30 Results for : anthemic

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    The Road To Success
    Coming from nowhere, Canadian four-piece Nickelback have evolved into one of the biggest bands around. However, as with many supposed overnight success stories, their seemingly rapid ascendancy has been far from easy. From their early days as an unorthodox bar band to their current status as masters of heartfelt, anthemic Heavy Rock, it's been a long and difficult road to the top. But their reputation has gradually spread through word of mouth, thanks to a relentless touring schedule of over two
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    Faster
    Born in London, 24th August 1945, Kenneth (Ken) Hensley wrote rock history with Uriah Heep. ‘Lady In Black’, ‘Easy Livin‘,’ ‘Look at Yourself’, ‘Free Me’ or ‘Stealin‘‘ – were all written or co-written by Hensley. There is little doubt that the Hammond-organist, guitarist and singer played a key role in the success story of the band he finally left in 1980, not happy with the musical directions they were choosing at the time. After trying to put a new band together firstly in the UK (Shotgun), he later moved to the USA and played a few gigs in North America with the suggestive name of Ken Hensley Band.After joining Jacksonville’s southern rockers Blackfoot for a two album stint and having not much success in getting a new band together after that, it took Hensley a while to get rid of some personal demons. But the mid-nineties saw Ken sack all pre-retirement plans and starting to rebuild his reputation along with his lifelong passion and love for rock music again. With his latest release “Faster”, Hensley proves that he has lost nothing of his magical touch.Live Fire is the Norwegian live backing-band Hensley has been working with for five years now and is comprised of Tom Arne Fossheim on drums, Sid Rinsby on bass, Ken Ingwersen on guitar, and Eiríkur Hauksson next to Ken Hensley as singer.Recorded in Riga, Latvia in three weeks time with Live Fire, “Faster” offers everything you would expect from a classic Ken Hensley record – and more. “I just wanted to make a band record. Conceptually I wanted it to go back in time a little bit, to where a band plays together, plays a bunch of live shows, writes new songs and makes a record. The way it used to be“, Hensley says.Opening up with the mystical and mesmerizing melodic rock of ‘Set Me Free (From Yesterday)’, Hensley & Live Fire deliver the goods as well as setting the tone for an album that is nothing short of strong songwriting, hooks and pure playfulness. On songs like ‘I Cry Alone’ - that has classic rock ballad written all over it - or ‘Katrine’, Hensley’s storytelling approach becomes even more observantly challenged and channelled. “Faster” also features some straight-ahead, good-time rockers like its title track. A similar energy roars its way through the closing song of the album, ‘Fill Your Head (With Rock)’, in which Hensley takes the stand for rock’n’roll in anthemic fashion. “Faster” shows that Hensley’s head and soul are still full of rock, and hopefully will be for quite some more albums and shows to come.
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    See no evil,hear no evil
    Over 20 years into a career that has seen them go from everyone s second favourite Seattle group to one of the world s very finest rock bands, Pearl Jam s longevity has little to do with fashionable trends, celebrity status or looking over their shoulders. Instead the ongoing success of this mighty collective is based on raw undiluted talent, a knack for composing penetrating and gloriously anthemic music and the kind of common decency and fairness that music fans appreciate. This documentary fi
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    Yeah Right
    (LP)Sie sind Fans von Sonic Youth, My Bloody Valentine, Nirvana und Yo La Tengo und klingen wie die Mamas and the Papas mit den Smashing Pumpkins als backing BandSie sind Fans von Sonic Youth, My Bloody Valentine, Nirvana und Yo La Tengo und klingen wie die Mamas and the Papas mit den Smashing Pumpkins als Backing-Band Philadelphia's favorite indie-pop duo formerly known as 'Reading Rainbow' is now a full-blown rock quartet. Bleeding Rainbow. Yeah Right is the follow up to their 2010 indie breakout album Prism Eyes, and it has a much bigger sound directly influenced by the band's teenage musical taste. Sonic Youth, My Blood Valentine, Nirvana and Yo La Tengo to name a few. Mixing hints of Greg Sage's anthemic, anxiety-ridden punk riffs, with equal parts drone and noise swells overlayed with boy-girl harmonies, Bleeding Rainbow channels the Mamas and the Papas as if backed by early Smashing Pumpkins TRACKS: 1. Go Ahead 2. Pink Ruff 3. You're Not Alone 4. Drift Away 5. Shades of Eternal Night 6. Fall Into Your Eyes 7. Inside My Head 8. Waking Dream 9. Losing Touch 10. Cover the Sky 11. Get Lost
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    Soothsayer Ep
