Mandy Moore - So Real (1999)

Country: U.S.A
Genre: Pop

Label Number: BK 69917

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© 1999 Epic Records
AllMusic Review by William Ruhlmann

Fifteen-year-old Mandy Moore's debut album sounded like it was inspired almost entirely by listening to recent hit albums by 'N Sync, the Backstreet Boys, and Britney Spears. Tracks like "So Real" and "Let Me Be the One" clearly echoed "Backstreet's Back," and Moore's occasional growls were straight out of "...Baby One More Time." But the singer seemed to have aimed at a slightly younger demographic: Her initial single, "Candy," pointedly described love in terms of sugar treats, as if she weren't sure whether she wanted to be at lovers' lane or a snack bar. Naturally, all of the songs adhered to the second-person form of address, in which the singer was continually exhorting "you" and "boy" to do something of a romantic nature ("Walk Me Home," "Lock Me in Your Heart," "Quit Breaking My Heart," "Let Me Be the One"). But things always remained chaste, whether she was declaring, "My innocence won't be denied" in "So Real" or suggesting the "uncharted territory we'll discover" before quickly adding, "You'll always be my dream lover," in "Lock Me in Your Heart." Meanwhile, of course, the downbeats, as high in the mix as those of any disco track, slavishly propelled the songs to mid-tempo rhythms. Moore can carry a tune, but with no particular distinction, and since the songs were generic expressions of the type, the real questions seemed to be, could she dance, would her videos be good, and how would she be marketed? As So Real was being released, "Candy" was moving up the charts purely on sales points, since radio had become resistant to adding more teen queens, while MTV had yet to bite. All of that had more to do with whether Mandy Moore would succeed than did the music, which was mediocre, but typical.

tags: mandy moore, so real, 1999, flac,

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Electric Citizen - Higher Time (2016)

*This is a digital store album purchased from Bandcamp. 

Contains 10 tracks total

Country: U.S.A
Genre: Doom Metal

Label Number: None
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© 2016 RidingEasy Records
Review by MetalInjection.net
I was first really introduced to Electric Citizen back in November when I saw them opening for Pentagram on two consecutive nights at Saint Vitus Bar. I remember being immediately struck by the power of this band, from Laura Dolan's stunning vocals to the driving power of her husband Ross's riffs. Electric Citizen fully  understand the power of rock and roll and have been able to craft a sound that perfectly reflects their own individual talents. Tapping into occult, almost Coven-esque vibes, as well as invoking the burning rock and roll energy of a band like Blue Cheer, the good folks in Electric Citizen have put out a top notch psych rock record with Higher Time. One of my most hotly anticipated albums of the year, it represents a significant step forward for one of heavy rock's best bands. Diving right in with the twisted madness of "Evil" and then going from one riff-filled masterpiece to the next, Electric Citizen go well beyond anything that they accomplished with 2014's Sateen. The band is coming into their own, and they know it; after all, Higher Time is full of that pure raucous energy and swagger that has always made this kind of music the best in the world.
I think the thing that really affirms this record's greatness in my mind is the beauty of the arrangements. The screaming guitars and the stunning delivery of Ms. Dolan on a song like "Social Phobia" serves as evidence to all that Electric Citizen can accomplish. That being said, I feel like the band keeps hinting that they could do something that goes far beyond even this. Certain tracks on the record start to hint at the incredible potential that Electric Citizen have. Furthermore, some of the ideas don't feel fully fleshed out, and while this often leads to more concise songs (which is almost always a plus in my book) I feel like the band could be doing so much more. In other words, I know how well this band can deliver, and I am never going to be satisfied until they take the crown for their own and stomp all over the opposition. Of course, if a band can instill this kind of faith and passion in some asshole reviewer like me, well, that kind of suggests that they must be doing something right… right?
Unlike so many of their peers, Electric Citizen play their butts off on Higher Time, and they do their best to rip you a new one with every crashing anthem on this record. This is an album that dives forward courageously, encouraging you to embrace all the magic within and lose yourself in the purity of sound and inherent drama that a band like Electric Citizen so smoothly conjure up to their collective advantage. Higher Time is some top notch shit, it has all the marijuana-infused magic of the 60s, but hints at more modern elements, and tells us that there is a lot more to come from these Cincinnati rockers. If you're not on board the bandwagon now, you had better get on, because from here on out Electric Citizen are only going to get better.

