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| 24 DE ABRIL de 2005_______________________________________________:: FRONT-WOMAN Vol1:: | ||||||||||||||||
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LISTADO DE LOS TEMAS QUE SE PUSIERON:
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| 19 DE MARZO 2005_______________________________________________:: LAVADO DE CARA:: | ||||||||||||
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LISTADO DE LOS TEMAS QUE SE PUSIERON:
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| 26 DICIEMBRE 2004 _______________________________________:: ¿POR QUE? POR QUE SÍ Vol 2:: | ||||||||||||||||
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DE LOS TEMAS QUE SE PUSIERON:
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| 03 DICIEMBRE 2004 _______________________________________:: SECOND COMING:: |
| LISTADO
DE LOS TEMAS QUE SE PUSIERON: - WEB OFICIAL: http://www.secondcomingmusic.com/sounds.html
Possessing the sweeping grandeur of the name Second Coming, there is no doubt that there had better be some serious music of substance to justify the moniker. One listen to their new songs on the current self produced project ‘13’, showcases why they have a base of over 100,000 avid fans hungry for more material and a new release. With
the addition of guitarist Eric Snyder, who now brings new power to Second
Coming's invincible sound, this band once again is destined for success.
This great group of talent finally has returned to the stage and the
recording studio in the great northwest. Retaking the Seattle music
scene by storm with recently sold out shows at Seattle’s premiere
venues EMP and the Fenix Underground. They have also been featured on
several radio programs for Seattle rock station KISW 99.9. As well As,
being a favorite act of Program Director Josh Dallyn KFNK 104.9 FM. Now for a little history of the band that has Seattle and soon the music world buzzing again. Second Coming's roots trace back to the childhood alliance of bassist Johnny Bacolas and drummer James Bergstrom. The duo played in various bands around their hometown of Seattle and in the 90's ended up forming the nucleus of Second Coming. The essence of the Second Coming sound was finally realized with the addition of vocalist Travis Bracht. Then Second Coming worked the club scene around Seattle furiously as a cover band titled F.T.A. (which stood for Funding The Album) while forging their distinctive sound and style. Once ready for the studio, the band enlisted producer Kelly Gray, known for his work with artists such as Candlebox and Brother Cane, and their efforts were rewarded with a self-financed, eight-song recording by the end of '97. It was those eight songs that led to a frenetic bidding war between such high-profile labels as Columbia, Capitol and Elektra. Gary Gersh, then Capitol President, personally signed the band in March of '98 and by mid-summer they had a Top 10 radio track with the first single 'Soft.' Unfortunately, Gersh left the company shortly thereafter. Even with little label support, Second Comings’ debut went on to 'scan over 100,000 units by sheer word of mouth, and on the strength of their live shows. Believing it was time for a change the band then negotiated their rights to their first album and removed themselves from the confusion at Capitol in 2001. Next they parted ways with guitarist Dudley Taft, and with their eyes on the future formed the band you see and hear today.
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With
a resume that speaks volumes, Second Coming is a band that is just around
the corner from world-wide success. They're a band that has been through
the music industry grinder and have come through with a new-found sense
of fortitude and strength. They are accomplished musicians, performers,
and songwriters with a vision that is true expression of the experiences
they have been through. Most important Second Coming is about one thing,
the music. What they create cannot be described by mere words alone,
but must be experienced first hand.
| 23 NOVIEMBRE 2004 _______________________________________:: OLEANDER :: | ||||
| LISTADO
DE LOS TEMAS QUE SE PUSIERON: - WEB OFICIAL: http://www.oleander.net/
1999's
'February Son' was Oleander's breakthrough. It went gold and the single
"Why I'm Here' became a # 1 rock hit. Other significant tracks
included "I Walk Alone" and "Stupid."
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"We're
a rock 'n' roll band. It's that simple. You cannot lump Oleander in
with general categories."
By
reviving the swirling, guitar-heavy sounds of late '60s psychedelia and
infusing it with George Harrison's Indian mysticism and spirituality,
Kula Shaker became one of the most popular British bands of the immediate
post-Brit-pop era. More musically adept and experimental than Cast, Kula
Shaker nevertheless worked the same vaguely spiritual lyrical territory,
but musically they brought the overpowering rush of Oasis to psychedelia,
a genre that the Mancunians had previously avoided. The band's classicalist
approach to rock & roll earned them both critical praise and derision,
as they quickly rocketed to the top of the British charts.
