R.E.M. - Accelerate

One of the best thing about Accelerate is that the songs are so tight together. It gets your attention to some catchy guitar sections like in the song Sing For The Submarine. A perfect R.E.M. formula, i liked that song so much, sharp! Accelerate makes a noise, grab it! Read full review R.E.M. - Accelerate

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Rihanna - Music of the Sun 2005

Rihanna, a new sexy pop star, born with a song titled "Umbrella". The song was covered many times by many names, i know that you got bored to hear this song again and again. This is another nice pop record by her.

Joy Division - The Best of Joy Division

The Best of Joy Division is the new compilation for English rock cult group Joy Division.

Michelle Branch - Hotel Paper

Hotel Paper is basically a pop-rock album with some power-ballad tendencies. However, the twangy, chugging "Breathe" is not the Faith Hill hit of the same name but could find its way onto a Hill or Shania album with no trouble at all, indicative of the inherent stylistic malleability of Branch's all-purpose songwriting.

Kelly Clarkson - Breakaway

With 2003's Thankful, Kelly Clarkson showed that her American Idol win was no fluke by dropping out a nice album of gospel-influenced R&B performed with the panache of a seasoned veteran. In late 2004, the Texas native singer delivered on the promise of her sophomore record's title, Breakaway, by diving headfirst into alternative-rock-flavored pop of the Avril Lavigne/Michelle Branch variety. Though there are still a few R&B-inspired moments here ("Because of You" is a soulful, string-laced ballad in the best Mariah Carey tradition), most of the album has a much harder edge than fans of Thankful would likely expect. In other spots, Clarkson goes the moody chanteuse route, particularly on "Addicted," where she channels the spooky melancholy of Fiona Apple with surprising conviction. Clarkson herself co-writes several songs on the disc, which, combined with the record's unexpected musical variety, suggests a talented vocalist coming into her own as an artist as well as a performer.

Nelly Furtado - Whoa, Nelly

Rolling Stone (1/4/01, p.108) - Included in Rolling Stone's "Top 50 Albums of 2000".
Rolling Stone (10/12/00, p.92) - 3.5 stars out of 5 - "...A wild-ass pop go-go, filled with songs that pursue adventure yet could still make the hit parade."

Entertainment Weekly (12/29/00, p.140) - Ranked #10 in EW's Top 10 Albums of 2000.
Entertainment Weekly (10/20/00, pp.75-6) - "...Carries you away on a sonic jetstream....one of the year's most consistently pleasureable delights..." - Rating: A

Q (4/01, p.100) - 3 stars out of 5 - "...[Her] self-sufficient, Beck-inspired hip hop folk makes for a refreshing change....[her] songs are playful, unaffected and full of little surprises..."

Lil Wayne - In the Carter Chronicles

In the Carter Chronicles - Lil' Wayne When have the people not wanted more Weezy F. Baby? With the help of Brooklyn's Bad Boy, this mixtape is the Brooklyn 2.0 edition Lil' Wayne joint featuring a heavy collection of recent and classic Carter flows, including a handful of interviews with Weezy + some official remixes. This CD features new Wayne joints featuring Katt Williams, Juelz, Shawty Lo and others.

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Sex Pistols - Never Mind The Bollocks

Knowing that there's no such thing as bad publicity, manager-Svengali Malcolm McLaren molded the Pistols into the most confrontational, nihilistic band rock & roll had ever seen. Propelled by Johnny Rotten's maniacal vocals, Steve Jones's buzz-saw guitar, and (most importantly) bass player Glen Matlock's hook-filled compositional skills, the Pistols' early singles "Anarchy in the U.K." and "God Save the Queen" defined the raging style of British punk. By the time they recorded their lone 1977 album, Matlock had been bounced, replaced by the image-correct but utterly untalented (and ultimately group-dooming) Sid Vicious. Not a 10th as good as the singles, the album nontheless remains a bile-filled emblem of the times.

Kylie Minogue - Fever

Echo and the Bunnymen - Crocodiles

Crocodiles presented Liverpool's Bunnymen as a truly original and inspired fusion of punk's nihilism and the psychedelic era's open-ended experimentation. Will Sergeant's innovative guitar sound, slipping seamlessly between sharp, brittle attacks and warm, lush embraces, made a perfect foil for frontman Ian McCulloch's somber vocals and self-conscious, introspective lyrics.

Turin Brakes - The Optimist

Although this British duo draws effectively on early-'70s rock--mainly warm SoCal folk pop, à la America, and shimmery-cool British space glam, à la T. Rex--what makes them distinctive are their modern easy grooves and their uneasy emotional nakedness. "I panic at the quiet times, decisions at the door," sighs vocalist-guitarist Ollie Knights in "The Door," but throughout The Optimist, he and coconspirator and slide guitarist Gale Paridjanian resist the alt-rock urge to bury anxiety in walls of noise. Their debut full-length (comprising five tracks from earlier EPs and seven new originals) is rife with subtle, contemplative moments that often turn lyrically dark ("I'm sick and I'm twisted/ Like a Sunday massacre") or get carried away by cresting rhythms, like the post-breakup lament "State of Things" ("You and me used to be on fire/ There ain't no straight lines in this state of things"). Although Turin Brakes can rock when they care to (here most effectively on "Mind over Money"), their strength comes from exploring the tension in life's deceptively calm shadows.

Gutter Twins - Saturnalia

The Gutter Twins is a project fronted by Greg Dulli and Mark Lanegan, the former leaders of the seminal indie rock acts Afghan Whigs and Screaming Trees, respectively. Like the music made by Dulli and Lanegan's two past bands, the sound on Saturnalia, the Gutter Twins debut, is passionate, moody, guitar-driven, and intense.

