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Alternative en Indie - Verschenen op 1 januari 2014 | A&M

Hi-Res Onderscheidingen The Qobuz Ideal Discography - Hi-Res Audio
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Alternative en Indie - Verschenen op 18 november 2016 | Concord Records

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
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Alternative en Indie - Verschenen op 10 november 2017 | Craft Recordings

Hi-Res Booklet Onderscheidingen Pitchfork: Best New Reissue
There’s a ‘before and after’ Out Of Time in the life of R.E.M. This ‘before’ for Michael Stipe’s band is mainly found on university campuses where the group gained a cult following in the ‘80s… How then did R.E.M. manage to sell 12 million copies of Out Of Time to the world? The answer is that this record was both sublime and austere. An uncompromising album, like the chamber rock such as Nirvana and the Pixies that you’d blast out without caring about pissing off the neighbours in that year of 1992… Always virtuosic, Peter Buck goes from the mandolin to the acoustic guitar with great ease, John Paul Johns from Led Zeppelin sublimely arranges refined chords and Michael Stipe shines with his melancholic and tortured prose with the candor of a man with self-assured belief. Cinemascope ballads prevail, peaking with Everybody Hurts. It must be said, Automatic For The People is not the most easy-flowing album by R.E.M. but it is one of the most beautiful. Released in 2017, this 25th anniversary edition also offers, alongside the remastered album, a live recording from the 40 Watt Club in Athens on the 19th November 1992 with some cover versions like Funtime by Iggy Pop and Love Is All Around by The Troggs. © MD/Qobuz
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Rock - Verschenen op 1 januari 2014 | A&M

Hi-Res Onderscheidingen Hi-Res Audio
After R.E.M. found commercial and critical success with their 1983 debut, Murmur, the Athens, Georgia, band wasted no time trying to make lightning strike twice. In late 1983 and early 1984, the group returned to where they recorded Murmur, Reflection Sound Studios in Charlotte, North Carolina, and reunited with the LP's co-producers, Mitch Easter and Don Dixon. However, in a move that would play out time and time again during R.E.M.'s career, the resulting album avoided repetition and embraced sonic progress. More extroverted than Murmur, Reckoning has a crisp-sounding core of warm guitar jangle, taut drums, and lively bass lines. To this the band members—vocalist Michael Stipe, guitarist Peter Buck, bassist Mike Mills, and drummer Bill Berry—add various instrumental flourishes: piano chords give gleaming polish to "So. Central Rain" and rustic charm to the country-tinged "(Don't Go Back To) Rockville"; latticework-like backing harmonies add buoyancy to the insistent pogo "Letter Never Sent." And "Pretty Persuasion" is punk-like in its execution, as a train-whistle harmonica gives way to whirring riffs and windmilling drums, which crescendo into a bridge full of roaring noise. Although it's widely believed that Stipe didn't embrace vocal clarity until two albums later on 1986's Lifes Rich Pageant, Reckoning tells a different story. On the slow and sparse "Camera" especially, his voice is haunted with grief as he mourns an ex: "If I'm to be your camera/Then who will be your face?" Elsewhere on the album, while certain specific lyrics might be puzzling ("There's a splinter in your eye and it reads 'react'"), songs are crystal-clear about homesickness, displacement, road-weariness, and the complexity of relationships. On the rollicking "Second Guessing," however, Stipe is unmistakably clear about how he feels about R.E.M.'s place in the world: "Here we are," he announces, while challenging unnamed critics for "second guessing" them and their approach. Hindsight proves that such confidence was completely justified: Reckoning is a bold, cohesive step forward that propelled R.E.M. further down a path to success. © Annie Zaleksi/Qobuz
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Alternative en Indie - Verschenen op 1 januari 2010 | Capitol Records

Onderscheidingen The Qobuz Ideal Discography
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Alternative en Indie - Verschenen op 10 november 2017 | Craft Recordings

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Alternative en Indie - Verschenen op 8 mei 2012 | Concord Records

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Rock - Verschenen op 19 oktober 2018 | Craft Recordings

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Alternative en Indie - Verschenen op 18 november 2016 | Concord Records

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Alternative en Indie - Verschenen op 1 januari 2013 | Concord Records

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Alternative en Indie - Verschenen op 1 januari 2012 | Concord Records

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Alternative en Indie - Verschenen op 28 juli 1986 | IRS CATALOG MKT (I91)

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Alternative en Indie - Verschenen op 27 mei 2016 | Concord Records

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Alternative en Indie - Verschenen op 1 januari 2012 | Capitol Records

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Alternative en Indie - Verschenen op 1 januari 2014 | Concord Records

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Alternative en Indie - Verschenen op 1 november 2019 | Craft Recordings

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A brilliant distillation of '90s alt-rock. A crass and noisy attempt to cash in on grunge. A band in need of rock tunes for an upcoming tour after six years off the road. The fact that R.E.M.'s ninth album Monster can after still inspire such polarities is proof enough that it's worth a fresh listen. New mixes by Scott Litt, a trove of demos and a 1995 live show from Chicago featuring mostly a post-I.R.S. years setlist fills out the portrait of the 25th Anniversary reissue of one of R.E.M.'s most contentious albums. With liner notes in which Peter Buck admits, "We wanted to get away from who we were," Monster 25 is the sound not only of Buck, Michael Stipe, Mike Mills and Bill Berry pondering what it means to suddenly be rock stars, but also of a band deep in one of those periodic left turns that artists need to pass through or call it quits. And while the lyrics are typical Stipe-ian jabberwocky mangled further by vocals buried in the original mix, it's Peter Buck's ever-present guitar, bashing out crunchy power chords bathed in delay, reverb and buzzsaw distortion, that remains the album's most controversial aspect as he ditches his former loyalty to acoustic textures and intricate arrangements for an overdriven, rocked up Cobain-life heft and snarl that's fiercely front and center in the mix. The remixed album is a very different experience from the original: the instrumental parts are now clearly delineated, instead of a blurry, roaring mix. "Tongue" drops the four beat count off in favor of a simple piano and loud tambourine. The organ, which was prominent in the original, has been lowered in the remix. "Circus Envy's" sizzling guitar distortion has been dialed back and Berry's drums have been pulled forward. Most noticeable of all are Stipe's vocals, some of which are entirely different takes from the original album's. "Crush with Eyeliner" begins with Stipe voicing an unaccompanied "la, la, la" and continues with a more stylized T. Rex and Iggy Pop-influenced vocal take than the original. Some of the changes are outright deletions. Buck's organ in "Let Me In," and his choppy guitar part in "What's the Frequency, Kenneth?", and the percussion in "You" are completely gone. These changes are needed context, connecting the album to the band's musical progression and in the process making it seem less like an outlier. © Robert Baird / Qobuz
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Alternative en Indie - Verschenen op 1 januari 1987 | IRS

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Alternative en Indie - Verschenen op 1 januari 2014 | CAPITOL CATALOG MKT (C92)

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Alternative en Indie - Verschenen op 1 januari 2014 | Concord Records

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Alternative en Indie - Verschenen op 16 mei 2014 | Concord Records