All of a Sudden

1. All of a Sudden [Instrumental]

2. I Let a Song Go Out of My Heart

3. Serendipity

4. All Right Baby

5. Do the Flip Turn

6. Outside Looking In

7. T.L.C.

8. Red Skin, Blue Skin

9. Child Is Born

10. Third Generation Suffragist

11. All of a Sudden

All of a Sudden,Rebecca Coupe Franks,Justice Records,Fusion,Hard Bop,Jazz,Jazz Music,Pop

Jazz

Music

jazz

Tracks:

The Birth And Death Of The Day
Welcome, Ghosts
It's Natural To Be Afraid
What Do You Go Home To?
Catastrophe And The Cure
So Long, Lonesome

Amazon.com

Sometimes Explosions in the Sky start with a whisper and end with a scream, but on "Birth and Death of the Day", they begin with a scream and proceed into a symphonic odyssey that Aaron Copland might have composed if he'd played electric guitar. Like Copland, EITS are cinematic, but with more kinetic drive than any film--except maybe Koyaanisqatsi--could match. Compositions like "It's Natural to Be Afraid" take you on epic journeys that roar like a Harley Davidson one minute and slip into taut contemplation the next, using the slow-tension build that EITS have perfected. All of a Sudden I Miss Everyone was produced by John Congleton, who has worked with lo-fi groups like the Roots and the Mountain Goats. That might explain why the album lacks the atmosphere of EITS's monumental The Earth Is Not a Cold Dead Place and their Friday Night Lights soundtrack. Instead, they rely even more on the arc of their compositions and the integral twin lead guitar lines that never solo but always drive the songs. They can shift from power-chord aggression to the sound of plucked mandolins in an instant. This is progressive rock for people who weren't even born when prog reigned supreme. It's the sound of King Crimson, transmuted through punk and grunge aesthetics. --John Diliberto

Customer Reviews:

All of a sudden I miss you.......2007-07-09

Explosions in the Sky specializes in sweeping, atmospheric prog/postrock/whatever. Call it constellation pop.

And in "All of a Sudden I Miss Everyone," it sounds like they're creating the soundtrack to some epic, arty movie, kicking off with a bang and heading into more contemplative territory later on. Robust instrumentation and complex, swirling melodies keep it from ever getting dull or stagnant, despite no lyrics or vocals.

It opens with a bang -- the blaze of rumbly guitar like a car revving. But then it explodes into a ringing expanse of exquisite, soaring instrumentation that sounds like a post-rock orchestra... and quiets down into a gentle, rippling melody in the middle... only to blaze back into a determined, ringing melody, and sink back into a gentle rattling ballad.

It's an epic song, with more mood changes and more "highs" than most albums ever achieve in their entirety. And it segues seamlessly into the moody "Welcome Ghosts," with its blasts of percussion over a gentle melody, and into a string of other songs -- pretty acoustic balladry with explosive climaxes, gentle melodies that trickle like water.

It ends with both kinds of music: the tightly wound, upward-spiralling "Catastrophe and the Cure." And the finale is as intimate as the opener was epic, with a tinkly piano and dreamlike riffs smoothly lulling listeners right to the end.

Like any good post-rock album, "All of a Sudden I Miss Everyone" is just like an exploration sketched out through music -- it has rises and falls, exciting moments, lulling peaceful stretches. If they ever made silent movies again, this would be a brilliant soundtrack for some epic, exquisitely-shot movie.

And it's performed with a robust quality that much post-rock doesn't have, not to mention their variety. Despite the lack of pop rhythms, they stick to melodies that hang around in your mind, and vary between ethereality and expansiveness, gentleness and bombastity.

It's especially impressive, because they use only typical rock'n'roll instrumentation. They have some truly brilliant guitar work, with dreamlike stretches or ringing riffs, and explosive, grimy eruptions off bass. There's some solid, smashing percussion, and a few songs have trickles of gentle piano and keyboard under them.

"All of a Sudden I Miss Everyone" is another solid collection of spacey, epic post-rock, and Explosions in the Sky are only getting better. Definitely a good listen.

EITS don't disappoint.......2007-07-04

Instrumental post-rock has often been accused of being too lightweight and unobtrusive to function as anything but aural wallpaper, and a great deal of what the genre has produced has done little to rebut such an assertion. Explosions in the Sky, however, have (to this point in their career at least) managed to largely avoid such pitfalls, as their three-guitar assault produces lengthy, towering soundscapes that can be relaxing one moment and launch into full-bore sensory overload the next. It may frequently be all pretty and dreamy, but this stuff can still assault your eardrums, frequently building up a mellow atmosphere before rending it in the most dramatic manner possible with a daunting rush of noisy distortion and piercing leads. And while their most recent effort, this year's All of a Sudden I Miss Everyone, doesn't mark much of a stylistic departure, at its best (which constitutes much of the album) it does see EITS honing their blend of power and grace to a razor-sharp edge.