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Wall of Sleep - When Mountains Roar (2010)

Country: Hungary
Language: English
Genre: Doom Metal

Label Number: PSY 054
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© 2010 psycheDOOMelic Records
Review by Mark Hunt-Bryden for TheSleepingShaman.com
Doom music and a name like Wall Of Sleep… you are thinking Ozzy era Sabbath, those sludgey, crawling guitar sounds that Iommi wrenched from his wailing guitar on the first six albums right? Well actually you’re wrong. Not in that WOS don’t appear to take their influences from the mighty godfathers of metal but because they sound closer to the driving sounds of the Dio and Seventh Star eras than they do to, er Wall Of Sleep. Strange, but then again I have to admit I am massively late to the party on this one, having never heard of them before as the band Wall Of Sleep have been around since 2002 and ‘When Mountains’ Roar’ is their fourth album in that time. Hailing from Hungary they marry traditional doom sounds with a more classic rock blues sound and scored rave critical reviews with the ‘Overlook The All’ EP in 2003, the (apparently) awesome ‘Slow, But Not Dead’ in 2004 and their best album ‘Sun Faced Apostles’ in 2005 before the wheels seemed to come off with 2007’s ‘…And Hell Followed With Him’ where reviews would suggest the band found themselves creatively out of gas. Now back with new vocalist Csaba Cselényi they are attempting to bring in more variety in the vocal department and complement the Sabbath inspired midterm songs. With the album clocking in at 40 minutes this is quite a manageable listen for a doom album and just as it says on the tin, this is Traditional doom metal with very strong Black Sabbath hints. There is a heady mix of bluesy atmosphere and solid thick sounding traditional doom metal, so any fan of the early material should check out this new record as it is regarded as something of a return to form. Personally I struggled to like this album despite all the signals from the press release; for me it didn’t have the charm of some of the other releases I have listened to from Psychedoomelic or the genre. There are some incredible riffs on display here which shows that WOS have the chops to deliver everything they promise, for example the intro to ‘Hungry Spirit’ is a great strong album opener and lives up to the comparisons to Dio era Sabbath. Until the vocals kick in…. It seems a little harsh to single out a band member, but it is here the comparisons end as unfortunately, whilst not being terrible, Cselényi doesn’t quite seem to fit in with what the music is doing. Sometimes he is abrasive when he should have been more melodic and at others he just seems out of place with some of the lyrics coming off as cheesy or chest beating, with many moments more in common with Manowar than ‘Masters Of Reality’. I must stress this is just a personal preference, at times the album has infectious grooves and a stomp that recalls classic rock bands like Thin Lizzy added to the myriad of usual suspects that make up stoner and doom influences – The Obsessed, Cathedral, Down, Trouble… take your pick. When they get the delivery right some of the tunes on ‘When The Mountains Roar’ like ‘Raven Avenue’ make all the reservations and criticisms vanish and you can just sit back and marvel at a band producing great passages of music. However it simply doesn’t happen often enough, the musical and vocal inconsistencies prove to be enough of a distraction to take any shine off this release which is a bit of a shame really as it promised to deliver so much. I’m sure this album will see them take strides back to the acclaim they won earlier in their career and I must stress that I far from hated ‘When Mountains Roar’, it just seemed for every great moment there was an equal and opposing one which let them down…

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Brimstone Coven - Black Magic (2016)⚓

