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Amazon Customer "devilpudding"

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Cassette
Cassette
Offered by best_value_entertainment
Price: 4.99

0 of 2 people found the following review helpful
5.0 out of 5 stars HWG come up with the good again, 15 Oct 2003
This review is from: Cassette (Audio CD)
After a wait of months since it was announced, the new Hiding With Girls single bounds into view - complete with a video in tow. In the back of my mind, I was a little worried that Hiding With Girls might not be able to produce a single as good as their earlier "The Gaps In Sound Are For Legal Reasons". Of course, my worries were kicked into touch the minute that the bouncy scaling riff of lead-off track "Cassette" was thrust from my speakers and into my head. It's a catchy track with a great anthemic chorus that nobody could possibly resist.
"Painting Still Life From Memory" is the best song on here, and arguably the best song in the HWG roster. The riff is infectious, the build up is fantastic, the chorus is a knockout and the lyrics are on a higher plane to their other songs. As well as being an example of a song that the 'repeat' button was invented for, it is also a shining example of progress for the band.
The disk is ended with "Get Your Stuff, Go Home", a song that may be familiar to Total Rock Radio listeners and gig-goers. At first it sounds a bit routine, and the chorus doesn't have much to it. However it's a grower - give it a few spins and it's a pretty decent song.
Comparisons to genre figureheads Funeral For A Friend are inevitable, and in truth they don't do any harm to Hiding With Girls' reputation. However, Hiding With Girls are more than a copycat band, and if anyone was to accuse them of riding on the coat-tails of successful British bands it would be unfair. Hiding With Girls have a sound that is their own, and a fantastic song-writing ability that many better-known bands would give their limbs for.
There is absolutely no reason not to by this CD. And if you haven't already, get "The Gaps In Sound..." whilst you're at it.


Kick Up the Fire and Let the Flames Break Loose
Kick Up the Fire and Let the Flames Break Loose
Offered by SourceMediaUK
Price: 2.04

6 of 7 people found the following review helpful
4.0 out of 5 stars The Coopers are back, 13 Sep 2003
I decided to wait until I had been listening to this album for a week before I wrote a review. Because, as anybody who bought the Cooper Temple Clause's stunning 2001 debut "See This Through and Leave" will testify, it takes more than a few spins to really appreciate the music.
"Kick Up The Fire.." is a natural progression from "See This Through and Leave", with obvious improvements on the experiments tried in the debut. The electronic vibe is used at the forefront of many of the songs, which works well on "Music Box" and "The Same Mistakes", but is far to minimalist on the closing two tracks, making them rather throw-away. The vitriolic guitar assault of the likes of "A.I.M.", the singles "Promises Promises" and "Blind Pilots" and the superb "Talking to a Brick Wall" proves that the six Coopers have learned a lot of tricks since "Been Training Dogs" and "Devil Walks in the Sand". They are all brutal slabs of guitar rock, but always with excellent melodic vocals from the under-rated Ben Gautrey. The press never seem to give the Coopers credit the deserved for the sheer strength - and occasionally anthemic quality - of their choruses.
The real highlight of the album is "New Toys", a half-electronic, half-rock song with amazing melodies and a build-up to a brain shaking chorus. This track alone proves that the Cooper Temple Clause have honed their skills. The songs are on a whole better than those on "See This Through..", though as an album it is a little more hit-and-miss. This is no classic, but it is an excellent follow-up to an excellent debut. A worthwhile buy for both fans and curious outsiders.
This is solid evidence that the Cooper Temple Clause are a hot band that can only get better.


