EINSTÜRZENDE NEUBAUTEN

EINSTÜRZENDE NEUBAUTEN
THE JEWELS (2007)
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It's quite a surprise seeing this album listed as commercially available since the 'Jewels' were supposedly the exclusive reward for supporters whose subscriptions financed the latest EN album-tracks we received periodically throughout the 'Alles Wieder Offen' sessions. Don't get me wrong, I don't feel aggrieved or betrayed- I was happy to support the innovative business model EN have instituted over the last few years. Their subsequent realease makes no difference to me, and if it helps subsidise further EN activity then that's all to the good. As supporters we got more than 'The Jewels' anyway, we got to see the band at work and to discuss their creative process, vicariously participating in and facilitating production of the album that became 'Alles Wieder Offen'(an expanded version of which supporters received). I would perhaps rather the excellent supporter-only album from phase 2 ('Grundstueck') were made commercially available, but for the dedicated fan who has not participated in their label-less approach to music making and distribution, then 'The Jewels' is worth acquiring.
For a collection of tracks that EN were willing to dispense as subsidiary to the final work, the tracks are better realised than might be expected- all good material, just a little more modest than the album tracks they expect to be critically judged by. Mind you, there are definitely a few here which I consider on a par with tracks from 'Alles Wieder Offen', especially 'Epharisto','Magyar Energia' and 'Ansonsten Dostoyevsky'. Many of the tracks represent experiments with a singular musical and lyrical idea- there are no epic pieces with multiple passages or complex arrangements.
'The Jewels' makes for a great companion piece full of intriguing curios (like 'Am I Only Jesus' or 'Hawcubite'). Blixa Bargeld's enigmatic poetics on 'The Jewels', in both English and German, are particularly compelling. I just feel sorry for the fans who are missing the opportunity to purchase 'Grundstueck' from the previous creative phase.

1. Ich Komme Davon
2. Mei Ro
3. 26 Riesen
4. Hawcubite
5. Die Libellen
6. Jeder Satz Mit Ihr Hallt Nach
7. Epharisto
8. Robert Fuzzo
9. Magyar Energia
10. Vicky
11. Ansonsten Dostojewsky
12. Die Ebenen (Werden Nicht Vermischt)
13. Am I Only Jesus?
14. Bleib
15. I Kissed Glenn Gould

WARPIG

WARPIG
WARPIG (1970)
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One of those bands that miss the boat to stardom during their active lifetime, Canadian hard rockers Warpig would experience a zombie-like afterlife following their demise, when they joined other cult acts like Sir Lord Baltimore, Leaf Hound, and Captain Beyond in haunting the minds of hard rock and heavy metal collectors. Vocalist/guitarist Rick Donmoyer, keyboard player/vocalist Dana Snitch, bassist Terry Brett, and drummer Terry Hook had all accumulated ample wood-shedding experience with an assortment of amateur bands (including the Kingbees, the Wot, and Mass Destruction) before coming together as Warpig in 1968. Smitten with recent, revolutionary albums by the likes of Cream and the Jimi Hendrix Experience -- seedling examples of what would come to be described as "hard rock" and, later, heavy metal -- the members of Warpig began defining their own style around these new, more powerful sonic parameters from their base of Woodstock, Ontario (just an hour outside Toronto). They weren't alone, of course, as 1968 was the year that spawned debut albums from seminal proto-metal acts like Blue Cheer, Iron Butterfly, and Canadian compatriots Steppenwolf, among others, and the last two, in particular, bore numerous similarities to Warpig's organ-heavy hard rock sound. By the following year, the quartet was building quite a fan following throughout the Ontario club circuit and had signed a contract with local independent Fonthill Records, completing work on their eponymous debut album in late 1970 and proceeding to perform with several visiting luminaries, such as Mahogany Rush, Wishbone Ash, Manfred Mann, and Savoy Brown. But poor distribution and promotion on the part of their indie label meant that Warpig remained largely unknown outside of Canada, and there was little progress made until 1973, when London Records offered to re-release the album with different cover art and two completely re-recorded tracks cut with future Rush producer Terry Brown. Unfortunately, time and changing trends had conspired to seriously date Warpig's once cutting-edge sound, and even though the Deep Purple-esque single "Rock Star" actually scraped into the Canadian charts and convinced London to commission a second album, the band would fall apart following the mid-session departure of Terry Hook and, soon after, Dana Snitch. Rick Donmoyer went on to play with Ash Mountain, but both Warpig and their lone, overlooked album quickly faded into forgetfulness -- until the new millennium, that is, when rare original copies started fetching outrageous prices on eBay. This may have been one of the factors behind Donmoyer and Snitch's reconciliation after 30 years of silence, leading to discussions of a full-blown Warpig reunion, and the re-release of their debut album on CD for the first time, via Relapse Records.

