Free Streaming Movies Of Jet Li

Little Shop of Horrors New Millennium: my 2006

Battle of Mice - A Day of Nights.
A Day of Nights (side project of Josh Graham of Neurosis and Julie Christmas of Made Out of Babies) is an incredibly small masterpiece past unnoticed. In 43 minutes there are echoes of Swans, Neurosis, Bjork, Babes in Toyland, but especially so personal and expressive ability out of the ordinary.
The emotional power that flows between those strokes of drums, waving those melodies, those desperate rhymes, I dig a hole inside. In the first part shine the emotional outbursts, melancholy paintings of real and lived, then the decay takes over, dragging the anger, and loss of control. Moments that are loaded with dark calm as a spring, and then spit at once, with no possibility to resume what has been thrown away. There is a perversion voice of Julie Christmas, one of the few female voices that can make me shiver, is the perversion of mental Neurosis A Sun That Never Sets, all fused into one body. Electric shock and hysterical seizures, in a universe slowed down, blurred, out of phase. Disturbing for its ability to be tangible, and incredibly close, until it merges with the inner paranoia.
And the sweetness that comes in a few moments, is a clever way of perceiving its collapse with a roar even higher. Look in the mirror and see nothing.
Tenhi - Airut: Aamujen.
fascinating disc of folk night. Acoustic guitars, piano, and a deep voice who sings in Finnish. More atmospheric and instrumental Maaaet, another fine disc of the band released in 2006, this Airut: Aamujen has its strength in the beautiful piano melodies.




Sunn O))) & Boris - Altar.
Boris and Sunn O))) mean noise and experimentation. And the result is just that, with clanging guitar drones and hypnotic, with some psychedelic passages (note the presence of Kim Thayil Soundgarden). Twist and noisy, is a volcano of sound.




Om - Conference of the Birds.
Riff repeated endlessly hypnotic, tribal drums, voice whispered. There are only two (bass and drums) but they create atmospheres open wide, visionary and dreamlike. Former members of Sleep (historical psychedelic doom band) and feel when they attack the distortion that really transports you into another dimension. Very mystical psychedelia, heavy and haunting, reminiscent of Pink Floyd in Pompeii and Ummagumma.

Kayo Dot - Dowsing Anemone with Copper Tongue.
slow times, as long suspension above the noise, and voices twisted, alienating and visceral overturn the lesson of the Khanate, turning black into white, claustrophobia in peace, the sense of rust in his teeth in icy snow to shake his hands. But the masterpiece of the band Boston is also much more. There are sweet moments in the balance between the melancholic and dark Jeff Buckley Martin Grech, there are progressions post-rock and classical music, there is a sense for the noise definitely out of the ordinary, often with a minimalist touch (despite the incredible care for each instrument), making heartfelt every note, every sound, every word. We are especially rich melodies of heat, hidden amongst avant-garde experiments so exceptional as to be light. Time loses its meaning, to become a ray of light, and being enveloped is necessary, to get lost in the billowing waves, often exhausting, a work that in the 70's would be called progressive rock, because of its ability to break down each convention, with the sole aim to pierce the soul.
Red Sparowes - Every Red Heart Shines Toward the Red Sky.
more personal than the debut album, Red Sparowes make a beautiful record post-rock, and psychedelic liquid, constantly changing. Emotionally moving, it is one of the most convincing creatures in the genre, thanks to the psychedelic touch progressive.



The Gathering - Home.
Last album The Gathering with Anneke on vocals. The swan song is another painting twilight, enriched with some electronic transition, but especially with a calibrated rock melancholy. Not to the levels of some previous albums, but definitely failed.




Isis - In the Absence of Truth.
Melodic, emotionally intense, both in its approach to post-rock as the Tool. Not to the levels of its predecessors huge, but it is a really exciting record.




Vanessa Van Basten - La Stanza of Swedenborg.
With its mix of drone and post-rock, the room of Swedenborg proves an interesting result of the psychedelic shoegaze. But also dreamy melancholy, is a dazzling fresco of Italian experimental music. Among other things in advance (and with better results) than Alcest and Jesu, and the following development, although with different sensitivity, a similar path.


Converge - No Heroes.
A nice blow in the teeth. Less metal masterpiece Jane Doe, but more engaging of the previous You Fail Me, this is a record that makes us understand what it means to do hardcore without sounding hardcore (well, not just play hardcore). It has the immediacy of punk and the violence of death, making it fast and pissed off like few others.



Callisto - Noir.
The atmosphere manages to create this record are intense, melancholy. The Callisto probe post-rock territory with a profound mental metal (gothic?) And this makes them different from many others, as well as capable of deep emotions.




Red Sparowes - Oh Lord, God of Vengeance, Show Yourself!
more raw and noisy in the studio discs, this live captures the apex Red Sparowes creativity, and shows a beautiful and missed work.