Quiet Room CD
Quiet Room CD
Price: 5.67

5.0 out of 5 stars Stunning! Every track a classic, 16 Aug 2003
This review is from: Quiet Room CD (Audio CD)
For several years Amazing Device have been gigging and writing non-stop, building up a strong fan-base and catalogue of tunes but being criminally ignored by record labels. But on the strength of this offering they cannot be overlooked for too much longer.
The CD kicks off with "The Secret", a storming anthem of a song, featuring the guest vocal talents of Lostprophet's singer Ian Watkins. This is followed with "My Saving Grace" and their eponymous signature tune "Amazing Device", two more pounding slices of rock.
Almost all of the songs follow in this vein of crunching but melodic guitars, catchy riffs and hummable tunes. However, the album never sounds tired and no 2 songs sound the same. Lyrically and musically there is enough variation to keep the listener's interest with ease. Josh Chapman's guitar-parts range from crushing Muse-style riffs and Hoobastank-style psychedelic picking to classic metal-like squalling riffs. The lyrics are excellent, particularly in "Calamine", "My Saving Grace", "Air" and "Discreet" - the last two bravely tackling the tricky subject of abuse with startling sincerity.
The only downside of this album is... well, there isn't one. There's no catch, it's just 9 solid tracks that beg for repeat listens over and over.
An Amazing first release, and a must have for any fan of Lostprophets, Thrice, and indeed music.


Price To Play
Price To Play
Offered by the music box
Price: 0.90

2.0 out of 5 stars A disappointment, 14 May 2003
This review is from: Price To Play (Audio CD)
Hmm... It's hard to know just how much to make of this. It's been a long time since we last saw Staind, and it's clear from this that the events of the past two years have affected songwriter Aaron Lewis somewhat.
The song is typically dark, sounding like a heavier cut from 2001's "Break The Cycle", only with fewer hooks. So far so average.
The lead B-Side, Let It Out, is abysmal. It has the gratuitous swearing and self-pitying introspection that most bands moved away from a year ago. The only saving grace is a the acoustic version of Can't Believe, which has been given a miraculous transformation from an all-out angry song into a lighters-in-the-air ballad similar to "It's Been Awhile". But when a singles saving grace is the live version of a two-year old track, it really says something about the calibur of the A-Side.
The signs are not good. The music world is moving, and Staind dont appear to be a band on the move. They need better tracks than this to make their "14 Shades of Grey" worth buying.


Hold Me Up
Hold Me Up
Price: 6.67

5 of 5 people found the following review helpful
5.0 out of 5 stars A surprisingly good album!, 14 May 2003
This review is from: Hold Me Up (Audio CD)
From what I'd heard and read on the internet, the Goo Goo Dolls' first three albums were better seen and not heard. It seems that I was misinformed. For whilst Jed and Goo Goo Dolls are both albums of fast and frankly unappealing punk, Hold Me Up is when they started to get good.
Hold Me Up isn't as instantly accessable as any other Goos CD, but it grows on you. For the first time Johnny gets equal billing as the singer and comes out with some quality tunes, "Two Days In February" and "You Know What I Mean" being highlights. Frog-voiced Robby also provides tracks more worthy than anything he's done after SuperStar Carwash, particularly "So Outta Line".
Overall this is a great fun record, with only the cheesey Prince cover "Never Take The Place of Your Man" showing any dip in quality.
If you like the Goo Goo Dolls other albums this is a must have. If you're new to the band get "A Boy Named Goo" or "GutterFlower" first. Then buy this!


