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Deathangel

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Pridružio: 04 Avg 2006

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Poslao: Sub Apr 28, 2007 2:19 pm

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O ovome razmisljam vec neko vreme.Dosao sam na ideju da napravim topic u kojem bih vam predstavljao jedne od najgenijalnijih albuma u muzici,a to su sigurno konceptualni albumi.E za one koji neznaju sta su to konceptualni albumi:pa to su albumi koji su uradjeni na osnovu neke price,znaci radnja pesama je povezana u jednu pricu.Sada,te pricemogu biti izmisljenje izasle iz glave tekstopisca,mogu biti bajke,istorisjek teme ili bilo sta drugo sto vam padne napamet.Neki bendovi kao Rhapsody zasnivaju sve svoje albume na jednoj velikoj sagi(kao npr.Lord Of The Rings) pa se prica proteze i razvija kroz svaki sledeci album.Svaki komentar je dobro dosao:

ICED EARTH
Night of the Stormrider

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Iced Earth's second effort is a concept album with a mystical, horrific story line. It traces the path of a man who is betrayed by religion and turns away from it in anger. The dark forces of nature reach out to this enraged man and use him as their vessel to bring death and destruction to Earth. Through it all, he feels no remorse for his deeds, and upon reaching the end, numbly accepts his fate of eternity in Hell. Musically, the band picked up a new singer and drummer for this album. The singing is a definite improvement from the debut, ranging from a powerful growl to a Halford-like scream. Such skill is necessary to portray the wide range of feeling on this album. There's quite a bit of background keys on this disc, some choral moaning, and a memorable piano outro, which all add to the dark mood. There are also several excellent acoustic passages seamlessly interwoven with the driving guitar riffs. The music meshes perfectly with the story, magnifying the hatred, manic joy, confusion, and sadness present in the lyrics. After listening to this musical masterpiece, one cannot help but to feel some of the sadness and guilt that the Stormrider was unable to feel for himself.
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for he is but an animal
yet has the ability to realize it"

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Srdjan

Super Beba

Pridružio: 19 Jul 2006

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Poslao: Sub Apr 28, 2007 2:50 pm

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OEPERATION MINDCRIME GRUPE QUEENSRYCHE!!!!!!!!

ZAKON.


MISPLACED CHILDHOOD GRUPE MARILLION

BAT OUT OF HELL I,II,III MEAT LOAFA

SELLING ENGLAND BY THE POUND GRUPE GENESIS

ANIMALS GRUPE PINK FLOYD

SEASON'S END GRUPE MARILLION

.....

kao sto vidite, takvi albumi se uglavnom nalaze u progressive rock/metal muzici
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NEVERNE BEBE I 1994

1000 godina, sanjaj, kad me napuste svi, daire, oktobar fest, veliki je bog, zivot je kazna, saga, dva minuta za nas, sve nase godine...ISTORIJA

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Deathangel

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Poslao: Ned Apr 29, 2007 1:22 pm

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Evo samo za @Srdjan-a

QUEENSRYCHE
Operation:Mindcrime

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The album begins with the protagonist, Nikki, lying in a hospital bed. He lies in a nearly catatonic state, unable to remember anything but snippets from his past. Suddenly, Nikki has a violent flashback in which his memories come flooding back in a torrent (I Remember Now, Anarchy X). He remembers how, as a heroin addict and would-be political radical frustrated with contemporary society, he was manipulated into joining a supposed secret organization dedicated to revolution (Revolution Calling). At the head of this organization is a political and religious demagogue known only as Dr. X, who, manipulating Nikki through a combination of his heroin addiction and hypnotism, uses Nikki as an assassin. Whenever Dr. X uses the word "mindcrime" Nikki becomes his docile puppet (ala The Manchurian Candidate), a state which Dr. X uses to command Nikki to undertake any murder that the Doctor wishes (Operation Mindcrime, Speak). Through one of Dr. X's associates, a corrupt priest named Father William, Nikki is offered the services of a hooker-turned-nun named Sister Mary (Details are vague whether these services are sexual or simply emotional) (Spreading the Disease). However, through his friendship and growing affection toward Sister Mary, Nikki begins to question the nature of what he is doing (The Mission). Dr. X notices this and, seeing a potential threat in Mary, orders Nikki to kill both her and the priest. Nikki goes to Mary's church and kills the priest, but after confronting Mary fails to comply with the command to murder her (Suite Sister Mary). He and Mary decided to leave the organization together, and Nikki goes to Dr. X to tell him that they are out. Dr. X, however, reminds Nikki that he is an addict, and that he is the only one who can provide his daily fix (The Needle Lies). Nikki leaves conflicted and returns to Mary, only to find her dead (Electric Requiem). He cannot cope with the loss, as well as the possibility that he himself may have killed her and not known it, and begins to succumb to insanity (Breaking the Silence, I Don't Believe in Love). The police, arriving on the scene, arrest him for Mary's murder and the murders he committed for Dr. X (Waiting for 22). Because he is in a near-catatonic state, he is put into a hospital, where he starts to remember… (My Empty Room, Eyes of a Stranger).
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"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Deathangel

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Poslao: Pon Apr 30, 2007 8:44 pm

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THE WHO
Tommy

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Tommy Walker is born while his father is off on some journey (`It's a boy') from which he becomes several years late in returning. Tommy's mother takes up with a lover, father returns, mother and lover kill father with Tommy as a witness, and mother and lover tell Tommy he saw and heard nothing (`You didn't hear it'). Tommy becomes functionally blind, deaf, and dumb to all outside appearances, however, it is evident that within his own head, he can see and hear everything (`There's a doctor I've found'). He is tormented by various malicious relatives (`Cousin Kevin' and `Fiddle About') and `treated' by various attempts, including hallucinogens (`Acid Queen'). As he grows up, the only outside experience to which he responds is a pinball machine, at which he becomes expert (`Pinball Wizard'). Tommy is finally cured by watching his image in a mirror smashed by, I believe, his mother's lover (`Smash the Mirror'). Being released from his isolation for Tommy is like being released from a practically lifelong mystical experience heightened by pinball. The charisma with which Tommy is imbued by this experience leads him to become a `New Messiah' (`Sally Simpson') creating a movement which expands beyond local resources (`Welcome') and becomes institutionalized into a ritual modeled after playing pinball while deaf dumb and blind (`Tommy's holiday camp'). The story ends with a revolt of Tommy's disciples against his new religion (`We're not gonna take it').
_________________
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for he is but an animal
yet has the ability to realize it"

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Deathangel

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Poslao: Sre Maj 02, 2007 4:15 pm

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PINK FLOYD
The Wall

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Pink Floyd's the Wall is arguably one of the most intriguing and imaginative albums in the history of rock music. Since its release in 1979, and the subsequent movie of 1982, the Wall has become synonymous with, if not the very definition of, the term "concept album." Aureally explosive on record and visually explosive on the screen, the Wall traces the life of the fictional protagoinst, Pink Floyd, from his boyhood days in war-torn England to his self-imposed isolation as a world-renownedrock star, leading to a climax that is as questionably cathartic as it is destructive.