Country: U.S.A.
Genre: Doom Metal
Style: Traditional Doom

Label Number: 3984-15427-2

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© 2016 Metal Blade Records
Review by Metalholic.com
Each year the metal scene gets off to a slow start with new releases, but the final week of January 2016 is a mother lode of heavy gems. Included in the metal deluge is West Virginia  traditionalists, Brimstone Coven. The band’s name alone should give some insight into their style and sound. If you are thinking late 60’s – early 70s proto-metal with elements of occultish doom and psychedelic flourishes, you would be dead on the money. Think Black Sabbath‘s debut album meets New York’s Dust, or Pentagram jamming with Blue Cheer. One listen to the band’s newest album, Black Magic, and you are called back to another era. Even the recording of the album is undiluted and raw in its production. The record wheels out under the Stonehenge-heavy guitar riffs of founder Corey Roth and the plodding stick work of drummer Justin Wood. Almost immediately Andrew D’Cagna‘s bass chases after the rhythm like air bubbles seeking the surface. Vocalist John Williams is the last to join in with a voice perfectly suited for the band’s dark style. One of the aspects of Brimstone Coven‘s music that sets them apart are the three-part vocal harmonies. The rolling guitar and cowbell recall a bit of Leslie West’s Mountain. If you can forgive the band for beginning the album with two songs with “black” in the title, you can easily fall in love with the retro groove of “Black Unicorn”. The song is a more uptempo track than its predecessor, and Roth’s warbling guitar solo adds a psychedelic touch to the track. Next up is the airy swing of “Beyond the Astral”, which begins with an almost jaunty rhythm and where the band’s vocal harmonies are a notable highlight. This segues into more of a driving rocker with a definite Tony Iommi nod in the riffing, and even some classic UFO in the bluesy and sometimes lumbering vibe of the song. This is followed, in contrast, by the languid ballad, “As We Fall”. In comparison to the ghostly harmonies and sluggish gait of “Upon the Mountain”, “Slow Death” is a positively peppy jam that recalls a bit of a Cactus feel with Wood and D’Cagna capturing the spirit of drummer Carmine Appice and bassist Tim Bogert. “The Seers” pays homage to that classic Sabbath groove, with beefy riffs and a filthy bass line. The song is elevated, once again, by the soaring vocal harmonies of Roth, Williams, and D’Cagna. For some reason, I can see Quentin Tarantino utilizing the dramatic and broody atmosphere of “The Plague” in one of his films. Contrary to the song’s title, the music has a folky feel to it that adds an eerie undercurrent of creepiness. “The Elder Tree” closes the record out in a haze of droning, chanted vocals. The song has the feel of a ritual sacrifice in the offing, and the guitars and rhythm section just hammer away at your cranium. D’Cagna produced Black Magic at his own Sacred Sound Studios in Ohio and he does a fantastic job of keeping the retro vibe of the proto-metal era without burying it in fuzz. Black Magic is an album steeped in vintage doomery that harks to a bygone era without devolving into poor imitation. Brimstone Coven manages to pay homage to the past while adding its own bit of dark sorcery to the mix. In short, with Black Magic, Brimstone Coven have captured a sonic journey that spans decades.

tags: brimstone coven, black magic, 2016, flac,

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Wall of Sleep - Slow But Not Dead (2004)

Country: Hungary

Language: English
Genre: Doom Metal

Label Number: PSY 010
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© 2004 psycheDOOMelic Records
Review by Kevin McHugh for Doom-Metal.com
Some of you know that Wall of Sleep refers to the song by the same title on the first Sabbath album; fewer of you will know that it's also an H.P. Lovecraft reference. Both are perfectly appropriate, 'cause Wall of Sleep lays down smooth, riffing doom with style and panache, invigorating an occasionally moribund genre to the point where any old school doomster should feel duty-bound to check it out. After all, it isn't every day that you get to hear what a prime Hungarian doom band has to offer. Wall of Sleep has a couple of members from the now-defunct doom pioneers Mood, which began life in '94 and broke up in 2001. Before that, WoS. members Sandor and Gabor were into the 80s hardcore scene before they turned on their doom light, so you know we're dealing with experienced musicians here. Wall of Sleep is altogether darker and doomier than Mood: their motto, "Slow but Not Dead", says it all. The 'Sleep dudes use their considerable experience to pay homage to 'Sabbath and their successors, while adding in heavy rock elements to create some delicious early 70s style, blues-based melodic doom. I think this new disc bests their previous EP, 'Overlook the All', in raw energy, and like that effort is full to the brim of the confident ensemble playing for which the group is known. They say that Hungary is a good place to get well into the spirit of doom, maybe even as good as Finland, ha ha. Or Maryland. Wall of Sleep is not shy about expressing their feelings of gloom and depression, with loads of heavy, dark riffage and even a couple of bluesy ballads. Enthusiasts of bands such as Abdullah, Pentagram, Down, Orodruin, Trouble, Pale Divine, VoodooShock, all things Wino, and most of all Place of Skulls should think of Wall of Sleep as a necessary part of their collection. PsycheDOOMelic should be congratulated and encouraged to put out more music like this. Let's doom!

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Wall of Sleep - ... And Hell Followed With Him (2007)