1. Flaggit
2. Tough Nuts
3. Melody with Balls
4. Advance Am
5. Rock Star
6. Sunflight
7. U.X.I.B.
8. The Moth

THE LAW

THE LAW
DISTORTED ANTHEMS FROM THE SUBURBS (2008)
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The acts from Sweden who are bringing back the old school thrash metal sound of the past, are increasing fast. The Law plays nice Bay Area influenced thrash - think Exodus, Vio-lence, early-Metallica, etc., but it comes "served" with a certain presence of elements from the 90's scene- you know I mean this "sweet" groovy sound, established by Pantera and Exhorder. This mix here works quite well, resulting in cool and catchy headbangers. A must hear for the old school lovers.

1. Lawman & The Law
2. Anthem
3. Nothing to Say
4. Distort
5. Can U Not Talk
6. Dude of Darkness
7. Beerblooded
8. Suburban Satan
9. Elimination

JEAN-PHILIPPE VIRET

JEAN-PHILIPPE VIRET
LE TEMPS QU'IL FAUT (2008)
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Putting composition before performance, the three-piece formed by Jean-Philippe Viret (double bass), Edouard Ferlet (piano) & Fabrice Moreau (drums) is one of the best surprises in jazz releases of 2008. Cinematic and heartfelt, the 9 compositions featured on Le Temps Qu'il Faut are a perfect display of what grace means in jazz.
This second album as a leader for bassist Jean-Philippe Viret easily surpasses his debut pushing forward the fusion of classical-related themes on a jazz instrumentation. Le Temps Qu'il Faut is an album of many colours, many emotions where every jazz-lover will find something to his liking. That doesn't mean the trio does easy music, they don't. Just that these tunes are passionate and clever enough to amaze. A must try.

1. Peine perdue
2. Les arbres sans fin
3. En un rien
4. Esthétique ou pathétique ?
5. 7 à voir
6. Dans la peau d'un autre
7. Ailée au sud
8. Si peu de choses
Bonus Track

(download only song)
9. Docile

ANGELO BRANDUARDI

ANGELO BRANDUARDI
GULLIVER, LA LUNA E ALTRI DISEGNI (1980)
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Following the huge success of Cogli la prima mela, Italian troubadour Angelo Branduardi has decided to re-record his very first album, La luna. This new version, while faithful to the first one, benefits from brand new orchestrations and a top notch production. Even the artwork has been revised. The maestro also added a new song, Gulliver, so that is loyal fans would have something new to celebrate about.
A poetic voyage through the middle as seen from the XXth century, La Luna contains some of Angelo's finest songs. Don't miss it.

1. La luna
2. Confessioni di un malandrino
3. Tanti anni fa
4. Gli alberi sono alti
5. Notturno
6. Gulliver*
7. Rifluisce il fiume
8. Donna mia
9. Primavera
10. La danza

TELEFON TEL AVIV

TELEFON TEL AVIV
IMMOLATE YOURSELF (2009)
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2009 album from the New Orleans-based Electronica duo. TTA have landed on Ellen Allien's Berlin-based BPitch Control label and adopted a resolutely more upfront and upbeat sound, Recorded over the course of a year, Immolate Yourself is very much a departure from the Hefty label-era Telefon Tel Aviv, but Josh Eustis and Charlie Cooper have devised a sound that's at once contemporary and timeless. Vocals often remain shrouded in sonic fog, but this actually contributes to giving this album a moody touch, even when at its most upbeat. Refreshed and revived, Telefon Tel Aviv have produced with this third album their most enjoyable and enduring record to date.

