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A transitional album on which the band moved from 's relatively concise and vivid songs to spacy, ethereal material with lengthy instrumental passages. 's influence is still felt (he actually did manage to contribute one track, the jovial 'Jugband Blues'), and much of the material retains a gentle, fairy-tale ambience.

'Remember a Day' and 'See Saw' are highlights; on 'Set the Controls for the Heart of the Sun,' 'Let There Be More Light,' and the lengthy instrumental title track, the band begin to map out the dark and repetitive pulses that would characterize their next few records. Country: United Kingdom Genre: Psychedelic Rock, Progressive Rock © 1967-1987 EMI Records The title of 's debut album is taken from a chapter in 's favorite children's book, The Wind in the Willows, and the lyrical imagery of is indeed full of colorful, childlike, distinctly British whimsy, albeit filtered through the perceptive lens of LSD. 's catchy, melodic acid pop songs are balanced with longer, more experimental pieces showcasing the group's instrumental freak-outs, often using themes of space travel as metaphors for hallucinogenic experiences -- 'Astronomy Domine' is a poppier number in this vein, but tracks like 'Interstellar Overdrive' are some of the earliest forays into what has been tagged space rock. But even though 's lyrics and melodies are mostly playful and humorous, the band's music doesn't always bear out those sentiments -- in addition to 's eerie organ work, dissonance, chromaticism, weird noises, and vocal sound effects are all employed at various instances, giving the impression of chaos and confusion lurking beneath the bright surface. Successfully captures both sides of psychedelic experimentation -- the pleasures of expanding one's mind and perception, and an underlying threat of mental disorder and even lunacy; this duality makes all the more compelling in light of 's subsequent breakdown, and ranks it as one of the best psychedelic albums of all time. Country: U.S.A. Genre: Hip-Hop © 2008 Babygrande The hardcore Philly vets welcome back supporting lyricist Jus Allah on their sixth studio album.

A HISTORY OF VIOLENCE showcases Vinnie Paz’s trademark apocalyptic imagery combined with Jus’s juggernaut rap flow, top-notch boom-bap production from Stoupe, and DJ Kwestion’s strategically-placed cuts. Stoupe’s interludes--laced with vocals samples from news reports, political speeches, and obscure Hollywood movies--enhance the mood of mounting menace and guest spots from Outerspace, Demoz, King Magnetic, Doap Nixon, and Block McCloud of Brooklyn Academy make A HISTORY OF VIOLENCE another relentlessly brutal hip-hop outing from Jedi Mind Tricks. ' MC, has always interspersed political statements in his rhymes, but usually he chooses to focus more on his own pain and anger instead of going on specific and directed diatribes., however, is the most overtly socially conscious and critical album that the group has ever made.

Along with tracks that speak directly about slave labor ('Shadow Business') and the Vietnam War ('Uncommon Valor: A Vietnam Story,' which features a great, intricate verse from ), the entire record is interlaced with references to the conflicts in the Middle East, terrorism, and religion, even in the songs where speaks about his own problems. 'When All Light Dies,' about violence in America, among other things, contains the line 'I'm ready to go to war with [the police] like we Iraqi./Don't make me.put the flame to them/And slug it out like the Israelis and Iranians,' the MC trying to highlight domestic issues (including the ones in himself) as much as the foreign ones., like always, is obsessed with death, especially his own, but his consciousness of the conditions in the rest of the world seems to have given him the resolve to not give up completely. This feeling is seen in the two songs on the album in which he talks about suicide, 'Black Winter Day' and 'Razorblade Salvation' (preceded by a fantastic interlude in which Richard II is quoted), which features a sample and vocals from and takes the form of a letter to 's mother.

But unlike 's 'Stan' -- which was a clear inspiration -- this song ends in the decision that despite the fact he feels like he's 'cancerous,' there are enough reasons that warrant him staying alive. The production only helps to accent the emotion that conveys. The beats -- strong, hollow drums -- are interlaced with classical strings and Sicilian folk guitar and news clips.

