Melodic Rock Info

Band Paganini
Info: Detox
Style: Hard’n’Heavy
Years: 1990
Info: CBR 320 kbs
Info: 91,09 Mb
Info: Switzerland

Band Graham Nash
Info: Wild Tales
Style: Rock / Folk Rock
Years: 1973
Info: CBR 320 kbs
Info: 75,05 Mb
Info: USA

Band Mats Ronander
Info: Mats
Style: WestCoast / AOR
Years: 2001
Info: CBR 320 kbs
Info: 92,57 Mb
Info: Sweden

???????????: St. Elmo’s Fire
??????: Powerdrive
???: 1990
?????: Hard Rock
????????: 320 kbps
??????: mp3
??????: 114 mb

???????????: Epsylon
??????: Second Round
???: 1989
?????: Melodic Hard Rock
????????: 320 kbps
??????: mp3
??????: 87,7 mb

For one so young Joanne Shaw Taylor is not only treat as an equal in what might be the most snobbish of musical genres but genuinely revered by many much older guitarists and this, her third album could well be the one that attracts the ears of Big League Promoters across the Atlantic Ocean.Joanne’s last album; DIAMONDS IN THE DIRT was generally perceived to be ‘career defining’ but ALMOST ALWAYS NEVER actually starts where that album left off and with the aid of some excellent production work from Mike McCarthy; Joanne Shaw Taylor throws down a gauntlet to the rest of the burgeoning British Blues-Rock scene.Soul Station which opens the album has all the hallmarks of a timeless classic and Beautifully Broken which       follows is a breathy heartbreaker with a Rhodes organ complimenting the nicely choppy guitar breaks before Shaw-Taylor slides in her own trademark fluid solos.

In the past we’ve always been able to rely on P!nk for that heartfelt angst filled dynamite pop song.She says it how it is, slates who she likes, toys with her hubby’s emotions through her lyrics and does all of this whilst looking like she could kick your backside at the same time.So it’s perfectly understandable when she fell pregnant last year a tremor of fear went off in fan’s minds. Would she be able to return to form with new music following her Greatest Hits package of 2010? The simple answer is yes.Having seen her perform live on more occasions than I can remember, I know she’s the one artist you can rely on for longevity.So what if she’s had a baby and she’s been taking a few months out. It’s not going to suddenly enable her to skip around Rodeo Drive in a tutu buying £2,000 handbags for her chihuahua to bed down in.P!nk’s voice is raw, the lyrics are to the point (hardcore occasionally) and she’s always been unique – it’s her way or the highway.

Stealing Axion presents an interesting case study in just what exactly is meant by the term “progressive” with the band’s debut full-length “Moments.” Does combining different styles make a band progressive? Is it throwing in ‘70s rock vibes, or is it meshing clean and harsh repeatedly? Is djent the new prog? “Moments” ends up an album that will likely have many die-hard supporters, but just as many die-hard detractors, as it loses its own identity in the quest to be “progressive metal.”

This is an album that is amazing on a strictly musical and technical proficiency level, but overall is still a bit of an aimless mess. The style and atmosphere changes at the drop of a hat, and each song is massively different from any other. There’s power metal, death metal, a whole lot of Meshuggah worship, and yes, even some mallcore from time to time. Opener “Mirage of Hope” has a quasi-hardcore vibe, along with breakdowns and electronic elements. “Sleepless” starts out with a creepy mix of black and death, while “It’s Too Late Now” drops the metal and plunges into soft and clean territory.

n recent years, the word “change” or “revolution” often came to our ears, almost to be used too lightly. Many of those who appear on television screens, radio broadcasts, or simply on the printed pages of the newspapers in my long lost sight of what they want to say those words. What we must realize is that instead of a change we need in these times darker than ever, but it must be a desire to start from scratch, tear down the pillars on which up to now have been resting the basics of how to common life, and groped by all means to create a new reality, in which every individual that is part of has exactly the same rights and duties of man standing next to him.

Throughout history, artists have generally tried to give the greatest contribution to the various causes that could have taken place, and even today, the way in which we should all go seems to have become a point so far, there are people who struggle these injustices in their own way, through music, for example, consuming their fingers and vocal chords to impress upon the minds of those who govern this system to their message.

Review:
We now live in the internet age where anyone can call themselves a band, slap together an album and release it independently. While I have seen quite a lot of these in recent years, few of them seem to get it right. I believe rock bands should fall under the business of show business and there are a few bands that have a good image, but lack the quality in song writing. I stumbled across Birmingham, U.K.’s Lovebite because their outlandish appearance captured my attention, but after hearing their songs I knew I had also found something special. This band seems to make no excuses for what they aimed to create — a loud, talented, dark, yet oh so much fun, hard rock album.
If we start with the cover of this album we see a display of someone pressing the muzzle of what looks like a shotgun against the cheek of an attractive model with the album title Lock ‘N’ Load. It’s a nice touch, as that imagery is enough to make anyone look twice.
The album begins with a 33 second intro titled “No Turning Back” featuring thunderclaps and police sirens as it morphs into the fist pumping “Sin City” — setting the tone for the rest of the CD. Lead vocalist Jonny Sparks sounds like a lucky Star Trek transporter malfunction that fused Bon Scott and Vince Neiltogether. His shrill and effortless high pitched range easily carries the songs while the rest of the band backs him up with frequent gang vocals.