Xasthur - Subliminal Genocide.
dissonant black metal and acid, which at times recalls the more funeral doom funeral. Chilling and frightening.






Thom Yorke - The Eraser.
even more intimate records of Radiohead, Yorke solo in this project will have fun with and just finished basic electronic arrangements, but definitely suitable for melancholic mood of the disc. With some time to decline, but also with very high peaks, The Eraser is proving an excellent job, and pleasant appetizer masterpiece In Rainbows.



Katatonia - The Great Cold Distance.
The guitars are more compressed, the more insistent rhythm. The path is that of metal Twilight Viva Emptiness, but sounds are more square, more and more songs based on riffs, el'influeza of Tool is increasingly evident. A thrilling drive with its glacial atmosphere, which, despite some decline in some vocal melodies, it shows yet another confirmation for the Swedish band.

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Ulver

The tour of Ulver is definitely an event. For the first time live the band of Garm jeopardizes his reputation as a cult band. But the courage and daring not to miss this Norwegian able to revolutionize their music several times, never lower the standard. The expectations are very high, but there is also awareness that will play live music impossbile complex and sophisticated as that of Ulver, not designed to be experienced live. The Teatro Rasi Ravenna is full, the atmosphere is the big event. We savor the show sat. The result is shown immediately respectful and quiet, almost religious admiration. Attila Csihar, with its driven project Void ov Voices, opens the concert. Half an hour of entries that overlap and chase each other, hypnotic, obsessive, worthy of Sunn O))) more sepulchral. Vocal drone, funeral chants and eerie choirs, led by a hot item and very unusual for a black mass of great impact. E 'then the turn of Garm and associates.
hour and twenty minutes of great music, which traces the last years of the band's career, with a massive presence of the songs of the last 3 albums, plus some scattered fragments taken from their EP. Opening with Eos is poignant and exciting movies behind the band intensify the sensations transmitted from the music, and are fascinating, and sometimes very disturbing. At times the music gets the best Coil and invoking apocalyptic images of the Nazi period are a handful in the stomach. The intensity is not set, the band sounds good and is not afraid to reinterpret some tracks. Electronic music, avant-garde metal, trip hop, noise, or whatever, this is great music. The sounds are very good despite some junctures in the bass synth saturate the room too much, and some books unpacked and found to contribute to making the surreal reinterpretation of some passages. But ultimately the result is good, sometimes (particularly in lean Songs of Shadows of the Sun) really great. Garm's voice is very warm, deep, intense, and the bass notes literally makes me shudder, while on the high notes are not always perfect show. Running For the Love of God suffers not convincing evidence of a voice, but otherwise the results are very good, sometimes uproarious. The songs on Blood Inside suffer a bit of new rock arrangements, while those of Shadows of the Sun will show nothing short of amazing. Hallways of Always is extraordinary, as well as the closing Like Music, followed by touching the tail of the piano. Exciting, never dull, the refined and sophisticated, Ulver confirmed one of the best bands of recent years, also live. Ultimately a wonderful concert, which for obvious reasons, in certain situations, you had to be based more on reinterpretation of the songs rock, sweeping away a little at first, but then proving very successful. Some moments, nothing short of sublime, alone are enough to consider this event a concert is absolutely fantastic and unique.

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Concerto Concerto

been more than 35 years by the triptych Larks' Tongues in Aspic, Starless and Bible Black, Red, and I do not know what to expect from a violinist who has helped make the historic name of King Crimson , with its melodic elegance, but also with its deraglianti noisy delirium. Then I am surprised to find myself in front of a progressive metal band, packed with sounds and powerful, pounding drums and double bass passages, solos at the speed of light. The surprise is positive. The songs have great grooves and melodies are impeccable and engaging. Nothing original but still very effective, obviously played so divine, but never cold or detached, nor excessive. Cross joins the violin very well in this array of music, which still takes too liberally from the 70 crimsoniani, alternating moments of great melodic atmosphere, nervous steps, tantrums and metal. Demonstration of the incredible openness of this ultra-sixties, which continues to have fun on stage, and creating unusual melodies. There is time yet for a twisted version of Exiles, a really successful in his alternate intro worthy of Ozric Tentacles, and some passages are reminiscent of Pink Floyd. The band's songs convincing, especially in the great guitar-violin plots, but the task of closing the show has given immortal Starless, played rather like the original, although "metallic" and "square" in some passages. Result exciting and convincing, for one of the best songs of all time (no exaggeration!). The BIS is assigned to a distorted version of metal and very 21st Century Schizoid Man, pretty but not excellent in my opinion as revisiting previous proposals, as well as unrelated to the period spent in the band Cross Fripp. It 'still a treat for fans of the British band (who knows if they will have appreciated so much metal?! Mah .. doubt it ...) that has marked the history of rock. Great concert

