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Single Hits: Afgan - Terima Kasih Cinta Agnes Monica - Matahariku (OST Jelita) Angkasa - Jangan Pernah Selingkuh Antique - Satu Bintang Ari Lasso feat. Bunga Citra Lestari - Aku Dan Dirimu Ari Lasso - Mana Ku tahu Asap - Ingatkah Kamu Bondan & Fade 2 Black Kroncong Protol Changcuters - Racun Dunia Delon ft.Irene - Indah Pada Waktunya DOT - Belahan Jiwa Merpati Band - Tak Selamanya Selingkuh Itu Indah Kasmaran Theme Song (ANTV) Maia Ratu - Ingat Kamu Mulan Kwok - Makhluk Tuhan Yang Paling Seksi Mulan Jameela - Wonder Woman Naff - Kaulah Hidup dan Matiku Nine Ball - Hingga Akhir Waktu (OST Hingga Akhir Waktu) Pilot Band - Sepanjang Hidupku Rossa - Ayat-Ayat Cinta (OST.Ayat-Ayat Cinta) Seven Soul - Bersamamu Yovie ft.Nuno - Menjaga Hati . Acha ft Irwansyah -Ada Cinta Acha ft Irwansyah - Kenapa Malu Acha ft.Irwansyah - Menerima Kau Pergi Ada Band - Akal Sehat Ada band - Semenit Waktu Ada Band - Belahan Jiwa Ada Band - Lari Dari Kenyataan Ada Band - Kau Dan Dirinya Ada Band - Nyawa Hidupku Andhika Pratama - Bebas Andhika Pratama - Nyanyian Senja Andhika Pratama - Tersenyumlah Andien - Gemintang Andity - Semenjak Ada Dirimu Andra & The BackBone - Sempurna . Bunga - Kasih Jangan Kau Pergi Bibus - Bukan Pacarmu . Chandra - Sekali Lagi Bersamamu Cokelat - Saat Jarak Memisahkan CrossBottom - 9 Tahun . d’Masiv - Tak Bisa Hidup Tanpamu Dave Koz ft.Ada Band - Manusia Bodoh Dewi Dewi - Roman Picisan Dewi Sandra - I Love You Drive - Bersama Bintang D’cinnamons - Kuyakin Cinta . Elfonda - Anggun . Gigi - 11 Januari Gita Gutawa - Bukan Permainan (right click + save as) Gita Gutawa - Kembang Perawan (right click + save as) Gita Gutawa ft.Delon - Your Love Gya ft.NEO - Mencari Cinta Jikustik - Puisi (right click + save as) J-Rock - Kau Curi Lagi Julian Cely ft.Terry - Tentang Kita Juliette - Bukannya Aku takut Kaimsasikun - Pria Dijajah Wanita Kertas - Kekasih Yang Tak Dianggap KD - I’m Sorry Goodbye Kunci - 1=sama Lala - Langkah Baru Letto - Permintaan Hati Letto - Sebelum Cahaya berikutnya>>
The Gin Blossoms were one of the more truly damned rock & roll bands to grace the pop charts in the early 1990s. The group was founded and spiritually led by singer-guitarist Doug Hopkins, who also wrote the band’s best songs; by the time New Miserable Experience, the band’s major-label debut, was released, Hopkins had been kicked out (his bandmates had apparently tired of dealing with his alcoholism). Shortly after the album’s release Hopkins killed himself, and the band subsequently enjoyed the biggest hit of its career with “‘Til I Hear It From You” (which, perversely, never appeared on a Gin Blossoms album, but only on the Empire Records soundtrack). The band dropped from sight not long after. New Miserable Experience remains the best and most representative document of the group’s existence, a tight and lean collection of brilliant, edgy pop music. “Hey Jealousy” and “Until I Fall Away” are the two songs that leave the deepest impression, but the crunchy melodicism and lyrical desperation of “Hold Me Down” sticks with you as well. Two dilettantish genre pieces — “Cajun Song” and a country weeper called “Cheatin’” (as in “you can’t call it cheatin’ ’cause she reminds me of you”) — provide the program’s two low points, but even those aren’t completely without charm. Review by Rick Anderson @ allmusic.com
After selling hundreds of thousands of records as part of Sunz Of Man, Hell Razah releases his official debut album, "Renaissance Child." Boasting nothing but power-packed rhymes, Razah easily holds his own alongside heavyweight features such as MF DOOM, Talib Kweli, Ras Kass, Killah Priest, Tragedy Khadafi and R.A. the Rugged Man. Even the production team enlisted here is first rate, with flawless beats from MF DOOM, 4th Disciple, Bronze Nazareth and more. "Renaissance Child" is a meaningful and intelligent record which is a breath of fresh air in today’s stale era of so-called hip-hop. The Rennaisance has begun.
It’s easy to take potshots at actors turned musicians, since it often seems like the actors are taking advantage of their celebrity by turning into recording stars. This ignores two facts: first, often these actors have been playing music for as long as they’ve been acting; and second, who’s to say that these critics, if put in the same position, wouldn’t take advantage of their celebrity to pursue their dream projects? In the case of 30 Seconds to Mars, the metallic post-grunge quartet led by Jared Leto (after all these years, still best-known as Jordan Catalano on the alt rock-era TV series My So-Called Life, although he has been excellent in Darren Aronofsky’s Requiem for a Dream and David Fincher’s Fight Club and Panic Room, as well), these actor-turned-musician arguments don’t really matter since, by any measure, the band is quite awful. A melange of U2 atmospherics, grunge angst, gothic brooding, and metal guitars, the band floats out of time, inspired heavily by ’90s alt rock but too clean, heavy, and facile to truly be part of that tradition, yet too indebted to the past to sound like part of the 2000s, either. Their second album, 2005’s A Beautiful Lie — whose title is uncomfortably close to Nine Inch Nails’ “Terrible Lie” (and is most likely not borrowed from the Amazing Rhythm Aces’ 1975 song of the same name, either) — is a little tighter and more streamlined than their eponymous 2002 debut, but the basic angst-ridden rock remains the same. Leto isn’t a terrible singer — a little too breathy at times and a little too inclined to dive into a full-throated scream, but not terrible — and the bandmembers are capable enough at shifting from tense quiet verses to piledriving, heavy choruses, but they borrow the worst habits from all their favorite groups, and then assemble them in insufferably earnest fashion, playing clichés as if they were revelations. It’s a bleak yet hammy collection of self-absorbed gloom-rock, a record where an allusion to the title of the Cure’s “Just Like Heaven” is treated as something soul-searching and profound (of course, it does hurt that A Beautiful Lie is being released just a month before “Just Like Heaven” is being borrowed for the title of a Reese Witherspoon romantic comedy). It’s clear that Leto and the rest of 30 Seconds to Mars really mean it, man — this is as earnest as an emo record gets. Review by Stephen Thomas Erlewine @ allmusic.com
