Apr 14, · Discover releases, reviews, credits, songs, and more about Floor - Oblation at Discogs. Shop Vinyl and CDs and complete your Floor collection/5(93). Mar 12, · Artist: Floor / Album: Oblation Subscribe to Season Of Mist for new releases: faharderimarneusobisecocontge.co?sub_confirmation=1 Season Of Mi. Oblation by Floor, released 29 April 1. Oblation 2. Rocinante 3. Trick Scene 4. Find Away 5. The Key 6. New Man 7. Sister Sophia 8. The Quill 9. Love Comes Crushing War Party Homegoings and Transitions Sign of Aeth Raised to a Star Forever Still.
That said, the goal was to have Oblation sound like a follow-up to the self-titled record. We recorded with Mark Nikolich at Atomic Audio because he helped us with that one.
Lyrically, I wanted there to be a positive message, something that might raise the spirit. The thing is, even though we had all that time to work on the new record, it seemed like things got kind of rushed at the end. When we finished the ST, we listened to it over and over for a while.
The only thing I would change is maybe the track order of the songs. Overall, though, I love the record. We put a lot into it. I think fans of the band were happy with it. I mean, the sound of the band is there, the songs have hooks. Floor has played every song from that record live at least once, and Vialon offers his perspective of playing Floor songs live. It was the last show of that tour and there was this room full of people actually singing the lyrics. Years later, when we got back together and doing shows again, it seemed like everywhere we played people would sing along.
Whether actively recording and touring or not, Floor will forever leave a musical legacy that will actively be appreciated by many fans for years to come. Words by BJ Rochinich on Feb. Posted by BJ Rochinich on Feb. Posted April 4,a, Trick Scene - Floor (2) - Oblation (Vinyl.
The book tells Posted Feb. Posted March 24,a. Although I fear to check out the lyrics to Rocinante in fear of it NOT Album) a song about the relationship between a man and his donkey. SabbathJeff Somewhere in my top 25 essentials this year, this album sits. Steve, thank you man. The gig with lo Pan was particularly ace.
August or later? I'm there. I'd love to notch Floor off of my must see list. Floor, Torche? I am down. Jards Floch. Brian J Brennan. The Real DMC. Daniel Ashton. Brian Issues. Frank Cienniwa. Anthony A. Matt Leber. Michael Grantham. Alex Krause.
Soren Neumeister. Paul F. Jason Zampino. Boomer Nichols. Bryan Colegate. Joe Doty. Mickael Colchide. Drunk Bus. Captain Beyond. No Remorse. Jake Kilgore.
John Behrens. Gabriel Estolano. Chris Bennett. It's rare when forty years into a career, an artist unleashes an indisputable masterpiece. Johnny Cash pulled it off, though. American Recordings was the brainchild of Cash and producer Rick Rubin, who had the genius to recognize that Cash's incomparable voice alone with an acoustic guitar and a clutch of great songs was a can't-miss proposition. American Recordings is stark, stirring and, at times, even funny. Best of all it restored a master to much-deserved pre-eminence.
The nice guys finished first. Queens-born and -bred A Tribe Called Quest brought you egoless hip-hop that let you dance to their smooth, jazzy sounds, chock with horns and upright bass and chill alongside their laid-back attitude.
His distinct nasal voice light and delicious, his liquid flow as warm and comforting as an electric blanket, his natural charisma shining through the speakers, Q-Tip makes The Low End Theory feel like an easy conversation with an old friend.
The Album) tracks on Being There are spread across two CDs — a sound aesthetic decision. Each disc functions as a self-contained entity digestible in a single forty-minute sitting. Together, both halves aspire to the nervy sprawl of double-album predecessors such as London Calling and Exile on Main Street, records that forged unified personal statements out of a bewildering variety of styles.
Being There is a product of ambitious versatility, particularly in the string-band textures conjured by multi-instrumentalist Max Johnston and the pliant rhythms of bassist John Stirratt and drummer Ken Coomer. Dre—produced album, which earned Em respect, fortune, fame and a lawsuit from his mom. Trent Reznor has the shock-antic instincts of an old Hollywood B-movie producer. He made publicity hay out of the fact that part of this album was recorded in the L. Having shed one persona after another for more than three decades, Bob Dylan finally found one he could embrace: brokedown, death-haunted bluesman.
That sets the tone for the ten songs that follow, a night journey that's all roads and no destination, all outskirts and no town. The sad-eyed man of "Highlands," a swirling sixteen-minute epic, is still moving, however, as the album ends, desperate to elude the reaper, nearly out of his mind with weariness, nearly out of time. Millions of us made time to listen to Billie Joe Armstrong whine as he and his band of Bay Area punk snots won America's heart with fast guitars, bouncy drums and the fakest English accents ever recorded.