Difference Betwee Greeting And

Nosound David Cross - A Sense of Loss

A Sense of Loss, Romans Nosound third disc, is aging. After the first experiments soloists Giancarlo Erra, culminating in the album Sol29 (2005), and the establishment of a real band, that Lightdark (2008) has established itself as one of the most interesting Italian, with A Sense of Loss Nosound to acquire a personality that in previous work was not yet fully mature. From the first, ethereal notes of the disc you will feel a more personal re-elaboration of the proposal, between ambient, progressive rock and post rock. Atmospheres suspended, like a thick autumn mist, the taste is vaguely dreamy and psychedelic. The lesson is always one of the first Porcupine Tree and No-man, but the sensitivity with which Erra is the sound material is personal, and fully mature. A carpet of floating synths, keyboards and strings creating a compact layer of sound but never heavy, which penetrate the delicate guitar arpeggios and melancholy piano notes. The sensation is that of wandering, aimlessly, in a lonely town and made a slight cold fog. In a few moments a light comes on in a house, and seems to guide us with its warmth, but nothing is definite, and we get lost again. The melodies are sketches that slide without being fully grasp, and give a sense of incompleteness that makes this work even more fascinating and mysterious.
The beginning is a delicate and fragile, the atmosphere is alienating, and immediately we feel lost in the longer original agreement. Chill Some Warmth Into this, the opening track, sets aside the search for a melody carrier in favor of an analysis of the atmosphere, and reaches its climax in a short solo piano style reminiscent of David Sylvian. With the subsequent
Fading Silently we are introduced to a universe that runs in slow motion, and the melodies are more recognizable and easy to port. The song's structure as a fascinating symphonic arrangement that perfectly matches the few piano notes and calibrated, demonstrating the ability of the band to create complex arrangements but never heavy, and perfectly functional communication needs of the songs. Tender
Claim draws more explicitly psychedelic style of Porcupine Tree's Steven Wilson, the main source of inspiration for the band. But Nosound elaborate symphonic pop psychedelic flavors with a maturity far greater than in the past. Like its predecessor, this track also instrumental in the second part runs, but then lost to the ambient drift of a carpet really fascinating.
My Apology song proves to be a more ground, led by a beautiful arpeggio guitar and voice of Erra. The layers become thinner sound in this melancholy ballad, which still retains the atmosphere twilight and vaguely dreaming of the rest of the album. Erra's voice convinces with its slow pace and deeply hypnotic, but maybe the tone is quite intense and warm, natural, and is a very small defect in a disc failed.
Constant Contrast sounds like a silent meditation of Bark Psychosis, and in his melancholy hypnosis is rich in details that intertwine perfectly without overlapping. Thin, full of gaps, is a crucial moment of the disc. A dream that slips into the damp fog enveloping the album, a step without which we could not enter into the long final suite.
The Winter Will Come 15 minutes are the film's final chapter. The surreal dream-like fog that has guided us this far, it develops and becomes a new awareness, opens showing it more clearly, with clarity. This is not through easy and immediate melodies, but through an evolution of the atmospheres that are more bright and warm here, and direct us down a road that has defined the structure of the piece, somewhere between progressive rock and post rock. There is a sense of calm and peace, that we see more clearly behind the veil of nostalgic melancholy. An epic finale, but not redundant, reminiscent of Sigur Ros for her growing up, her long pauses, and restarts. The fog thinned, and the feeling is to be on a deserted beach in autumn, savoring the last warm sun, before the explosion of a new, cold, winter. A distortion powerful bursts, accompanied once again by the strings, and the song opens, wonderful, before crumpling back and take breath. A passage to grasp once the lifeblood of background music, before the final bars, epic and dramatic. If the earlier
Lightdark showed a band capable of composing great music, A Sense of Loss is not only a confirmation of this capability, but it is a decisive step forward in the development of personality. Perhaps lacks the maturity to compose melodies carrier effective to graft on the magnificent carpets ambient, but perhaps it is this incompleteness that gives most extraordinary charm of this album, able to mix wisdom with complex arrangements and intimate emotions, never losing intensity.

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Playlist January


1. Katatonia - Night Is The New Day
2. Porcupine Tree - The Incident
3. Radiohead - Amnesiac
4. Radiohead - Kid A
5. King Crimson - In the Wake of Poseidon
6. Morbid Angel - Domination
7. Nevermore - Dead Heart In A Dead World
8. Andrea Carboni - Treatment of dreams
9. Klaus Schulze - Timewind
10.Slayer - Hell Awaits

Other:
Cynic - Traced in Air
King Crimson - The Power to Believe
Warrel Dane - Praises to the War Machine
Megadeth - Peace Sells ... But Who's Buying?
Megadeth - Rust in Peace