Meteora CD/DVD Set
Meteora CD/DVD Set
Offered by lbabes
Price: 17.99

5.0 out of 5 stars Linkin Park avoid the Second Album jinx, 24 Mar 2003
This review is from: Meteora CD/DVD Set (Audio CD)
You have to feel for Linkin Park. For every one person who likes their music, there are two who call them a boy-band with guitars. It's a hard place to be, being the most popular rock-band on earth. From starting off as a local rap-rock outfit recording demo's in emcee Mike Shinoda's bedroom to making Hybrid Theory they have stayed pure to their musical ideals. Yet still they are accused of being "sell-outs".
Not counting their remix album "Reanimation" in 2002, Linkin Park have not released any new material for almost two and a half years. In this time the rock world has evolved, and the expectations put upon the band for their second album proper were huge. It's amazing that they fought through the pressure and produced an album as good as Meteora.
The album kicks off with 13 seconds of beats, before seamlessly blending into the real album opener "Don't Stay", a real stomper of a song in the vein of "One Step Closer". Seamless appears to be the theme of Meteora, with most of the tracks being mixed together and those which aren't having the bare minimum of blank noise in-between.
Meteora is, despite popular opinion, quite different to it's predecessor. The rap-rock mould is slightly broken, and the hybrid sound is spread out. Most of the songs carry on the rap-rock genre and improve on what was started on Hybrid Theory, but don't sound like Hybrid Theory tracks. With the exception of "Pushing Me Away"-a-like "Numb", there is no way "From the Inside", "Lying from You" or "Faint" could be tagged onto their debut without sticking out like sore thumbs.
At times, Linkin Park defy their seamless-hybrid of rock-rap specification and commit some songs into genres. "Nobody's Listening", the album's only real weak track, is pure hip-hop, just as "Breaking the Habit" is pure pop-rock. Yes pop, love it or loathe it, is blatantly here. But don't loathe it, because it sounds fantastic.
This slight change to the formula will surely make Meteora stand out as more than just the follow-up to Hybrid Theory. When it is soft, it is far softer than before (See "Easier To Run", by far the album's best track) when it's heavy it's far heavier than before (The very daringly obscure "Hit The Floor" is a fine example of this). What's more, no time is spared. There is no pomp or build up, making every second of every song seem important.
The sheer joy of this album is the realisation that Linkin Park just don't care what people think of them. They could have packed an album with "In The End" clones and sold a shed-load, but instead they have written the album they wanted to write. For this reason, and for the fact that Meteora bears the best songs they have ever produced, Linkin Park have guaranteed that their fans will remain enchanted with them for much longer. Of course, those who hate them will probably hate this. But hey, who care's what they think?


The Gaps in Sound
The Gaps in Sound
Offered by best_value_entertainment
Price: 6.99

2 of 3 people found the following review helpful
4.0 out of 5 stars H is for Hardcore, 24 Mar 2003
This review is from: The Gaps in Sound (Audio CD)
Hiding With Girls, it would seem, have picked the exact right time to appear from the underground wielding their guitars. With the death of rock's most commercial child of recent years, nu-metal, looking imminent, it seems that "the kids" are after a little something more. And if we are to believe the magazines, this little something is hardcore, post-hardcore, emo-core, britcore, or indeed anything ending with core.
As with all blossoming music scenes, there are many pretenders who attempt to jump aboard the bandwagon. Don't worry though; Hiding With Girls are not such pretenders. They are a young and talented group with both underground credibility and the melodic sensibility of hardcore's best-sellers Finch and Lostprophets, which surely gives them the same potential for wider appeal. Okay, they'll never be clutching at number one (judging by their decision to make this single ineligiable for chart entry, I shouldn't imagine this will lose them any kip) but the tunes here are top quality. Lead-off track "It's A Girl" thing is the best of the bunch, though "The Stars Cascade" is an excellent song as well. The gaps in sound mentioned in the title are two obscure tracks, barely scraping two minutes long combined. There isn't much to them, but they divide the three full songs well, and give the CD a unique twist. Final track "Marty McFly" is not as good as the previous two, but it's entertaining enough to end the single on a high point.
Overall, "The Gaps In Sound are for Legal Reasons" is a great CD and is a gem for anyone who knows about the band to treasure. Everybody else doesn't know what they're missing out on --- but if there's any justice this should win them some new fans.


Can't Slow Down
Can't Slow Down
Price: 12.49

0 of 7 people found the following review helpful
1.0 out of 5 stars Really not worth your money, 23 Nov 2002
This review is from: Can't Slow Down (Audio CD)
It's hard to believe that this album is by the same Saves The Day who gave us this years excellent "Stay What You Are" and the decent "Through Being Cool". Okay, they were young at the time, but that doesn't distract from the fact that this album is weak. The songs lack any sort of hooks, and because of this tend to blend together. They're also too short to make any impact at all.
Once you've listened to the first 4 songs you'll know what to expect from the rest of the CD -- fast drums, fast guitars and little to no noticable vocal melody whatsoever; Sub-Sum 41 style music. Only completists and fans of frenetic 60 second punk-songs whould even consider this album.


