us All isn't on a par with those classics, without much argument one could call it a return to form for Slayer. A couple "War Ensemble"-style thrashers, "Disciple" and "New Faith," get the album off to vicious start; "Payback" concludes the album likewise. On the other hand, "Bloodline" is a slower-paced, evocative song in the style of "Reign in Blood" and "South of Heaven," including a melodic chorus. These are the highlights of God Hates Us All, and while there are some passable songs sequenced throughout the 13-track album, it's solid and well-balanced overall. Especially since it arrived after a long absence, God Hates Us All should be a relief for long-time Slayer fans who were afraid the band had fallen off during the '90s, and it well may surprise newcomers unfamiliar with the band's prime recordings from the mid- to late '80s.

Slayer - Undisputed Attitude (1996)

Country: U.S.A
Genre: Thrash Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 1996 American Recordings
AllMusic Review by Thom Jurek
Slayer's Undisputed Attitude feels more like a stopgap than an actual Slayer record. Rather than another set of blasting, disturbing originals like 1994's Divine Intervention or 1995's Serenity in Murder EP, this album is a collection of covers. Containing 14 tracks, the band covers everyone from Minor Threat to T.S.O.L., from D.I. to Iggy Pop. Given Slayer's Huntington Beach, CA, homeland, the hardcore roots are plain enough. But HB is also a big metal town, and these cats as youngsters were exposed to everything from Motörhead to Black Sabbath and the early L.A. metal scene. True to their course, however, they've never sounded like anyone but themselves. Even on a collection of covers (with a pair of originals thrown in to boot), the Slayer imprint is unmistakable, and while taking a breather from fresh ideas on their own projects, this disc sounds like the bandmembers were having a blast if not exactly breaking new ground. All but two of these cuts are less than three minutes long, with a number of them come in under two -- in keeping with true hardcore fashion. Even on the completely over-the-rail covers of Minor Threat's "Filler/I Don't Want To Hear It" and "Guilty of Being White," the guitar breaks are unmistakably their own. Paul Bostaph's thin drumming (as opposed to founding drummer Dave Lombardo's) is actually more suited to this material. The cover of the Stooges' "I Wanna Be Your Dog" contains the title "I'm Gonna Be Your God" -- it wouldn't do for Slayer to be thought of in any way submissive, would it? (Although none would have cared but them, which tells you where they're coming from.) The band basically improves upon D.I.'s "Spiritual Law," and the long reach into Minor Threat's catalog -- four tracks done in a pair of medleys -- offers a few more examples of where Slayer come from. They are extremely heavy and extremely brief cuts, but pack a wallop. For those looking toward Slayer's more direct roots, there are a pair of early experiments from a project Jeff Hanneman was in, "I Can't Stand You" and "Ddamn," and a Slayer newbie called "Gemini," clocking in just under five minutes and offering a glimpse into the future of sludge and doom metal before it twists and turns on a dime and becomes a more typically trademarked Slayer number. Undisputed Attitude is a curiosity; it's far from an essential collection by Slayer. The true faithful will want this and most likely really get off on it. For those who admire what the band had accomplished musically to this point, it feels like a bit of a letdown, really.

tags: slayer, undisputed attitude, 1996, flac,

January 21, 2017

Slayer - Divine Intervention (Limited Edition) (1994)

*The limited edition was released in a slipcase. 
The track list remains the same. 10 tracks total.

Country: U.S.A
Genre: Thrash Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 1994 American Recordings
AllMusic Review by Alex Henderson
The rock & roll landscape changed dramatically between Seasons in the Abyss in 1990 and Divine Intervention in 1994. With the rise of alternative rock, many metal and hard rock bands that had been enormously successful at the dawn of the '90s were struggling by the middle of the decade. Instead of doing something calculated like emulating Nirvana or Pearl Jam -- or for that matter, Nine Inch Nails or Ministry -- Slayer wisely refused to sound like anyone but Slayer. Tom Araya and co. responded to the new environment simply by striving to be the heaviest metal band they possibly could. Less accessible than Seasons but equally riveting, Divine Intervention marked drummer Paul Bostaph's studio debut with the band. Bostaph proved to be a positive, energizing influence on Slayer, which sounds better than ever on such dark triumphs as "Killing Fields," "Serenity in Murder," and "Circle of Beliefs." Characteristically grim and morbid, Slayer focus on the violently repressive nature of governments and the lengths to which they will go to wield power. And true to form, Slayer's music is as disturbing as their lyrics.