From the outset, Pink's life revolves around an abyss of loss and isolation. Born to a war-ravaged nation that takes his father's life in the name of "duty," and an overprotective mother who lavishes equal measures of her love and phobias onto her son, Pink chooses to build a mental wall between himself and the rest of the world so that he can live in a constant, alienated equilibrium free from life's physical and emotional troubles. Every incident that causes Pink pain is yet another brick in his ever-growing wall: a fatherless childhood, a domineering mother, a country whose king signs his father's death certificate with a rubber stamp, the superficiality of stardom, an estranged marriage, even the very drugs he turns to in order to find release. As his wall nears completion, each brick further closing him off from the rest of the world, Pink spirals into a void of insanity, cementing in place the final brick in the wall. Yet the minute it is complete, Pink begins to realize the adverse effects of total mental isolation, helplessly watching as his fragmented psyche coalesces into the very dictatorial persona that antagonized the world during World War II, scarred his nation, killed his father, and thereby defiled his own life from birth. Culminating in a mental trial as theatrically rich as the greatest stage shows, the story ends with a message that is as enigmatic and circular as the rest of Pink's life. Whether it is ultimately viewed as a cynical story about the futility of life, or a hopeful journey of metaphorical death and rebirth, the Wall is certainly a musical milestone worthy of the title "art."
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Deathangel

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Poslao: Sub Maj 05, 2007 2:32 pm

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NINE INCH NAILS
The Downward Spiral

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As a whole, The Downward Spiral is replete with Nietzschean concepts. It is a concept album based around the story of a character losing control of his life and finding himself on a downward spiral resulting from his choices. Its plot follows the character as he tries to rid himself of the trappings of religion and society, using sex and drug abuse as methods of escape. Eventually, this character has to face his internal void. The album culminates in the character's suicide due to the self-destructive nature of his endeavor. Reznor himself was, at the time, an alcoholic and drug addict (although he has announced that he has been sober since 2001). Trent Reznor himself has publicy stated he suffered from depression and is a sufferer of manic-depressive disorder.
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"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Deathangel

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Poslao: Pon Maj 07, 2007 7:06 pm

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DREAM THEATER
Metropolis Pt. 2: Scenes from A Memory

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Act 1

Scene One: Regression -- The album opens with Nicholas relaxing to the sounds of the Hypnotherapist's voice and entering a hypnotic state in the pursuit of regression therapy.

Scene Two: I. Overture 1928 -- Nicholas is in a hypnotic trance and marveling at the surreal peace and comfort. As he settles into his trance, he begins to focus on the subject of his regression therapy, a girl named Victoria and a life that feels strangely similar to his own. The beginning of the overture bears a strong likeness to parts of Metropolis pt. 1.

Scene Two: II. Strange Déjà Vu -- We hear a little more about previous dreams that have led Nicholas to his therapy, and also continue deeper in the current trance. We learn that every time he closes his eyes, he is taken to this very vivid, recurring dream of another (yet just out of reach of conscious understanding) life. We understand that it is what he's been dreaming previously that has led him to his regression therapy.

The dream is as follows: there is a pathway to a house. Inside the house and upstairs is a room where a girl appears in a mirror. All of this seems very familiar to him, but it logically shouldn't. In this dream, probably because this is actually a hypnotic trance and not just a regular dream, some things seem clearer than ever before. He can see the face of a young girl and poses the question, "Young child, won't you tell me why I'm here?" He sees that she has something to share with him, that there is a reason she is leading him here, a story to be told, and this story is of something terrible that is "tearing at her soul".

Victoria now expresses her first hint at why she is haunting Nicholas. She has been searching for a way to reveal the truth about her murder. She also expresses great lament, "tears my heart into two". This along with the next line, "I'm not the one the Sleeper thought he knew", is her guilt that Julian Baynes (in the story also called The Sleeper) never knew about her relationship with his brother, Senator Edward Baynes (called The Miracle), which we learn about much later. She feels guilty for what she did to Julian.

Now Nicholas is out of his therapy and back in real life. Even though he is awake, the thoughts and events of this other life are beginning to permeate every second of his day, and this is the beginning of his obsession with resolving this whole thing. He desperately wants to know why this is happening and would cross over to this other world consciously if he knew how. Nothing in the current day matters to him, only learning more about his new obsession. It is here that he has his first inclination that he may have actually lived in the world of which he dreams. He knows that this dreamland holds the key to his peace, and he will not rest until he unlocks that door.

Scene Three: I. Through My Words -- Nicholas realizes fully the link between Victoria and himself. He now knows why he feels so drawn to her and her world as they share the same soul.

Scene Three: II. Fatal Tragedy -- It starts with Nicholas 'alone at night'. He knows who Victoria is now, but not why she is so torn or how he is involved. Sometime later, he goes to visit an older man, who the story makes a point to tell us is 'alone'. Whose house this is, and who the old man is, are things that are never made clear throughout the story. The importance of the older man is that he knows a little about a murder that happened a long time ago and shares what he knows with Nicholas. We learn that a girl was murdered, and that she was young. Nicholas sits and listens to the older man's tale and finds that it is still a mystery today.

Nicholas is then realizing that until he unveils the truth about what happened to Victoria, he cannot live his current life. He is stuck in this obsession and cannot turn back. We learn then that Nicholas understands that without faith and hope, 'there can be no peace of mind', therefore Nicholas encourages himself to be strong and have faith that he will find the truth, because without the truth, he will never rest. This song ends with the Hypnotherapist speaking. The next session starts with taking Nicholas back to the point of the murder of Victoria.

Scene Four: Beyond This Life -- We learn the newspaper account of what happened in 1928. The story is that a witness, Edward Baynes heard a horrifying sound and upon reaching the scene of the sound he discovers a woman who's been shot dead, and the shooter standing over her. The witness tries to help and the shooter commits suicide and falls on top of the dead woman. The newspaper account talks of a sad close to a broken love affair. This indicates that the victim and the murderer are identified as previous or maybe even current lovers.

The paper goes on to explain that Victoria and Julian were recently broken up due to Julian's decadent lifestyle. There are many possibilities regarding what evil way he had fallen into, but the DVD (Metropolis 2000: Scenes from New York) suggests that gambling and/or drug addiction might be of significance. Later, he also drops a liquor bottle in scene 9, so it's possible his habit was drinking. It's also indicated that she would have taken him back if he'd straighten up his lifestyle. Then the newspaper asks whether it was a premeditated murder.

Next we read an account of the physical evidence at the scene. There is evidence of a 'violent struggle' and a switchblade is found. The switchblade causes some confusion, because the victim is a young girl and typically you wouldn't expect a young girl in 1928 to be carrying a switchblade, unless she was anticipating a need to defend herself. Also found, in the killer's pocket, is a written note. It clearly reads that Julian would rather take his own life than live without Victoria, but it mentions nothing of harming her.

Lastly, there is the repetition at the end of Beyond This Life. These lines are deepening Nicholas's belief that he and Victoria share the same soul. They also indicate that not only souls reincarnate, but they also carry the same personality traits with them, and deeds will follow each soul throughout eternity.