'Shadow Business,' a compelling and affecting song about the horrors of sweatshops that doesn't come across as preachy, loops a woman singing chillingly in Italian, 'Solo tu vuoi salvarmi, ricordati/Anche se ho sbagliato, perdonami' ('Only you want to save me, please remember/Even though I made a mistake, forgive me'), a quasi-subliminal call to arms, and a chorus that questions existence if one is 'living in hell.' It's direct, but it's also subtle, placing blame not only with the factory owners but also with all of us who choose to ignore these conditions. 'And while we sit around debating who the whack MCs/They have to work when arthritic pain attack the knees,' states, accusing everyone of the situation's perpetuation. Like how appealed to so many different fans because of both their hard, urban beats and their smart, complex lyrics, so too are able to achieve that same status. 's production is heavy yet musical, and 's rhymes are intelligent yet accessible, his voice rough yet his delivery smooth. Is the collaboration of two talented musicians who can create a nearly flawless album in which each track can stand on its own, but is more powerful as a whole, as an exploration of pain and hatred, of those feelings that we often don't wish to address but that, thanks to, will be addressed for us. Country: U.S.A.

Genre: Hip-Hop © 2011 Enemy Soil The first album by long-running Philadelphia hip-hop collective since 2008's is also their first outing without production by founding member. 's production helped mold the group's sound, and offered a gruff, hard-edged background for rage-spewing rhymes that approached horror movie levels of violence from MCs and off-and-on member.

Is no less intense without 's input, with an overwhelming amount of gory rhymes and enormous buzzsaw beats on standout tracks like 'When Crows Descend Upon You' and 'F**k Ya Life.' The scratchy prog rock sample that 'Target Practice' is built around makes the song and adds fire to 's fervent delivery. The tone of the album is hateful by nature, but its over the top qualities lose their charm and character quickly. The lyrical mass murders and ultraviolent crime sprees never quite make it on either side of cartoonish or believable, but sit somewhere in the middle, quickly becoming more ignorable than anything. The lack of production ideas really starts to shine through by the time the laughably reggae-flavored beat of 'Chalice' shows up. Jamaican rhythms, dancehall vocal hooks, and hellish horrorcore raps apparently don't mix after all. *Reissued in 2002 by Babygrande Records.

Contains 6 bonus tracks. 18 tracks total. Country: U.S.A. Genre: Hip-Hop © 1997-2002 Babygrande With a title like The Psycho-Social, Chemical, Biological, and Electro Magnetic Manipulation of Human Consciousness, it's probably a safe bet that won't be talking about cell phones and whores very much.

Truly, amidst eerie choirs and Biblical samples, the album creates an angular, symphonic sweatshop of mid-tempo beats with just the right amount of over-accustomed anger and intelligence to keep things interesting (where in slick gangsta rap or retrofitted old-skool would you find songs about Plexiglas, the Illuminati, or Voltron?). The standout track is easily 'Books of Blood: The Coming of Tan.' Laying the conspiracy theories flat out, El Eloh helps steer the song into a sprawling narrative of scatter-shot rhymes and paranoid rhythms that actually sounds unique in the troubled rap scene.

It might take some time for ' sound to fully mature, but their metaphysical peculiarity is a promising new glow in the dark hip-hop underground. Like all excellent underground hip-hop acts, Philadelphia's want to sound like but actually make some sense. That they've now moved on from their debut album's UFO-a-philia into more sociopolitical ramblings shouldn't distract you: again shows a group that still knows their nobly skewed stuff.

Even when they add a third solid member, JusAllah (aka Megatraum), and about 400 guest spots. There are tales of pipe-wielding violence and obligatory Star Wars references, amusing uses of and Pi samples, but Stoupe's newly jagged and ominous turntablist hooks give you a new barren, kung-fu film landscape for those imaginative nights when you're truly feeling sinister. The Virtuoso, Esoteric, and Bahamadia collaboration 'Exertions' superbly captures a sloping account of reparation, placentas, and Zodiac killers, while 'The Prophecy' interlude sounds like a hip-hop cousin to the dark jazz played in the club scene of David Lynch's Twin Peaks: Fire Walk With Me. Hardcore vulgarity and pointed, Wu-Tang hooks notwithstanding, are well-versed in contradictions. They know how to intimidate without gangsta pretensions and they know how to create menace without losing sight of humor or clarity. With violent imagery so rampant in the past decade of hip-hop, the fact that ' third album manages a cover shot that actually succeeds in shocking is either impressive or disturbing, depending on your disposition. Same goes for 's tougher-than-leather flow that hollers down 'faggots' and paints pictures of ultra-violence in a way that would make A Clockwork Orange seem almost friendly by comparison.

This is hard music for hard times, and it makes no concessions to the blinged-out mainstream on 's left flank, nor the conscious emo-rap on the right. But walking the middle ground, he declares 'I don't want to die anymore/I don't want to cry anymore/Don't want to lie anymore.I just want y'all to be dead' on 'The Worst,' and it's hard to sympathize.