tags: slayer, divine intervention, 1984, flac,

January 19, 2017

HIM - Razorblade Romance (Limited Edition) (1999)

*Contains 2 bonus tracks.
Country: Finland
Language: English
Genre: Gothic Rock
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 1999 BMG Finland, RCA, GUN, Supersonic
AllMusic Review by Antti J. Ravelin
Even though H.I.M.'s main goal seems to be gaining attention from a female audience, Greatest Lovesongs sure was artistically a success. The contrast between Razorblade Romance and the debut, however, is quite large. Melancholy and angst seem a little artificial, while Greatest Lovesongs had a truly pressuring atmosphere all the time. Razorblade Romance forgets all about that, and the whole concept of gothic rock and so-called love metal repeats itself many times during the album. But the songs themselves are actually very good; when ignoring the implementation, hit songs like "Join Me in Death" and "Right Here in My Arms" work really nicely. And horrendous clichés in lyrics and playing don't really matter, because H.I.M. recycles them well. The slightly over-produced sound may distract for a while, but after all, the song material is of a kind that is hard to fit into a demanding format. Anyhow, the songs as a whole are organized well, and it's easy to listen the album the whole way through.

tags: him, h.i.m.,razorblade romance, limited edition, 1999, flac,

Crazy Town - The Brimstone Sluggers (2015)

Country: U.S.A
Genre: Electronic, Hip-Hop
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 2015 Membran
AllMusic Review by James Christopher Monger
The first collection of new music from the rap-rock/nu-metal crew in over a decade, The Brimstone Sluggers finds Crazy Town returning to their roots and dialing back the guitars in favor of a more alternative hip-hop approach. The years between 2015's The Brimstone Sluggers (the title is a nod to the group's original moniker) and 2002's Darkhorse haven't exactly been kind to the band, with their 2003 breakup and the death of DJ AM (2009), along with co-founder Seth "Shifty Shellshock" Binzer's well-documented battles with substance abuse, contributing to their shrinking musical footprint. At the very least, the 13-track LP stays true to the band's penchant for doling out brash, trope-heavy party-rap with hooks and Auto-Tune galore, and there's an expected yet refreshing current of self-reflection that permeates much of the album (something that could never have happened in 1999), especially on standout cuts like "A Little More Time," "Backpack," and "Born to Raise Hell." However, 13 years is a long time, and the genre which the band helped spawn has hardly aged into favor. There's a bit more grit, and a tad more grime, but The Brimstone Sluggers is mostly a nostalgia trip with little to entice new listeners.

January 14, 2017

Sting - If On a Winter's Night... (2009)

Country: United Kingdom
Genre: Pop Rock, Classical
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)


© 2009 Deutsche Grammophon
AllMusic Review by Stephen Thomas Erlewine
It's no secret that Sting is a serious man, so it's only logical that his holiday album -- his first new music since the Police reunion, not that it really matters -- is a serious endeavor, thank you. No niceties for him, no comforts of carols; he favors formal over familiar, writing madrigals, not ditties. It is music made by someone who lives in a castle, which isn't necessarily such a bad thing: the austerity is genuine, not affected, and the cerebral nature of the album is fascinating, albeit mildly so, as this is as sleepy as it is thoughtful. And it's that thoughtfulness that does distinguish If on a Winter's Night...; no other Christmas album exists in the head like this. It's a holiday album for people who have never wanted to hear a holiday album, let alone own one.

tags: sting, if on a winters night, 2009, flac,