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Stilius: Alternatyvioji muzika
Išleidimo data: 1997 m. spalio 28 d.




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Silentist
2012 m. birželio 21 d. 18:17:52
Patinka? Spausk ir pridėk prie mėgstamų!

OASIS [iš šio albumo [tadream] fanų elektroninės konferencijos]

*** Standard Disclaimer Applies : All My Own Opinion ***I hesitate to provide this, apparently the first discussionof Oasis in its dedicated discussion week, but I supposesomeone has to. I know that only a limited number of peoplehave this so far, and I wouldn't want anyone to base theirdecision of whether to get this or not on this one post.However, I should start by warning that this is not asglowing a report as others seem to have given this new CD.Almost a week ago, I posted that a change was needed in TD,and Hilmar suggested that that change arrived with Oasis.Well, I'm afraid I can't see that change - at least, not aforward step, perhaps a backward step?Flashflood (4AS) : This sounds like an outcast from DreamMixes - not quite so 'thumpy', but it has the samerepeating piano chords and swirling channel effects (andhigh-quality production) of many tracks from that finealbum. As you can see from the score, this is no bad thing,and this seems like a fine opener to the album.Zion (4AS) : The intro to this sounds too much like one ofthose new fade-ins used on Tangents for my liking, but itsoon gets going. The drum beat is more reminiscent of somePrivate material than Jerome's recent attempts and thewabling (sequencer?) line that jumps all over it is areminded of days some time ago.Reflections (2AS) : This sounds like something off of Froese'sBeyond the Storm or mybe Zoning, and is backed with thatincessant bloody chords that, as I said before, make itsound like a Tangents update of something. I would say thisis the first real 'soundtrack' piece on the album - it doesn't reallyhit me as a standalone track. Either because of that andpossibly some instrumentation, it reminds me of CanyonDreams.Cliff Dwellers (2AS) : This is very 'Melrose'-esque, and again isquite 'soundtrack'-esque, although more because I can seethings with this, than because it lacks something. A lot ofthe instrumentation here suggests it belongs back in theMelrose/Rockoon days and possibly adds fule to my commentslater.Waterborne (4AS) : As has been mentioned on the listbefore, this was the opener for the '92 North Americantour. In this incarnation, it still maintains much of thesounds of that period and so is possibly a pretty goodrepresentation of the original. It has that poundingdrumming which smashes all over 220Volt Live, along withsome of the sequencer lines (or similar) that wereprominent in the non-sax tracks.Cedar Breaks (1AS) : Possibly the worst TD track ever! Thisreally, really, really, really, really, really, really,really, really, really sucks!!!! I hate it! I want tophysically cut it out of the disc! Awful!Summer Storm (3AS) : This one is a cross between Rockoon(feelings of Touchwood in there) and perhaps Turn of theTides. This does have Peruvian pan-pipes as the 'guest'instrument - perhaps an indication for the future? Anyoneremember Incantation? This doesn't really do very much, butis quite charming.Hopi Mesa Heart (2AS) : A very abstract start to the final track,perhaps being closely linked to the visuals (which I havenot seen). Very slow, with no discernable melody. As withsom of these tracks, t is perhaps best with visuals asaccompanyment.This gives a rather lowly 2.75AS which I can happily'upgrade' to a 3AS.So, Hilmar, you really believe this is the way forward? Ithink this has more in common with Rockoon that Goblin'sClub, perhaps because, as far as I'm concerned, most of thetracks must have been written and even recorded around thattime.Now, why it would subsequently say that they were recordedlast year is a bit of a surprise to me. Did Edgar decide toget the old (i.e. early '90's) gear out and use it forthis? No, I didn't think so either.And we know for a fact that at least 1 track was writtenpre-1993 since Waterborne was the opener for the 1992 NorthAmerican tour. If we assume that the others are from aroundthe same time (as I think was suggested by some-one when Iraised the question of Waterborne some time ago) then Ithink what we have here is another Tangentized collectionof tracks. That would explain why there's so muchTangents-like intros and outros.This does not make the album bad (it's also not fantastic).But to call this a new direction? C'mon, that was justnew-CD-excitement-itis, wasn't it? That feeling where a newCD appears and you just know it's going to be the bestthing for years?So, I stand by my original post. If anything, thiscollection of old tracks merely adds fuel to my request forEdgar to change the line-up.And since I'm lining myself up for some serious flames,I'll add one more comment.Even if Emil does become the new full-time member, how muchinput can a drummer have? I would echo previous commentswhich suggested that if this is his only instrument hisinput is likely to be limited.Be gentle with me?---------------------------------------------Craig R. J. Cordrey