Producer 's minor-key beat suites chime melodically, yet feature tempos just quick enough to keep up with 's manic energy. In fact, keeping up with gets exhausting at points, but guest MCs Des Devious,, and keep up nicely with the absolutely stunning rhymes by on both versions of 'On the Eve of War,' and actually have a calming effect (despite the album's hokiest beat on the main version of the cut). Though probably too aggressive for anyone old enough to clearly remember 's classic 2000 album,, is not without its moments. But after five years, should have found at least one more subject to rhyme about.

Country: U.S.A. Genre: R&B © 2009 Notifi/Asylum/Warner Bros. Records 's first album in three and a half years (the 2007 release was unauthorized), is his first release away from the Epic family, and it's pretty much business as usual.

It's a decent set of modern R&B, dominated by seductive slow jams, that stimulates a little more often than it fades into the background. It does take a serious tone on a handful of songs dealing in a wider range of relationship issues than lust, heartache, and devotion; 'Show Me the Way,' with an anthem-like chorus, is a guard-dropped plea for direction, while on 'Last Chance,' the singer has never sounded more desperate as he attempts to rescue a relationship. On the lighter side, reconnects with on 'Get Involved,' but it's a missed opportunity, an overstuffed wreck of a club track where the producer and all but completely wipe him out of the picture. Although the time between releases might be getting longer, after 25 years the stalwart German power metal outfit are still going strong, delivering a vigorous performance on their 11th album,.

While the album's title might evoke the walking dead, an image of a phoenix rising from the ashes feels more appropriate after the album had to be rescued from a fire that claimed 's own Hammer Studios while they were out on tour. Despite the tragedy, the power metal pioneers bounce back wonderfully with an album that shows all the polish that fans of the band have come to expect over the last couple of decades. That said, however, it's not as though have completely escaped the ravages of time, and while much of the playing on the album is rock-solid, 's voice isn't quite as strong as it used to be. Being a consummate professional, though, makes it work for him. On the rocker 'Time for Deliverance,' the occasional crack in the singer's voice lends an air of vulnerability to the band's stately sound. Isn't going to raise any eyebrows with its innovativeness, but given 's place near the top of the power metal family tree, the album's tight writing and expert execution make it easy to cut the band some slack.

All in all, is a fine entry in the group's expansive catalog, and since the album's very existence is a minor miracle, longtime fans of the band should have few complaints. Country: Germany Language: English Genre: Power Metal, Heavy Metal © 2007 SPV, Steamhammer Records Given the way have remained stubbornly committed to '70s/'80s-style power metal, one would think that all of the people attending their concerts in the 21st century would be people over 40. But in fact, acquired a lot of new fans in the '90s and 2000s -- people in the Gen-X and Gen-Y/Echo Boomer demographics -- and those post-'80s converts have really connected with their old-school approach regardless of how dated it sounds. Actually, the fact that this 2007 release sounds like it could have been recorded 25 years earlier might be a big part of its appeal to children and grandchildren of baby boomers. Someone who was 18 or 19 in 2007 wasn't old enough to remember the heyday of,, or -- hell, 2007's college freshmen weren't old enough to remember when and set off the grunge/alternative rock explosion in the early '90s -- and artists who stick to old-school power metal give them a chance to experience something from an era that they missed.

Of course, there is nothing wrong with sounding dated if you are good at what you do; quality, not whether artists sound modern or old-fashioned, is the main thing, and is clearly a solid example of the classic power metal sound. Do not alter their musical recipe one bit on this 65-minute CD; they remain firmly committed to that old-school /// aesthetic, which means larger than life lyrics, soaring melodies and choruses, and a big dose of fantasy and escapism. Is not about keeping it real; it is about keeping it in the fantasy realm, and do that with plenty of passion on this enjoyable, well-crafted addition to their catalog. Country: Germany Language: English Genre: Power Metal, Heavy Metal © 2010 Ear Music, formed by, formerly of, in 1989, have become something of a power metal institution at this point. Far from the pomp and shred-happiness of 1990s-2000s acts like and, though, 's vision of power metal is one that harks back to the early-'80s sound of,, and even. Their guitar riffs are headbang-worthy, but their choruses are meant to be sung along to by starry-eyed audiences; lines like 'Let me die as a rebel/Or live as a free man at last,' from 'All You Need to Know,' are absurd on their face, but the earnest delivery allows the band to carry them off without seeming foolish -- it's just part of the showmanship that metal used to traffic in but which fell by the wayside in the post-grunge years. The musicianship on is top-notch; the drumming, in particular, has a swing and groove that's far more impressive than most younger acts' endless marathons of triggered blastbeats.