Not Found - Savage Garden
Not Found - Savage Garden
Offered by best_value_entertainment
Price: 6.99

3 of 3 people found the following review helpful
4.0 out of 5 stars Now they're gone you can admit they were cool, 13 Nov 2002
It's a shame that Savage Garden were forced into the 'pop' bracket on the release of their first single (The sing-a-long-if-you-have-the-energy pop masterpiece "I Want You") because they truly were a blessing, but were never really appreciated. Cynical critics pigeon-hold their music, and fans who didn't want to be seen buying music that "wasn't credible" avoided their CD's like a plague.
There is no denying Savage Garden's music has a heart of pop. But unlike other pop bands of their era such as Boyzone and the inescapable Spice Girls, Savage Garden had something else. They had edge. And this, the Australian re-issue of their debut album, demonstrates this.
The chances are by looking at the track list, everybody will recognise a song they like (though many wouldn't admit it). The stunning and lyrically dark "To The Moon And Back", and sugar-sweet ballad "Truly Madly Deeply" are on this album (as well as the aforementioned "I Want You"), although "TMD" is a different mix to the familiar version. The rest of the tracks are, in whole, on par with these singles. Like all debut albums it has its flaws. "Break Me Shake Me" is a true rock song which singer Darren Hayes' voice isn't really suited for, and "Tears For Pearls" makes absolutely no sense.
"Universe" is a sensual ballad in the vein of Darren Hayes' solo track "What You Like". "Carry on Dancing" sees musician Daniel Jones (not he of Silverchair. That's Daniel Johns) adopting a Latin flavour in his guitar with satisfying licks and mysterious lyrics. "All Around Me" is camp genius, a parody of the fashion industry which sees Darren Hayes having an interval where he 'raps' in an English accent. "A Thousand Words" is an aggressive tirade against an ex-lover, in a similar musical vein to "To The Moon And Back".
The true highlight to this album is "Mine", a bittersweet song cruelly torn from the International release of the album. It's hard to figure out why, because this is possibly Savage Garden's best song.


Comfort in Sound
Comfort in Sound
Offered by Giant Entertainment
Price: 2.67

1 of 1 people found the following review helpful
5.0 out of 5 stars The best Feeder album?, 4 Nov 2002
This review is from: Comfort in Sound (Audio CD)
It’s inevitable that Comfort In Sound will be placed under that shadow of Jon Lee’s suicide in January this year, which is a shame because it prevents people seeing the album for what it is. But if you strip away the sentiment and pity piled onto the album by critics and casual reviewers you will see it for what it is. It would be nave to think that songwriter Grant Nicholas would deliberately avoid sentimentality, or that he would pile it on thick and fast. There are some tender moments, but not too many to flood the album.
Like all Feeder albums it dives in between genres and steals the best bits for songs. And as always it doesn’t always pay off. “Quick Fade” is perhaps the weakest track on the album, with a sense that a spontaneous focus on psychedelic overcame Nicholas when writing the backing music for his lyrics. It just doesn’t fit, which is a shame because the lyrics are more stark and honest that you would ever expect from Feeder.
But aside from the flaws (Such as the pointless ‘loud song’ “Godzilla” and the previously mentioned “Quick Fade”) it is mainly an album to come back to time and time again. Like Yesterday Went Too Soon -- Feeder’s 1999 masterwork -- it takes time for some of the songs to grow on you. “Moonshine”, “Love Pollution” and “Child In You” are classics, but only after a few listens. The singles -- Feeder’s most modern rocker “Come Back Around” and the album’s true delight “Just The Way I’m Feeling” -- alongside the title track and “Helium” make sure you know that this is Feeder at their very best. Catchy, melodic power-pop. Not quite Polythene, not quite Yesterday Went Too Soon, and definitely nothing like the experimental cauldron that is Echo Park, Comfort In Sound is a brilliant album. Hopefully in years this is how it will be remembered. Not as a mourning record and not as the fight-back by a band trying to find their feet after a major shake-up.
Commercially Comfort In Sound probably won’t be as successful Echo Park. There is nothing as poptastic as “Buck Rogers” or as pounding as “Seven Days In The Sun”. But who cares? Because this is a gem that you should enjoy.


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