God, I've been looking forward to the Open Discussion week...- OASIS -(1) Flashflood - 5ASWhat I initially found remarkable was the slow build-up to this track. Why docontemporary TD seem to need video footage (i.e. the 'Oasis' pictures) toguide the listeners into their pieces in such a nice and smooth, laid-backway? With the possible exception of 'Sad Merlins Sunday' on "GoblinsClub", this is the most amazing intro I've heard from them since about tenyears ago! After about three minutes, the track really gets going, but still ina rather mellow way. A rather nice lead synth, some well-arrangedarpeggios...I can see absolutely nothing to criticise about this piece.(2) Zion - 4ASReminds me quite strongly of vintage TD, with the familiar-soundingsequencer line starting after about one minute...where have I heard thisbefore? Initially, I liked this track even better than the first one, but I mustadmit that the lead voice is hardly very inventive... still an excellent trackwith a distinctively 'flowing' nature.(3) Reflections - 2ASI was a little bit disappointed with this one. The intro is nice but built upononly two sounds, and I find the sequencer line rather disturbing - as well asthe strange piano-like sound that sets in after about three minutes. Ipreferred the oboe-ish lead voice that was prevalent before that. Overall,nowhere near as good as the first two songs.(4) Cliff Dwellers - 3ASA bit more variation in the lead sound would have done this piece somegood, but the rest is fine...the percussive effects and bakground voices allsupport the idea of a bizarre and fascinating journey across what hasremained of some ancient culture. My favourite bit is the break about threeminutes into the song. Not bad at all.(5) Waterborne - 5ASIf they ever released a single from this album, I'm sure this would be it.Structurally, I think this composition is the best I've heard from TD in ages(it is as complex as some of the "Goblins Club" stuff, but assumes a moreadequate, slower pace). During the current European tour, I've seen themon stage with Zlatko playing lead guitar on this song - I liked that version,but it's difficult to say which one is better...both are quite close to perfect.(6) Cedar Breaks - 3ASI _like_ this piece. I agree that the extremely voluminous string soundappears unnecessarily pompous, and some of the breaks seem out ofplace. But the way I look at it, this composition seems to be influenced bythings that TD used to do during the Baumann years, and subsequentlyseemed to forget about...imagine this melody played on a flute - get theidea?? A very peaceful, intricate melody that would, however, been betteroff if it had been played in a more appropriate sound. Shame, really.(7) Summer Storm - 5ASThe opening few notes actually remind me of the beginning of "Rubycon",with each note standing more or less on its own, detached from everythingelse. The first careful melody line certainly has something idyllic to it, andthe sequencer line (which reminds me of a railway train that just startsmoving) only gently gets things going. Preceded by some flute-likeinterjections, this blends into something which you could quiteappropriately call a sound cluster, or one of the 'implicit melodies' thathave been discussed on the list a while ago, before the melody itself starts.The end of the track with the driving drums and the thunderstorm sounds isparticularly powerful and atmospheric (and elevates the piece into the 5ASzone), although the conclusion seems too abrupt to end such a beautifulpiece.(8) Hopi Mesa Heart - 2ASI'm afraid this doesn't do much for me at all. The sounds and effects in theintro don't seem to say hello to each other (if you know what I mean), andthe mysterious atmosphere of the melody line could have beencomplimented by a bit more harmonic and dynamic substance. Thepercussion, I suppose, is the most interesting bit here. In my view,'Summer Storm' was the perfect conclusion to the album, this is a bonustrack I could well do without.On the whole, that leaves us with 3.6 - It seems adequate to me to roundthat up to 4AS, bearing in mind that the last track should not really exist...an excellent album, in my opinion.DennisI'm always disappointed when a CD has less than 74 minutes worth of musicon. Less than 60 minutes is distressing. Less than 50 is almost criminal.It's somewhat like wanting a pint of beer, paying for a pint of beer, butonly getting 3 quarters of a pint. One feels cheated. I'd sooner have 4albums with 60 minutes of good music, than 6 albums with only 40 minuteseach on. Same hat, different bloke, I know... anyway, enough uselessrambling, on to the music (well, maybe this is just another load of uselessrambling too).First, let's deal with the low points. There are two weak links on thisalbum IMHO, and for a 90's TD album, that isn't bad at all. The first isCedar Breaks. Don't get me wrong here. I think the track is reallypleasant, with it's slow moving string sounds, but it's precisely that.Slow moving. In fact, so slow that the track doesn't actually leadanywhere. It's 5 minutes of wasted space, quite out of keeping with therest of the album. It's just not dynamic at all. This track would bebetter presented amongst tracks of a similar style on a separate CD. I feelthat it just breaks up the momentum generated by the earlier tracks.The second waste of space is Hopi Mesa Heart, for much the same reason.It's 5 minutes of going nowhere. I think good E-music should take thelistener on a journey. If all my journeys were like this I'd demand mymoney back.Right, on to the highlights. Pretty much the rest of the album. :-)Flashflood starts off sounding as though it could have been an extra cut forthe Goblin's Club album, with the faint, almost subliminal sequence runningbehind the rhythm and strings. (No doubt, some of you will see that as adisparaging comment, bas as previously stated on the list, I love GC). Whenthe strings and pads drop out briefly after 2 minutes, the rhythm reallystarts to pick up, and the whole feeling of movement and momentum starts togather. I could listen to a whole album's worth (74 minutes Mr Froese!:-) ) of this stuff. _This_ is the journey I'm looking for.After a brief respite, (the first one and a half minutes of Zion), thejourney picks up again. The sequenced ramblings don't sneak in here, butimmediately stomp on your brain. Time to get moving.The best track on the album though has to be Waterborne. Similar toFlashflood in execution, but much more effectively delivered. Again,overtones of Goblin's Club, in fact the faint piano melody running throughthe first couple of minutes sounds almost like it's a direct rip off Towardsthe Evening Star. The 3:20 mark sees a change of pace. A dancing sequenceswirls up and leads us on to the conclusion of the track. For the next fourminutes, a series of moods and themes overlay this sequence, creating, onceagain, the dynamic feeling of movement.Overall, I'd cut out about 11 minutes from this album, making a totalworthwhile running time of only 36 minutes, which at £14 (UK Pounds, $21USD) is a tad expensive. Still, being TD, I had to have it, and I don'tregret the purchase. If only they could produce music to the standard ofFlashflood and Waterborne consistently, the world would be a better placeand we'd all live in peace and harmony. :-)


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