Their hits fit together like a stack of Pringles: "Basket Case" takes off with a case of the creeps and a melody that plays tricks on you, while "Longview" and "When I Come Around" vent the usual teen spirit with groovy hooks that the Bay City Rollers would have appreciated.
Green Day took the booming Cali-punk revival to middle America: Cuter than Muppets, funnier than Weird Al, Green Day showed no signs of growing up here — which made their later transformation into politically charged arena-rockers that much more remarkable. Rhymes about drug dealing, project living, beef and martial arts.
Furious flows that roar through speakers like controlled screaming. The Wu create an air of wildness that promised violence to anyone who challenged them and to some who didn't. A generation of fans memorized every word. Madonna finally gets back into the groove, rocking the dance beats that made her a star in the first place, for her most shamelessly disco album since You Can Dance. Madonna's rhythm resurrection sounds like some kind of spiritual transformation, and since it accompanied her discovery of yoga and motherhood, it probably was.
Gunning de la Rocha's incantatory rapping with rib-rattling slam, Rage Against the Machine get hot and nasty about authority with acute lyric detail and stunning force. Rage Against the Machine' s mix of radical politics and headbanging kicks was a startling anomaly amid the self-absorbed ennui of the Year Grunge Broke. But the album's commercial success was a crucial reaffirmation of rock's potency as a weapon of protest.
With Rage Against the Machine, subversion — in the great, defiant tradition of the Clash and the MC5 — was alive, and thrilling, in the mainstream. Straight from hip-hop's legendary Queensbridge, New York, projects to the studio, with an oven-roasted voice, butter flow, man-child eyes and a pure love of the music, streetwise intellectual Nas raised the bar on Nineties MC'ing. One of the decade's strangest hits, Sublime came out shortly after the death of singer-guitarist Bradley Nowell but kept spinning off one hit after another, with a loose, friendly California-pop sound inflected by ska, dub, punk and folk.
These Long Beach riddim kings get sloppy but keep the tempo chugging, especially in the head-spinning acoustic skank of "What I Got," which somehow fuses the English Beat with the Grateful Dead. The success of Sublime was a compliment to Nowell's memory and an even bigger compliment to his rhythm section. Pavement channeled the spirit of Buddy Holly through one of Lou Reed's blown amps, bringing miles of style to an indie-rock scene starved for a little romance.
Stephen Malkmus had the songs to turn this homemade tape of art-punk guitar fuzz into a full-blown California fantasy of girls and boys dreaming big on the ridge where summer ends.
Slanted and Enchanted is the sound of sweet suburban boys who loved the Velvet Underground without ever wondering what "The Black Angel's Death Song" meant, and once Malkmus murmured the words "sha la la" without a trace of irony, out-of-tune guitars would never be the same. Chief pumpkin Billy Corgan took the idea of quality control to its obsessive conclusion by playing most of this album's guitar and bass parts himself — a rough deal for guitarist James Iha and bassist D'Arcy.
But Siamese Dream — co-produced with Butch Vig, fresh from Nirvana's Nevermind — is Corgan's idealized, super-hands-on version of the full band's soaring, angst-spiked psychedelia. That the album remains one of alt-rock's most enduring documents is down to Corgan's acute commercial vision — the way he dolled up the confessional indulgence of "Today" and "Disarm" in heavy-Seventies pop lace — and the sheer power of the playing.
No matter who did what. Blessed with impressive pedigree he was the son of the Sixties folk-pop icon Tim Buckley and a voice of great range and deep character, Jeff Buckley was cursed with a perfectionist's streak. Buckley had scrapped one stab at a second album and was gearing up to start over when he drowned in a freak accident in Memphis in Mayleaving Grace as the only studio album completed to his satisfaction in his brief lifetime.
But it is a rich legacy: the transportive blend of serpentine guitars and Buckley's melismatic singing in "Mojo Pin" and "Grace"; the garage-band swagger and velvet pathos of "Last Goodbye" and "So Real"; the way Buckley turns Leonard Cohen's "Hallelujah" into delicate, personal prayer.
A wonderful record, aptly titled. An enormously gifted artist, gone too soon. According to the script, Radiohead were supposed to disappear after their fluky smash "Creep," leaving only fond memories of Thom Yorke's Martin Short—after-electroshock yodel and that wukku -wukku guitar hook.
The depressive ballad "Fake Plastic Trees" turned up in Cluelessin which Alicia Silverstone memorably tags the band as "complaint rock"; in big-bang dystopian epics like "High and Dry," Yorke's choirboy whimper runs laps around Jonny Greenwood's machinehead guitar heroics.
U2 would have sold crack to nuns to make this record. In the immortal words of Mick Jagger, the change has come. Liz Phair took indie rock under her thumb with Exile in Guyville, firing off wisecracks, obscenities, pickup lines and confessions. She could crack you up and break your heart in the same song, sounding intimate without ever really giving her secrets away.