    Sechs neue Stücke der 60ies / Indie Band aus San Francisco-Band (includes DL Card)Sechs neue Stücke der 60ies / Indie Band aus San Francisco-Band (includes DL Card) San Francisco's Fresh & Onlys are back, following up 2012's stunning Long Slow Dance with Soothsayer, a special digital edition of the 12 vinyl installment release which was available direct from Mexican Summer. Featuring six brand new tracks that are heavy on the pop- side, the Onlys reconfirm their effortless songwriting panache and renowned stylistic flexibility - shifting from driving, anthemic choruses to down-home folk with absolute comfort and ease. From the opening title-track, with its jaunty bridge and studied '60s pop sensibility, it's clear that the band are still masters of the (deceptively) simple melody. God of Suez is a swaying, beach-ready boogie, with a charming Mamas & Papas guitar lick, whilst Forest Down Annie's slow, reverent pace and psychedelic guitar flourishes harken back to the group's gloomier earlier releases. Closer Deluge of War boasts a soaring, harmonic chorus - finishing up Soothsayer on a high. Strong, solid or dependable might not be the most buzz-worthy words in the current musical zeitgeist, but in an age where so many bands are masking songs with muddied production and studio trickery, it's refreshing to hear some truly great songwriting and musicianship shine through. TRACKS: 1. Soothsayer 2. God of Suez 3. Forest Down Annie 4. Glass Bottom Boat 5. Drugs 6. The Deluge of War (Includes DL card)
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    Stellar Fire
    Stellar Fire has become a track title on another album. This album has been deleted due to technical issues. If these can be overcome it may be re-released one day, but until then most of the tracks are on Silk Stone and Silver Wood anyway. I've left the old description below just in case you (or me) needed to read it:)... While planet rock was erupting from the riffs, rock and roll of the 1960s, the music for this suite was being jammed in coal sheds in Yorkshire and the Streets of Paris. Bands were scraped together from among friends and battered used equipment. Talent mattered first, to survive where audiences could enjoy destruction as much as entertainment. With roots tangled across both sides of a meandering track, these songs draw inspiration from rock, blues and classical lore. They are untainted by tuition or formality and have easy, friendly vocals. With a guitar style born of 60s and 70s rock/blues, they were recorded and produced in a back bedroom, using Audacity software... The Aviator riff draws you into a refreshing yet familiar world. With Irish roots, it's beat nods and stomps, as a story based in the living lore of rock-pop from the 70s fires your imagination. The battered Fender Stratocaster guitar of Rory Gallagher is an adulated icon of rock and blues. Tribute is paid here both lyrically and tonally to the aching wonder that Leo Fender released to the public in 1954 - the year that Alex Oliver, the album's composer, was born. As he wrests the sound of singing winds and crying beasts from his own guitar, Alex calmly leads us through the song like an eminent sage. It's like we are sitting round a glowing fire. Good story teller that he is, you can feel the thunderbird rising as the tale unfolds. It is as if an alien has arrived - the feeling people got when the guitar was first electrified. May the dust never settle on your dreams. Comparing the guitar to a gamut of heroic devices (hence aviator), Aviator celebrates everything we love about our musical heritage, as it slid sensationally from blues through 60s pop to rock. It is anthemic and driving...it will compel air guitarists and dancers alike to enjoy it to the full. One (Stellar Fire) Then, as the ariel moan of a biplane sustains sweet memories of the mad biker that is aviator, we are swiftly introduced to a guitar fanfare announcing a softer mood. With lyrics taken from Celtic, Gael and Manx myths (with a bit of Patrick Moore thrown in), One - Stellar Fire is not what you'd immediately guess to be a love song. Giving us the album title, this tale speaks of how forces beyond human reckoning enrich our lives and loves. An unashamed tenderness is evident in the conversations that two guitars enjoy in the intro, softly swished along on cymbals. The Hispano-Irish anthem then moves along with the rhythm, which is wrought purely from an acoustic guitar. Peruvian influence can be traced in the vocal harmonies that are eased along with bright arpeggios. The lyric of One tells us that love which comes to us is a gift of the universe, and maybe we should learn to live with it and not fight it. ...where two riders meet, in the skies over love... Whilst we contemplate the somewhat deep opening lyric for such an airy piece, an Appalachian guitar solo echoes as if played in woodlands. It stirs primeval spirits that move softly, yet unstoppably through every cell of our being. Then with a joyous, almost Christmassy feel, a violin technique on the guitar takes the riff towards a concluding verse. The cosmic undertone in this lyric enforces the album's theme, telling of stars that hide from the day... 1960s pop music influences the design this piece, which now runs to the close with a sustained uplifting chant, riding on the chorus. A gentle fade brings closure, not to one, but two tracks. Distant guitars emulate the image of the vocal line - love is like a comet flight. They finally recede into silence, allowing an important moment of contemplation between tracks. Son of The Night Having effortlessly flowed from rock and blues to pop, the mood suddenly changes. Son of the Night comes in through a door we did not know existed. At first, we feel continuity as Tibetan chants and mountain horns instil a quiet inner mood - like a soft conclusion to the work. You can almost feel the pull of distant