This is another film that just begs for more creepy atmosphere. As it is, it feels too much like a stage play with sparse and fake looking interiors and performances that scream, "Acting!" This is too bad, because there aren't enough devil movies around. The story is good and this film's monsters are well done but are shot in such a drab, TV movie manner than any impact is lost.
I think I have a bias against films where the protagonist has a beard, unless said film contains magic and elves. Seriously, can you think of a good movie with a bearded hero... okay Planet of the Apes, but besides that? I found this film to be very dull and completely lacking in suspense. Sure, there are some visually interesting moments near the end, but the plot is predictable and you will know whodunnit very quickly. With some better pacing and more atmosphere this could have been much better.
Another shaky handheld camera horror movie ala Blair Witch Project or Cloverfield. This style is getting a little old now, but this film manages to deliver the clichés in an effective manner. Rec still has its share of motion sickness moments and obligatory annoying screaming characters but the ending works very well.
The last great Kraftwerk record and probably their funkiest release. Yet they maintain most of their analog minimalism throughout.
Back when I was a kid I had seen Conan the Barbarian sequel Conan the Destroyer at least half-a-dozen times. It was rated PG and was one of those movies that played all the time on HBO (when they weren't playing Mickey and Maude). In fact, I just watched it the other night with my six-year-old who is terrified of Disney cartoons and even she seemed to like it. Surprisingly, I had never seen the original movie, which I have always assumed was much better.
This is a great record, from the futurist (actually Russian constructivist) art direction to the sci-fi themes, pure perfection. The sound of Kraftwerk is completely unique (as far as I know). I love the minimalism of the arrangements and the synthetic nature of the music. There is no attempt to mimic natural instruments here. This is a must own album if ever there was one.
Trans-Europe Express is a classic record which laid the groundwork for virtually all the electronic dance music that proceeded it. The music is mesmerizing, precise and minimal without ever becoming dull. Although, I think I prefer their next two albums just a tad more, you can't go wrong here.
I am glad I never got in to Yo La Tengo whilst they were coming into prominence. I probably would have bought everything they released on the day it came out. By ignoring them for a decade or two, I was able to limit my music dollars towards buying what is considered by many to be their best record and leaving it at that. The record is very good with several memorable tracks that are awash in feedback and a dreamy ballad or two for good measure.
Although I tend to not promote these reviews to the front page, I have been semi-regularly posting mini music reviews of all my CDs as I go through my collection alphabetically. Check them out! This is a continuation of a project I started nearly two years ago on the previous version of this site... I have too many CDs.
A great follow up to their first Christian garage-rock album. The one is even scuzzier and louder and ends with a great tune whose lyrics consist of Mike Lucas rabidly speaking in tongues. Praise the Lord! The Knights have saved me with their scuzz-rock brand of Christendom. Hallelujah!
The title does a good job in describing this release. Kirk seems to have shifted away from sequenced sounds and more toward found beats and loops. He uses the same samples again and again throughout this CD to a different effect each time. Each track is like a variation on a theme. While not as hypnotic as his first few electronica CDs, this is still some good stuff.
Cabaret Voltaire's final album ended with a dazzling, CD filling track that drifted between various sonic themes and styles, yet maintained enough of a consistency to justify it being a single piece. Agents With False Memories is a similar attempt at creating an epic electronica composition but it falls short. There's just not enough variety here. The beats and music hardly change during the course of the entire 45 minutes. The only real variety is in the mass of found lo-fi voices that are over-layed on the mix.
The Big Doll House is a 70s women-in-prison film which featured Pam Grier in more of a supporting role. The film is fairly trashy (as one might expect) but it was on the dull side. The acting is really bad. I mean REALLY bad... to the point of seeming like it was intentional. You know it's pretty bad when Harry the fruit cart guy is the most convincing performance.
Fallout 1 and 2 are two of my favorite computer games. Those games had a great style to them, engaging post-apocalyptic story lines and a great turn-based combat system.
After the end of Cabaret Voltaire, Kirk went on to record a zillion solo records under different names. This is trippy and ambient not for casual listening or the dance floor.
This is an early solo effort from Cabaret Voltaire's Richard H. Kirk. It came in a three-pack CD set with a Malinder's Pow Wow Plus and Cabaret Voltaire's 1974-76. This record is in the brutal early style of Cabaret Voltaire and borders on pure noise at times.The focus here is electronic manipulation and less on beats and music.
This was the last band my brother was in before he left college. Great walls of guitar sound mixed with quiet parts. I am playing a little theremin on one of the tracks. I guess nowadays this might be called emo music, but this was a bit before all that. My brother went on to be a defense attorney, Patrick still plays in bands up in Madison, and Nathan was a founding member of the Chicago band Chinup Chinup. I don't know what happened to the bassist. They have a MySpace page still!
More studio knob-twisting and abient rethinkings of "Change" and "Requiem."
Youth returned to the band prior to Pandemonium with these dancy remixes of "Change" and "Requiem." Nothing too exciting here but pleasant nonetheless.
A greatest hits compilation. The only reason I bought it was to get the tracks "Turn to Red" and "Pssyche" on CD. Otherwise, nothing new here.
A great collection of singles and extended mixes from the EG years. I had a few of these on 7" vinyl and it was nice to get clean versions on CD.
Killing Joke proves they can still crank up the angst on yet another "comeback" album. There's no innovation here, but the songs are fast, loud, angry and everything you'd hope to get from Killing Joke after two decades of music. Dave Grohl provides the slightly-better-than-a-drum-machine guest drums.
Very much along the same lines as Pandemonium but something doesn't quite click here. Maybe the cleaner production reveals the limitations of the session-cat rhythm section. Or maybe it's that they haven't added anything new to their songs. Up until now, each Killing Joke record seem to be a natural progression from the last. From this point on they are on auto pilot.
Having veered off course for a few records, this CD seems like the natural progression from Thousand Suns. The band is heavy as ever, but the songs are awash with synthesizers and house music elements. At times the production is just too messy and the guitars get lost, but, on the whole, a solid release.
It took Martin Atkins pounding drums to knock some sense back into Jaz Coleman. The band conscientiously returned to its more brutal side to atone for Outside the Gate. At the time of its release, this CD was ranked as one of the band's best, but it hasn't aged that well. There are a bit too many nods to the industrial rock bands that KJ inspired and the record seems dated. Still, if you were a fan of industrial, you will like this.
Okay, this is hands-down Killing Joke's worst album. It's not so much that it is a bad record, it is just not what you want from Killing Joke. Apparently it was originally supposed to be a Jaz Coleman solo record but the label made the band release it as a Killing Joke album. I remember liking a few of the songs, but a rap breakdown in the middle of a track? Truly cringe worthy.
Killing Joke took everything that was great about Nightime's "Love Like Blood" and ran with it on this release. There's a tinge of schmaltz here, and many hardcore fans lost interest in the band at this point, but I love this album. This is true metal music for the dance floor.