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Bandas sonoras de cine - Publicado el 1 de enero de 2014 | Polydor Associated Labels

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Dance - Publicado el 1 de enero de 2013 | Polydor Associated Labels

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Dance - Publicado el 1 de enero de 2013 | Polydor Associated Labels

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Dance - Publicado el 1 de enero de 2013 | Polydor Associated Labels

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Rock - Publicado el 9 de junio de 1978 | Polydor Associated Labels

Premios The Absolute Sound: Best Reissued Releases Of The Year
Some Girls, álbum de hard rock grosero, presenta una recopilación de material ecléctico y sencillamente brillante de los Stones, que abarca el ritmo disco de "Miss You", los gruñidos de "When the Whip Comes Down", el country de "Far Away Eyes", la conmovedora balada "Beast of Burden" y la mejor canción de Keith, "Before They Make Me Run". © TiVo
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Rock - Publicado el 1 de enero de 2011 | Polydor Associated Labels

Some Girls, álbum de hard rock grosero, presenta una recopilación de material ecléctico y sencillamente brillante de los Stones, que abarca el ritmo disco de "Miss You", los gruñidos de "When the Whip Comes Down", el country de "Far Away Eyes", la conmovedora balada "Beast of Burden" y la mejor canción de Keith, "Before They Make Me Run". © TiVo
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Rock - Publicado el 1 de enero de 2011 | Polydor Associated Labels

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Alternativa & Indie - Publicado el 26 de octubre de 2009 | Polydor Associated Labels

It's been a pretty vast musical journey so far: from the freak folk of Espers' debut album to the wide-ranging psychedelia of their covers EP, to 2006's II, an album stepped in British folk formalism and drenched in overtone modal drones and careening electric guitars that added sheer rock power to the flowery proceedings. On III, the Philadelphia quintet do a bit of a mirror flip. While this album sounds brighter, cheerier, and more upbeat musically, lyrically, these songs inhabit a somewhat darker world. That's fine, the meld of classic American folk-rock, psychedelia, Brit-folk discipline, and the leftover traces of the acid folk of their origins all combine to make a recording of beauty, depth, complex dimensions, and dynamics, underscored by their best songwriting to date. The core of the band features vocalist Meg Baird, and multi-instrumentalists Brooke Sietinsons, and Greg Weeks (who also engineered and produced the set), with Vetiver drummer Otto Hauser and cellist Helena Espvall (who appeared on II as well) rounding out the band. Just compare the first two numbers on III: they are ample evidence of an evolving, more complex songwriting process. There is the near-jaunty folk-rock of "I Can't See Clear," with Baird's alto falling directly into the double-waltz time of the acoustic guitars, bassline, and other stringed instruments until the chorus, where melodically distorted electric guitars are added to the mix and push the track to the margin. The melody line is pronounced, repetitive, and catchy -- but the subject matter is anything but light. "The Road of Golden Dust" that features Baird's and Weeks' voices twinned on the verses, is creepier, murkier, and far more haunting. Its lilting melody slithers alone on a lithe backbeat and hypnotic guitar patters. Its notes are much more restrained, but the instrumental passages are labyrinthine. "That Moon Song," with its country-ish tinge, done at a cough syrup pace, blends electric guitars, keyboards, what sounds like a Wurlitzer, and reverb effects along with Espvall's cello and Baird's vocal to create a texture worthy of dreaming. The elegantly slow yet piercing electric guitar breaks morph it into full-on soundscape though its songlike qualities remain. The thick, cushiony textures of distorted instruments collide in "That Which Darkly Thrives" as Weeks' voice hovers and floats above the only clearly heard instruments in the mix -- those of the rhythm section; Baird's backing vocal cascades into Weeks', pouring it all through a nearly cinematic sense of the ethereal. "Colony," whose lyrics are impure poetry, is flat-out gorgeous in a slightly sinister, Pentangle kind of way. The album closer, "Trollslända," stands in sharp contrast with its breezy, weave of sprightly bassline, clipped snare and hi-hat, phased electric guitars, and reverbed acoustic six-strings as Weeks and Baird sing the verses in harmony. It's a lullaby of sorts that melds the ancient with a present-tense melancholy. The cello solo by Espvall becomes another voice in the track, and is one of the loveliest things she's ever played on a record. The cut's climax is one of the high points on any Espers record. This band may take their time between releases now, but they get exponentially more sophisticated and adventurous, not only in their composed material, but in their approach to making records. This is just stellar top to bottom. © Thom Jurek /TiVo
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Pop - Publicado el 29 de septiembre de 2008 | Polydor Associated Labels

