Band: Sea of Treachery
Band: Sparkle of Hope
Band: All Saints
Band: All SaintsAfter something so Heavy as Slayer is Why can not return to basics? Slightly more pop and by a request, I will. The music as it is (believe it or not) mark times in our lives, many of them with indelible memories. One of them is probably my adolescence, with a myriad of changes and perhaps the brain a sponge, literally, since at that stage absorb everything in this case talking specifically about music, not necessarily bad, so here are the All Saints, maybe it´s a step that would remove, but can not because it is a step that complements me. Those unfamiliar with pop music would be forgiven for confusing All Saints with another hotly tipped music property, the Spice Girls. The four members of All Saints could have stood for Spice Girls body doubles in a lineup: two brunettes, one blonde, and one of West Indian descent. While the Spice Girls were always pure pop and barely musically functional, the members of All Saints, however, were songwriters and music aficionados with a softer, more intelligent image less tied to their looks than their music.
The group came together in 1993 when Melanie Blatt and Shaznay Lewis began recording and writing at a studio on All Saints Road, in London's Ladbroke Grove. The duo hooked up with R&B vocalist Simone Rainford and released a single for ZTT Records in 1995, then parted ways with Rainford and were dumped by the label. Undeterred, Blatt and Lewis recruited native Canadian Nicole Appleton and, later, her big sister Natalie, to make All Saints a quartet.
With the help of friend Karl Gordon (formerly part of the British rap ensemble Outlaw Posse), All Saints recorded a demo of the song "I Know Where It's At." New manager John Benson signed the girls to London Records and connected them with top-flight producers Nellee Hooper (Massive Attack, Björk) and Cameron McVey (Neneh Cherry). Fully recorded, "I Know Where It's At" hit number four on the British charts and crossed over throughout Europe and Asia.
Metal bro.....
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Team
Tanjung Bawah Tanah
Band: Slayer
Band: Slayer
Band: AC/DC
Band: Bloodsimple
New York City metalcore band Bloodsimple were formed from the ashes of influential Hardcore/Thrash Metal act Vision of Disorder. After VoD's 2001 album, From Bliss to Devastation, received a lukewarm response from fans and critics, the group went on hiatus, and in 2002 the bandmembers announced their breakup. By this time, lead singer Tim Williams and guitarist Mike Kennedy had already begun working on material for a new project; originally called Fix 8, the group started life as a side project, but with the breakup of VoD and the arrival of guitarist Nick Rowe, Bloodsimple took on a life of their own. After the addition of bassist Kyle Sanders (ex-Medication and Skrew) and drummer Chris Hamilton (formerly with Downset, Crowbar, and Deadbolt), the members of Bloodsimple began writing songs and recording demos, and they attracted the attention of Chad Gray of the band Mudvayne, who signed the group to his label, Bullygoat Records (which is distributed by Warner Bros/Reprise). Bloodsimple's first album, A Cruel World, was released in the spring of 2005, and the band hit the road, sharing stages with the likes of Superjoint Ritual, American Head Charge, Soulfly, Six Feet Under, and Stone Sour. In 2007 the band was part of the popular heavy metal package show The Family Value Tour, and in the fall of that year the group released its second full-length album. Entitled Red Harvest, the album was Bloodsimple's first recording with drummer Will Hunt, who was one of several drummers recruited by Bloodsimple to handle percussion chores after Chris Hamilton left the group.