Scene Five: Through Her Eyes -- Nicholas is awake again. He has learned that Victoria/he was brutally murdered in 1928. He feels compelled to visit Victoria's grave. He expresses the sorrow he feels for her, and how helpless and innocent she was. Not only that, but since he's learning about his life by looking through her eyes, he realizes that this happened to HIM also and the unfairness of it begins to nag him.

Upon reaching her grave, he is overcome with sadness. Even the words on her stone indicate that she was a sweet innocent girl who had her life brutally taken from her at a very young age. He is startled by how much her death feels like his own. He compares it to losing someone you love. He continues to let images of her wander through his mind as he just wallows in his sadness for awhile. He thinks of how much more he's lived and again is stricken by the injustice of her young death. Then as the song ends, Nicholas begins to regain his composure and is comforted by the realization that by facing this tragedy and mourning the loss, he can now move on. This time of pain was necessary to accept his death in a previous life and fully comprehend why this other life has beckoned him.

[edit] Act 2

Scene Six: Home -- We hear Julian talk of his obsession with decadence and how he is only living a charade. Ultimately, as we have learned earlier, Victoria leaves him because of his addiction, considered by some to be a combination of cocaine and alcohol (possibly hinted at by the lyrics "Lines take me higher"). Next we hear Edward, giving his account of Victoria crying on his shoulder over her break up with Julian. He finds himself falling for her, and at first even feels guilt over deceiving his own blood. But his obsession for her becomes stronger than his guilt and he seduces her in her vulnerable state.

Lastly we hear from Nicholas again, back in present day, and awake. So far he only knows what the older man told him, and what he learned about the newspaper article in his last therapy session. He knows there must be more to the story and he is obsessed with solving this mystery. He yearns for regression, cannot wait for his next therapy session so that he can get back to solving the mystery.

There are several lyrical similarities between "Home" and "Metropolis Pt. 1," such as references to "the city's cold blood" and a "lake of fire," the lines "I was told theres a new love that's born for each one that has died". Also, "Home" contains the lines, "Victoria watches and thoughtfully smiles/she's taken me to my home", while "Metropolis" features, "Metropolis watches and thoughtfully smiles/she's taken you to your home."

Scene Seven: I. The Dance of Eternity -- As last line of "Metropolis Pt. 1" says, "Love is the Dance of Eternity". Victoria and Edward are for the last time.

Scene Seven: II. One Last Time -- This song begins with Nicholas going over it in his head. He is not convinced, from the evidence given so far, that the newspaper account is the truth. He also appears to have heard some rumors, most likely rumors of Victoria's affair with Ed. Did Victoria wound Ed's soul and bid him farewell? Then we see Victoria, in the past again, saying "One last time, we'll lay down today." This may be Nicholas hearing Victoria telling Ed goodbye, that this will be their last meeting.

Nicholas visits Edward's house, where he and Victoria had their affair. The house seems to hold many clues and he feels that he is finally shown some confirmation of what he's been thinking. Though he is now awake, as he enters the bedroom, he experiences a sort of revelation, almost as though he's slipped right out of consciousness. The cold returns, as he felt in his recurring dreams before, and he's suddenly outside and hears a woman screaming and a man pleading forgiveness. It is possible that Nicholas at this point suspects Edward and Victoria were having an affair. That is the suspicion to which the home holds many clues. In his current state of dual consciousness, he is seeing Victoria's memories of the fatal meeting, but he doesn't get enough info yet and the scene fades to black.

Scene Eight: The Spirit Carries On -- Nicholas is again, and for the last time, under hypnosis and reiterating his belief that his soul will transcend, and that he need not fear death. He believes now that Edward was involved in the murder. He plans to expose the truth behind a crime that happened over 70 years ago. Victoria pipes up, in the present this time, and tells Nicholas that he should move on now, she has revealed the truth to him, but he should never forget her. At this point he basks in the peace that he feels as he has appeased Victoria's nagging and his own obsession. Nicholas now feels that the reason all of this happened, the ultimate message, is that death is not the end, but only a transition, as the Hypnotherapist has already pointed out.

Scene Nine: Finally Free -- The last scene holds information Nicholas is not aware of, because the Hypnotherapist brings him out of his last hypnotic trance and we hear him get in his car and leave. What we learn is that Victoria and Julian meet by chance and decide to meet up later in secret so they can talk. She is obviously excited because Julian is the one she has always loved, and she's going to break it off with Edward. She is no longer torn between Edward and Julian, who she would rather have been with. But she knows Edward would "kill his own brother if he only knew" of her relationship with him.

So they meet up without anyone knowing, or so they think. Edward shows up, begins struggling with Julian who drops a bottle of liquor out of his coat pocket and pulls out the knife, Ed shoots Julian, Victoria screams, Edward tells her "Open your eyes, Victoria", and he shoots her also. Julian crawls over to her, collapses on top of her and utters his last lines ("One last time..."). Edward plants a suicide letter on Julian and then gets help and plays his part as the witness.

We then are transferred back to Nicholas. He's driving home and thinking about how he is free of the haunting that has plagued him. Also he has learned about his life, that it will carry on after death, through Victoria's nagging. Nicholas then arrives home and goes inside and begins relaxing. Another car pulls up, the Hypnotherapist enters the room and says, "Open your eyes, Nicholas!", the phonograph gets bumped as Nicholas is startled by the Hypnotherapist. Then we hear static noise, which fades to black. The Hypnotherapist, Edward's reincarnation, has killed Nicholas.

The static noise is also the beginning of "The Glass Prison" which is the first track on Dream Theater's next album, Six Degrees of Inner Turbulence.

Some have noted that the storyline for the album is thematically similar to the 1991 Kenneth Branagh film Dead Again.
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Deathangel

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Poslao: Pet Maj 11, 2007 5:44 pm

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COHEED AND CAMBRIA
The Second Stage Turbine Blade

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The album introduces us to Coheed and his wife Cambria. Coheed is infected with a serum that will grant him the power to destroy the universe if activated.

Sanchez' website, www.evilinkcomics.net, sums up the story of this part: "Man and wife Coheed and Cambria are used as the centerpiece to enable Supreme Tri-Mage Wilhelm Ryan's attempt at destroying his archrival Mage, Mariah Antillarea. Due to a memory swiping years ago, the couple are lead to believe that their former lives have now come back to haunt them. They’re told by General Mayo Deftinwolf (Ryan's Right hand) that they were long ago implanted with a great threat to Heaven’s Fence, The Monstar Virus. A virus with the ability to turn its host (Coheed) into a being powerful enough to drain the Keywork's energy sources to spark Armageddon, while their dear old counterpart, Inferno was given the only means to unlock it. Through more lies, they are led to believe their children have genetically acquired a mutated form of the virus, the Sinstar. This new strain only requires its host to mature to a certain age, and has no antidote unlike the Monstar. Their children cannot be saved and time will not side with them. Coheed and Cambria are faced with an unimaginable dilemma: to murder their own children or face Armageddon."
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Deathangel

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Poslao: Pon Maj 14, 2007 7:44 pm

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QUEENSRYCHE
Operation:Mindcrime II

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The story picks up 18 years after the events of Operation: Mindcrime, on the day that Nikki is released from prison. During his incarceration, Nikki has been unable to let go of his hatred for Dr. X; who has since become rich and powerful, and is preoccupied with thoughts of revenge. He still harbors resentment against what he views as a totally corrupt government. The training (or brainwashing) he received from Dr. X still has a strong hold over Nikki, but he is still conflicted. While he still feels the need to carry out his revolutionary mission, his thoughts drift to Mary.