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Alternativa & Indie - Publicado el 8 de diciembre de 2008 | Polydor Associated Labels

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Pop - Publicado el 1 de enero de 2007 | Polydor Associated Labels

Con solo 28 temas, este recopilatorio puede tener el doble de duración que Every Breath You Take: The Classics de 1995, aunque han quedado fuera unos cuantos temas básicos de Police, como "Born in the '50s", "The Bed's Too Big Without You", "Shadows in the Rain" y "Rehumanize Yourself"; además, el excesivo énfasis en Synchronicity amenaza con inundar el segundo disco. Dicho esto, Synchronicity merece una cobertura tan amplia, dado que se trata del álbum más importante de la banda, y es difícil cuestionar el resto de selecciones incluidas ya que se han recogido todos los éxitos conocidos y la mayoría, aunque no todos, de los clásicos secundarios, tales como "Truth Hits Everybody", "Bring on the Night", "Canary in a Coalmine", "Driven to Tears" y su primer sencillo, "Fallout". © Stephen Thomas Erlewine /TiVo
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Alternativa & Indie - Publicado el 1 de enero de 2007 | Polydor Associated Labels

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Rock - Publicado el 24 de julio de 2007 | Polydor Associated Labels

Halfway between Fever to Tell's saucy rave-ups and the somber, slower sound of Show Your Bones, the Is Is EP is a welcome reminder of how potent the Yeah Yeah Yeahs are when they're firing on all cylinders. It also reaffirms that the Yeah Yeah Yeahs may be at their best on their EPs: Is Is delivers sleekly nasty rockers and vulnerable moments that are often more focused than the band's album tracks. Though the songs here are balanced between the extremes of the Yeah Yeah Yeahs' sound, their performances sound wilder than they have in a while, and the production -- which is neither too raw nor overcooked with studio fussing -- shows them off perfectly. "Tell Me What Rockers to Swallow" is savage and spare, taking hairpin turns from precision to chaos as Karen O unleashes vocals befitting her rep as one of the iconic women in rock of the 2000s. Nick Zinner and Brian Chase sound just as fiery and inspired on "Kiss Kiss," one of the soaring, earnest songs the Yeah Yeah Yeahs deliver from time to time just to show that they're not too cool to sound excited. Is Is's slower songs keep the energy and focus of the louder tracks: despite its dominatrixy title, "Down Boy" sounds a little like a slowed-down version of Show Your Bones' "Phenomenon" -- or even a little bit like a much slower cover of Franz Ferdinand's "Take Me Out" -- and "10 X 10" shows that O's prettier style of singing can fit into the Yeah Yeah Yeahs' sound just as well as her feral side. Not surprisingly, Is Is' title track is the standout, a majestic, fiery, and heartbroken epic that feels like the opposite of "Maps." Most of the songs here were written in the time between Fever to Tell and Show Your Bones and seemed to disappear after they were previewed on the Tell Me What Rockers to Swallow concert DVD, so it's nice to see them get a proper release. Is Is may not be the Yeah Yeah Yeahs' most immediately accessible music, but it is some of their most compelling work in some time. © Heather Phares /TiVo
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Pop - Publicado el 1 de enero de 2007 | Polydor Associated Labels

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Pop - Publicado el 1 de enero de 2007 | Polydor Associated Labels

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Pop - Publicado el 1 de enero de 2007 | Polydor Associated Labels

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Pop - Publicado el 1 de enero de 2007 | Polydor Associated Labels

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Pop - Publicado el 16 de octubre de 2006 | Polydor Associated Labels

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Rock - Publicado el 1 de enero de 2006 | Polydor Associated Labels

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Hip-Hop/Rap - Publicado el 1 de enero de 2004 | Polydor Associated Labels