Country: Hungary
Language: English

Genre: Doom Metal

Label Number: IHR CD 044

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©  2007 I Hate Records
Reviewed by Goat for MetalReviews.com
It’s becoming increasingly difficult to tell the legion of True Doom bands apart from each other, masses of them having popped up in the wakes of Reverend Bizarre and kin. After all, being ‘true’ in this sense means following a set path, and there’s little room for experimental deviation. Hungary’s Wall Of Sleep, arisen from the ashes of another True Doom band Mood, play a groovy form of the genre that hits all the usual touchstones with almost depressing predictability and yet manages to be quite enjoyable despite that.
This is possibly partly down to the length of …And Hell Followed With Him. Just less than forty minutes might be perfect for your average Thrash revivalists, but by its very nature we’ve come to expect glacial pacing from Doom. Quite a surprise that this, Wall Of Sleep’s third full length in five years, is almost ruthlessly confined with songs all around the five-minute mark. It’s a grower, too, the majority of tracks here sounding rather dull on the first listen but taking on their own identity with time. Without doubt, much of the blame for this delay in quality appreciation can be laid at vocalist Gábor Holdampf’s door, as he possesses the sort of nasal voice that’s to blame for many a Doom virgin running with tear-streaked cheeks and clothes in disarray. With the likes of Robert Lowe setting new standards for Doom vocalists, why should we the people have to put up with sub-par singers for our shots of misery? Once you’ve gotten past the vocals, however, there’s little not to like. The music moves along at a reasonably fast pace for Doom, little touches like the war samples at the end of Crusade adding variety, and the musicianship is faultless. From the Cathedralesque feedback and little drum intro at the start of Buried 1000 Times to the last few seconds of Stabat Mater, there’s nothing that a Doomster won’t enjoy. Each and every song here is well-crafted, the intricate riffing and considered drum beats carving a path through Doom territory that is indeed well-trodden, but the view is worth it. There’s even a hint of Hard Rock in the catchiest moments, such as in Unchanged and Cain. Trouble is, there are no immediately excellent moments, such as previous album Sun-Faced Apostles’ standout track On Pain Of Birth, and this lack of something to grasp onto from the outset really hinders enjoyment, especially if you’ve listened to a lot of Doom. Overall, it’s impossible to reject Wall Of Sleep out of hand, there’s simply too much that is good. What holds this band back is the fact that there are a lot of other bands doing exactly the same thing, at least half of them having better vocalists to boot. …And Hell Followed With Him is a more than decent album – it’s just not a great one, and so is hard to recommend.

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R. Kelly - TP-2.com (2000) ☠

Country: U.S.A
Genre: R&B

Label Number: 01241-41705-2

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☠: Selected by Lass

© 2000 Jive Records
AllMusic Review by Jason Birchmeier
R. Kelly tames his ambitions a bit on TP-2.Com, assembling a simple sequel to his classic 12 Play album from 1993 rather than another epic venture like his double-disc, all-bases-covered R. album from 1998. The straightforwardness is somewhat of a welcome endeavor. As breathtaking as had been R. -- an album that straddled the huge gap between the sort of radio pop associated with Celine Dion as well as the street rap of Jay-Z and Nas -- it also seemed too overblown at times, as if Kelly had something to prove during an era of double-disc epic rap albums. So to see him return to the simple singles approach of 12 Play is refreshing, particularly since he has plenty of singles to work with here, just as he had with TP-1. Kelly furthermore unleashes his singles -- "I Wish," a mass-appeal vocal pop number with an urban edge; "Fiesta," a Latin Invasion cash-in that aims for the dancefloor; and "Feelin' on Yo Booty," a whispery come-on for all the weak-kneed ladies and some of the mindful ones too -- with tailor-made remixes to ensure himself broad airplay. Only one of those remixes is here though, the "I Wish" one, so take heed. There's no Jay-Z-featuring remix of "Fiesta" and no up-tempo one of "Feelin' on Yo Booty," yet TP-2.Com is a strong album nonetheless, three steps ahead of practically every other non-rap urban album from 2000. It does seem like Kelly is coasting a bit here at times, though, particularly when you hold TP-2.Com up against its massive predecessor, but even when R's lounging, he's generally ahead of the pack.

tasg: r kelly, r. kelly, tp2.com, tp-2.com, 2000, flac,

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Selena - Dreaming of You (1995)

Country: U.S.A
Language: English, Spanish (Español)
Genre: Tejano, R&B, Pop Cumbia

Label Number: 7243-8-34123-2-7
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© 1995 EMI Latin
AllMusic Review by Stephen Thomas Erlewine
Most of America first learned of Selena because of her tragic murder; accordingly, the posthumous Dreaming of You was the first record they ever heard. While it isn't her best -- Amor Prohibido is a more consistent release -- it was an effective introduction, and showed why she was so beloved among Tejano fans. The English tracks on the album are no different than her Spanish songs. Selena was essentially a singer much like her idol Madonna. She was able to sing ballads and dance-pop convincingly. Dreaming of You would have been a stronger album if she had lived, but it still stands as a powerful -- and touching -- testament to her talents.

tags: selena, dreaming of you, 1995, flac,

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Dru Hill - Dru World Order (2002)