Nikki wastes no time in landing in trouble with the law once again, and at his trial his pleas for mercy and leniency are lost on a judge and jury still remembering his past crimes. This only deepens his disdain for the government, the legal system and Dr. X, whom he blames for all of his problems. After Nikki escapes and finds himself yet again on the run from the law, his own need for revenge coupled by a vision of the ghost of Mary turns his thoughts toward killing Dr. X.

As the final confrontation with Dr. X gets closer, Nikki starts to have doubts. He questions himself and wonders if it isn’t really his own fault that his life is as bad as it is. Nikki does finally track down Dr. X, crashing his motorcycle into X's limo and dragging a disoriented Dr. X to the church where Mary died, where Nikki finally shoots and kills him. (This section in particular is vague on the album, as it is suggested, but not explicitly stated in the lyrics or played out in the songs that Nikki kills Dr. X. The live performance of Operation: Mindcrime II; however, removes any ambiguity over what happened between them). He gets no satisfaction from killing Dr. X, but rather feels just as empty as ever. The ghost of Mary appears, and appears to take pity on Nikki over the fact that revenge has not brought him any peace.

The ghost of Mary appears again and angrily exhorts Nikki to kill himself. It is unclear, however, if it is actually her or just Nikki imagining her. He starts to think that he is insane and contemplates suicide. Rustling through his belongings, he first picks up a gun, then a noose before finding the very thing that drove him to Dr. X in the first place: heroin. Nikki prepares and injects a lethal dose and dies. As the album ends, Nikki's spirit is reunited with Mary's, and together they reflect that the only times they were happy was in the moments that they were together.
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Deathangel

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COHEED AND CAMBRIA
In Keeping Secrets of Silent Earth: 3

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The Ring in Return - This serves as an introductory piece. A telephone rings. Footsteps are heard and a woman answers the phone. From there, a piano interlude is played, a piece that will be familiar to those who have heard Second Stage Turbine Blade.

In Keeping Secrets of Silent Earth: 3 - The first track proper. It starts with guitar and tension grows as a feedback-esque background riff is played. The drums come in, subtly. Then the metal riffing comes, continuing through the verse, as the drums become more powerful. If you've never heard Claudio's voice until now, it will become immediately recognizable and, despite it's high pitch, fits the music very well. Minimal background screaming accompanies the chorus. A solo caps off the first part and then the beginning of the song is recapitulated, returning to the chorus (complete with anthemic "oh-oh-oh-oh"s) and ending the song. It is a strong proper song to set up the rest of the album, especially after the opener.

Cuts Marked in the March of Men - Starts off with a riff that sounds like it's taken from a Castlevania soundtrack. This and the preceding track are mostly somber, lyrically, but the music truly drives it from becoming too much of a downer. Not the best track on the album, but still very good. The verse riff is memorable.

Three Evils (Embodied in Love and Shadow) - A more pop-punk influenced song. It's infectious, using instrumentation that should not be unfamiliar to anyone who's ever heard a pop-punk song. Don't get the wrong assumption, though. CoCa manages to keep the song strong lyrically. Also, the end part is likely to get stuck in your head for a while, moreso than even the other parts. Excellent use of backup vocals. The juxtaposition of this with the next track is delightful.

The Crowing - Driving guitars, bass, and drums set this song off. The chorus sets off the metal-influence with arpeggiated chords and light riffing to match the wistful lyrics/singing. The second half gets more intense and very metallic, complete with palm-muted riffing and pinch harmonic repetition, setting up another vocal display on top. A spacey feeling throughout another interlude, with a slight ATDI feel. The end comes first as an uncertain part, but then turns into a threatening revenge for the rest of the song, especially vocally.

Blood Red Summer - Another juxtaposition of styles. A very bouncy song where the bass and lead mix up with each other in a surf-like fashion, octaved by guitar while the rhythm chugs along. The style is familiar but fresh at the same time. Backup vocals work well, mostly. The bridge is another part likely to get stuck in your head after a listen or two. It sounds like CoCa suddenly turned into a teenage Cheap Trick tribute band, but not in a bad way. Some may be turned off by this song, but that's all a matter of stylistic preference. CoCa makes a habit of matching its two strong points of being catchy and intense.

The Camper Velourium I: Faint of Heart - Another riffy song. It's catchy in its own right but is also a slight song of longing. One of the less memorable moments on the album and I have little to say about it.

The Camper Velourium II: Backend of Forever - The drums punctuate the power chords in the intro while the lead guitar palm mutes somewhat menacingly, with the vocals matching the intensity. You can feel the insanity building up throughout the duration of this song in the vocals, lyrics, and instrumentation.

The Camper Velourium III: Al the Killer - This is where everything is unleashed lyrically. A slight piano part introduces the madness. The lead vocals are entirely backed by an insane, deeper tone doubling the words. The prechorus makes use of distanced screaming, as does the "response" part of the chorus. A highlight of the album, this song is perfectly devious and the instrumentation works incredibly well with the lyrics.

A Favor House Atlantic - More lighthearded than the previous song, it sports another catchy chorus and a nod to early metal in the verse. The drums are bombastic in parts and simply another part of the soundscape in others. Another good track.

The Light & The Glass - Much more laidback and quiet than any of the other tracks, even the introductory track. It has a certain lullaby-like quality until it drifts away to where the distortion kicks in in a nice transition. Even the Alannis Morissette-like "Liar" part fits in very well when the song returns to its lullaby-like beginnings for a moment, then picks back up where the distortion left off. More metallicness comes around the five-minute mark. The song then dies off in a keyboard drone as the voices echo away appropriately, again recapitulating the piano part from the intro, this time on a synth-xylophone.

2113 - The secret track! Number 23 on the cd, it encompasses much of the musical ground of CoCa. The bass has a dark mood to it, further exposing the malignant vocals as the lead guitar plays repetitive fills. That turns into another poppish-part, which then turns into a slow, menacing part. A lighthearted guitar part randomly appears, which also turns dark. This pattern continues until the very end. Again, for those familiar with Second Stage Turbine Blade will recognize the very end of this song. At a running time of 9:46, this song summarizes the musical territory of the entire album
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Deathangel

Super Beba

Pridružio: 04 Avg 2006

Poruke: 1141

Lokacija: Apatin


Poslao: Pon Maj 21, 2007 8:09 pm

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COHEED AND CAMBRIA
Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness

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The story of Good Apollo takes a step outside the science fiction narrative of the first three chapters and examines the life of the Writer, a character who is crafting the lives of the protagonist Claudio and his companions in the form of a fictional story. The graphic novel alternates between the two different worlds of Claudio the Writer and Claudio the Character, which can be confusing for one unacquainted with the concept as the Writer and Character are similar in appearance.

