Artist IndexA B C D E F G H I J K L M N O P Q R S T U V W X Y Z 0 Sorry, I could not read the content fromt this page.
2012年3月12日星期一
Choir Of Young Believers, Rhine Gold (Live) Video and Information
Artist IndexA B C D E F G H I J K L M N O P Q R S T U V W X Y Z 0 Sorry, I could not read the content fromt this page.
Alexandra Stan, 1,000,000 Video
Artist: Alexandra Stan
Track: 1,000,000
Genre: Dance
Label: Warner Bros.
Sorry, I could not read the content fromt this page.Rosanne Cash, "House On The Lake" - Live From Zone C Video
Artist: Rosanne Cash
Track: "House On The Lake" - Live From Zone C
Time: 4:12 min
Genre: Country
Label: Sony BMG
Year: 2012
Men In Black 3, Extended Trailer and Information
Agents K and J work for the Men In Black, an organisation specialising in hunting down aliens. Agent J used to be known as James Darrell Edwards III and was recruited by Agent K, after the latter observed the former hunting down an alien in disguise while working for the NYPD.
Should any humans come into contact with aliens, the Men In Black are required to wipe their memories. As Agent J puts it, the Men In Black are 'just a figment of your imagination.'
After a successful mission in China, involving a mutated fish, Agents J and K return to the States. The next morning, J comes into work and discovers that K is not at his desk. After trying to look for him, he tries asking around his colleagues. J is shocked when he is told by Agent Oh that K died over forty years ago. Further investigation by Oh and J reveals that history is being rewritten, with K at the centre of it all.
J must travel back in time to 1969 to stop K from dying. In order to go back in time, however, he must jump from the tallest building in New York - the Empire State Building. He only has twenty four hours to stop history changing, bring back K and stave off an alien invasion. As J put it in China: 'I'm getting too old for this.'
Starring: Will Smith, Tommy Lee Jones, Josh Brolin, Emma Thompson, Bill Hader, Alice Eve, Jemaine Clement, Michael Stuhlbarg, Nicole Scherzinger, Rip Torn, Lenny Venito, Keone Young, Geoffrey Cantor, Kevin Covais, Michael Chernus, Michael Dean & Dan Bittner
Director: Barry Sonnenfeld
2012年3月11日星期日
The Magnetic Fields, Love At The Bottom Of The Sea Album Review
Stephin Merritt, in his twenty-plus years in music, has been nothing short of prolific. Following on from the synth-less trilogy that was I, Distortion and Realism, this time Merritt and the Magnetic Fields return to synth-based pop that made them famous back in the nineties. As with Merritt's magnum opus that was the epic 69 Love Songs, Love At The Bottom Of The Sea is everything you'd expect from the master of three minute or less pop songs, based loosely on love and lost.
Love At The Bottom Of The Sea has all the proponents of a Magnetic Fields release both outside and including the musical matters, with humorous track titles like 'Infatuation (With Your Gyration)' and 'All She Cares About Is Mariachi' and Merritt's bass like vocals and amusing lyrics. Merritt explores sexuality and magnetism on 'Andrew In Drag,' with lyrics like "A pity she does not exist/A shame he's not a fag/the only girl I ever loved was Andrew in drag" exemplifying Merritt's confused and even tragic infatuation with really poignancy. Whilst the band may have returned to synth-based pop for the album, they have definitely learned a thing or two from the past three releases, with the song featuring little in the way of synth-lines, but still delivering the kind of endearing pop that the group make so well.
Merritt and Claudia Gonson trade places as well as they've ever done throughout the album, both of them suiting the accompanying music to a key. Whilst Gonson offers a considerable contribution to the album, it really is with Merritt where the real highlights of the album lie. On 'Infatuation (With Your Gyration)' Merritt crafts at tongue-in-cheek take on Human League-esque 80s synth group that is side-splittingly funny at times. An injection of humour is never far away on a Magnetic Fields release and this is my no means any different for Love At The Bottom Of The Sea. 'The Horrible Party' starts off brilliantly with opening line "Take me away from this horrible party and let me go home to my mother" a typical Merrittism, his lyrics serving as the antithesis of his bassy vocal style (although 'The Horrible Party' is sung by Gonson, this was just a generals statement).
Love At The Bottom Of The Sea is by no means the group's pinnacle release; they pretty much took care of that in 1999. However it is as entertaining a release from the group as you'd expect, the reincorporation of synths only serves to highlight how well the band manage great pop songs, long may they continue to do so.
7/10
Joe Wilde
Elektro Guzzi, Parquet Album Review
Austrian three-piece Elektro Guzzi are masters of discipline. Their second album in eight years, the guitar/bass/drum trio are firmly routed in the realm of dance music, but shun any reliance on the perfectionist, clinical production and over-saturation typical of a guitar/dance crossover. In fact, 'Parquet' is almost completely organic.
The nine tracks of their sophomore full-length are built from the ground up, often starting with bare, rigid beats and slowly bursting into life. Each one was recorded live and sparred the use of editing or overdubbing, which gives Parquet an unusual atmosphere, more akin to the krautrock of Can or Neu in the way ideas are allowed to bubble and form naturally rather than being cut and pasted in. Comparisons here can be drawn to Factory Floor or Health, though in keeping with their discipline Elektro Guzzi do not use the same range of tools, toys and tricks to set a direction.
Opener 'Affumicato' sets the mood perfectly; a locked-in digital floor tom rhythm sets the base whilst a picked guitar sent through delay, reverb and flanger pedals forms a melody and the bass takes its time mirroring and imitating both. The end result is something not too dissimilar to late nineties techno, but the sound Parquet is by no means dated; it is vibrant and exciting.
Throughout the album Elektro Guzzi do touch upon different styles and vibes, most notably on the mammoth 'Moskito', which has a galloping drum beat reminiscent of a wide-screen Arabic chase scene, and the closer 'Slide Dandy', which finishes over the album in a manner befitting a closing-night Ibiza party, yet at this point it is difficult not to look back and wish that a little more ground had been covered and that certain ideas were allowed to explode rather than digress. Still, 'Parquet' is at the very least an interesting concept and a rewarding listen.
7/10
Jordan Dowling
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