"Grateful
When You're Dead," Kula Shaker's debut single, was released in the
spring of 1996 to moderate success, but it was the follow-up single, "Tattva,"
that established the band. Peaking at number four on the charts, "Tattva"
had a chorus that was adapted from an ancient Sanskrit text and a colorful
organ and guitar riff, which essentially encapsulated the band's sound.
The single also set the stage for the band's debut, K, which appeared
in September of 1996. Upon its release, K entered the charts at number
one, becoming the fastest-selling British debut album since Oasis' Definitely
Maybe. The album received reviews that ranged from enthusiastic to derisive,
but the band continued to gain momentum, which eventually translated to
a strong word-of-mouth in America. Kula Shaker wasn't able to replicate
their British success in America, but "Tattva" became a Top
Ten modern rock hit in late 1996, and the group received uniformly positive
reviews. Peasants, Pigs & Animals followed in 1999. 
Archive
are: Darius Keeler, Danny Griffiths, Craig Walker 
DG
CW
Los
Daneses D:A:D son una de esas bandas que tuvieron su momento de gloria
al principio de su carrera (en circuitos de Hard Rock), después
como le pasa a muchos grupos de Hard Rock de los 80´s tuvieron que
elegir la opción de seguir haciendo lo mismo (opción elegida
por muchos) y así al menos conservar sus fan o por el contrario
reinventarse arriesgando a no ser aceptados por los cuadriculados, por
lo que no salen de un sonido o estilo predefinido y que ha decidieron
injustamente desterradlos del olimpo de los clásico y considerados
como perdedores, afortunadamente para algunos de sus fan (incondicionales
como yo) D:A:D se reinventan en cada uno de sus disco, no hay dos disco
iguales, y aunque los hay mejores y peores (sobre todo temas) es de agradecer
el hecho de no tirar por el camino fácil y a la vez aburrido (sobre
todo para ellos)
D:A:D
(short for Disneyland After Dark) was formed in Copenhagen, Denmark, in
the mid-'80s by Jesper Binzer (vocals/guitar), Jacob Binzer (lead guitar),
Stig Pederson (bass), and Peter Jensen (drums). The band built quite a
following in their homeland with a number of independent releases before
signing with Warner Brothers for a reputedly huge sum in 1988. After shortening
their name to avoid legal repercussions, the band released their international
debut, No Fuel Left for the Pilgrims, the following year. But despite
their electrifying AC/DC-inspired hard rock, a great image, and a strong
showing in Europe, the album did nothing in America. Internal upheaval
at their record company didn't help, and following a few years in limbo
the band finally released their second album, Riskin' it All, in 1992.
Unfortunately, it met with similar indifference, and after touring behind
the album (with a now-legendary stage set featuring a giant couch as a
drum riser, on which the band members would constantly jump up and down
while playing) the band was dropped. By 1995, D:A:D were signed to EMI-Medley,
which released their third album, Helpyourselfish. It was followed by
Simpatico in 1997 and Psychopatico in 1998. Early in 1999, drummer Peter
Jensen left the band, and was replaced by Laust Sonne leading up to the
release of Everything Glows in 2000.
Nada
Surf no teme sonar como un grupo un tanto siniestro a veces, mostrar que
quieren enamorarse, admitir que tienen problemas, confesarar sus heridas,
hacer las cosas bailables o, más importante aún, hacer un
disco que no da respuesta a nadie sino a ellos mismos. 
Tres
años después de la disolución de Kyuss (una de las
bandas definitivas de la historia del rock) Josh Homme tomaba la palabra.
El hombre fue dando forma a lo que más tarde representaría
este debut desde que formara Gamma Ray y mientras tanto se embarcó
con los Screaming Trees en su gira de Dust (a veces la vida es bella).
Para los despistados recalcar que estos Gamma Ray no tienen NADA que ver
con la banda powermetalera (o lo que sea, ¿que más da?)
del tío de Helloween.