Sound straight from the '80s, but not in a jokey way. They're working within a defined tradition, maintaining an aesthetic that's no less recognizable than klezmer or Western swing. Fans of the genre, and the power metal aesthetic, will find this album very rewarding. Outsiders and/or newcomers probably shouldn't bother unless they approach with genuinely open ears and wipe that smirk off their face. Country: Germany Language: English Genre: Power Metal, Heavy Metal © 2005 Mayan Records If 's rousing power metal sounds a little dated in 2005, well, it is.

But with metal's ever-increasing hybridization, it's almost comforting to hear a band standing so proudly outside that fusionist circle. Changes little from 2001's, or the albums before that.

This is power metal through and through, with 's high-pitched wail leading his band at a double bass gallop through songs about Hell, spiritual dictators, and dark destinies. Opener 'My Temple' features some great rapid-fire sections alongside a chorus intoning, 'Evil comes, evil's done,' and 'Hell Is Thy Home' -- besides its terrifically antiquated title -- features lines like 'Into oblivion you take their lives.' , of course, pronounces it 'lyyy-EEEEVes!' This isn't to poke fun.

Yes, their lyrics seem torn from fantasy literature. Yes, they're posed with a hairy, cloaked nether-beast in 's liner notes. But it's refreshing to hear and see this, because it gives the music a classicist feel. 'Blood Religion,' for example, begins as a righteous dirge before switching into a strut. At the four-minute mark everything suddenly drops out; the scary choir is back to stoically sing the song's title, and a tempo change sets up the flailing solos that fill its final minutes. You can't ask for power metal more committed than this in 2005, when bands are either too busy layering wordless screams over chunky hardcore riffs or playing a game of 'having a laugh or aren't we?'

With prove that, even in their excess, they are nothing but genuine. Just in case you'd missed the point of his last eight albums, Mack 10 is here to represent the West Coast as the apex of all things gangsta, a mission he's pursued with single-minded devotion since his self-titled 1995 debut. Though he's paradoxically had quite a lot of help from the Dirty South courtesy of Cash Money Records over the years, here he's back on home turf, overseeing a set from the cream of his young proteges. While there's no anthemic 'L.A. For Ya' in evidence here, Mack 10's influence is in full effect throughout cuts such as the Hoo Bangin Gangstas' 'Get Yo Ride On,' Da Hood's 'Promise To Be a Hustla,' and Turk Talk's 'In the Heart of the Ghetto.' Guns, drugs, and general mayhem are of course the order of the day. Download Fortigate Vm Software Company.

A soundtrack to the everyday murders, addictions, and third-world living conditions of ghetto life. *Remastered & reissued in 2002 by Dischord Records. Contains 2 bonus tracks. 16 tracks total. Country: U.S.A. Genre: Post Hardcore Style: Emo © 1987-2002 Dischord Records The band's one album, taken from two separate mid-'80s recording sessions, finds the fusion of 's instrumentalists and 's singer -- himself, older brother of 's singer -- a successful enough blast of post-hardcore.

It's no surprise per se that wanted to push himself more strongly in future; compared to, is fine but nowhere near as gripping or inventive. As a vehicle for his righteous, cutting lyrics and strong voice, though, it's more than fine. With engineering help from the legendary, everything's well-recorded and produced, clearly cutting through the heavy band crunch. Interestingly, the instruments that come through the best are 's drums, a neat switch around from the usual domination via guitar. Not that 's work sounds weak or poor; if anything, he brings a sharp turn-of-the-'80s U.K. Style to fore, with the understated inventiveness of 's early work in and.

Consider his exuberant performance on 'Dance of Days,' both fiery and just pretty enough. Compared to both 's and 's work in general, tries for something a touch poppier and a little less immediately frenetic, like a pause for breath after a full-on rampage. 's lyrical aim dwells as much on personal concerns and a search for courage as much as anything, continuing the themes of earlier efforts as 'Look Back and Laugh.'

'Building' revolves around self-accusations of failure, while the shimmering, reverb-touched drive of 'Do Not Consider Yourself Free' urges vigilance with the realization that 'there are others held captive.' It's not quite the birth of emo -- if anything, found themselves saddled with that peculiar honor -- but it's easy enough to imagine more than a few '90s bands taking the words as holy writ. *Released in 1996 to commemorate Dischord Records 100th release. Contains practice tapes and early demos recorded from 1979-1980. 5 tracks total. Country: U.S.A.

