Scars of Sense

After spending over a decade churning out electrified blues, Gary Moore partially returns to his hard rock beginnings in Scars. Reminiscent of '60s power trios such as Cream and especially the Jimi Hendrix Experience ("World of Confusion" is practically a rewrite of "Manic Depression" and "Ball and Chain" borrows the riff from "Voodoo Child"), Moore hasn't abandoned the blues, he's just pumped it up with blustery retro roots rock. With all the genre's limitations, the guitarist is so obviously inspired in this format that the album is a success on its own terms, even though it breaks little new ground. "Wasn't Born in Chicago" infuses jazzy drums and slight electronics to enhance the basic three-piece assault, resulting in the album's most unique and arguably best performance…

Collection includes 4 studio albums, 4 EP and 3 compilations by American dark folk metal band Agalloch.

The origins of Agalloch date back to 1995 and the disintegration of the band Aeolachrymae. As that group died, three phoenixes emerged from the ashes, Sussurrus Inanis, Nothing, and Agalloch. Mixing black metal with atmospheric textures, gothic doom, and neo-folk and post-rock touches, the Portland, OR-based group quickly developed a rabid cult following.

After a brief return to his hard rock roots in 2002's Scars, guitarist Gary Moore comes back to the blues where his heart seems to be. But really, Moore's forte is his knack of combining the meaty licks and rugged tone from his gutsy rock to energize the electric blues music he has embraced since 1990's Still Got the Blues. To that end, Scars' drummer Darrin Mooney returns and Bob Daisley, veteran of such thundering outfits as Ozzy Osbourne's band, Uriah Heep and Rainbow, joins on bass. Hence this album's title is appropriate, since the power trio format pounds out this music with clenched-fist authority. Moore is an exceptionally tasty musician but even when the amps are turned up to eleven, as they are for most of this disc, there is feeling in his fiery licks…

Suede - Night Thoughts (2016) {CD+DVD5 NTSC Special Edition Hardbook 0825646015887}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 315 Mb | MP3 @320 -> 113 Mb
DVD5 -> 3.51 Gb | All Regions | NTSC 16:9 | LPCM, 2 ch | ~ 58 min | ISO Image
Full Artwork @ 300 dpi (png) -> 380 Mb | 5% repair rar
© 2016 Suede / Warner | 0825646015887 / WEA498
Rock / Indie Rock / Alternative

Limited edition collectors format of numbered 15.000 copies. Beautifully designed hardback book in matt laminate finish 52 page book, in heavy paperstock. Night Thoughts is a quintessentially Suede title: specific yet vague, a notion that seems either romantic or sad depending on perspective. Twenty years, a decade of which was spent in a split, certainly has shifted Suede's perspective, particularly that of leader Brett Anderson. In his younger years, Anderson couldn't resist the tragic but as he settles into middle age, his work bears an unmistakable undercurrent of gratitude: no longer racing against a nuclear sunset, he's meditating upon the elongated stillness of night. It's a shift of attitude, a maturation mirrored by Suede consolidating their strengths.

Paris-based Soror Dolorosa creates raw and hungry gothic rock inspired by post-punk, death rock and cold wave. French for ‘Sister Pain’, Soror Dolorosa was formed in 2001 by vocalist Andy Julia. Taking its name from the novel “Bruges-la-morte” by Flemish symbolist writer Georges Rodenbach, Soror Dolorosa channels its inspiration’s strong undercurrents of passion, nostalgia and mourning, transferring those powerful emotional states into its music and live performances. These signature elements of the group’s sonic formula are heard in its muscular songs, jangling guitars, overdriven bass lines, driving rhythms and Julia’s distinctive, dramatic vocal style.

Night Thoughts is a quintessentially Suede title: specific yet vague, a notion that seems either romantic or sad depending on perspective. Twenty years, a decade of which was spent in a split, certainly has shifted Suede's perspective, particularly that of leader Brett Anderson. In his younger years, Anderson couldn't resist the tragic but as he settles into middle age, his work bears an unmistakable undercurrent of gratitude: no longer racing against a nuclear sunset, he's meditating upon the elongated stillness of night. It's a shift of attitude, a maturation mirrored by Suede consolidating their strengths. Leaving behind frivolous trash – it is, after all, a sound that suits the young – Suede embrace their inherent glamorous grandeur, playing miniatures as if they were epics while reining in excess.