Country: U.S.A
Genre: R&B

Label Number: 440 063 377-2

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© 2002 Def Soul
AllMusic Review by John Bush
After Sisqó's solo debut pushed two big hits ("Thong Song," "Incomplete") to the top of the charts, it appeared Dru Hill was going to have to recruit a replacement for its best-known name. When the group finally returned in 2002, though, it not only welcomed Sisqó back to the fold but added a member (Skola) to make the group a quintet. The third album, Dru World Order, proves the group possesses as much talent as any of their contemporaries in the R&B world. First of all, it's largely self-contained; Nokio produced over half the album, and much of the songwriting was kept in-house as well. And with the gospel fervor of new addition Skola, Dru Hill sounds stronger and smoother than it has in the past. The single "I Should Be..." is solid, if a little in the line of standard material for them, but "On Me" (featuring N.O.R.E.) and "Old Love" are two of the most inspired songs they've ever recorded. The songwriting tends to similar themes, as do the songs themselves, but having the most polished harmonies on the R&B block makes Dru Hill capable of smoothing over any of the rough spots on Dru World Order.

tags: dru hill, dru world order, 2002, flac,

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U2 - War (1983)

Country: Ireland
Language: English
Genre: Pop Rock

Label Number: 90067-2

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© 1983 Island Records
AllMusic Review by Stephen Thomas Erlewine
Opening with the ominous, fiery protest of "Sunday Bloody Sunday," War immediately announces itself as U2's most focused and hardest-rocking album to date. Blowing away the fuzzy, sonic indulgences of October with propulsive, martial rhythms and shards of guitar, War bristles with anger, despair, and above all, passion. Previously, Bono's attempts at messages came across as grandstanding, but his vision becomes remarkably clear on this record, as his anthems ("New Year's Day," "40," "Seconds") are balanced by effective, surprisingly emotional love songs ("Two Hearts Beat as One"), which are just as desperate and pleading as his protests. He performs the difficult task of making the universal sound personal, and the band helps him out by bringing the songs crashing home with muscular, forceful performances that reveal their varied, expressive textures upon repeated listens. U2 always aimed at greatness, but War was the first time they achieved it.

tags: u2, war, 1983, flac,

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Various Artists - The Punisher: The Album (2004)

Country: U.S.A
Genre: Alternative Rock, Nü-Metal, Post Grunge

Label Number: 60150-13093-2

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© 2004 Wind-Up Records
*No professional reviews available for this release.

tags: various artists, the punisher the album, punisher soundtrack, 2004, flac, ost,

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Dru Hill - Enter The Dru (1998)

 

Country: U.S.A
Genre: R&B

Label Number: 314-524 542-2

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© 1998 Island Records
AllMusic Review by Michael Gallucci
The best of the late-'90s R&B crooning quartets ups the musical ante on their sophomore album, lacing the silky-smooth grooves with splashes of street-tough shouts that are meant to antagonize as much as they are to seduce. And for a good deal of Enter the Dru, the formula works. There's a gutsy edge to the songs here (especially the hard-knocking "How Deep Is Your Love") that make one-time peers like Boyz II Men sound like the soulless R&B robots they are. Even when they get all warm and cozy with Babyface on the potentially mushy "These Are the Times" (in spite the absurdity of the straight-faced line "Tear you up in little pieces/Swallow you like Reese's Pieces"), Dru Hill slice into the section of '90s soul music that crosses bedroom come-ons with classic street savvy (and nervy beats) without sounding at all whipped.

tags: dru hill, enter the dru, 1998, flac,

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Dru Hill - Dru Hill (1996)

Country: U.S.A
Genre: R&B

Label Number: 314-524 306-2

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© 1996 Island Black Music
AllMusic Review by Rob Theakston
Rich harmonies and sleek R&B production with an abundance of vocal acrobatics are all key elements of Dru Hill's eponymous debut. Immediate comparisons to Jodeci and Boyz II Men come to mind, but what makes Dru Hill stand out from the pack is the rawness of Keith Sweat's productions. Other songs on here are of noteworthy interest only to die-hard Dru Hill fanatics, but it was the monster "Tell Me" that effectively put Dru Hill near the head of R&B's class of 1996 -- a year that featured stellar releases by Aaliyah, Jay-Z, and several others at the peak of their games. An impressive debut and a razor-sharp clue of the great things to come.

tags: dru hill, dru hill album, 1996, flac,

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Rob Zombie - Educated Horses (2006)

Country: U.S.A
Genre: Industrial Metal

Label Number: B0006331-02

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© 2006 Geffen Records
AllMusic Review by James Christopher Monger

When he's not directing feature films like House of 1000 Corpses and Devil's Rejects, Rob Zombie likes to make music. Educated Horses, the prolific director, writer/animator/horror aficionado's return to the world of hedonistic, sexed-up monster rock doesn't stray too far from the formula that garnered him such a rabid fan base, but there's less theater and more backwoods creepiness at hand this time around. Horses crawls on all fours for the first three tracks, relying on too many tried-and-true White Zombie dance beats and turgid guitar riffs to hint at anything outside of sheer puppetry, but when the mid-tempo crunch of "17 Year Locust" begins to echo Sabotage-era Black Sabbath, it's clear that Zombie himself is having the time of his life pulling the strings. "Scorpion Sleeps," with its boot-stomping intro plays like Gary Glitter's "Rock & Roll, Pt.1" blaring from angel's trumpets at the apocalypse, "Ride," with its Tubular Bells-inspired piano riff, evolves into a storm of sonic debauchery, and the purely psychedelic singalong "Death of It All" sounds like the end credits to the last film ever. Schlock it may be, but it's infinitely more listenable -- and enjoyable -- than most schlock thinks it is.