Genre: Hardcore Punk © 1980-1996 Dischord Records The 100 means this is Dischord's 100th release., label co-owner (later of ) and Jeff Nelson's band before, released the first Dischord single in 1980. So this EP is fitting. It's culled from their first two demo tapes, from February and April 1980, and is actually better than the proper (now legendary) single that ignited the D.C. Hardcore scene. This is as a punk band, at merely really fast tempos, before they opted for the blinding thrash rush that (along with the Untouchables and S.O.A., led by when he was ) led to such speeds becoming the stupid staple of hardcore.

Goerdie Grindle's guitar is thus given room to actually riff, and Nathan Strjcek can form a rhythm in his singing, instead of just screeching like a hamster in a rushing wheel to keep up. Like their then-D.C. Friends the Bad Brains (as heard on the Black Dots demos LP from that time), only half as good, were actually a budding punk pleasure in their pre-hardcore days. Country: U.S.A.

Genre: Punk Rock, Hardcore © 1998 Dischord Records Scary -- 'Closed Captioned' through 'Foreman's Dog' provides the worst stretch of material have recorded, full of disjointed patches and awkward moments. There's a virtually complete disregard for linearity that makes things seem stitched together, rather than the seamlessness you've grown accustomed to. Within that chunk and various points in the remainder, the arrangements sound like they're on the verge of collapse, and not in a violently riveting manner. One thing comes to mind, and that's boredom -- perhaps not for the artists involved, but likely for the listener.

There are some great moments, however, so only dips its toes in failure. The epileptic 'Lust for Life'-style 'Five Corporations' has the riffs and rage, with taking the music industry to task for being the slow, incestuously festering beast that it is. Though the band seems to lack the stamina for instrumental wowing it once had, the songwriting is still there.

On point as always, remains lyrically immolated: 'Check the math here/Check in ten years/Clusterf*ck theory/Buy them up and shut them down/Then repeat in every town/Every town will be the same.' Nigh on two decades of punk army service, is still far away from running out of relevant things to say. Other highlights include 'Break' and 'Place Position.'

And 's mantra-like barking of 'yawn yawn yawn' during the latter could stop you to think, 'Wait, that was kind of funny,' amidst all the fist-pumping. Altogether, the least of the band's LPs so far; yes kids, even make mistakes. A minor blebby, it's nothing to disown the band for. *Released as the soundtrack to the film ' Instrument ' 18 tracks total. Country: U.S.A. Genre: Punk Rock, Post Hardcore © 1999 Dischord Records finally released a career retrospective after more than a decade together, though in true indie fashion, is far from your average band's greatest-hits collection. In truth, it's the soundtrack to a documentary produced by the band with filmmaker.

While the film contains footage from live dates, studio work, and intimate home-movie tapes, the soundtrack itself focuses on unreleased studio tracks and outtakes with never-before-heard songs, including 'I'm So Tired,' 'Swingset,' 'Slo Crostick,' and 'Turkish Disco.' Country: U.S.A. Genre: Punk Rock, Post Hardcore © 2001 Dischord Records It's unfortunate that a band so forward looking as has been criticized over and over for not remaking 'Waiting Room' or 'Repeater.' Some have called them sellouts, regardless of the band's integrity and class, while others consider them elitists, 'guiding' the Washington, D.C., scene.

This could not be further from the truth. As the film and soundtrack to proved, this is a band that is only concerned with musical growth, with each album improving on its predecessor. But no album they have put together has the jump ahead that has. Being both ear-shattering and spine-tingling at once, this is at their 'musical' best. Incorporating melody with texture and their signature angular approach, the band has raised the bar for themselves and others once again. The first 'full' track, 'Cashout' (an anti-gentrification anthem), is classic stuff, with a subtle guitar line exploding into a screaming chorus, but this time there is less of an emphasis on the screaming and more on the gentle melody of the verse.

Slower tracks like 'The Kill' and 'Life and Limb' touch on strange new territory. Gentle with sense of swagger, these songs lack none of the power that the band is known for, while the two-drum assault of 'Ex-Spectator' (courtesy of and second drummer ) has just as much potency on disc as it does live.

And the final song, 'Argument,' with its rolling guitar lines, dreamy breakdown, and vocals that build from gentle to screaming, may be the best closer on a record since 'Promises.' Listeners may be surprised to hear strings open up the record, or piano guiding the brilliant 'Strangelight,' but this is the album that proves once and for all that has become a purely musical force. Fifteen years in and is still progressing. It makes one wonder what they're capable of in.