OK, maybe the album artwork isn’t one of their best, but you should give them a chance for this new album, in the end, all that matters is the music isn’t it?
Kingmaker, is the 2nd track from the upcoming album, Super Collider, which was recorded in Vic’s Garage and is the first Megadeth release after the Roadrunner Records breakup. The album also has a special guest, David Drainman, and maybe you know this guy from the Disturbed band.
The album is going to be release on June 4th this year, and they already released another preview for one of their songs (maybe you remember it if you solved the puzzle from their official website) Don’t Turn Your Back, which is available on their Megadeth game website.
These guys are actually on tour, since today, you can check the list here if you want to see them live.
Check out the song below, and tell me what you think, because I already love this song.
Source. Alice in Chains – The Devil Put Dinosaurs Here
We already know that Alice in Chains finished recording their latest album: The Devil Put Dinosaurs Here, and we also know two videos for some songs from this upcoming album: Hollow (which was actually released in January this year) and Stone. We even know the fact that the album is set to be release on 28th May this year (which means in a couple of days) via Virgin/EMI.
Until the releasing of the album, you can listen to a preview over here, just in case you haven’t decided yet, from those two pre-released songs that this new album really deserves pre-ordering, or buying or listening.
What I really love about this new album is not the fact that contains dinosaurs in the name or the great songs and videos… it’s the album cover, of course. If you look very very careful you’ll understand why, it’s not just he Triceratops fossil; there are actually two of them (but the other one is hidden), and combines form the head of the devil. These guys have a lot of imagination, don’t they?
I am ending this with a nice video and song from the latest album, Stone, hope you like it.
Musicians trying to make a name for themselves in the age of Web 2.0 often find the Internet to be a double-edged sword. There’s no denying that with Bandcamp, Twitter, Facebook, and the blogosphere, every up-and-coming band now has the potential to reach a wide audience and share their music with the world. But that very levelling of the playing field ushered in by the democratization of technology means fiercer competition – and much, much more of it – than ever before. Moreover, with anonymous megaphones freely available to any malcontent with Internet access, bands and artists can find themselves the target of unwarranted amounts of cyber-vitriol. Just ask Rebecca Black or Lana Del Rey.
Vampire Weekend navigated the pratfalls of user-generated fame early in their career. The New York-based indie quartet started gaining notice in 2006 and built buzz throughout 2007, touring Britain with The Shins and landing on Rolling Stone’s “Best Songs of the Year” list – all before releasing a full-length debut. From an early stage, fans were tickled by the band’s potent, uber-catchy blend of chamber pop, Afropop, world music, and ska. Just as quickly, though, the band caught substantial flak for supposed elitism and cultural piracy.
In the end, though, the naysayers couldn’t deter four college buddies who just wanted to make literate, richly textured indie-pop. And make it they did. Released in January 2008, Vampire Weekend was an instant smash with critics and listeners alike. They followed it up with 2010′s Contra; though slightly less embraced by fans, the album was another critical success and debuted at #1 in the US – an impressive feat for a group just three years into its career. The band spent 2010 playing a litany of festivals before returning to the studio to record their third album, the last in a loosely-themed trilogy. The result is “Modern Vampires of the City.”
As with their first two albums, “Modern Vampires” is a veritable feast for the ears, full of lush arrangements and songs that demand the listener’s full attention. There is no shortage of clever studio effects and glossy production on these twelve tracks, from vocals that dissolve into a vocoder haze to quixotic breakdowns set against indistinct background chatter. Such aural quirks could be viewed as gimmickry, but Vampire Weekend back them up with solid songwriting and pensive lyrics. There is palpable depth and consideration behind the gorgeous backing vocals in “Obvious Bicycle,” or the stately strings on “Don’t Lie.”
Cleverly-named lead single “Diane Young” explodes out of the gate with Ezra Koenig’s unmistakably frenetic vocals flying over a wealth of fuzzed-out guitars. The song epitomizes all that makes Vampire Weekend great: garage rock enthusiasm, all-out aural excess (the vocoder and machine-gun drums are particularly intriguing) and eerily quiet lulls where Koenig’s distinctive voice takes center stage. “Finger Back” is equally energizing, with a driving beat and irresistibly bright groove. There are many sublime moments to be found here, from the infectious riffing on Afropop-flavored “Everlasting Arms” to the minimalist beauty of “Hannah Hunt.” It doesn’t get much better than the classical piano on “Ya Hey,” whose helium-esque refrain deftly straddles the line between quirky and lovely.
The album’s weaknesses, if they even warrant that label, are negligible. Much as I applaud their cosmopolitan sound, the band sometimes gets too experimental for their own good, as on the oddly directionless “Hudson.” At times the extra studio flourishes seem a tad forced, and the album would benefit from one or two more full-speed-ahead rockers. Still, it’s hard to complain when the songs are this engaging, consistently taking the listener to unexpected places and never failing to captivate. “Modern Vampires of the City” is a rich, thought-provoking listen and compelling proof that Vampire Weekend remain as musically cerebral and boundary-pushing as ever.
Mary Lambert is an artist that is gives her audience more than just music; she gives them messages, personal snapshots of her own life, and discussions on controversial issues. Already being featured Macklemore and Ryan Lewis’ Same Love, concerning itself with struggle of sexual-orientation and homosexuality, Lambert has already started making a name for herself in a way that diverts from making music to dance to, but music to listen to. Having suffered from quite a bit of hardship through her life, anyone of Lambert’s listeners will know that she talks about her life in her songs; from the issue of body image to loving women. The way Lambert creates these pieces is so different to the mainstream music out today; as well as being quite the talented singer-songwriter, Lambert is also a spoken word artist and plays with these styles in a way that is so captivating…it is almost hypnotic.
Mary’s latest EP released in July 2012 entitled Letters Don’t Talk, which is now available on ITunes, includes five songs that are extremely thought-provoking. One beingI Know Girls (BodyLove) in which she uses her spoken word to discuss the issue of women needing to love their bodies and not harm themselves, whilst using her talented voice as a backdrop for this very interesting piece. You can tell that Mary has something so thoughtful to say in this song; her voice is so passionate that it almost sounds as if she’s about to start crying towards the end of the song. Her passion for expressing herself to the fullest has also resulted in a book of poetry that she has written called 500 Tips for Fat Girl, which is also available to purchase from Mary Lambert’s website.
And if that wasn’t enough Mary Lambert for you, she is performing on Tuesday 21st May 2013 (WHICH IS THE DATE OF THIS POST) in New York City at Subculture on 45 Bleecker St at 7.30pm, doors open at 6.30pm. Tickets are $12 and can be purchased at the Subculture Box Office or online at http://www.subculturenewyork.com/event/245749-mary-lambert-new-york/. If you’re a lover of new music…GO AND SEE HER! You will not regret it.
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