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Falconer - Northwind (2006)

Country: Sweden
Language: English, Swedish (Svenska)
Genre: Power Metal, Folk Metal

Label Number: 3984-14588-2

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© 2006 Metal Blade Records
Review by Matt Collar for MetalCrypt.com
At last, at last. I will say right here that I loved Falconer's first two albums so much it isn't even funny, so anyone who didn't like those should probably just skip this one. This is their fifth album, and after one so-so album and one crappy one, they are back on track with the awesome Northwind. Of course, the big news is that original singer Mathias Blad is back in the band. Kristoffer Gobel was OK, but he just wasn't right for this band, and, well, no one could have saved Grime Vs Grandeur, so let's just forget about that. But for me (and for lots of other people apparently) Blad is just the voice of Falconer, and without him it isn't the same band at all. For this new album the band has also ditched the 'realistic' lyrics of their last effort and returned to the Medieval/Folklore themes that their fans wanted anyway. So: the folk riffs are back, Mathias Blad is back, the mythic lyrics are back. All good. From the first listen to the opener/title track I was all smiles, and I kept smiling. I suppose as a way of saying 'sorry' and trying to regain their momentum, Stefan and Co. have punched out a long, satisfying album of that signature Falconer sound highlighted by Blad's smooth, stage-trained voice. This album is mostly more of a grower than their first two, with more involved melodies and less immediately addictive songs. This album is not as heavy as their first one – more melodic and less punchy. All the songs are of a consistent high quality, if not quiiite on a par with their best. There may not be any songs on here quite as good as "Heresy In Disguise" or "Decadence Of Dignity", but there are fourteen songs almost that good. I can't give this a perfect score, because I know this band can do even better than this, but for such a return to form I am prepared to cut them a lot of slack. I thought Falconer had lost it, but this is more like it. With Blad back at the mike, they have made the album they should have recorded after Chapters From A Vale Forlorn. If we're lucky they might even rerecord Scepter Of Deception with the right singer, or better yet, make another album even better than this one. One of the years' best.

tags: falconer, northwind, north wind, 2006, flac,

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Cyndi Lauper - Shine (2004)

*Released exclusively in Japan.

Country: U.S.A
Genre: Pop, Pop Rock

Label Number: EICP 358

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© 2004 Epic Records
*No professional reviews available for this release.

tags: cyndi lauper, shine, 2004, flac,

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Falconer - Among Beggars & Thieves (Limited Edition) (2008)

*Contains 2 bonus tracks. 

13 tracks total.

Country: Sweden
Language: English, Swedish (Svenska)
Genre: Power Metal, Folk Metal

Label Number: 3984-14688-0

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© 2008 Metal Blade Records
AllMusic Review by Greg Prato
Add two scoops of Iron Maiden-style galloping metal, one scoop of Queensrÿche-style singing, a spoonful of Kamelot-style lyrics, and a pinch of Spinal Tap-style bombast, and you get Falconer. As heard throughout their 2008 release, Among Beggars and Thieves, this quintet that hails from Mjölby, Sweden are well-versed in all of these aforementioned musical approaches. Prog metal, medieval metal, and even folk metal are all subgenres that the group falls under, as tracks such as the album opener, "Field of Sorrow," "Vargaskall," and the title track fit neatly into all these metallic styles. There's no debate that the lads are technical experts at their instruments, while singer Mathias Blad can hold his own against Bruce Dickinson and Geoff Tate. But that said, Falconer doesn't display enough of its own take on the aforementioned metal styles, which by this point, have been done a zillion times over by countless other bands. Still, if it's complex, challenging, and verbose metal you seek, then it's time for you to hail Falconer and the arrival of Among Beggars and Thieves.

tags: falconer, among beggars and thieves, limited edition, 2008, flac,

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Falconer - Grime Vs. Grandeur (2005)

 

Country: Sweden
Language: English
Genre: Power Metal

Label Number: 3984-14532-2

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© 2005 Metal Blade Records
AllMusic Review by Johnny Loftus