Yet Saturnalia is directly reminiscent of neither the Whigs' punchy alt rock nor the Trees' psychedelic grunge. Instead, the Gutter Twins lead listeners down a dark, swirling path of minor key atmospherics, haunting harmonies, and harrowing confessionals. An album better suited to headphones and late-night speculation than to big speakers and headbanging, Saturnalia is a shadowy, melancholic treat from two of rock's cult heroes.

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The Black Crows - Amorica

With their roots firmly planted in the alluvial top soil of '70s blues rock, The Black Crowes are a classic hard rock riff band, where the groove--their weaving of electric guitars/keyboards, with bass-drum dances--is paramount, much as it was for their mentors, Little Feat, The Faces and The Rolling Stones.

On AMORICA The Black Crowes stretch out their throbbing grooves and dense retro mixes with taut, wiry bursts of guitar courtesy of Rich Robinson and Marc Ford, over a bumptious latin-inflected rock groove, as on "Gene." Eddie Harsch's rich Hammond B-3 and funky keyboard work adds body to each arrangement, while leather lunged Chris Robinson's vocals are less a melodic focus than an extension on the blues riffing going on underneath. He's a soul shouter in the best tradition of Gregg Allman, Stevie Winwood and Rod Stewart--of white rock singers influenced by the likes of Otis Redding and Ray Charles--as on "High Head Blues."

At their best, as on the southern flavored jams of "Wiser Time," and the funky, lascivious "She Gave Good Sunflower," the band evokes a powerful roots rock feel, with plenty of solo space for the guitars to stretch out. But on more laid back fare, such as the down home "Downtown Money" and the poignant "Ballad In Urgency," The Black Crowes' lyrics convey an enigmatic brand of romanticism that is more song-like than many of their arrangements.

Vampire Weekend - Vampire Weekend

I've recently discovered this New York based buzz band, and you should hear their relaxing pop song "M79". I like to hear unmixed indie rock songs. "M79" isn't the only good song of them, there are bunch of nice cuts on their new self-titled record such as Mansard Roof, Oxford Comma and A-Punk. And they mostly sound like XTC or Rusted Root, you know them, they're cool. Ok here comes video of Ecstasy by Rusted Root. If you like entertaining, joyful indie rock bands, Vampire Weekend is for you. Vampire Weekend talks about the song "M79":

We just finished recording this song too. The final version is very different than this one. Rostam played piano here so I feel like it has a kind of honky-tonk vibe. On the album, there are a lot of different instruments and string arrangements. It’s named after a bus in Manhattan that goes across Central Park. There are usually a lot of old people on it — maybe going to a museum or hospital on the Upper East Side.
www.themodernmusic.com

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Doves - Some Cities

With their third outing, Some Cities, Doves created their most cohesive album to date. While the British trio's debut, LOST SOULS, conjured up a wonderfully melancholy mood, and its follow-up, THE LAST BROADCAST, expanded the band's sonic palette, Some Cities sees Doves fine-tuning their sound with the strengths of both previous releases. Atmospheric rock remains the group's calling card, as best exemplified by the shimmering "Almost Forgot Myself," the string-laden "The Storm," and the woozy "Shadows of Salford." Although the album is filled with mid-tempo tunes, "Black and White Town" picks up the pace with a Motown-like backbeat, "Walk in Fire" builds to a thrilling crescendo (much like THE LAST BROADCAST's "There Goes the Fear"), and "Sky Starts Falling" presents the trio in a buoyant, rocked-out mode. Crafting three excellent albums in a row is a tall order for any band, but with Some Cities, Doves have done exactly that.

Sinead O'Connor - Universal Mother

Sinead O'Connor has transcended much of the pain and anger of her public persona with this moody, evocative set of songs. Touching upon themes of fraternity and maternity with folkish grace and childlike metaphors, O'Connor's Universal Mother reveals aspects of her longings and fears in cryptic freeze frames of song and sorcery that are haunting in their simplicity, and unsettling in their focus on doomed innocents.

Consecrated to the world's mothers and children, and dedicated "as a prayer from Ireland," Universal Mother opens with an invocation from Germaine Greer, and the ominous overture "Fire In Babylon." With its menacing bassline and swirling mix of jazz samples and keyboards, it echoes Peter Gabriel, P.I.L. and Robert Fripp with its portents of dissolution and doom ("Life's backwards/People turn it around/The house is burned...The children are gone."). The penultimate "Famine" acts as a psychic bookend. Following a wolf's cry and an echo of "Fiddler On The Roof," the arrangement lurches forward with a hip hop collage of Miles Davis and the Beatles' "Eleanor Rigby," as O'Connor's narrative essays the destruction of Irish culture and history.

In between, O'Connor's intimate confessionals are framed in folkish piano accompaniments, with spare brushstrokes of strings. From the tender "My Darling Child," to a poignant cover of Kurt Cobain's "All Apologies," O'Connor's dark chamber music focuses on the joys and heartaches of childhood, scary tales of abuse, alientation from her family, and other painful rites of passage. Universal Mother is an enigmatic, deeply personal portrait of the artist in flux--a triumph of compassion over rage.

Van Morrison - Wavelength (2008) (Remastered)

The most commercially accessible of Van Morrison's '70s albums, Wavelength is not an artistic compromise, but rather an expansion of Morrison's sound beyond the blues-based, horn-band approach. With the keyboard work of Camel's Peter Bardens and The Band's Garth Hudson, the arrangements take a step toward rock's electronic future without breaking Morrison's well-established ties to it's past. Basically a continuation of the ideas explored on the previous year's aptly titled A Period Of Transition, the album relies largely on groove-heavy '70s-style R&B tunes that overflow with soul, like "Hungry For Your Love" and "Take It Where You Find It." The title tune, which proved to be quite radio-friendly, points the way to new pop directions.

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