Band: Bloodsimple
Song: April Rain
Song: Stay Forever
Band: Delain
On 2006 Define the Great Line proved to be a turning point for faith based, Post-Hardcore/Screamo outfit Underoath. While the tendency to dissolve into the abyss of angtsy Emo-Pop was still there, there was a darkness lurking in the nooks and crannies between the crackling snare hits and heavy "drop-d" riffing that hinted at a little pre-evolution, a notion that comes to fruition with their sixth studio record and fourth for Solid State (the metal subdivision of Tooth & Nail Records). Lost in the Sound of Separation gets off to a rocky start with its two most forgettable songs, "Breathing in a New Mentality" and "Anyone Can Dig a Hole But It Takes a Real Man to Call It Home," both of which are big, loud, mean, monotonous, and virtually interchangeable with any other formulaic "loud, quiet, scream, loud, quiet, scream" alt metal tune. However, it doesn't take long for Separation to rescue itself from painfully serious, aggro-MTV mediocrity, as those two tracks are quickly followed up by the riveting "A Fault Line, A Fault of Mine" and "Emergency Broadcast: The End Is Near," two slightly experimental, highly melodic cuts (make that four, as "Too Bright to See Too Loud to Hear" and near instrumental closer "Desolate Earth: The End Is Near" are mini masterpieces of hope and anguish) that not only signal growth for the Florida ensemble, but deliver on the dark promises that haunted Define the Great Line, exposing a more mature, post-apocalyptic nightmare that manages to give equal time to both loss and redemption, declaring allegiance to neither.-2007.jpg)
In the good old days, most rock home videos (we're talking pre DVD, remember that era?) were either solely comprised of a live show or a collection of a group's promo videos, But somewhere along the line, bands got wise to the fact that combining both together, and adding interviews and behind the scenes bits, made for more interesting viewing. A fine example of this potpourri approach is the first ever DVD release by Underoath, 777 (whose release date comes mighty close to being 7/7/7 July 17, 2007). Featuring footage shot during several different tours around the globe, you get close up looks of the band signing autographs and meeting fans, all the videos from 2006's breakthrough Define the Great Line, a "making of documentary" for the "You're Ever So Inviting" clip, and oh yes, also live footage (including a "Myspace Secret Show"), which confirms that the group is quite an energetic bunch of lads on stage. If you're a loud and proud admirer of Underoath, then 777 will make for some mighty fine viewing.
This is the DVD you can download in 3 parts all in Mediafire, the content basically is the same except for the last 3 songs
Screamo/Metalcore Warped Tour mainstays Underoath expand their sonic palettes on the blistering and occasionally majestic Define the Great Line, a mammoth production that exemplifies how far Christian metal has come since the days of Stryper and Bloodgood. On their third full-length release, the Florida-based rockers have found the delicate middle ground between throat-shredding grindcore and My Chemical Romance, From Autumn to Ashes-style Emo-Punk, utilizing the highly flexible voice of Spencer Chamberlain as a compass for both melody and cacophony. Define the Great Line is bookended by its best cuts, the rousing "In Regards to Myself" and the epic closer, "To Whom It May Concern." Both exemplify the group's newfound confidence in the studio and introduce a real progressive bent to both the production and the overall arrangements. While Underoath explore their faith with both reverence (the monastic "Salmarnir") and suspicion ("There Could Be Nothing After This"), something that sets them apart from the polarizing righteousness of many CCM acts, their crossover potential remains huge, as the prevailing themes of isolation, anger, introspection, and the quest for self-confidence are universal
Band: Underoath
Whether you describe this type of alternative rock as Screamo, Post-Hardcore, or Melodic Hardcore, albums like They're Only Chasing Safety are all about contrasts, heaven contrasting with hell, melody contrasting with sledgehammer brutality, "normal" singing (whatever "normal" is) contrasting with tortured, agonized, death all over your face screaming. This Screamo, Post-Hardcore, Melodic Hardcore approach is quite different from full-fledged metalcore; while metalcore units like Hatebreed, Brick Bath, and Finland's notoriously ferocious Rotten Sound go right for the jugular, Underoath and similar bands prefer to mix honey with vinegar. Overall, the Tampa, residents do a decent job of integrating the honey and the vinegar on They're Only Chasing Safety, which is their first album since Spencer Chamberlain replaced Dallas Taylor as lead singer. After Taylor's departure in 2003, some fans had strong reservations about Underoath carrying on without him. But Chamberlain has no problem taking over the lead vocalist spot on this 2004 release, and he seems to have a firm grasp of the sort of good cop, bad cop and heaven, hell contrasts that characterize a screamo disc like They're Only Chasing Safety. Of course, the screamo aesthetic is hardly unique to Underoath; anyone who has spent time listening to Nora, From Autumn to Ashes, Hopesfall, or School for Heroes will see the parallels between Underoath and those bands. But lyrically, one thing that separates Underoath from other screamo outfits is their Christian orientation. Not that the Floridians beat listeners over the head with Christianity, if anything, their Christian references are subliminal on this CD, which explains why secular audiences have been receptive to them. They're Only Chasing Safety is mildly uneven, some of the tunes hold up better than others, but more often that not, it's a respectable outing from this post-Taylor edition of Underoath.