Grime vs. Grandeur is as proudly power metal as any Falconer release. The harmonized guitars gallop, and its cascading melodies suggest grassy plains where the Rohirrim ride. But since 2003's Sceptre of Deception, Falconer founder and guitarist Stefan Weinerhall has expanded his songwriting collaboration with vocalist Kristoffer Göbel, and together they aren't as reliant on the mechanism of heavy-handed fantasy. Göbel will still rip with his Herculean throat into mirthful lines like "Assailant"'s "You feel like a tiger, rush is in your veins/You have to try and break these chains" or "You won't feel a thing when I loot your body" from the Jack the Ripper riff "Jack the Knife." But the lyrics work in context because instead of a grand, solitary theme (which would flirt with hokey) Falconer have opted for numerous small ones. They've also written some of their strongest melodies, and that's really what keeps Grime vs. Grandeur going. "Emotional Skies" opens with an interestingly timed verse section before launching its rousing gang vocal chorus; its additional female harmony is a fantastic touch, adding warmth to a sound that can be a little too mannish. Devotees of late-'80s power metal will love the rapid-fire instrumentation and high-flying vocals of "Purgatory Time," while fans of Falconer's folk melody side will really hear it in "Humanity Overdose" and "Child of the Wild." "Power" might not live up to its bold title, and rhyming "power" with "devour" should be prohibited. But Göbel uses every layer in his expressive voice, channeling both Rob Halford and Geoff Tate, and Falconer make it work. The band's embrace of all things power metal -- unfortunate clichés included -- is a two-way street. But Grime vs. Grandeur successfully embodies both sides of its title, and regulates its more ambitiously fantastic moments with an undeniable sense of conviction.

tags: falconer, grime vs grandeur, 2005, flac,

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Falconer - The Sceptre of Deception (2003)

Country: Sweden
Language: English
Genre: Power Metal

Label Number: 3984-14447-2

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© 2003 Metal Blade Records
AllMusic Review by John Serba

Power metal in any form can be a difficult pill to swallow, what with all the 1980s pomp, musicianly wanking, and J.R.R. Tolkien worship, and the genre's better bands set aside such clichés for a heady dose of harsh reality and a lack of pompousness (see: Nevermore and, to a lesser extent, Iced Earth). So Falconer doesn't do much for the genre with The Sceptre of Deception, a concept album about Viking kings and dukes during the 13th century. And while groups like Manowar and Hammerfall approach such topics with tongues in cheek (we hope!), Falconer is ridiculously sincere about its overblown musical excursions -- all galloping Iron Maiden riffs 'n' rhythms, awkward lyrical endeavors, contrived "metal" vocals and inadvertently comical yo-ho-ho folk melodies (see the title track and "Under the Sword"). Only the perennially clueless (and fans of Yngwie Malmsteen) will find value in the annoyingly bloated pseudo-opera silliness such as "Pledge for Freedom" and "Night of Infamy," and the story, bolstered by stilted prose segments -- which betray some obvious English-as-a-second-language difficulties -- in the CD booklet, delves not into fantastical demons-and-sorcery rhetoric, but yawn-inducing cheeseball political drama. Falconer's endeavors may appeal to a very select niche of the metal-listening public, but an objective listen to The Sceptre of Deception will only result in eyeball-rolling and guffaws.

tags: falconer, the sceptre of deception, 2003, flac,

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Falconer - Black Moon Rising (2014)

Country: Sweden
Language: English
Genre: Power Metal

Label Number: 3984-15322-2

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© 2014 Metal Blade Records
AllMusic Review by Gregory Heaney
On their own, folk metal and power metal are both capable of creating sprawling musical adventures, but when you combine them as Falconer have, the result is something truly epic. A piece of pure, unadulterated heavy metal escapism, the Swedish band's eighth album, Black Moon Rising, immediately transports the listener to a more fantastic world. The medieval riffs of the album opener, "Locust Swarm," make it hard not to imagine standing atop a mountain clad in glistening armor with a sword in each hand. Although the power fantasy elements of the music are engaging all on their own, the real surprise with Falconer's music lies in its elegance. Despite its driving bombast, "At the Jester's Ball" feels stately and dignified, as if you've wandered into the middle of a courtly dance. This feeling of refinement comes from Falconer's folk metal leanings, which add an old-world flourish to their searing power metal, as well as a simplicity that keeps them from turning the album into an advanced lesson in music theory. With music like this, it's easy for a band to fall into a rabbit hole of its own virtuosity, pushing the musicianship to its extremes, only to lose sight of melody. While Black Moon Rising has its share of brilliant technicality, like the fiery solos in "Dawning of a Sombre Age" and "Age of Runes," by keeping things relatively restrained, Falconer are able to create dazzling compositions that ensorcell listeners without throwing too much at them, making for a fun record for those looking to add a little fantasy to their lives.