This album doesn't take too long to hit its stride, with the opening The Birth and Death of the Day serving as a convincing statement of the band's mission. It starts with a relatively placid period of shoegazerish fuzz and fragile microtonalities, expertly building tension before giving way to a midtemp gallop of explosive riffs that hit the mark with devastating effect. The even-better following track, Welcome, Ghosts, is one of the most stirring and exhilirating compositions in the band's already impressive catalogue, with intricate layers of interwoven guitar lines underlain by a pummeling, martial drum performance from Chris Hransky. Taken together, these first two pieces are easily among the best one-two punches I've heard open an album recently, encapsulating all the incendiary songwriting and fearsomely virtuosic musicianship this band can muster.

From there, though, things do get a bit dicey, at least by EITS's lofty standards. It's Natural to Be Afraid, at over thirteen minutes, is the obligatory epic, and anyone who would expect a song that long to have some gratuitous moments would be correct, at least in this case. Granted, the stretches in the song's later going where all three guitarists lock in for a shimmering, Sonic-Youth-on-Steroids style freakout is worth the wait, but I could've done with a little more muscle-flexing and a little less buildup. Similarly, the piano-accented What Do You Go Home To? is a nice enough tune, but lacking in the dynamic range that makes to many EITS songs so memorable. It's stuck in a sort of in-between zone--too long for an interlude, but without enough meat to function as an independent piece.

Fortunately, Catastrophe and the Cure provides a welcome return to form, shifting in scintillating fashion from hard-driving and intense to, er, even more-hard driving and intense, occasionally hovering in minimalist stasis for a brief interlude before leaping back into the fray, with Hransky once again pushing the song further into the stratosphere with his enthusiastic demolition of his drumkit (just check out that ending). Not so fortunately, So Long, Lonesome, is another temperate, piano-driven mood piece that does provide a decent comedown to the sonic maelstrom that preceded it, but the end result is an album that fades away rather than burning out.

That said, while I would have liked a more exciting ending, it's hard to complain when so much quality material preceded it. Overall, All of a Sudden I Miss Everyone is yet another excellent album from a band that anyone who gets high on music should check out posthaste if they haven't already. Let's just hope to see a little more progression the next time out.

Holy Moly!.......2007-06-26

Epic music that whether you're paying attention to it or not, you can still appreciate it. Warning though, sit down, lie down, stare at the ceiling or close your eyes and you will be blown away by the beautiful melodies of explosions in the sky. This is the type of cd that can make one appreciate the simple beauties in life. truly inspiring. Forget the post rock title that has been given to them by those who feel the need to label everything and everyone. Great music. Thanks.

Recommendations:

Mono (Japan)
Mogwai
Ovum (japan)
Sonograph
Godspeed you black emperor

not one of my favorites.......2007-06-16

Explosions in the sky are still better than 95% of the music that's out there but I was rather disappointed by this album after falling in love with their last one.
Unfortunately, none of the tunes were very memorable. I found the second cd (with remixes of the songs by artists like jesu and four tet among others) more engaging.
They're still a band with vast potential and I'm still waiting for their next release but I just wasn't pleased with this one.

All of a Sudden I Miss Everyone.......2007-06-07

There was a moment during All of a Sudden I Miss Everyone that truly scared me. It came in the middle of the 13-and-a-half-minute "It's Natural to be Afraid," where two guitars quietly and comfortably meander in three-fourth time. Guitar One picks its way up as though climbing a ladder, while Guitar Two strums a countermelody an octave below. Soon, drums enter with a determined martial gallop as the instruments continue their ascent; there's the illusion of building toward a grand climax, but nothing really happens. There was something so eerily "post-rock"--indeed, something so Explosions in the Sky--about that moment that I thought I saw the death of the entire genre in front of me. At some point, it seems, the evolution of instrumental post-rock simply ceased.

But does a genre or a band need to grow in order to stay vital? It should seem so, since boredom is the enemy for most discerning listeners, but All of a Sudden I Miss Everyone finds the Texas quartet towering so highly above their peers that the lack of progression hardly matters. Six years after first breaking out, Explosions in the Sky remain on the A-list precisely because they haven't strayed from their patented formula, and why should they? In their self-contained universe, evolution doesn't occur over the course of multiple albums; it happens as we listen, and we return to their music because each song presents a drama in miniature, with meditative lows and exultant highs, and because the stories they tell tremble with emotion that never feels feigned or forced.