Phair's dry Peppermint Patty mumble fit into a swirl of watery guitar frazzle and percussion as the melodies swam around in your head all summer long. It took the Chili Peppers seven years, four albums and a few rough turns of the personnel merry-go-round to perfect the savory schizophrenia captured on Blood Sugar Sex Magik, the Los Angeles band's quadruple-platinum home run. An album of honest drama — and you can mosh to it. Named after a slogan used in an Athens, Georgia, soul-food restaurant, Automatic for the People is a feast of Southern Gothic pop, combining the gossamer intricacies of the Beach Boys' Pet Sounds and the singalong wallop of the Beatles' Abbey Road.
The weirdness is warm and playful — "Star Me Kitten," a delicious homage to 10cc's "I'm Not in Love"; "Man on the Moon," Michael Stipe's buoyant tribute to the late comedian Andy Kaufman — and torch songs such as the Stax-with-strings jewel "Everybody Hurts" glow with hard-won optimism.
At the height of alt-rock, former undergrounders R. The speed metalheads were barking, "Sellout! But in slowing the tempos down from dizzy to primal, in choosing meaty presence over mere velocity in the riffing, Metallica made a record of durable, mature violence — not to mention the biggest metal album of the decade.
And don't let the orchestration and James Hetfield's thoughtful growl on "Nothing Else Matters" fool you: Metallica didn't turn into power-ballad suckers; they simply created a ballad with power. It's not that the performances on Car Wheels on a Gravel Road aren't first-rate — they are. It's just that when you start with songs this impressive, it's hard to go wrong. Lucinda Williams had done strong work before, but it all came together here.
From the openhearted yearning of "Right in Time" to the surrealist country funk of "Joy," she runs a gamut of styles and themes, handling each with authority and ease. You don't arrive in your mid-forties without stories to tell — Williams' are riveting in every detail. Ill Communication puts a little polish on the mishmash of Check Your Head ; the Beasties freewheel from hardcore punk thrash to jazzy cool-downs for an album with more action than John Woo and mad hits like Rod Carew.
The Boys loosen up on their instruments, especially in the subzero cool of "Transitions. At a time when most rock veterans were stagnating, Tom Petty and producer Rick Rubin made Wildflowersthe most organic, cohesive record of Petty's career. Compared with the pleasingly slick textures of Petty's work with Jeff Lynne on 's Full Moon Fever and 's Into the Great Wide Openthere is a timeless grace and folky subtlety to the material here, including the haunting title track, the soulful stoner rock of "You Don't Know How It Feels" and the orchestral delicacy of "Wake Up Time.
Featuring joyous, bass-happy party funk dotted with tight horn lines, Outkast's third album captures Big Boi and Andre rollicking like the church choir in full effect. With their drawled-out voices, neighborhood slang and cascading sheets of words, they put permanently to bed all questions about serious MC'ing on the South Coast.
Atlanta's reputation as hip-hop's most avant-garde area code — the Long Island of the Nineties — was cemented. Pavement's second full-length was less quirky and diffuse than their first and even yielded their career's only modest hit, "Cut Your Hair. The Woody Guthrie of the Pizza Hut proves he can do it all on Odelayas the Dust Brothers slip him a funky cold medina and set the stage for him to get real, real gone for a change. Beck shimmies in and out of his musical guises, whether he's strumming his folky guitar in "Ramshackle," rocking the Catskills hip-hop style in "Where It's At" or blaming it on the bossa nova in "Readymade.
That is a good drum break, indeed. You remember the first time you heard Biggie — he came on as the baddest chronic-smoking, Oreo-cookie-eating, pickle-juice-drinking stud on the block, and he was the man, girlfriend. Biggie spread love the Brooklyn way, doing more than anyone else to revitalize New York hip-hop after years of West Coast dominance, and Ready to Die maps out the sounds of Nineties cool.
In "Big Poppa," his idea of a romantic evening includes a T-bone steak, cheese, eggs and Welch's grape, and that's just while the Jacuzzi heats up. The basic tracks were recorded in two weeks; nearly all of Kurt Cobain's vocals were whipped down on tape in seven hours.
If In Utero is a record born of great crisis Album) mostly Cobain's personal war with overwhelming good fortune — it was made with concentrated purpose. Steve Albini's corrosion-is-bliss production does not flatter songs of tempered, layered drama such as "Pennyroyal Tea" Cobain's definitive performance is on Unplugged. But Albini's harsh touch was perfect for the extremism Cobain had already written into the soaked-in-lye cannonballs "Serve the Servants," "Scentless Apprentice" and "Very Ape.