1. The Birds
2. Your Mouth
3. M
4. Helen of Troy
5. Mostly Translucent
6. Stay Away from Being Maybe
7. Made a Tree on the Wold
8. Your Every Idol
9. You Are the Worst Thing in the World
10. Immolate Yourself

NIGEL KENNEDY/ANTONIO VIVALDI

NIGEL KENNEDY

VIVALDI (2003)
320 KBPS

Not content with having produced one wildly successful recording of Vivaldi's Four Seasons in 1989, Nigel Kennedy, irrepressible enfant terrible of the violin world, apparently decided it was time for another version to display the new insights and ideas he had gained during those years. And indeed the differences are far-reaching and fundamental. The old version was relatively conventional, faithful to the score in text and spirit, with moderate tempi and no exaggerations. The new version's motto might be "everything to excess": tempi, tempo changes, dynamics. The sound effects are realistic to nature, but unnatural to string instruments, and there is a lot of scratching in the loud, vigorous sections. Perhaps in a nod to baroque practice, there are swells on the long notes, crescendos and decrescendos on ascending and descending lines, unvibrated passage, and long pauses before final notes. This is the first of a multi-disc collaboration between Kennedy and the musicians of the Berlin Philharmonic, called "The Vivaldi Project," and it is interesting that these famously tradition-conscious, staid players seem quite comfortable with his iconoclastic approach. Phrasing, articulation, and spirit are remarkably unanimous; the balance is fine with very strong cellos and basses. In the two double concertos--one famous, one unknown, both delightful--whose fast movements are taken at break-neck speed, the concertmaster matches Kennedy in verve and virtuosity, no mean feat. In spite of all his excesses, Kennedy's playing is superb; his technique is brilliant, his tone has a beguiling, aching sweetness. He is in his element in the improvisations; indeed they sometimes take on a life of their own. The most convincing, satisfying parts are the slow movements: played with unspoiled simplicity, deep expressiveness, and repose, they speak straight to the heart. Here, one feels, is where the real Kennedy comes out.

Concerto for 2 Violins in A Minor, RV 522
1. I. Allegro
2. II. Larghetto e spirituoso
3. III. Allegro
The Four Seasons
Spring
in E major, Op. 8/1, RV 269
4. I. Allegro
5. II. Largo
6. III. Allegro
Summer
in G minor, Op. 8/2, RV 315
7. I. Allegro non molto - Allegro - (Allegro non molto)
8. II. Adagio
9. III. Presto
Autumn
in F major, Op. 8/3, RV 293
10. I. Allegro - Larghetto - Allegro assai
11. II. Adagio molto
12. III. Allegro
Winter
in F minor, Op. 8/4, RV 297
13. I. Allegro non molto
14. II. Largo
15. III. Allegro - Lento - (Allegro)
Concerto for 2 Violins in D Major, RV 511
16. I. Allegro molto - Adagio - Allegro
17. II. Largo
18. III. Allegro

VIVALDI 2 (2005)
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In his second CD of Vivaldi violin concertos and sonatas for EMI, though, he's on his best behavior. Even if you've never warmed up to the violinist — even if you've never warmed up to the composer — give it a try.
The British musician leads the Berlin Philharmonic as well as acting as soloist. The German orchestral players seem much more ready to modify their performance styles to suit Kennedy's ideas on how the music should go than their American counterparts.
Kennedy tones down his vibrato to simulate authentic period style, and so does the band. The violinist also glides lightly over ornaments and runs. This is Vivaldi with a light touch — but a big impact.
The seven pieces here contrast nicely in mood and form. If you believe the old saw about Vivaldi writing the same concerto 600 times, this might convince you otherwise.

Concerto for 2 Violins in A major, RV519
1. I. Allegro
2. II. Largo
3. III. Allegro
Concerto for 2 Violins in A minor, RV356
4. I. Allegro
5. II. Largo
6. III. Allegro
Concerto for 2 violins in C Major RV507
7. I. Allegro
8. II. Largo
9. III. Allegro
Solo Sonata No.2 in D minor, RV 12
10. I. Preludio. Largo
11. II. Corrente. Allegro
12. II. Presto
13. IV. Giga. Allegro
Concerto for violin & oboe in B flat RV548
14. I. Allegro
15. II. Largo
16. III. Allegro
Concerto in D major op3 no9 RV230
17. I. Adagio, Allegro
18. II. Larghetto
19. III. Adagio, Allegro
Concerto for 2 violins and cello in G minor RV578
20. I. Adagio e spiccato
21. II. Allegro
22. III. Larghetto
23. IV. Allegro

DICK ANNEGARN

DICK ANNEGARN
PLOUC (2005)
320 KBPS

Netherlands born Dick Annegarn was raised in Brussels where he learned to love the French language he regularily uses in his albums. Plouc (a French equivalent of hillbilly) is his 15th album since 1974. In his words, Dick uses humour and naivety to describe and talk about much graver things. For example, 3 Petits Cochons (3 Little Pigs) is about war in Iraq. Musically it's a light, sometimes upbeat, traditional French chanson Annegarn's offers us. Accordions are very much present and reinforce the "plouc" aspect of the recording. Let the potential listener be warned that Annegar's ô so peculiar voice is an acquired taste. Not of the most melodic kind, it fits his songs quite well and gives the artist a very unique sound.
Overall, Plouc is a very nice little album. Understanding French helps getting it but even non-French speakers may find it to their taste, if the artist's voice does it for them that is.