The novel opens with a dream taking place in the mind of Claudio the Character, in which he sits in priest's garb in the Writer's study looking upon the phrase "God Only Knows" scrawled in front of him in blood. He is approached by several skeletal figures begging for Claudio to save them. As their protests become more emphatic and they begin to overwhelm Claudio, he realizes he is dreaming and forces himself to awaken by stabbing his hand with a screwdriver. Aboard his uncle Jesse's ship, the Grail Arbor, he explains the dreams to Jesse and his daughter Chase as the enslaved souls of the Keywork pleading for liberation. Jesse and Chase (who appears to have some prophetic power) believe the only way to free them is by destroying Heaven's Fence and that Claudio is a messiah-like figure called the Crowing who has the power to do this. Claudio, however, is having trouble accepting this daunting role.

The novel's focus now shifts to the Writer, who resides in Rocklin County, New York. He is haunted by memories of a former lover, Erica Court, who had been unfaithful. The Writer suffers a series of delusions involving the death of Erica at his hands. These visions make up the song Welcome Home on the Good Apollo album. Suddenly, the Writer's window is broken and the someone apparently steals his ten-speed bicycle. As the Writer walks off to investigate, the novel re-enters the story with an exchange between the story's villains, the Mage Wilhelm Ryan and his General, Mayo Deftinwolf, in which they vaguley speak of Claudio's role as the Crowing and their plans to crush him and the rebellion his uncle Jesse has been leading against the Mages of Heaven's Fence. Back aboard the Grail Arbor, Claudio is awakened from a nightmare about his lost family by the Prise Ambellina. They discuss a plan formulated by Jesse to penetrate the defenses of Apity Prime of the Omega star system by landing in the city of Kalline, which is adjacent to Wilhem's lair, the House Atlantic. Claudio needs to get there to fulfill his destiny as the Crowing, however he points out that the opening in the defenses is likely a trap and argues further with Chase and Ambellina about his role, which he still doubts. Jesse explains the plan to the pilot of the Grail Arbor, who also expresses doubts, and the group prepares for the final assault on the forces of Wilhelm Ryan.

In the Writer's world, he has wandered off into deeper hallucinations, arriving at the house of Newo Ikkin, a fictional character from his story and his character's former love interest, and witnessing Claudio the character speak to Newo's dog Apollo, as he had written in his story before (Claudio utters the phrase "Good Apollo, where shall I begin?" At the end of the first track on In Keeping Secrets of Silent Earth: 3, The Ring In Return, one can hear a voice quietly saying "Hello Apollo. Where shall I begin?" It's believed the slight differentiation was accidental). In Newo's place is Erica Court, and the Writer's bicycle has taken on a demonic persona, Ten Speed of God's Blood and Burial, and begins speaking with him. The Writer is seeking a way to end the story, which Ten Speed claims he can provide if he kills Erica Court. Exact quotes of their bickering can be heard during part of the song, Ten Speed (Of God's Blood and Burial), from the Good Apollo album. The exchange ends with Claudio saying "You say a lot of things. And how's that work? You're a bicycle." Meanwhile, a rebel strike team in Kalline has disabled the generator in Kalline allowing the Grail Arbor to land. Mayo springs his trap destroying the strike force by unleashing one of the beastly Priests upon them. As the Arbor prepares to land, more of the Writer's delusions are portrayed, including Erica's murder at the hands of the Writer using the same poison Mayo gave to Coheed to kill his children in the Second Stage Turbine Blade. This delusion makes up the song Once Upon Your Dead Body on the Good Apollo album. While Mayo prepares for the rebel's ground assault, Ten Speed explains that he doesn't actually want the Writer to murder Erica, but rather to exact his vengeance metaphorically by killing Ambellina who represents Erica in the story, which will in turn cause Claudio to accept his destiny as the Crowing and destroy the Keywork; an ending for the story.

Mayo's trap comes to full fruition as a planetary defense cannon called a Jackhammer is fired into the Grail Arbor when it tries to land, damaging it. The Arbor retreats while Claudio, Jesse, Ambellina, Chase, and Jesse's other IRO-Bot children abandon ship and land on the surface of Omega. Ambellina and Claudio split off from the group while Jesse and his children stay behind to confront Mayo. As Ten Speed and the Writer further argue about the fate of Ambellina, Jesse delivers a final goodbye to his children who proceed to mutate into monstrous forms and attack Mayo's forces. Jesse confronts Mayo and is killed by him in hand-to-hand combat when Mayo rips Jesse's heart out of his body.

Claudio and Ambellina have arrived at a mirror, in which they can see the Writer's argument with Ten Speed occurring. Pursued by a Priest, Claudio and Ambellina fight it in front of the mirror resulting in Ambellina being injured by the Priest, while the Writer is swept further into his delusion by the skeletal figures the Character dreamt earlier, who, apparently at the behest of a hallucinated Erica Court, take him to a large guillotine and have him beheaded. Erica's words, "This is no beginning. This is the final cut," are repeated as the chorus of the song Willing Well IV: The Final Cut on the Good Apollo album. The Writer awakens from this delusion once again at the house of Newo Ikkin and decides to take Ten Speed's advice. Going through the mirror into the story, the Writer sees Claudio has stepped into his powerful role as the Crowing after witnessing Ambellina's injury at the hands of the Priest. While he orders the character to stop, Claudio kills the Priest anyway and proceeds to confront the Writer. The Writer explains he must kill Ambellina for his own peace of mind. The Crowing furiously declares, "My God is a coward!" The Writer kills Ambellina, easily overwhelming Claudio's resistance despite his new found power as the Crowing. As Ambellina dies in Claudio's arms professing that she would have loved Claudio had she been able, the Writer walks off into the distance with his bicycle, leaving Claudio with the cryptic message "You're Burning Star IV" and tells him to listen to the vishual(which is Chase) and that "all worlds from here must burn," it is the Crowing's duty to destroy the Keywork. The exchanges between The Writer and The Crowing and their strange relationship relate to the songs Apollo I: The Writing Writer and Willing Well III: Apollo II: The Telling Truth on the Good Apollo album.
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Srdjan

Super Beba

Pridružio: 19 Jul 2006

Poruke: 2497

Lokacija: Beograd


Poslao: Pon Maj 21, 2007 8:50 pm

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Moj licni favorit


MARILLION - MISSPLACED CHILDHOOD 1985






SUPERB! This is the band’s third album and the best that this band has ever produced to-date (2004). This is now 19 years after release date and I still consider this album still a MASTERPIECE. This album would not die with a passage of time.

In my opinion, there are two things that bound to any kind of music: 1.) the story that the musicians want to tell the listeners, and 2.) the structural integrity of the music composition itself. This album has fulfilled both excellently. As Fish described the first three albums in the MC sheet music book as "SCRIPT was bedsit thoughts, FUGAZI was hotel thoughts and MC is home thoughts.", some lyrics in this album can be considered as too personal with some of them touch the national pride as well. But the beauty of it is that anyone who listens to this story may relate with his / her own, assuming (for example) “Kayleigh” synonymous with his girlfriend. Anyone can also relate the “I was born with the heart of Lothian” with their own interpretation of “Lothian” or any national anthem. I think this is the strong point of this album, story-wise, as it was born from actual experience of the lyricist. Be it a real story or an imagination.

