Antics / Interpol

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"New York's Interpol released a landmark debut album that shook up the indie world and strongly influenced many of the genre's major players. Drawing on the musical flourishes of that album, the band have crafted a follow-up every bit as dynamic and no less brilliant. Returning to the dark and moody landscape inhabited by Turn On The Bright Lights, Antics is just as atmospheric as its predecessor, but is a much different album. Interpol has allowed themselves a little more breathing room this go around, and the songs sound cleaner and less dense. The melodies remain as sharp as ever - if not sharper - while the music feels somewhat stripped down, even taking on an immediate, almost-live, feel." (from ugo.com)

Interpol have outdone themselves with almost every track they play. Not only is their sound amazing but it fills u up with excitement and practically makes the music come alive. This is their second album, but oh is it awesome.
Just listen to it and leave me a comment with a smiley face in it. I'll know what happened. :)

Neon Bible / Arcade Fire

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"The Arcade Fire's follow-up to 2004's Funeral looks and sounds like an elaborate riddle. The oblique lyrics are overwhelmingly ominous; the murky liner notes—with their flip-book images of a young girl on stage and costumed synchronized swimmers in inky water—look like production stills from a David Lynch film; and the music portends something sinister. Through Neon Bible, the band is seemingly sending a beacon to other reasonable people forced underground by the world's insanity. It's almost like a musical version of Ayn Rand's Atlas Shrugged. The penultimate song "No Cars Go," which originally appeared on the group's self-titled EP, shows the Arcade Fire at its Arcade Fieriest: A gloriously triumphant passage fills the final two minutes, built with a propulsive beat and bass line, and a chorus of voices that recalls the beginning of Funeral's "Wake Up." A hopeful hymn amidst songs that radiate despair, "No Cars Go" makes the similarly triumphant "Rebellion (Lies)" from the first album sound like a funeral dirge. If there weren't some reason left to believe, it'd be pointless to make such a gorgeous album." (from avclub.com)

I think all that can be said is said. There is no point refusing to beleive that this album is just extremely well thought out music with a deeper meaning.
Just listen to it, see if you can resist falling in love with it.

Houses Of The Holy / Led Zeppelin

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"When George Harrison met John Bonham, the Beatle told the Led Zeppelin drummer, "The problem with your band is you don't do any ballads." Singer Robert Plant and guitarist Jimmy Page could have taken umbrage -- they had already written the gorgeous "Going to California" two years earlier, for God's sake. Instead, they rose to the challenge. "The Rain Song" is seven minutes of exquisite heartache, complete with Mellotron strings from John Paul Jones. And in tribute to Harrison, the opening two notes are recognizably borrowed from his ballad "Something."
Led Zeppelin took the title of Houses of the Holy from their term for the oversize arenas and stadia where they played live. After five years together, they were ambitious and confident enough to believe they could meet any musical challenge; this album even includes a swinging take on reggae, "D'yer Mak'er." "Over the Hills and Far Away" builds in intensity just as relentlessly as "Stairway to Heaven." And "The Ocean," the love song for Plant's baby daughter that closes the album, is a mighty stomp that could rattle the teeth of fans in the last row of Madison Square Garden. The epic scale suited Zeppelin: They had the largest crowds, the loudest rock songs, the most groupies, the fullest manes of hair. Eventually excess would turn into bombast, but on Houses, it still provided inspiration. "(from RollingStone.com)

One of the best albums from them and of all time.
Paige pulls it off and so does all the band, emotional, sensational, just plain awesome.
Go get your Led out.

Tiger & The Duke / The Sound Of Animals Fighting

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"Describing The Sound Of Animals Fighting may well be one of the hardest things to do in this review, let alone reviewing the actual CD itself. TSOAF are a group of musicians from well known bands like Finch, Circa Survive and RX Bandits. Their identities were kept secret during recording as not to deal with issues with copyright and contract and such, and the band members were each given nicknames of animals.There are 14 members of the band, and I won't go into great detail with them all. Anthony Green (ex-Saosin/Circa Survive) and Rich Balling provide vocals, Matt Embree and Chris Tsagakis (RX Bandits) play lead guitar and drums, and Randy and Derek (Finch) pull out rhythm guitar and bass.The first noticable thing about this "album" is that it only has 4 proper songs. The rest are interludes, intros and outros. Technically, there is only 19 minutes worth of music played by the musicians above on the record, but oh boy is it good.The fact that these musicians have teamed up is amazing to me, and it's great to see Anthony Green back screaming his lungs out to what can only be described as "progressive rock". Each song is a new level for the team of musicians, providing a new taste of the band's creative minds." (from Sputnikmusic.com)

