Screened in some two thousand cinemas worldwide on September 13th, David Gilmour’s Live at Pompeii is an impressive concert film in every aspect. We had a ticket for one of those screenings, and here’s what we thought. Continue reading
Time flies when you’re having fun so let’s saw 2017 into half…
The year started out with what might be Amy Macdonald’s best and most mature album so far. Under Stars shows the Scottish singer/songwriter has all grown up and is relevant far beyond This Is The Life. (RP – SftDS review).
Prisoner was an unexpectedly good album fueled by Adams’ divorce from singer Mandy Moore. The album has a nice pace and flows along very naturally. Don’t worry about us Ryan, we still love you (WRM).
Avatarium – Hurricanes and Halos
With Hurricanes and Halos, Avatarium moves further away still from Leif Edling’s Candlemass-infused doom roots and sounds tighter and more convinced than ever (RP). ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Balancing on the verges of jazz, avant-garde rock and classical The Necks take you down a very deep rabbit hole. Unfold is a perfect album to get lost in, and only ends when you feel that the end is there. (WRM – SftDS review).
Early this year Ex Deo returned to the fray to deliver a concept album about the exploits of Hannibal. Not the one from The A-Team or the beloved cannibal, but the Elephant Man. Or something. An unbelievably tight death metal record straight out of Ancient Rome. (RP – SftDS review).
The Bad Testament is a songbook made of a lifetime of bad decisions. Outlaw blues and brutally honest lyrics FTW, so you better believe it Roger Waters! (WRM – SftDS review).
I’ve no idea if this is the life I really want, but Roger Waters’ new album has been a long time in the making and does not disappoint yet. A very strong contender to top the list at the end of this year. (RP – SftDS review).
Goofy R&B fusion that comes in pints. Thats enough reason to get one right? It’s nice enough to put on as background music but is far more enjoyable when you’re able to understand Bruner’s honesty and heartache as dark humor (WRM – SftDS review).
Deep Purple is saying goodbye with a presumably last tour and album, and there are far worse ways to close off a career than with an album as strong as Infinite. A fine classic rock album and one of the better ones from latter day Purple (RP – SftDS review).
Arca’s search for some form of identity is intriguing. At times it is bombastic but it also comes to a standstill at the right moments. It’s punishing, yet beautiful. (WRM – SftDS review).
That’s it for now boys and girls. Be sure to check in every now and then and enjoy your summer holidays.
Wander Meulemans & Ralph Plug – 300617
Roger Waters has released his first new album in ages, and after a week and a half we’re finally able to ramble something moderately coherent about it. Here goes. Continue reading
By now, you should be very much aware that I’m a bit of a Pink Floyd fan. I’ve written about Floyd, Roger Waters and particularly The Wall for a number of times now, and you’re probably sick of hearing about it. So I went to see Roger Waters The Wall in the cinema last night and decided to bore you a little further instead. Continue reading
We should talk about Roger Waters’ Amused to Death for a bit. Well, perhaps we don’t actually have to, but I want to and it would seem the new reissue of his masterful 1992 record would be a good opportunity to do so. Here’s what I thought then, and here’s what I think now.
When Pink Floyd, or rather David Gilmour and Nick Mason, announced to the world that they were going to release a new album, made up of what was left behind on the cutting room floor back in 1994, my response was lukewarm at best. Fast forward a few months and The Endless River has finally been released, shattering sales records everywhere. But is Pink Floyd’s swansong worth the hype? Let’s find out. Continue reading
You’d be hard pressed to leave an integral performance of Pink Floyd’s The Wall and not be impressed. Not only by the music, which is of course excellent, but perhaps even more by the sheer spectacle of the show and the ultimately very left-wing, anti-war statement that it is, or at least has become over the years. Because The Wall, both as a concept (the idea of building a huge wall between the audience and the band famously sprouted when Waters spat a fan in the face out of annoyance) and a narrative, is as relevant today as it was back in 1979. Continue reading