For those of you who are new in prog rock, this album is a must. You won’t regret as there are “ear candy” pop stuffs like “Kayleigh” and “Lavender” as as well as nice melody and stunning prog music. The music of MC is beautifully crafted, well structured in terms of composition. All 10 songs were organized into two parts. I guess this is due to the availability of two-side LP when the album was created. Otherwise it would be a one piece of music. Again, with this album I admire highly on the band’s ability to create a nice, natural and smooth TRANSITION between chapters in a song and between songs. The transitions piece, I think, has successfully accentuated the story and created a solid music nuances. Considering this is a concept album, there is NO tag line melody that is typically used repeatedly throughout the album. Each song carries its own melody and identity. Mixed together, they create a great music composition. This makes the album is worthy for exploration. With this album, you would hardly compare MARILLION with GENESIS. MARILLION is different.

DETAILS: (for those of you who want to explore further. Otherwise, just BUY the CD! The 2 CD version is better as later you would enjoy the other version of MC. You should listen to CD 2 after you get used to CD1.)

“Pseudo Silk Kimono” with a howling keyboard sound and heavy voice of Fish “Huddled in the city of pseudo silk kimono wearing bracelets of smoke ..” has a dense in mood. Rothery’s guitar work at the background is really nice. Disappearing sound of “Pseudo ..” was then followed with a nice keyboard intro of “Kayleigh”. It’s a catchy transition here. “Do you remember?”. This track transcends various relationships that Fish had experienced with bitter end as he was so committed with his career to be a famous singer. Again, at he end of this track a piano sound brings the music to “Lavender” nicely.

In the first part of “Bitter Suite” Fish sings in a poet reading style “A spider wanders aimlessly ..etc.” . The music has transformed to a little bit spacey kind of music. The only unique thing is at vocals here. The tone has then climbed up when he sings “A train sleeps in a siding .. etc”. This part ends nicely with “Her mother said she’s beautiful, her daddy said ‘a whore’”. Terrific piece, melodically really!

I consider “Bitter Suite” is the trunk, melody-wise, of the album especially when at the third part (Blue Angel) when Fish sings “J’entend ton Coeur” the music moves fabulously with slow piano, keyboard and guitar sounds to the beautiful melody of fourth part (Misplaced Rendezvous). “It’s getting late .etc.” Woooowwww!!!! What a wonderful piece here, my friend!! It’s damn nice! But the ecstasy has not ended yet as when the lyric part reaches “The parallel of you .. you” yeaaah .. another nice piece! It then bring you to fifth part (Windswept Thumb) “On the outskirts of nowhere ..” …

The climax is really at the “Heart of Lothian” where the music brings together to a relatively higher tempo than the preceding tracks. “Wide boys! Wide boys!”. It rocks! I admire Fish technical ability to sing seamlessly “rooting tooting cowboys, Lucky little ladies at the watering holes …”.

Part 2 (B side) is much energetic and really stunning. The band does not allow any poppy touch in any of five tracks that make up Part 2. Opened with a high energy “Waterhole / Expresso Bongo” with dazzling percussion and drumming sounds, high tone vocal, this track sets the whole tone of Part 2. You may observe how brilliant the transition between this track to the next “Lords of the Backstage”. “A love song with validity ..” and “I just wanted you to be the first one ..” are the lyric parts that people used to emulate. They have nice melody!

Hey, I bet you would say the next track “Blind Curve” is another really (really) wonderful track! I never imagined that human kind could create a very stunning, well structured, and nice melody musical composition as great as this track. From “Last night you said I was cold ..” to “Strung out under necklace ..” to “Oh I remember Toronto …”My childhood .. misplaced childhood ..” to “I saw a war widow …” all are brilliant music pieces! It might require 3-page review for this track only. It’s really a great track!

The other two tracks are excellent also. “I will wear your white feather / I will carry your white flag. I will swear I have no nation / But I’m proud to own my heart” is a nice lyric of a concluding track “White Feather”. Relating to reading a book, it seems to me that the concluding track is like the ending of the story. Brilliant work!
_________________
NEVERNE BEBE I 1994

1000 godina, sanjaj, kad me napuste svi, daire, oktobar fest, veliki je bog, zivot je kazna, saga, dva minuta za nas, sve nase godine...ISTORIJA

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Srdjan

Super Beba

Pridružio: 19 Jul 2006

Poruke: 2497

Lokacija: Beograd


Poslao: Pon Maj 21, 2007 8:51 pm

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Sale, postavi ako mozes omot ovog albuma.
_________________
NEVERNE BEBE I 1994

1000 godina, sanjaj, kad me napuste svi, daire, oktobar fest, veliki je bog, zivot je kazna, saga, dva minuta za nas, sve nase godine...ISTORIJA

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Deathangel

Super Beba

Pridružio: 04 Avg 2006

Poruke: 1141

Lokacija: Apatin


Poslao: Pon Maj 21, 2007 10:26 pm

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Moraces ga ti postaviti jer ti ja ne mogu editovati poruku.

evo ti link za sliku:
http://membres.lycos.fr/benlim/marillion/mc.jpg

i samo umetni taj link izmedju ovoga ispod:

[img][/img]
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Deathangel

Super Beba

Pridružio: 04 Avg 2006

Poruke: 1141

Lokacija: Apatin


Poslao: Sre Maj 23, 2007 6:39 pm

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KAMELOT
Epica

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Prologue
This is the intro to the album where the listener is being placed in a dreamlike sequence. Simply there to set the atmosphere, but it's also a reference to "Prologue in Heaven" in the book it is inspired by (Faust).

Center of the Universe
This song is an extension of the Prologue, and is directing the listener into his own mind or the "inner universe", where all questions may possibly be answered. This is the first song on the album, but actually the last song that was finished for Epica.

Farewell
The journey begins; In Farewell, Ariel (the main character) burns all bridges and leaves everything he knows behind. He cannot find the answers he's looking for in science or religion, and wants to explore the world on his own. This song was made on a stormy night in Florida in the summer of 2001.

Interlude I - Opiate Soul
In this piece we try to describe the darkness and desperation one can feel having fallen into human addiction.

The Edge of Paradise
Ariel is balancing on the edge. His encounter with the great world out there has been anything but successful. In foreign countries far away from home, he experiments with alternative ways to find happiness and peace, but is slowly loosing his grip on life.
We chose the mixture of Arabic scales and Gregorian-like choirs to portray the temptations, pleasures and pitfalls of hazardous reality escape. Quite a few bottles of good Bordeaux went down during the process of writing this song.

Wander
In his desperation, Ariel seeks back to a time where love and youth were carrying him on a wave of promises. He understands that these dreams are only sentimental wishes. Life has no longer a purpose for him.

Interlude II - Omen
At this point Ariel is determined to take his own life. The melody is a reference to Helena's death scene later on the album.