planets, as your mind floats into Himalayan serenity. Then the drums, bass and guitar release their fury into the mythical calm. It is as if the powers of meditation have suddenly cracked a cosmic whip - brought you back to the here and now, in the entity of an album that reads like a painted cave. Son of the Night flies like a dragon through dark Tolkeinesque skies. It is the beast of human consciousness, telling us with an inner voice about how much we have achieved - and deceived for ourselves. Ranging from the right to wander wherever we like on this and other planets, to the fact that we barely understand ourselves, this song's lyrics enjoy a pure, unadulterated rock foundation. It is a driven thing - with vigour Vivaldi might use. An unexpected tumultuous end to the album, this is a vehicle for the free voice of the electric guitar, to soar in ways that release and inspire us. From the coarse driven rhythm to the sweeter, haunting lead guitars, we are allowed to experience extremes of emotion. The chaos of the first break sorts itself into patterns we barely understand, creating melody from a myriad notes, showering like sparks from a blade. It's Eastern mystery and promise settle the unrest, just long enough for us to hear the next part of the saga. 'Illuminated views across eternal rivers gleam', it sings, taunting the cowardice our forefathers and some latter-day leaders have shown. Fear of the truth is not just the domain of the wrong-doer, people are often mislead by their good intentions. A second guitar solo is one of the composer's favourite traits. They allow his music to go to higher plains of enjoyment, enforcing the mood of a lyric or riff. The second break in Son of the Night follows a breathy moment of spiritual realisation, where suddenly we can see our potential and our soul screams for it to be realised. This time the guitar has an orgiastic resolve, the sweetness of on old lover revisiting our bosom, the excitement of a new one... Just as the album started with an old familiar feel - like you'd known it all your life - so too it seems it might leave us with a refrain as familiar as our favourite t-shirt. But in the last moment, conscious perhaps that we can be forgetful, an a capella line shouts and hisses vengeance, like something escaped from a horror movie. With that, the album is gone from our speakers, gone from our headphones - gone from the air we breath, yet it remains with us like the feeling we get as we leave a cinema... ...Inspired by heroes, thrilled by beauty, invincible, strong, yet philanthropic. Thanks to Stellar Fire, now we can all feel like super heroes.
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    Jana Osta EP
    Anthemic, melodic rock shot through with heavy metal's naked ferocity. Imagine the Melvins trying to play Rush songs and you've sort of got the idea.
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    Sense Offenders
    Eric Hage of the Metroland says of the Sense Offenders: Albany band the Sense Offenders play ballsy, macho rock that is lead by the vocal growl and songwriting sensibilities of the undeniably talented Tom McWatters. 'Razor's Edge' opens up the album with an ominous rumble that builds into a booty shaking, hard rock scrum upheld by the slashing power chords of guitarist Eric Halder and the precision clatter of drummer John Brodeur. But it's McWatters' feral, bluesy howl that truly marks this territory as serious business. 'Loaded with my Love' mixes things up a bit by offering more of a rock&roll, not hard rock, attack that lands somewhere closely in the neighborhood of 1970's Elvis Costello or Rockpile. Mostly though, this album is supreme 'cock rock', finely executed with balls to match. Few people could drop lines like 'it's cold outside so come in soon/join the revival in my bedroom'(from 'Stiff Breeze') and be taken seriously. But McWatters, with that dirty howl and all of that heavy artillery behind him (and some righteous organ), pulls it off quite well. Sure, this is dead serious 'rawk', but one also gets the sense that the Sense Offenders are having a whole lot of fun living it up like Free or Bad Company did back in the day.-Erik Hage, Metroland, Albany NY Our bio: The Sense Offenders are a favorite on the Albany club scene, thanks to the strong soulful vocals of Tom McWatters, and a commitment to performances that leave rooms full of tired, sweaty bodies in their wake. Behind McWatters is a group of sought-after, multitasking musicians: his brother Matt McWatters, a talented songwriter and singer in his own right, on bass, the fiery guitar leads of Eric Halder, who also leads his own classic rock influenced trio, Charmboy, Terry McClain, leader of rock misfits Guiltless Cult, on keys, and John Brodeur, of Maggie Mayday and Helctor on Stilts, on drums. The songs of the Sense Offenders' self titled debut CD range from aggressive chest beaters like 'Razor's Edge' and 'Rebel Anthem' to funk flavored rockers like 'Stiff Breeze' and 'Lord Humongous', with the occasional anthemic ballad 'Dear Mrs Whitman', and Elvis Costello influenced pop tune, 'Loaded with my Love', thrown in for good measure. The Sense Offenders came together in August 2005, and we released our self title debut disc in september 2007. We've since shared the stage with bands like Cracker, Mohair, Super 400, and the Fireflies. You're next. If you can handle the stiff breeze, the Sense Offenders want to give it to you, hard.
