Allfader's second full-length album Black Blood Flux is without a doubt these Norwegian's strongest work to date. Their sound remains instantly recognizablewith melodic Death Metal, but with Black Blood Flux the band's traditional heavy metal influences are stronger than ever. In all its heaviness, the album sounds very organic and is completely stripped of synthesizers and clean vocals. The result is a rawer, more aggressive and focused sonic expression.
By 1971, Pharoah Sanders had taken the free thing as far as he could and still live with himself. He was investigating new ways to use rhythm – always his primary concern – inside his music and more tonally strident ways of involving the front line in extrapolating tonal and harmonic diversions from the melodic framework of his music. To that end, he entered into a more groove-laden arrangement with himself and employed some funkier players to articulate his muse. Along with Cecil McBee and Billy Hart, who were frequent Sanders sidemen, a young Stanley Clarke fills the second bass chair, and Norman Connors fills out the second drum seat.
Ray Fuller, an American guitarist, singer and songwriter who has electrified national audiences with his unique take on root-blues and rock. Ray Fuller And The Bluesrockers "Long Black Train" newest CD does not disappoint, bringing full tilt "smokin’ hot" slide guitar, Ray Fuller style, dishing out pure rockin' blues entertainment!
While there's certainly a lot to be said about innovation, a band like Airbourne really makes you step back and appreciate the simplicity of the old ways. Cut from the same cloth as AC/DC and Krokus, the Australian band return with Black Dog Barking, their third album of unabashedly badass hard rock…
Guitarist Ivan "Boogaloo Joe" Jones two albums were made in the same period (1972-73) as the Funk Inc sides and use the same production /engineering team of Ozzie Cadena and Rudy Van Gelder. Snake Rhythm Rock and Black Whip were originally released as Prestige LPs 10056 and 10072, respectively, and the band expands in size from a quintet on the first album to a septet by the second.
This disc is supposed to hurt. Just look at the program: it starts with Crumb's Black Angels for electric string quartet, a work that is the aural equivalent of Coppola's Apocalypse Now, and ends with Shostakovich's String Quartet No. 8, a work that is either the aural equivalent of a monument to the victims of war and fascism written in the ruins of Dresden or the musical equivalent of a suicide note written before the composer joined the Communist Party. With the spooky and evocative performances of Thomas Tallis Spem in Alium, Istvan Marta's Doom. A Sigh, and Charles Ives' There They Are!, this disc is so painful it could be the soundtrack for an unmade Kubrick movie. The question is, is this disc supposed to hurt so much? The Kronos Quartet is a harsh and aggressive ensemble with an angular approach to rhythm and structure and an overwhelming need to assert its individual and collective identity.