Descent of the Archangel
When Ariel is at his lowest, Mephisto as he wishes to call himself, appears in the pale moonlight. Ariel is totally surprised as the devil seems to be nothing like what he had expected; In the shape of a beautiful woman, Mephisto politely explains Ariel what he could bring to his life.
Luca Turilli from Rhapsody plays the first half of the guitar solo on this song.

Interlude III - At the Banquet
A lot of people are gathered at Mephisto's castle, where Ariel has been invited. He arrives a little late, but just in time to catch his host's remarkable entrance.

A Feast for the Vain
At the big party Ariel make friends with everybody and has the time of his life. Women, drinks, food &Mephisto covers any carnal need. At the end of the song Ariel signs the deal that will be fatal.

On the Coldest Winter Night
After the party, Ariel all of a sudden meets Helena, the girl from his youth. They share a short, but intense moment together.
This song has a strong reference to cold (as opposed to Wander which refers to summer) that symbolically describes Ariel's change after his meeting with Mephisto. It was recorded live in the studio with djembe and D-bass.

Lost & Damned
Helena approaches Ariel to tell him that she's pregnant, but never gets that far. Ariel is convinced that the deal he has with Mephisto will cause her too much pain and suffering. He is anyway seeking a higher goal than love. At least that is what he believes at this point in the story. He tells her decisively to forget all about him and leave.
The tango-like verse in this song is an attempt to musically describe the tension between Helena and Ariel. Fabricio Alejandro is featured on the bandoneon.

Helena's Theme
Helena drowns herself in the river.
A stunning performance by the American singer, Mari, beautifully supported by Rodenberg Symphony Orchestra.

Interlude IV - Dawn
The town crier reads the news about Helena's death.
Guest appearance by Ian Parry (Elegy/Consortium Project).

The Mourning After (Carry On)
Ariel hears about Helena having taken her own life, and with her their unborn child. He mourns deeply, but hopes that they will meet again on the other side.

III Ways to Epica
This song closes part I of the concept. It sums up the album with Mephisto clearly representing evil and cynicism, whilst Helena reappears as an angel representing good. Ariel is still somewhere in the middle &still searching balance and ultimate truth.
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Deathangel

Super Beba

Pridružio: 04 Avg 2006

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Lokacija: Apatin


Poslao: Pon Maj 28, 2007 6:37 pm

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KAMELOT
The Black Halo

User posted image

The Story:
The Black Halo is a concept album and thus revolves around a central subject. In this particular case, it's the life of a man called Ariel, who we already know from Kamelot's previous release 'Epica . Ariel is looking for the answers to life's great questions and on his quest, he has come to meet Mephisto, the devil in disguise. Mephisto offers him all the pleasures a man could want and Ariel nearly decides to stop his search. But when he decides to reject Helena, the one woman he thought he loved, he realises that love and desire aren't the highest goals in life and that he must press on. This is where 'Epica' ends and 'The Black Halo' takes off.

Song by song:

March of Mephisto - The album opens with this very heavy and melancholic song in which the peak of Mephisto's power over Ariel is reached. The grim atmosphere of the song immediately sets the mood for the rest of the album, and is realised by the masterful guest artists Shagrath from Dimmu Borgir as Mephisto and Jens Johansson from Stratovarius, who plays the devil's instrument. Shagrath is fantastic as Mephisto and Roy Khan has obviously developed his voice even further since their previous masterpiece was released. This song is dark power metal at it's best.

When The Lights Are Down - Ariel begins to realise that his rejection of Helena has changed his life in a good way and his perception of good and evil are shifting. This song is fast, catchy and features another great performance by Jens Johansson. Kamelot maintain the grim mood, but Khan's voice gives away Ariel's current happiness. Particularly great in this song is the drum rythm, very fast-paced and extremely cool.

The Haunting (Somewhere In Time) - Ariel meets another woman, Marguerite, who seems to be his last chance in life to find true love. She reminds him of Helena in a way and because Ariel is afraid of the risk of being hurt by her, he rejects her. Marguerite actually sings a part of the song and her voice is done by Simone Simons, the fantastic soprano from Hollands goth metal band Epica. This song is a little easier on the ears than it's two predecessors and is a welcome addition to the album. Very sad, but very beautiful.

Soul Society - This song basically takes place in Ariel's mind and we can hear him talking to himself throughout the song. It's a fast song in which Ariel realises that he is in control of his own destiny, but he still wonders whether or not a greater being exists who rules over all. This song is probably my favourite, mainly because I like the theme but also because I simply love the chorus and the dark mood. Fun little detail: the girl you can hear giggling in this song is actually the guitarist's little girl giggling. It hints to a life Ariel has never been able to live.

Interlude I - Dei Gratia - Not even a real song, this interlude shows us Ariel trying to connect with the Gods he learned about in his youth one last time.

Abandoned - Basically, this song is the result of the events that took place in The Haunting. Ariel is still struggling to overcome the many hardships he has to encounter on his quest. This piano ballad is simply beautiful and Khan's breakable voice really gives this song the emotional depth it needs. Choirs and orchestra are amazing in this song, it wouldn't be the same without them.

This Pain - Ariel is nearing the end of his life and he now realises that some of the answers he is looking for will never be answered in this life alone. He begins to see the connection between the choices he has made and the losses he has suffered, and realises that there's more to a life than he'll ever uncover. This is a very matter of fact metal song with dark vocals and mystical guitar riffs. A fantastic song, but the bass riffs is a little overdone here and there.

Moonlight - Ariel realises that death is coming for him, and the idea of no longer existing both scares and fascinates him. In his mind he compares it too moonlight, bright but dark at the same time. This song was actually done halfway through the development of March of Mephisto and the similarities between this song and the album opener are very apparent. A nice song with particularly nice lyrics, fantastically performed by Khan.

Interlude II - Un Assassino Molto Silenzioso - Another interlude taking place in a shady village nearby, where a drunk singer tells the crowd about Ariel's grim destiny. The title translates to: A very silent murder.

The Black Halo - Easily the heaviest song on the album and also one of the very best this album has to offer. Ariel confronts Mephisto one more time to break the contract he signed with him on 'Epica'. When he realises that Mephisto only existed in his mind for all this time, he rejoices and his last fears of death vanish into thin air. This song is melancholic, heavy, fast-paced and very cool. The addition of a fantastic choir performance just completes it all.

Nothing Ever Dies - Ariel has his last encounter with organized religion ever and realises that his time has come. This song is rather basic. Not too loud, not too soft, not too fast, not too slow, just your basic power metal song. Kamelot makes it work too, as it's a really pleasant track to listen to.

Memento Mori - Mephisto and Helena return once more to Ariel's tortured but clear mind. The central morale of the song is depicted in one clear sentence: "I am the God in my own history". Memento Mori is the longest Kamelot song ever and it's become a real masterpiece, with a very melancholic piano opening that sets the mood for the entire song.

Interlude III - Midnight/Twelve Tolls for a New Day - Ariel dies in this interlude. Just before he draws his last breath he sees Helena coming towards him. The song then skips to a New Year celebration in town, showing us that something good always rises after the dawning of a sad event.