Finding differences between All of a Sudden I Miss Everyone and the group's previous two outings is tough, but they're there if you care to look. The sonic building blocks are much the same as on The Earth is Not a Cold Dead Place--high-pitched, ringing guitars and stately drums with lots of snare--but this is a more tumultuous record, warding off criticism the band may have suffered for supposedly going soft. "The Birth and Death of the Day" sets the scene perfectly, beginning with a skyward scream before settling down and rising again in a march that feels custom-fitted for a film score. As the intensity builds and the band rocks out for the first time, one can easily picture--literally--explosions in the sky. At the same time, there are few outright surprises; while Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever knocked the blocks out from under our feet at any moment, we can see the climaxes on this album coming a mile away. It's a technique that had me yawning initially, then ultimately taking comfort in the familiarity of these lovely, well-spun tales.

So, then, what's it all about? Explosions in the Sky deal in cautious optimism in an era when most rock musicians think that anything optimistic is lame. The pre-Sept. 11 Those Who Tell the Truth Shall Die was oblique and destructive; the post-Sept. 11 The Earth is Not a Cold Dead Place was blindingly radiant and uplifting--understandable since, in 2003, many of us in America badly needed succor. If All of a Sudden I Miss Everyone has a message, it's that a little faith in humanity isn't going to save the world, but that's no reason to give up. "What Do You Go Home To?" and "Catastrophe and the Cure" begin with impending doom that, by the end, has vanished in favor of harmoniousness and redemption. "It's Natural to be Afraid" lays out its problems before blasting them away in a cloud of heavy, major-key guitar and crashing cymbals. That these "message tracks" are completely free of words testifies to how instrumental music can speak for itself when it's put into just the right hands.

With All of a Sudden I Miss Everyone, I'm now more convinced than ever that the knee-jerk comparison to Godspeed You! Black Emperor isn't going to work anymore. Both bands specialize in tension-and-release instrumental rock, their songs often exceed 10 minutes and they exhibit a grandmother-upsetting range of volumes. But while Godspeed are open detractors of the United States government, there's something unabashedly American about Explosions in the Sky, in a national anthem sort of way. When they were asked to score Friday Night Lights (a film about a Texas high school football team), many fans took it as a slap in the face, believing that setting music to celluloid meant that it couldn't stand alone, but the pairing now makes perfect sense. Like an epic American film, this music sweeps us up with grand gestures and shows us hope amid destruction. We know exactly how it's going to end--the good guys will win and conflicts will be resolved--and that's just fine.

Handel - Messiah / McNair · von Otter · Chance · Hadley · Lloyd · Marriner

Average customer rating:

a voice teacher and early music fan
I really love this recording
Some very good parts
Great mezzo and trumpet
And He Shall Reign Forever and Ever, Amen.

Handel - Messiah / McNair · von Otter · Chance · Hadley · Lloyd · Marriner
George Frideric Handel , Neville Marriner , Anne Sofie von Otter , Michael Chance , Academy of St. Martin-in-the-Fields , Sylvia McNair , Jerry Hadley , and Robert Lloyd
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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Handel - Messiah - The 250th Anniversary Performance / Marriner, Academy and Chorus of St. Martin in the Fields
Handel - Messiah / Ameling · A. Reynolds · Langridge · Howell · Marriner
Bach: Goldberg Variations, BWV 988 (The Historic 1955 Debut Recording)

ASIN: B00000414Y
Release Date: 1992-11-17

Tracks:

Messiah: Part I: Symphony
Messiah: Part I - No. 1 Accompagnato: Comfort Ye, Comfort Ye, My People
Messiah: Part I - No. 2: Air Ev'ry Valley Shall Be Exalted
Messiah: Part I - No. 3 Chorus: And The Glory Of The Lord
Messiah: Part I - No. 4 Accompagnato: Thus Saith The Lord
Messiah: Part I - No. 5 Air: But Who May Abide The Day Of His Coming
Messiah: Part I - No. 6 Chorus: And He Shall Purify The Sons Of Levi
Messiah: Part I - No. 7 Recitative: Behold, A Virgin Shall Conceive
Messiah: Part I - Nos. 8-9 Air And Chorus: O Thou That Tellest Good Tidings
Messiah: Part I - No. 10 Accompagnato: For Behold, Darkness Shall Cover The Earth
Messiah: Part I - No. 11 Air: The People That Walked In Darkness
Messiah: Part I No. 12 Chorus: For Unto Us A Child Is Born
Messiah: Part I No. 13 Pifa: Pastoral Symphony
Messiah: Part I No. 14 Recitative: There Were Shepherds - And Lo, The Angel Of The Lord - And The Angel Said Unto Them - And Suddenly There Was
Messiah: Part I No. 15 Chorus: Glory To God In The Highest
Messiah: Part I No. 16 Air: Rejoice Greatly, O Daughter Of Zion
Messiah: Part I No. 17a Recitative:Then Shall The Eyes Of The Blind
Messiah: Part I No. 18a Duet: He Shall Feed His Flock
Messiah: Part I No. 19 Chorus: His Yoke Is Easy
Messiah: Part II No. 20 Chorus: Behold The Lamb Of God
Messiah: Part II No. 21 Air: He Was Despised
Messiah: Part II No. 22 Chorus: Surely He Hath Borne Our Griefs
Messiah: Part II No. 23 Chorus: And With His Stripes We Are Healed
Messiah: Part II No. 24 Chorus: All We Like Sheep