The amazing sound given birth by these terrific musicians makes you wanna grab and instrument and learn something yourself. Take a deep breath and enjoy one of the best sounds out there right now. It's filled with technicalities and a whole lot more to keep your ears plunged into it for a while. ;]

Death Cult Armaggedon / Dimmu Borgir

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"Death Cult Armageddon" was without a doubt one of the most highly anticipated metal releases of 2003 and I was one of those who were awaiting this album with tense curiosity. "Puritanical Euphoric Misanthropia" (yet another completely meaningless title created with the help of a dictionary I guess...) was a groundbreaking album for Dimmu Borgir as they took a step towards a more aggressive and less symphonic sound. That trend partly continues with their new album as they try to construct a bridge between symphonic arrangements and aggressive guitars. In my humble opinion I must say that they have found a perfect balance between the two on this album. Thanks to the 46 piece Prague Philharmonic Orchestra the symphonic arrangements sound more professional and majestic than ever before and this is probably the most ambitious black metal album ever recorded to this day. It is extremely difficult to point out something that could have been done better on this album and it will be very interesting to see what Dimmu Borgir will produce the next time. I would not have said no to an even heavier sound in a couple of songs, more aggressive vocals from Shagrath and perhaps more focus on creating memorable guitar riffs but compared to most other releases of the year "Death Cult Armageddon" is nothing less than audial art taken to perfection." (from Tartarean Desire)

OM*G. As odd as it may seem, this is a great album by great artist. They might not be your favorite genre, but hey, it's still really good music. It just makes you wanna bang your head and let out the monster in you, get's you all pumped and ready to go. You should give it a listen, if you can. This ranks as one of the highest in any metal library you may have. If you don't have one... take this as a start. =]

Crystal Castles/Crystal Castles

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"With all of the turmoil surrounding Toronto-based, electronic pop duo Crystal Castles and their dispute with artist Trevor Brown, it’s easy to hang a cloud over their music. Apparently, the two parties are dead-locked in a legal issue regarding the band’s illegal or legal use (depends on who you ask) of one of his paintings. Surprisingly, the digipak album comes with a small poster of the questioned painting at hand — oh the things you learn when you purchase music instead of downloading everything! Well, that’s another topic for another day. Through all of this, it is worth noting that with their self-titled debut, Ethan Kath and Alice Glass have concocted one of the best electronic albums of the year.

The album is filled with soft and mellow songs like “Magic Spells” that are utterly captivating. Sampling Grandmaster Flash & the Furious Five’s classic song, “The Message,” the way Kath manipulates the sounds is astounding. Other songs like the abrasive and edgy “Alice Practice” are nice offerings of punk rock music. The story is that this song was a complete accident as Kath recorded Glass one day when she was warming up, laid it to some frenetic video game sounds and hyper beats and mashed everything together. The fruition is a loud and screeching song that adds dimension to the album’s overall electronic sound.

The band takes their name from the fictional castle in the “She-Ra” animated series and are notorious for combining a fresh mix of grimy beats, melodic undertones, punk and rock music and video game sounds. The band placed an Atari 5200 sound chip inside one of their keyboards to help in creating these distinctive and interesting tones.

What really holds the album together is the way it is stylishly sequenced. Change of paces happen and come in at just the right times. After the water-bubble sounds of “Knights,” the next song, “Love and Caring,” features the catchiest drum beat on the album along with Glass’ shrieking vocals and yes, more video game sounds! And the bookends are brilliant choices: “Untrust Us” begins with an infectious melody line and encompasses some of Glass’ prettiest vocals; “Tell Me What to Swallow” ends the album with showcasing a human side to the band as they strip everything down and get away from all of the machines to create a somber and gentle, ethereal ending. Glass practically whispers the words and the music is lifting and placid.