Este
segundo LP de Queens Of The Stone Age supone una vez más un paso
adelante en la discografía de Josh Homme. Y es que el bagaje musical
del ex-guitarra de Kyuss impresiona si tenemos en cuenta lo joven que
es (no alcanza la treintena): formó parte de una auténtica
banda de culto como Kyuss, giró con los Screaming Trees como guitarra
de apoyo en directo y se sacó de la manga a QOTSA, un grupo que
ha mantenido el espíritu stoner de Kyuss llevándolo a un
terreno más ecléctico.
En
Rated R no se repiten los esquemas del disco de debut de Queens sino que
el grupo (con la ausencia de Alfredo Hernández) busca nuevos sonidos
incorporando, por ejemplo, teclados y variados elementos de percusión
en la mayoría de los temas. Encontramos muchos medios tiempos marca
de la casa: canciones sin estructura clásica, desarrollos barrocos
de guitarra y ritmos desasogantes. Aunque la primera canción, Feel
Good Hit Of The Summer, pueda parecer que vayamos a vivir una explosión
sónica. Esa canción y las interpretadas como si le fuese
la vida por Nick Oliveri (Quick And To The Pointless y Tension Head tendrían
cabida en cualquier disco de los Dwarves) se salen del tono calmado general
del álbum.
Queens
Of The Stone Age son, desde su anterior Rated R, una referencia básica
en el uniformado panorama rock actual donde pocas bandas ofrecen un producto
con marca de la casa. Y no sólo se han ganado el respeto a nivel
de fans. Únicamente hay que mirar la pujante lista de colaboradores
con que suelen contar en sus anteriores álbumes. O los de ahora:
las hermanas Lenchantin (A Perfect Circle) o Alain Johannes (Eleven, Chris
Cornell). Pero ahora ya no se trata de simples colaboradores que hacen
un coro por aquí o ponen unos bongos por allá. La contraportada
de Songs For The Deaf muestra la alineación titular de QOTSA en
este disco: Oliveri, Homme, Mark Lanegan y Dave Grohl (Nirvana, Foo Fighters).
Con cuatro tipos así, este disco no podía salir de otra
manera: uno de los LPs del año.
Euphoria
Morning es el primer trabajo en solitario de Chris Cornell tras la disolucion
de su antiguo grupo, Soundgarden. En este primer trabajo, Cornell saca
su lado mas intimista y crea una coleccion de canciones un tanto melancolicas.
El primer single que se extrajo del album fue "Can't Change Me".
Cornell saca lo mejor de si mismo al no tener que estar sujeto a la aprovacion
otros miembros de grupo. Acompañado por su guitarra acustica y
un puñado de buenos musicos, ha logrado que su primera incursion
en solitario sea uno de los mejores trabajos de 1999. Los arreglos estan
muy cuidados y cuenta en algunas canciones con la colaboracion de alguno
de sus ex-compañeros en Soundgarden. 
A
mediados de los 90, Courtney Taylor –voz y guitarra-, Peter Holmstrom
–guitarra- Zia McCabe –teclados y bajo- y Eric Hedford –batería-
forman el grupo en Portland, Oregon. Su primera referencia no se hace
esperar y ‘Dandy’s rule, ok?’ aparece en 1995. Sin descubrir
la sopa de ajo, el debut de The Dandy Warhols toca diversos palos con
acierto, aunque su propuesta se antoja demasiado dispersa todavía.
Temas como ‘Ride’ o ‘Lou Weed’ muestran desde
el propio título las influencias a las que se deben, en un ejercicio
tan honesto como divertido. ‘Dandy Warhols come down’ (1997)
es su segundo trabajo, un disco que empieza a solidifcar el culto underground
que recibe el cuarteto, sobre todo en Europa. Su confirmación llega
de la mano de ‘Thirteen tales from Urban Bohemia’ (2000),
que gracias al impacto del single ‘Bohemian like you’ –y
a un contenido por encima de sus predecesores- lleva a The Dandy Warhols
a esa tierra de nadie entre el mainstream y lo alternativo. El batería
Eric Hedford abandona la banda en su momento de mayor popularidad, para
ser reemplazado por Brent DeBoer. La carrera del grupo prosigue con ‘Welcome
to the monkey house’ (2003), un acercamiento al pop de la nueva
ola y a las corrientes ochenteras que discurren por los círculos
fashion de principios de siglo. En el disco colaboran Nick Rhodes –miembro
de Duran Duran-, Nile Rodgers y Evan Dando –Lemonheads-. 