Tracks:

Messiah: Part II No. 25 Accompagnato: All They That See Him
Messiah: Part II No. 26 Chorus: He Trusted In God
Messiah: Part II No. 27 Accompagnato: Thy Rebuke Hath Broken His Heart
Messiah: Part II No. 28 Arioso: Behold, And See
Messiah: Part II No. 29 Accompagnato: He Was Cut Off
Messiah: Part II No. 30 Aria: But Thou Didst Not Leave
Messiah: Part II No. 31 Chorus: Lift Up Your Heads
Messiah: Part II No. 32 Recitative: Unto Which Of The Angels
Messiah: Part II No. 33 Chorus: Let All The Angels Of God
Messiah: Part II No. 34a Air: Thou Art Gone Up On High
Messiah: Part II No. 35 Chorus The Lord Gave The Word
Messiah: Part II No. 36 Air: How Beautiful Are The Feet
Messiah: Part II No. 37a Arioso: Their Sound Is Gone Out
Messiah: Part II No. 38 Air: Why Do The Nations
Messiah: Part II No. 39 Chorus: Let Us Break Their Bonds Asunder Let us break their bonds asunder
Messiah: Part II No. 40 Recitative: He That Dwelleth In Heaven
Messiah: Part II No. 41 Air: Thou Shalt Break Them
Messiah: Part II No. 42 Chorus: Hallelujah
Messiah: Part III No. 43 Air: I Know That My Redeemer Liveth
Messiah: Part III No. 44 Chorus: Since By Man Came Death
Messiah: Part III No. Accompagnato: Behold, I Tell You A Mystery
Messiah: Part III No. 46 Air: The Trumpet Shall Sound
Messiah: Part III No. 47 Recitative: Then Shall Be Brought To Pass
Messiah: Part III No. 48 Duet: O Death, Where Is Thy Sting?
Messiah: Part III No. 49 Chorus: But Thanks Be To God
Messiah: Part III No. 50 Air: If God Be For Us
Messiah: Part III No. 51 Chorus: Worthy Is The Lamb - Blessing And Honour
Messiah: Part III: Amen

Customer Reviews:

a voice teacher and early music fan.......2006-10-21

The "Messiah" was composed by Handel at his London home in the late summer of 1741..Charles Jennens described his libretto for the 'Messiah' as a "Scripture Collection", because it consists of a cleverly-arranged selection of biblical texts. Musically speaking, the recitatives and arias are definately in a style derived from opera, supplemented by choruses of the type Handel has developed in his English odes and oratorios-the presentation of the story was unconventional. The work is divided into three acts or parts, but the narrative is largely confined to Part Two: Part One is mainly concerned with prophecy and its fullfilment and Part Three with commentary on the importance of the previous story. This recording of the famous 1992 performance at Dublin took place at the Point Theatre on the 250th anniversary of the work's premeire which took place in Dublin on April 13th 1742. It is an outstanding performance, especially chorally and instrumentally. The soloists: Sylvia McNair(soprano)-Anne Sofie von Otter(mezzo)-Michael Chance (alto) were superb!!! Personally I was not pleased by Jerry Hadley's interpretation of Handel; I have a recording of him singing show tunes, and I think he does that best! Robert Lloyd's (bass) diction was most peculiar and annoyed me. However, the last 2 comments may not be universally accepted. All in all, it's one of the best 'Messiahs' I have heard, and is actually my favorite of many that I own.

I really love this recording.......2005-03-26

While I haven't sampled that many different recordings of the Messiah, I really like this version. I sometimes find myself singing it, and this is the version I hear. One thing I don't like about it is that it is a 2-disc set, but the Messiah has three parts. Part II is divided -- the first half on disc 1 and the second part on disc 2. It would be nice if the parts weren't divided in the middle.