tags: falconer, black moon rising, 2014, flac,

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Falconer - Chapters From a Vale Forlorn (2002)

 

Country: Sweden
Language: English
Genre: Power Metal, Folk Metal

Label Number: 3984-14397-2

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© 2002 Metal Blade Records
Review by MetalReviews.com
Falconer have returned with their second and strongest effort so far, Chapters From a Vale Forlorn. First off, I must commend the band for their superb artwork on this album! If there is one thing that can be said about Falconer, I would say that they certainly have a sound all their own. With a great number of power metal bands out today singing about warriors off to battle, kings, dragons, and other fantasy topics, Falconer maintain a darker, more serious medieval theme. The bass guitar has a strong presence throughout and is played with great authority which results in a dark, ominous feel to the album. And of course, there is Mathias’ unique vocal style which can be best described as close to that of Ten’s Gary Hughes, very warm and melodic. Mathias has certainly improved his vocal delivery on this album compared to the first. I think he is adapting quite well to life in a metal band as compared to theatrical singing. Mathias seems much more comfortable as part of this band than he did on the debut which makes for a very pleasurable listen. Instead of some uncomfortable moments of sorts on the first album, Mathias’ voice is now a great asset to the band. At times he sounds as if he would like to reach into the higher octaves, but he takes the safe route and opts not to most of the time. However, he does extend his range upward a bit on The Clarion Call and pulls it off very well. If this track is any indication of Mathias’ capabilities, I see only good things in the band’s future. This is only Mathias’ second power metal album he has performed on. Like I said earlier, he was in the theater scene before his call of duty to Falconer, but he is quickly getting used to fronting a metal band and his notable improvement on this album only has me wondering what he has in store for us with the band’s third album. After hearing the band’s first album, I thought Mathias might be the one factor holding the band back, but this second album has me convinced that he will only continue to improve and adapt to the style of the band and help them achieve great things in the future. At first, I was a bit surprised at the diminished power of this album when compared to the first. In fact, only three tracks, Decadence of Dignity, For Life and Liberty, and The Clarion Call featuring the galloping double bass. But after a few spins of this CD, the medieval atmosphere of this album will engulf you and you will be able picture yourself in a room similar to that on the front cover. Portal of Light is emotion and wonderful ballad featuring some nicely done dual guitar licks, and a masterful vocal performance. Lament of a Minstrel is another slower tempo track with a flute used in the background, but is one of the most successful in terms of providing a medieval feel for the listener. The remaining four tracks are of the mid tempo variety. So, while this album has its powerful moments, it is also a more mature album that lets its unique medieval atmosphere work its magic on the listener. There is not much, if any background shredding and the solos are well done and intricate, but not overdone. Again, I do enjoy shredding and wild solos, but that type of guitar work simply would not fit the atmosphere generated on this album. With their second album, Falconer have demonstrated that they are a band on the upswing. With much improved vocals and a unique atmosphere all their own, there is no justice in trying to compare these guys to another band. Falconer sound like Falconer, end of sentence. While I enjoyed the power of the debut, I think the improved vocals and the atmosphere generated by this album more than make up for the slightly less powerful delivery of this album. Great job, guys!

tags: falconer, chapters from a forlorn, 2002, flac,

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TLC - 3D (2002)

*This is the explicit version. 

A photo of the disc is included in the RAR file.

Country: U.S.A.
Genre: R&B

Label Number: 07822-14780-2:

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© 2002 Artista Records
AllMusic Review by Stephen Thomas Erlewine
How good is TLC? So good that they survive the tragic, early death of a key member -- Lisa "Left Eye" Lopes was killed in a car accident during the recording of 3D -- with grace and style, turning out a record that sits comfortably next to their modern classics, Crazysexycool and FanMail. Perhaps surviving members Chilli and T-Boz spend a little too much time in the lyrics paying tribute to their colleague, but it's easy to glide past that and just concentrate on the strong songwriting and stylish production. Like their previous albums, the particulars don't matter as much as the overall impression. No member of TLC has an astounding voice, but their skills are exploited to the hilt, since the material not only suits them, it's melodic, memorable, and grows in stature with each play. Best of all, the production plays to the strength of the song, balancing the group's character and abilities with the hooks and character of the song. Perhaps 3D doesn't blaze trails like their other albums, but it never plays it safe and it always satisfies, and it's one of the best modern soul albums of 2002. A bittersweet triumph, perhaps, but it's better to go out on a positive note.

tags: tlc, 3d, 2002, flac,

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