Whatever ends up happening with the Castles’ legal issues, we shouldn’t overlook what a strong album this is. With Crystal Castles’ infectious, eclectic music, this is easily one of the highlights of the year and a great addition to the super-genre that is electronic music."

Find the full review here

What do you get when you throw in an atari, a gameboy, and LSD into the mix? What the f***, right? Well, the answer is actually quite simple: Crystal Castles. I seriously fell in love with the album on the first playthrough, and with each time I listen to it, the love grows. Admittedly, it's not for everyone, but those in the mood for something trippy might find that the Canadian duo is right up their alley =]

As Tall As Lions/As Tall As Lions

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"At the core, this record is a composite of rich textures and a mesmerizing groove that to me evokes the image and feeling of moonlight piercing fog. Not to get overly metaphorical here but that is my physical manifestation of the silky and sensuous but also lurid and ghostly vibe which pervades this disc. All you need do is press play on track one and suddenly my comparison won’t seem so far fetched. What sounds like wind chimes being stirred by a breeze meets eerie guitar sounds to introduce the one man vocal powerhouse that is Dan Nigro, and a rhythmically plucked acoustic guitar to hint at the song’s (and more or less the album’s) swaying trajectory. This record will haunt you and move you from start to finish, and I say that in only the most positive way.

Nigro is the inevitable MVP of this group. For someone with no formal vocal training, it is nothing short of miraculous that the boy can perform as he does. Whether whispering like a ghost from beyond the grave or wailing like a banshee on fire, Dan maintains an ear-pleasing vibrato and his uniquely jazzy vocal tone. He is an incredible asset to the group and his singing on this record is as much an instrument as the guitar and drums. And still, the musicianship that lies beneath the voice is equally impressive. For instance, the offbeat piano chords and gigantic rock-out-worthy chorus of “Stab City,” the tranquil flutter and then wrenching bridge of “Milk and Honey,” the whimsically heart-breaking balladry of “I’m Kicking Myself,” or the Coldplay-like elegance and soaring heights of “Maybe I’m Just Tired.” As Tall As Lions have redefined the word crescendo, and when they buildup and breakdown, so will you.

The record is chock full of highlight moments such as those above, which is very much a testament to the superb tracking and solidity of every song. For those that think the record starts strong, you should hear how it ends! The last four or five songs are an intransigent tour-de-force that guarantee a lasting impact.

As Tall As Lions can soar like U2, groove like Days Away, get as technical as Gatsby’s American Dream, rock out like Brand New, experiment like The Mars Volta, and even emote like Damien Rice. Seamlessly streamlining these qualities, the band has turned out a surprisingly adult, grown-up, complete, hypnotic, entrancing, brave, and layered sophomore effort with lasting appeal to boot. I’m just about out of adjectives, but please don’t miss one of the best that 2006 has to offer. It requires more than a single listen to truly consume and digest the songwriting which at first might seem to blend, but all efforts will be handsomely rewarded, and soon each track becomes distinct. Even summer sometimes succumbs to rainfall, nighttime, and gloom, and this record soundtracks those darker times, when sunshine gives way to the moonlight and the fog."

Review linky =]

Mellow can't even begin to describe what this album is like... I can't even begin to describe what this album is like... There's a quote from the review that hits the nail on the head: "What sounds like wind chimes being stirred by a breeze meets eerie guitar sounds to introduce the one man vocal powerhouse that is Dan Nigro, and a rhythmically plucked acoustic guitar to hint at the song’s (and more or less the album’s) swaying trajectory. This record will haunt you and move you from start to finish, and I say that in only the most positive way."

'Nuff said.