Some very good parts.......2002-12-14

This is my fifth Messiah disk and I had hoped my last. Von Otter is a real draw and she is truly great. Marriner's pacing is still good. But many aspects of this CD pull it down. I have a theory that the tenor (Jerry Hadley) was mad at Marriner and sang technically perfect with zero emotion. I don't how he was allowed to get away with this. I also did not like the baritone. While I think varying the size of the chorus in this piece has merit, this choir is generally on the small side and does not have the punch when needed. Messiah choirs carry a two edged burden, either the choir is large and it gets muddy in the delicate sections or it is small and can't punch the big sections. This disk errs on the small side. The recording quality is very good, something that dodges many Messiahs. The violins are too close to the soloist microphone (or poorly mixed) and come in much too loud. So whenever there is an sprite from the violins it jumps out at you and drowns the soloists.

The best Messiah for me is still Marriner's 1976 disk, much better overall rendition.

Great mezzo and trumpet.......2002-05-17

This is one of the better Messiahs, although not quite up to Westenberg's level.

Its world-beater aspects include mezzo Anne-Sophie von Otter, whose "He was despised" is well north of magnificent: Warmly mournful in the slow sections, snarling and spitting in the center section.

Trumpeter Mark Bennett does by far the best trumpeting on any of my 30 complete Messiahs. "Glory to God" and "Hallelujah" are as good as it gets -- no, better than any other recording gets.

Countertenor Michael Chance is quite good in "If God be for us" -- I say that as someone who doesn't like countertenors.

Some of the other choruses are also well done. But tenor Jerry Hadley seems to have thought he had more lucrative things to do with his time than to think about Messiah.

And He Shall Reign Forever and Ever, Amen........2002-01-01

This recording ranks itself on the top of the greatest recordings of Handel's Messiah. Being a live recording, it surpasses every other studio recordings of this piece in terms of interpretation and drama. The soloists are superb, the chorus are crisp and vital, and the ensemble plays with great virtuoso. My special remark goes to Miss McNair, I simply cannot grow tired of her! Her lyrical voice is simply destined for this work, especially in aria no 16 `Rejoice greatly, o daughter of Zion' - rejoice indeed! It is to Marriner we should all be grateful for producing this remarkable recording in the first place. Known mainly for his stupendous recordings of Mozart, it is not surprising that he's able to interpret in a true Handelian way. It's a pity that he seldom records works by Handel - I don't know if he performs them unrecorded.
There are actually two versions of this live performance, the one here and the other is available on LaserDisc. I believe that they were recorded on two different performance time, for on some arias the soloists have different style in singing the cadenza. Whichever you prefer, this is a recording you must simply own - even when your music library boasts a dozen or so of Handel's Messiah!!

Average customer rating:

A Massively Underrated Album

All of a Sudden
John Hiatt
Manufacturer: Lemon Records UK
ProductGroup: Music
Binding: Audio CD

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Album Details

Hiatt's 1982 Debut for Geffen Records is Re-released on this Edition from Lemon Records. The Sessions were Produced by Longtime Bowie Collaborator Tony Visconti and Includes his Solo Version of "i Look for Love".

Customer Reviews:

A Massively Underrated Album.......2005-06-24

As much as this record gets slagged by fans of John Hiatt, I hold my ground on gracing it with a five star rating. I have my reasons, one of the main ones being that I think this was the first album where Hiatt found his voice as a singer. The two excellent albums prior to this ("Two Bit Monsters" and "Slug Line") were certainly nervy affairs, and that rough kind of vocal drew some of the "American Elvis Costello" comparisons.

If that was the case, then "All Of A Sudden" was Geffen records' attempt to unleash an Americanized "Armed Forces." The wordplay was certainly as wickedly funny and acidically ironic as Costello's or Graham Parker's, and the CD bookends with a pair of stone classics in "I Look For Love" and "My Edge of the Razor." The problem was, Elvis was up to "Imperial Bedroom" the year "All Of A Sudden" came out and Tony Visconti's "use every synth in the room" production didn't do much to enhance a stellar batch of songs. It did, however, bring out the rocker in Hiatt. With the exception of his latter work on A&M, Hiatt had never played this hard. More to the point, his singing suddenly took on a less affected quality. While it may have taken him another three albums to find his musical voice with "Bring The Family," it's my humble opinion that this was the album where Hiatt took his first major leap from songwriter to a performer, and the also commercially ignored follow-up, "Riding With The King," were the records that set up his crowning achievements.