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    I'm an Old Believer
    THE ALBUM 'I'm an Old Believer' is 12 songs filtered through pure obsession. Countless hours were spent over 9 months in the sessions that became the album. It brings together a cast of 14, including members of some of the finest bands in Saskatoon's fertile music scene (The Deep Dark Woods, Dumb Angel, The Blood Lines, Carbon Dating Service and SOSO) to breathe life into a dozen songs chronicling failing relationships, newfound hope and the romantic notion of rock 'n roll. As much a triumph as a breakdown, the album ranges from sparse country waltzes to roaring wall of sound anthems with some shoegazey noise and trashy rock guitars thrown in for good measure. It employs horns, strings, banjo, piano, organ, pedal steel, a choir and never ending layers of guitar to paint a picture of hope for those of us that are hopelessly in love with music. THE BAND Slow Down, Molasses began over the summer of 2006. At first it was just a few quiet songs and daydreams of lost blues and ocean songs. What was initially a solo project quickly evolved into a 6 -piece band, backed up by an ever changing cast of characters ready to stop by whenever. As a result the live show is an continually evolving affair with some shows ending with 8 or 9 people onstage, taking the standard indie-rock setup and filling it out with violin, lap steel, toy piano, banjo, organ and the occasional barroom choir. There are still the same quiet melancholy songs but now the occasional noisy excursion or anthemic build appears, letting lo-fi indie rock songs and alt-country rave-ups sit nicely next to late night lullabies and lazy country waltzes.
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    Empire's New Clothes
    Phil Monsour is an "Australian troubadour who sings songs of hope, humanity, invasion and occupations" (Limelight Magazine Jan 2009). He is a committed independent singer/songwriter with a history of producing music that travels beyond the mainstream to explore complex issues of identity, solidarity and politics. Phil's songs speak with honesty and insight about people's lives and personal experiences. Based in Brisbane Phil Monsour has extensive performing and recording experience as a solo performer and with his bands, the Phil Monsour Band, the Cutters and Popproperly. Recent releases include the Empire's New Clothes (2008), Live at Ahimsa House (2010), Lies and Silence (2009), and the Smart Bombs EP (2001). With the band Popproperly, Phil released two albums: Popproperly (1999) and Faint Blue Glow (1998), as well as a number of EPs and singles. Renowned for their high energy folk rock performances, Popproperly toured extensively through Europe performing at summer festivals, pubs and clubs in Germany, Holland, Ireland, Belgium, Sweden and Finland and built up an independent touring circuit undertaking 5 separate tours. In 2010 Phil Monsour participated in the Union Aid Abroad-APHEDA study tour to Lebanon and Palestine and performed in a refugee camp in Beirut. Images and video from this trip, and other archival footage is often projected during his performances and this helps create a powerful context for some of the songs. Phil continues to use his music to support many community fundraisers. With his new band, Phil Monsour recorded and released a 13-song CD, The Empire's New Clothes. The result described by Noel Mengel in the Brisbane Courier mail is " the most passionate album of his career.....The Empire's New Clothes shows traces of his interest in folk and world music but also rocks with amp-rattling intensity on songs like the blazing One Step and the anthemic Sing Your Song'. The album is a bleak and insightful statement, a unique mix of personal and related narratives about ordinary people whose stories and circumstance are ignored or pushed to the edges. Musically, The Empire's New Clothes builds on Phil's acoustic rock style and creates a contemporary and complex musical landscape. For the project, Phil worked with a range of musicians from a wide variety of musical backgrounds to develop arrangements and instruments that best supported the power and passion behind the songs. Musicians included Jon Lloyd on drums, Graham Jackson on guitar and vocals, Lachlan Hurse on bass, Lorne Gerlack on keyboards, Bryan Pearson on piano and organ, and the ever versatile Simon Monsour as producer engineer and occasional musician. In May 2009, Phil released an album of solo acoustic performances entitled Lies and Silence featuring acoustic recordings of new and older songs. Since 2008 Phil Monsour has been performing regularly around Australia promoting The Empire's New Clothes CD. 20% of sales of The Empire's New Clothes are donated to a development agency with projects in the Middle East.
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