He ultimately proved incapable of pulling himself out of that funk; instead, he made fine, furious art from it. Yet Ten is a near-perfect record: Eddie Vedder's shaky, agonized growl and Mike McCready's wailing guitar solos on "Alive" and "Jeremy" push both songs to the brink and back again. She sings and rhymes; she gives us ballads, party rockers and doo-wop; she sings of love for men, her son, Zion, her New Jersey childhood and maybe her ex-boyfriend, Wyclef Jean. She wraps it all in a raw, completely human sound in which you can hear fingers plucking guitars, needles meeting vinyl and drumsticks touching cymbals.
It was one of the most extreme personality transformations in pop music — ever. U2, the Irish bards of cathedral-chime guitar and pub-stool sermonizing, said goodbye to the Eighties and the suffocating tide of their own sincerity by setting up their recording gear in post-Wall Berlin and saying hello to the two i's: irony and industrial dance music.
The music — slower than The Joshua Tree — is corrosive, razed-city funk laced with mad laughter and creeping paranoia. Progress is hard, but don't let the machines, or their masters, grind you down: That is the simple message encoded in the art-rock razzle-dazzle of OK Computer.
Hailed as The Dark Side of the Moon for the Information Age, Computer is too brittle in its time-signature twists and hairpin guitar turns, too claustrophobic in mood, to qualify as space rock. Instead, Radiohead shatter the soul-sucking echo of isolation and enforced routine with the violent mood swings of "Paranoid Android" and Thom Yorke's arcing vocal anguish in the gaunt, yearning ballads "Let Down" and "Lucky.
Once upon a time, Dr. Dre was just one of the guys from N. A, Suge Knight was just a bodyguard and Snoop Dogg wasn't a star. The sound is culled from George Clinton's funk, the images are loosely inspired by the ominous malfeasance of The Album), and it is all pulled together by a tall, skinny new kid from Long Beach, California, who delivers vivid ghetto stories and marijuana paeans in a light, singsongy drawl that seems the epitome of cool under fire.
It was the most original MC style since Rakim, and it magnetized listeners from coast to coast the first time they heard him say, "Ain't nuttin' buh a gee thang, bayyy-bay. The album that guaranteed the nineties would not suck.
Every word and note Kurt Cobain wrote for Nevermind now rings with the heavy clang of compound retrospect: his sad, foolish death; the thousand grunge-alikes who aped Cobain's pain well enough but blew it with the music. Dollar General's push to fill stores with fresh produce and frozen-food options gives the chain a big box feel.
Floor, however, are that rare band that have managed to channel a decade's worth of personal and artistic growth into evolving their sound while somehow making the whole thing feel as though it could've been released the year after their landmark debut, making Oblation an album one that not only lives up to the band's legacy, but is a. Oblation is the third studio album by Florida sludge metal band Floor released on April 25, on the Season of Mist label. The first original material since their previous Self-Titled album 12 years before, Oblation followed the band's reunion in after disbanding in Some critics noted similarities between the album and songs recorded by guitarist Steve Brooks' other band Torche. Apr 25, · Oblation () by Floor. Labels: Season of Mist. Genres: Stoner Metal, Doom Metal. Songs: Oblation, Rocinante, Trick Scene, Find Away, The Key, New Man.
Apr 29, · Listen to your favorite songs from Oblation (Deluxe) by Floor Now. Stream ad-free with Amazon Music Unlimited on mobile, desktop, and tablet. Download our mobile app now.
Mar 31, · You can take a listen to Floor‘s (Torche) new track “Trick Scene” below via faharderimarneusobisecocontge.co The group will have their new album “Oblation” on store shelves on April 25th through Season Of Mist. Apr 29, · Album · · 17 Songs. Available with an Apple Music subscription. Try it free. Album · · 17 Songs. Sign In For You Oblation. 1. PREVIEW Rocinante. 2. PREVIEW Trick Scene.
Features Song Lyrics for Floor's Oblation album. Includes Album Cover, Release Year, and User Reviews. Lyrics. Popular Song Lyrics. Billboard Hot Upcoming Lyrics. Recently Added. Oblation 2: Rocinante 3: Trick Scene 4: The Key 5: New Man 6: Sister Sophia: 7: The Quill 8: War Party 9: Homegoings and Transitions Sign of Aeth
Apr 29, · Listen to your favorite songs from Oblation (Deluxe) by Floor Now. Stream ad-free with Amazon Music Unlimited on mobile, desktop, and tablet. Download our mobile app now. Features Song Lyrics for Floor's Oblation album. Includes Album Cover, Release Year, and User Reviews. Lyrics. Popular Song Lyrics. Billboard Hot Upcoming Lyrics. Recently Added. Oblation 2: Rocinante 3: Trick Scene 4: The Key 5: New Man 6: Sister Sophia: 7: The Quill 8: War Party 9: Homegoings and Transitions Sign of Aeth
Type: Full-length Release date: April 25th, Catalog ID: SOM D Version desc.: Digipak Label: Season of Mist Format: CD Reviews: 2 reviews (avg. 82%).
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