Average customer rating:

Hawkins on Murder/Winter Kill/Babe

Manufacturer: Film Score Monthly
ProductGroup: Music
Binding: Audio CD

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Release Date: 2005-01-04

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Main Title [*]

Average customer rating:

Classics Explained: Rite of Spring
Stravinsky , Rahbari , and Brt Po Brussels
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Average customer rating:

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King Stephen Was A Worthy Peer
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The Master, The Swabber (Version 2)
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O Mistress Mine (Version 1)
Orpheus With His Lute
O Sweet Oliver
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That Sir Which Serves
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Dulcina
Eglamore
Eighty-Eight
Fortune My Foe
George Alow (Version 2)
Glass Doth Run
Goddesses
Go From My Window
Greensleeves (2 Versions)
Guy Of Warwick
Hem Boys (2 Versions)
Hey Ho for A Husband (2 Versions)
Hobbyhorse
Hold Thy Peace (Versions 1 & 3)
Hunt's Up
I Cannot Come Every Day (2 Versions)
In Crete
In Peascod Time
Jack Boy (Round)
King Cophetua
King Lear
King Solomon
Light O Love
Loath To Depart (2 Versions)
Love, Love (Version 1)
Master, Swabber (Version 1)
Mounsier Mingo
Mounsieur's Almaine
My Mind To Me
Nutmegs (Of All The Birds)
Nutmegs (Wooing Of The Baker's Daughter)
O Death (2 Versions)
Old Hare Hoar (Version 2)
O Mistress Mine (Version 2)
O' The Twelfth Day Of December
Oyster Pie
Peg A Ramsey (2 Versions)
Phillida (3 Versions)
Please One
Pyramus
Queen Dido (2 Versions)
Ratcatcher
Rich Jew
Robin Goodfellow
Robin Hood
Rogero
Rowland
Sellenger's Round
Shore's Wife (2 Versions)
Sick, Sick (3 Vesions)
Some Men For Sudden Joy (Round)
There Dwelt A Man (Version 2)
Titus Andronicus
Tom A Bedlam (2 Versions)
Troilus
Troy Town
Wellady
Whenas We Sat In Babylon
Where Is The Life
Whoop
Why Let The Strucken (If Care Do Cause)
Willow, Willow (Version 2)
Will Ye Buy A Fine Dog
With A Fading

Average customer rating:

All of a sudden I don't miss vocals...
5 stars, but not for the extra remixes
Artist who's paintbrush is sound
Hope for Everyone
Breathtaking

All of a Sudden I Miss Everyone
Explosions in the Sky
Manufacturer: Bella Union
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music

Experimental Music | Miscellaneous | Styles | Music
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ASIN: B000M5B6GK
Release Date: 2007-02-19

Tracks:

Birth and Death of the Day
Welcome, Ghosts
It's Natural to Be Afraid
What Do You Go Home To?
Catastrophe and the Cure
So Long, Lonesome

Amazon.com

Album Description

Limited edition two CD pressing of the long waited fourth studio album from the moody and intense Texas instrumental band Explosions In The Sky featuring a bonus disc of remixes of each of the album's six tracks. Known for bringing an emotional heft and sense of hope to a usually placid genre, Explosions In The Sky have experienced the kind of meteoric rise in popularity that flies in the face of music industry convention. Their songs run well past a length suitable for radio play or commercial music videos; they avoid performing in LiveNation/Clear Channel venues; they didn't jump to a major label; and they don't sing. They're also the very rare band that fans of Sigur Ros, Sufjan Stevens and My Chemical Romance can all agree on. EITS are not just an anomaly, they're a gateway. Recorded by John Congleton (The Roots, The Mountain Goats) at Pachyderm Studios in rural Minnesota, the album is a massive leap forward, showcasing a broader instrumental range and their most focused, efficient songwriting. Bella Union. 2007.

Album Details

Includes a Bonus Disc featuring Remixes of Each Album Track by Adem, Fourtet, Eluvium, Jesu, etc.

Customer Reviews:

All of a sudden I don't miss vocals..........2007-05-18

The dynamics of these compositions are such that you can listen to the album in its entirety and not realize until it is over that any type of vocalization is completely absent from the songs...Yet in every piece the music somehow speaks to you as though the instruments were sounding out words that would otherwise be impossible to utter through the use of human vocal chords.
The band uses distorted guitar sounds, feedback, various background percussion, beautiful piano melodies, high pitched guitar plucking, shredding power chords, and mixes it all together with climactic build-ups and tempo changes to tell a story through beautifully arranged soundscapes. While it seems that people classify this type of music as 'post-rock' I think that term can be confusing and misleading. This album rocks a lot more than a band like Sigur Ros and is more technical than a band like Pelican - some of the beats are so uptempo and the twin guitar leads so catchy that you can't help but sometimes get into the groove. The progressive nature of the song structures put these guys in a class of their own.

