PopMay 5, 2009 12:41 am
Lirik Lagu Terbaru plus Kord (Chord)
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Ello - Andai Selamanya (new!)
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Dewi Lestari - Peluk (new!)
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Letto - Lubang di Hati (new!)
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Five Minutes - S K S J (new!)
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Putih - Gelombang Cinta (new!)
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Afgan - Entah (new!)
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Salju - Kasih (new!)
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Tiket - Kau Buatku Berarti (new!)
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Kotak - Masih Cinta (new!)
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Pasto - Aku Pasti Kembali (new!)
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Hijau Daun - Cobalah (new!)
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Mahadewi - Sumpah I Love You (new!)
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Ello - Masih Ada (new!)
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Radja — Sama-Sama Suka (Baru ‘08)
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Tangga — Kesempatan Ke Dua (Ost. Lost In Love)
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Koil — Semoga Kau Sembuh Pt.II (Sent by Koil)
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Marcell — Candu Asmara (Popdut – Pop Dangdut)
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Koil — Nyanyikan Lagu Perang (Sender: Koil Band)
Lirik Lagu dan Kord (Chord) Gitar |
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Andra & The Backbone — Sempurna (Kord Diagram)
As Roger Waters’s solo career set into a sunset of suspiciously self-serving Wall revivals and compelling if modest-selling solo efforts, his former band became one of the few outfits in the soft live market of the 1990s to burnish its stadium-filling appeal. But their recorded output wasn’t quite so rosy. As all post-Dark Side of the Moon albums must have a Big Important Theme, The Division Bell is vaguely about levels of separation (did you say, duh!?), with more than one not-so-opaque lyrical jab at the estranged Waters. But there’s a sense that the band may have put more thought into its trademark audio gimmickry (well represented here by the actual sound of the earth’s crust cracking–you don’t get that on Rage Against the Machine albums!–and a “spoken” intro by Dr. Stephen Hawking, or rather his voice synthesizer) than it did into its songs this time around. The opening “Cluster One” has a hypnotic minimalist lure that dissolves all too quickly into the bluesy waffle of “What Do You Want From Me,” while Floyd Mach III leader Dave Gilmour’s usually lyrical guitar work is uninspired throughout, a definite Floydian slip. Still, the band maddeningly manages a few moments of the old grandeur here and there. The Division Bell is not a great Pink Floyd album, but an all-too-fallible simulation.
Sevendust are back with their seventh studio album, Chapter VII: Hope & Sorrow, produced by Sean Groove, Morgan Rose & John Connolly. The release will be their second on the band’s wholly owned record label, 7Bros. Records under Warner Music Group’s Asylum/Independent Label Group.
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