Blonde Redhead / 23

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"With each album since Melody of Certain Damaged Lemons, Blonde Redhead has made huge strides forward with their sound. Misery Is a Butterfly pitted fragile melodies against dark, swirling arrangements, and its tragic glamour turned the album into a cult favorite. On 23, the band trades the cloistered chamber rock of Butterfly for tone-bending dream pop and subtle electronics; while the wide open spaces sound a little bare at first, this streamlined approach ends up making this Blonde Redhead's loveliest and most accessible work yet. The group begins each album with a bold statement of purpose, and 23 is no different. The epic title track's delicate electronic rhythms, swooping, shimmering guitars, and majestically bittersweet melody pitch it somewhere between My Bloody Valentine and Asobi Seksu, showing how a more restrained Blonde Redhead can still sound lush and haunting. "Spring and Summer by Fall"'s streaming, comet-tail guitars and "Silently"'s thorny melody hark back to Melody of Certain Damaged Lemons, while "Heroine"'s vocoders sound surprisingly fresh, giving the song a fairy tale-meets-sci-fi vibe. This more whimsical, if not exactly lighthearted, feel flows through much of 23, especially on "Dr. Strangeluv," which boasts playful percussion and sparkling synths, and "Top Ranking," which layers Kazu Makino's vocals into futuristic girl group harmonies. However, Blonde Redhead hasn't ditched the brooding beauty of Misery Is a Butterfly entirely. "The Dress" is just as darkly stunning as any song on that album, with looping gasps and insistent guitars circling lyrics like "the fear starts creeping up when you have so much to lose," while "SW"'s melody and psychedelic brass interlude have a Butterfly-esque intensity. And as always, Blonde Redhead has a flair for haunting melodies, particularly on "Publisher," the chorus of which sounds peculiarly like Aerosmith's "Dream On." 23 is stunning -- in fact, its only flaw might be that its track listing is a little top-heavy, resulting in an album with an amazing first half and a flip side that is only very good. Nitpicking aside, 23 is mysterious and modern, with an artfully strange beauty that is more memorable than perfection." (from Allmusic.com)

I cannot say more. Best. Album. Ever. Period. It has conjured some kind of spell on me and I honestly cannot stop listening to it. It doesn't get boring, and the more I hear it, the more sense the album makes. This band ( along with the album) is on the top of my list. I suggest you give your hears something beautiful to hear.
=]

A Perfect Circle / The Thirteenth Step

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"The thirteenth step as we know it, and as this album illustrates, is to love onself. The theme of self embrace and acceptance echoes through this album as resoundly as any instrument, and makes it one of the most beatiful anf powerful works of art to ever make it onto a disc. I would recommend this album to anyone who has ever had a rough day, or just anyone with a throurough enjoyment of powerfully transcendant music."(from Sputnikmusic.com)

Staged in the steps of drug rehab (although there are 12, Maynard sets 13 in the album) he covers a wide variety of aspects from surrender, loss, and a lot of mixed emotions. A powerful and compelling album. I bet you won't regret it.

Residente Calle 13 / Residente o Visitante

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"The fine line between a fad and authenticity has put reggaetón in a delicate situation. As Latin hip-hop continues to gain popularity, the style must evolve to avoid a lethal backlash. Sure, it has its share of superstars, like Daddy Yankee and Don Omar, but a viable alternative is needed to keep things interesting. This is where Calle 13 comes in. The Puerto Rican duo, consisting of half-brothers “Residente” Rene Pérez and “Visitante” Eduardo Cabra, released their eponymous debut album in 2005, garnering plenty of critical accolades, including three Latin Grammys, for their sophomorically humorous, yet intellectually engaging form of hip-hop. And with the slow rise of the cumbia-tinged “Atrévete-te-te!,” perhaps the single best reggaetón song in the genre’s young history, Calle 13 has spent the past year basking in the glow as the “next big thing.”

Luckily, Calle 13 doesn’t seem to care for superlatives. Rather than quarantine themselves into a studio trying to prevent lightning from escaping the bottle, they hurriedly recorded Residente o Visitante. Aided by esteemed Rock en Español producer (and recent Academy Award-winner) Gustavo Santaolalla, the album streamlines the reckless experimentation of their debut album into something more refined, more cerebral. Stripping down the cornerstones of reggaetón—percussion sounds and ubiquitous “Dem Bow” rhythm—the duo creates complex song structures all but foreign to mainstream pop. The effect is to shift the listener’s attention to the charismatic Residente, whose oblique and uproarious performance is a revelation." (from Stylusmagazine.com)

Even with it's funny, unique and a wholelottabadwordsinit style, he definetly achieves what he wanted. A great album with a "flow" of it's own. You should: A. Learn spanish and listen to this album or B. listen to it really hard even if you don't know what it means.
Either way, listen to it.
peace.