RECOMMENDATION: Unless you are a diehard fan then save yourself money and stick with the original album.

5 stars, but not for the extra remixes.......2007-04-07

"All of a Sudden I Miss Everyone" is another masterpiece by the Austin post-rock ensemble Explosions in the Sky. This album reconfirms why they are one of the greatest bands in the genre. When they went to the studio again they were faced with a tall order, having legendary productions such as "The Earth Is Not A Cold Dead Place" and "Those Who Tell The Truth..." under their belt.

Their traditional sound, which typically hovers around intricate guitar parts that intertwine around each other, can still be heard in here, but they also incorporated more ambient (quieter, if you may) elements such as the case in "What Do You Go Home To?" and the closing track. The final product makes for one of 2007's best albums to date, however I didn't find the remixes in the second disc to be particularly interesting, except for a couple of cases. If you ask me, save yourself a few bucks and stick with the single CD edition.

Artist who's paintbrush is sound.......2007-03-14

I'm listening to this Album for the first time after reading raving reviews about the band in both Spin and Rolling Stone magazine and wondering just what an instrumental rock band would sound like. A lot of people say good music isn't coming out anymore but I think this album is proof that if you're willing to look, good music is still being made.

I've often wondered what the great composers of the past would think of our music today and I can safely say I think they would easily understand and enjoy this group of musicians.

There are no lyrics but that doesn't mean there is no melody. This is people creating music in its purist form. If the music is this good I can only imagine that if there were words, they would be the answers to the meaning of life itself. As it is, don't be surprised if listening to this album puts you into another level of consciousness that you rarely enter.

Thank you Explosions In The Sky for not being afraid to break the mold and make your own way. With this album, you have inspired me to do the same.

Hope for Everyone.......2007-02-28

I'm going to try my very best to touch on and characterize all that I've taken from this album.

But let it be known that the awe that it creates is too much for words (so maybe it's appropriate that the only appearance of words in this album is through the titles of songs, the album, or through the liner notes alone).

The album starts off with "The Birth and Death of the Day." This song comes in full force, with a distant and distorted tone paired with chords that seem to clear their throats at the beginning of the day that's described within the song.

And at this, the sun throws itself over mountains as if it were blinding through power (as light often does at the beginning of our mornings). As afternoon comes, the song seems to settle with comfort as one becomes more used to the time within the day. And as the day comes close to a close, the pace starts to quicken again with a sense of clarity that our days are not forever.

That same passion is exerted near the sun settles for sleep.

A flutter of notes carries you through a now darkened environment, and "Welcome, Ghosts" and a feeling of solitude, if you will.

Never have I heard so much said without the use of words (with of course, the exception of the words written throughout the album art).

The feeling of solitude is masterfully described, as they had hoped for, within the music and the images.

(As they also put forward romantic undertones in "The Earth is not a Cold Dead Place," or the feelings associated with war in "Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever," or the feeling of innocence and sincerity put forth in "How Strange, Innocence.")

I took three buses from Kent, Washington into Seattle, Washington (a four-hour trip both there and back) just to get to Easy Street Records to purchase the limited-edition copy of this album the day it was released (Feb. 20, 2007).

It was on sale for only $8.99, so I bought another copy for my friend.

Something I'll always remember.

And if music can make me do this, than I think that's a very powerful statement indeed.

This is album is indefinitely a work of art.

For me, it's their most mature piece of work, and their most meaningful portrayal of life.

It's also their first try and incorporating piano in atmosphere. Which, might I add, is very successful. It is something very new for them, but something that fits.

A fresh change within their music, but still to the sound that they're known to create.

The only example I can think of this use of piano would be when they recorded the eight tracks that they did for Temporary Residence Ltd. on "The Rescue." It was recorded in 2005 over the course of eight days (each track in a day) and was mostly written on the spot of each day.

(This album can be downloaded in its entirety from the Explosions In The Sky website.)

There was piano featured on several tracks throughout that album.

But only on this album was it solidified and made their own.

The experimentation must've helped some.

There's a little something for everyone in this album.

And at certain points, you'll find yourself thinking of people you've known and know.

But don't let this idea of solitude scare you off because you fear the depression.

It's not depressing.

In fact, it's very hopeful.

And like the most satisfying of movies or stories, it has a good ending.

"So Long, Lonesome."

Breathtaking.......2007-02-27

A couple of weeks ago, a friend introduced me to Explosions in the Sky. I saw that this album had just come out, grabbed it as an impulse buy.

I've not stopped listening to it since. It's captivating and gorgeous. Moody, atmospheric.