1. Accordons
2. Beau Bateau
3. J2m
4. Pierre
5. 3 Petits Cochons
6. Potron-Minet
7. Maman, Maman
8. Qui M'Entend?
9. L'Eau Est Là
10. Omnis Mundi
11. L'Arborescence
12. Pauvre Pêcheur

KING'S X

KING'S X
TAPEHEAD (1998)
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On their seventh studio album (and first for the Metal Blade label), King's X get back on the right track with Tape Head. Their previous release, 1996's Ear Candy, did indeed contain several superb tracks ("The Train," "Looking for Love," etc.), but was not consistently as great as such past classics Gretchen Goes to Nebraska and Dogman. Maybe their reinstated songwriting focus is due to the fact that both bassist/vocalist Doug Pinnick and guitarist/vocalist Ty Tabor took time off to work on solo projects prior to the album's recording. Other reasons for the album's success could have been that it was written and produced entirely by the band (without the aid of outsiders), and the majority of the album's tracks were a collaboration by all three members. With the exception of one track, the album is one long highlight — tracks such as "Cupid," "Ocean," "Little Bit of Soul," and "Hate You" are all examples of King's X at the height of their powers. The only weak track on the album is its closer, "Walter Bela Farkas (Live Peace in New York)," which contains irritating screaming over a live band improvisation. Still, it doesn't prevent Tape Head from being one of King's X's finest, and one of the best hard rock releases of 1998.

1. Groove Machine
2. Fade
3. Over And Over
4. Ono
5. Cupid
6. Ocean
7. Little Bit Of Soul
8. Hate You
9. Higher Than God
10. Happy
11. Mr. Evil
12. World
13. Walter Bela Farkas

DEEP PURPLE

DEEP PURPLE
IN ROCK (1970)
REMASTER - ANNIVERSARY EDITION
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In the spring of 1970, Deep Purple released a milestone in the history of hard rock/heavy metal with their fourth studio album 'In Rock'. Except for the first two Black Sabbath records that sandwiched the release of this one, there was no more important lp in the history of metal then this momunment to aural destruction. This album changed the future of heavy music and defined the difference between late '60's hard rock and '70's metal. Purple's new lineup with singer Ian Gillan and bass player Roger Glover had particpated in the previous year's recording with the Royal Philharmonic so this was their debut proper with the band. And what a debut!!!! Demolishing what was an eccentric classical-psychedeilic sound into a guitar dominated sonic assault, Ritchie Blackmore effectively took musical control of the band and cemented his name among rock's guitar immortals. Highlights include the album opener "Speed King" and for some bizarre reason the opening minute and a half of the song was edited out on some versions. Are you kidding me??? Thank God it's now available on this edition. The crash and burn into followed by Lord's piece set you up for the dynamics of the song and the entire record! "Child in Time" is a flawless display of virtuousity as both Gillan and Blackmore pull out all the stops. "Hard Lovin' Man", "Into the Fire", "Bloodsucker", "Living Wreck" and "Flight of the Rat" (great solo from Ian Paice!) fill an album with no filler! Seven cuts and they all count. Purple would conquer their homeland with this record and pre-release single "Black Night" which appears along with several bonus cuts on this 25th anniversary issue. Many people feel that 'Machine Head' is better but I think that's nonsense!. 'In Rock' rips your head off and stomps it into the ground! Mercy!

1. Speed King
2. Blood Sucker
3. Child in Time
4. Flight of the Rat
5. Into the Fire
6. Living Wreck
7. Hard Lovin' Man
Bonus tracks
8. Black Night (Original Single Version)
9. Studio Chat 1
10. Speed King (Piano Version)
11. Studio Chat 2
12. Cry Free (Roger Glover Remix)
13. Studio Chat 3
14. Jam Stew (Unreleased Instrumental)
15. Studio Chat 4
16. Flight of the Rat (Roger Glover Remix)
17. Studio Chat 5
18. Speed King (Roger Glover Remix)
19. Studio Chat 6
20. Black Night (Unedited Roger Glover Remix)