Serenade - This song isn't really part of the story anymore, it's more of a tribute to all the wonderful things in life, but also to the many opposites that one may encounter when living. It's got a great melody and it certainly does sound a little more colourful than the rest of the album.
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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Dylan Dog

Napredna Beba

Pridružio: 23 Okt 2006

Poruke: 348

Lokacija: centar svega


Poslao: Sre Maj 30, 2007 2:24 am

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E ovako... Ja ću iz glave, pa gde završim...

Metallica- Black album

Album koji je popeo metal muziku na main-stream. fenomenalno izdanje iz 1991. godine posle koje je usledila najveća turneja njihova.

Album počinje sa najboljim metal rifom, Enter Sandman, malo deca se*u kreč od dolaska čika peščanog. Druga pesma je Sad but true, klasična heavy-metal stvar koja govori o slabićima koji nemaju ni snage ni želje da nešto urade, kojima drugi crtaju kako treba raditi.
Sledeća o kojoj ću pisati, jeste pesma Unforgiven... The old man then prepare, to die regretfully, that old man here is me... Extra
Peta pesma je valjda moja najomiljenija žešća stvar od Metallice, Wherever I may roam... Nekim ljudima nije potrebno da imaju jedan dom, cela planeta je njihova kuća, nema ništa bolje od toga. Sada na red dolazi pesma po kojoj svi poznaju Metallicu, Nothing else matters... So close, no matter how far mu dođe kao: Pozovi me da me nema... Ko razume, shvatiće.

Četvrta i peta pesma na B strani su jako vredne pomena: The God that failed, priča o verovanju Jamesove porodice kako će Božanska ruka da mu spasi člana porodice od bolesti. Inače, James je odrastao u jezuitskoj familiji gde lekar nije smeo doći kada se neko razboli... spooky. A peta je My friend of missery, za sve one koji misle kako im je život težak, evo jednog pravog stiha za njih: Missery, you insist that the weight of the world
should be on your shoulders
Missery, that's the small life what you see
my friend of missery.

Mora se napomenuti da su textovi sa black albuma autobiografski textovi James Hetfield-a, samim tim je ovaj album postao ikona mnogima.

Uh, puna mi je glava mozga... Smile
_________________
Smrt! smrt je ovde,
kao i na brežuljcima svim,
Velika Tješiteljica duša žalosnih,
što ispod zemlje su
i čekaju na cvet kao na oca,
dok onaj što živi čeka VELIKOG ŽETEOCA!!!

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Deathangel

Super Beba

Pridružio: 04 Avg 2006

Poruke: 1141

Lokacija: Apatin


Poslao: Sre Maj 30, 2007 9:14 am

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Odlicno dylan ali faon je sto to nije konceptualni album Smile
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

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awaken

Starija Beba

Pridružio: 23 Maj 2007

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Poslao: Sre Maj 30, 2007 3:18 pm

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Ma definitivno Operation:Mindcrime.Naravno,prvi deo!Nema boljeg albuma ove vrste na svetu!!!Ljudi,ja ga slusam preko 15 godina-i uvek drugacija emocija!!!
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carpe diem

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Deathangel

Super Beba

Pridružio: 04 Avg 2006

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Poslao: Ned Jun 03, 2007 9:47 pm

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YES
Tales From Topographic Oceans

User posted image

This concept album is based on the four part Hindu Shastric scriptures.

Concept and history

The album is the most controversial album in Yes's discography, and possibly in the entire history of progressive rock. The album's concept, a four-piece work of symphonic length and scope (incidentally based on the Shastric scriptures, as found in a footnote within Paramahansa Yogananda's book Autobiography of a Yogi), was their most ambitious to date.

The album was released when "prog" was at the height of its popularity – with bands such as Genesis, King Crimson, Emerson, Lake & Palmer, Pink Floyd, Jethro Tull, and the earlier albums of Yes, but is cited as a key to the genre's subsequent decline in popularity. For critics of progressive rock, the album exemplified everything that they considered wrong with the genre; the popular music magazine Melody Maker summed the album up in one word: "No." A similar reaction in Rolling Stone and others. The abstruse concept and extended execution were the main targets of the album's critics, who argued that too much musical padding had been employed with little in the way of a proper concept or lyrics to back it up. In this way, the album perhaps played a significant role in paving the way for the punk rock bands of the mid 1970s, epitomized by The Ramones and The Sex Pistols, by forfeiting a large chunk of the momentum that had been built up by the group's previous three studio albums.

Conversely, some critics and fans were enthralled by the album's sheer ambition and depth, lending Tales from Topographic Oceans an equal measure of critical approval that has stretched to this day.

Discord

There was also dissatisfaction with the album from one of the band members, Rick Wakeman, who at one performance showed his distaste for the album by downing tools and eating a curry on stage during the performance of one song from the album. This infamous incident was a spur to Wakeman leaving the group, to be replaced by Patrick Moraz, who appeared for the album Relayer.

Part of Wakeman's unfavorable attitude towards the album stems from the fact that vocalist Jon Anderson and guitarist Steve Howe constructed the bulk of the album entirely on their own (as the liner notes suggest), leaving the remaining three members with relatively little to contribute (which the liner notes dispute). Complaints about Anderson and Howe's studio behavior was not unprecedented: drummer Bill Bruford had left the band a year earlier for similar reasons, and stories abound of Anderson and Howe putting tiles in the studio to simulate the acoustics of a bathroom, while Wakeman, in frustration, spent much of the time playing darts.

The album reached #1 in the UK album chart and also went into the U.S. Top 10, even going gold in both countries from advance orders, before any fans had ever heard the content. Despite this, many Yes fans and casual listeners remain divided over whether or not this was one of the group's stronger works.

Despite Rick Wakeman's reservations about the album, other members disagreed: Steve Howe in particular stated that some of his best guitar work was to be found on Tales for Topographic Oceans. Even Wakeman, in interviews, mentioned that he enjoyed some of the musical content of "The Ancient," and Wakeman has performed "The Revealing Science of God" with the band often in the years since.

Analysis

For prog rock's detractors, Tales is the genre's nadir. For admirers it is an artistic pinnacle. Regardless, it is difficult to deny the determination necessary to undertake this sprawling epic. Although broken up into four sections (the time limit of one side of a vinyl LP being about twenty minutes) Tales is a single composition. Although Jethro Tull had released Thick as a Brick, a single-song single album one year earlier, the unitary composition double-album was unprecedented in the world of mainstream rock. For the band, it was the closest they would ever come to a true fusion of classical structures and themes with rock-oriented instrumentation and sensibilities.

The lyrics are, for Yes, typically elliptical and spiritually oriented, and difficult to interpret. Musically the album features elaborately textured, harmonically sophisticated interaction between Wakeman, Howe, and bassist Squire.

It is a quintessential example of the progressive rock movement, and despite having its detractors, many Yes fans state that the album is not the pariah of the progressive rock movement it is claimed to be.
_________________
"Of all the creatures man is the saddest
for he is but an animal
yet has the ability to realize it"

www.antologija.co.yu

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