This special edition of the album includes a bonus disc of remixes. Tracklisting for the bonus disc is as follows:
1) Jesu Mix
2) Adem Mix
3) The Paper Chase Mix
4) Mountains Mix
5) Four Tet Mix
6) Eluvium Mix

The bonus disc is a nice extra, but pales in comparison to the main album. Interesting music, but lacking some of the emotional resonance of the album itself.

Still, whether you go for this special edition or the regular 1-disc release, this is definitely worth a purchase.

Average customer rating:

All of a sudden I don't miss vocals...

All of a Sudden I Miss Everyone
Explosions in the Sky
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

Pop Rock | Pop | Styles | Music

Experimental Music | Miscellaneous | Styles | Music
Similar Items:

We Were Dead Before the Ship Even Sank
Sound of Silver
Sky Blue Sky
Pocket Symphony
Icky Thump

ASIN: B000KP7KYY
Release Date: 2007-02-20

Tracks:

Birth and Death of the Day
Welcome, Ghosts
It's Natural to Be Afraid
What Do You Go Home To?
Catastrophe and the Cure
So Long, Lonesome

Album Description

The long waited fourth studio album from the moody and intense Texas instrumental band Explosions In The Sky. Known for bringing an emotional heft and sense of hope to a usually placid genre, Explosions In The Sky have experienced the kind of meteoric rise in popularity that flies in the face of music industry convention. Their songs run well past a length suitable for radio play or commercial music videos; they avoid performing in LiveNation/Clear Channel venues; they didn't jump to a major label; and they don't sing. They're also the very rare band that fans of Sigur Ros, Sufjan Stevens and My Chemical Romance can all agree on. EITS are not just an anomaly, they're a gateway. Recorded by John Congleton (The Roots, The Mountain Goats) at Pachyderm Studios in rural Minnesota, the album is a massive leap forward, showcasing a broader instrumental range and their most focused, efficient songwriting. Bella Union. 2007.

Customer Reviews:

All of a sudden I don't miss vocals..........2007-05-18

The dynamics of these compositions are such that you can listen to the album in its entirety and not realize until it is over that any type of vocalization is completely absent from the songs...Yet in every piece the music somehow speaks to you as though the instruments were sounding out words that would otherwise be impossible to utter through the use of human vocal chords.
The band uses distorted guitar sounds, feedback, various background percussion, beautiful piano melodies, high pitched guitar plucking, shredding power chords, and mixes it all together with climactic build-ups and tempo changes to tell a story through beautifully arranged soundscapes. While it seems that people classify this type of music as 'post-rock' I think that term can be confusing and misleading. This album rocks a lot more than a band like Sigur Ros and is more technical than a band like Pelican - some of the beats are so uptempo and the twin guitar leads so catchy that you can't help but sometimes get into the groove. The progressive nature of the song structures put these guys in a class of their own.

RECOMMENDATION: If you like the guitar tones of EITS and are looking for some unique alt-rock that utilizes wonderful guitar sounds along with vocals (male and female) then the Pixies are a must. Either their album 'Trompe Le Monde' or 'Bossanova' would be a good place to start.

Average customer rating:

Shakespeare's Songbook, Vol. 2

Manufacturer: Azica
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
ASIN: B0002IQKZ4
Release Date: 2004-07-06

History EP, pt. 1 ("All Farewells Should Be Sudden")

Average customer rating:

I'd give it 8 out of 5

History EP, pt. 1 ("All Farewells Should Be Sudden")
The Verve
Manufacturer: Hut Recordings / Virgin Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Britpop | British Alternative | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

Shoegazing | Indie & Lo-Fi | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | CD Singles | Pop | Styles | Music

Rock | Imports | Stores | Music

Pop | Imports | Stores | Music
Similar Items:

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The Verve EP
The Drugs Don't Work
No Come Down

ASIN: B000006H7P
Release Date: 1998-11-17

Tracks:

History (Radio Edit)
Back On My Feet Again
On Your Own (Acoustic)
Monkey Magic (Brainstorm Mix by Nick McCabe)

Customer Reviews:

I'd give it 8 out of 5.......2001-10-11

This heartfelt, heartbroken little "single" embodies musical perfection.

Tracks:

1 - History (edit) - (best edit I've ever heard)

2 - Back On My Feet Again - (excellent nonalbum track full of love)

3 - On Your Own (acoustic) - (soul-wringing with marked improvement over the album version)

4 - Monkey Magic (Brainstorm Mix)

While track four is great, the first three tracks comprise some of the most ESSENTIAL Verve material in existence. My favorite Verve single so far (I have most of the early ones). Priceless!

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Jazz Music

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