Comedown Machine accomplishes
in 38 minutes what nearly a decade and a half of backlash and
schadenfreude could not: make the Strokes look like total nerds. This
isn’t so much of a revelation as it the culmination of what’s been
happening ever since First Impressions of Earth. They got one classic album and another great one exhausting
a sound that evoked decades of New York squalor chic through
indestructible songs and contradictory images: garages where Orange amps
are parked next to Benzes, a trust-funder’s highrise apartment lousy
with beer cans and leather jackets, dive bars frequented by models and rock stars.
Everything since has taken cues from styles more associated with
parents’ basements, musty vinyl shops, and convention centers: dinky
synth-pop, surf rock, prog and the weird science of countless 1980s New
Wave bands. This flipping of the script can actually be seen as a canny
move, recasting the Strokes as lovable underdogs: where they once
defined effortless cool, the deeply uncool Comedown Machine smacks of effort.
That goes a long way towards making Comedown Machine
more immediately appealing than their last two records; the Strokes
sound like they’re genuinely trying here. The functional cover art of Comedown Machine suggests
some kind of mixtape the Strokes made for themselves, 11 songs that
turn out like 11 different genre experiments viewed through the
unmistakable prism of their inhuman rhythmic precision and pinched
EQ’ing. There are a couple of Is This It? throwbacks (“All The
Time,” “50/50”) that turn out to be among the least satisfying things
here, too flabby to fit into those same jeans from a decade prior.
Otherwise, you get elastic funk (“Tap Out”), dubby dream-pop (“80s
Comedown Machine”), unidentifiable Latin-tinged Casio presets (“One Way
Trigger”) and plenty of soft-rock sheen that creates an ouroboros effect
of the Strokes sounding like Phoenix when they were trying to sound like the Strokes.
Credit where it’s due: the guyssound
like they’re having fun again. At least that’s the gist you get from
the numerous, in-studio “throwaway” moments: the flubbed soloing that
introduces the otherwise vice-tight “Tap Out” and the labored laughing
that closes out “Slow Animals” only take up a few seconds, but they
reinforce the idea that this isn’t Julian Casablancas’ de facto solo
project despite it sounding closer to Phrazes For The Young than any Strokes LP. But
you also sense that the rest of the band getting antsy, issuing
challenges to themselves to keep things interesting. Albert Hammond’s
solos are charmingly anachronistic, a throwback to when tidy solos were a
regular occurrence in three-minute pop songs. But they still can’t
shake their tendency to stubbornly hammer at awkward riffs (“Happy
Ending”) and clunky chord changes ("Welcome To Japan").
Still, the limitations of Comedown Machine's
protracted diversity all come back to Casablancas, a man with wide
range as a listener and extremely narrow range as a musician. In both
lyrics and tone, he’s best at playing the laconic cad: So when he barks
“you’re going too fast” on “All the Time” as a callback to “Reptilia”
and the hotseat urgency of Room On Fire, it sounds forced. On the opposite end, the highlight of Comedown Machine is when he asks “What kind of asshole drives a Lotus?” on “Welcome to Japan”; you half expect him to do the “this guy!” routine as a punchline.
That’s the kind of thing Casablancas does better than anyone. Unfortunately, most of Comedown Machine finds him doing anything but that.
“Tap Out” features at least two of Casablancas' most elegant melodies,
but his wispy coo turns them into mush. When he takes the opposite tack
to channel his inner Tom Waits, he doesn’t fare much better; no was
asking what the Strokes would've sounded like in the Victrola era, but
"Call It Fate Call It Karma" answers it anyway.If this all smacks of effort, at least they are not taking the easy way out. It’s the 10th anniversary of Room On Fire and in light of what came after, a reissue would surely bring more praise than the initial Is This It? Yes It Is assessment. Or, they could’ve followed the lead of fellow fashion plate/occasional hitmaker Suede and made it a point to sound like their old selves after a long, dry spell.
it’s frustrating for anyone who still puts stock in the idea that the
Strokes could and should be one of America’s biggest rock bands. After
all, they feel like stars even if the numbers don’t back it up
and reigning champs like the Black Keys have about as much charisma and
sex appeal as a General Tire. Of course, Black Keys are writing much better songs than the ones on Comedown Machine and if the Strokes seem unfashionable in 2013, that's the true reason.
01. Tap Out
02. All The Time
03. One Way Trigger
04. Welcome To Japan
05. 80s Comedown Machine
07. Slow Animals
08. Partners In Crime
10. Happy Ending
11. Call It Fate, Call It Karma
Download Full Album The Strokes: Click Here Password : kitamp3
¡Tré! is the eleventh studio album by the American punk rock band Green Day. It is the third and final installment in the ¡Uno! ¡Dos! ¡Tré! trilogy, a series of studio albums that were released from September to December 2012. The album follows the power pop style of ¡Uno!, and the garage rockfeel of ¡Dos!. The album's title is a nod to the band's drummer Tré Cool, who turned 40 years old around the release of the album.
Green Day started recording material for the album on February 14, 2012, and finished on June 26, 2012. The album was released on December 7, 2012 in Australia, December 10 in the UK and December 11 in the US, through Reprise Records, and was produced by their long-time producer Rob Cavallo.
1. Lycanthrope 2. Baby Come On 3. When Your Heart Stops Beating 4. Little Death 5. 155 6. Lillian 7. Cliff Diving 8. Interlude 9. Weatherman 10. No, It Isn’t 11. Make You Smile 12. Chapter 13 13. Baby Come On (Acoustic) 14. Weatherman (Acoustic)
Sonny John Moore (born January 15, 1988), better known by his stage name Skrillex, is an American electronic musician and singer-songwriter. Raised in Northeast Los Angeles and in Northern California, Moore joined the American post-hardcore band From First to Last as the lead singer in 2004, and recorded two studio albums with the band (Dear Diary, My Teen Angst Has a Body Count, 2004, and Heroine, 2006) before leaving to pursue a solo career in 2007. He began his first tour as a solo artist in late 2007. After recruiting a new band lineup, Moore joined the Alternative Press Tour to support bands such as All Time Low and The Rocket Summer, and appeared on the cover of Alternative Press' annual "100 Bands You Need to Know" issue.
After releasing the GypsyhookEP in 2009, Moore was scheduled to record his debut studio album, Bells, with producer Noah Shain. However, he ceased production of the album and began performing under the name Skrillex. After releasing the My Name is Skrillex EP for free download on his official MySpace page, he released the Scary Monsters and Nice Sprites EP in late–2010 and More Monsters and Sprites EP in mid–2011. Both have since become moderate commercial successes. On November 30, 2011, he was nominated for a total of five Grammy Awards at the 54th Grammy Awards, including Best New Artist and won three: "Best Dance/Electronica Album," "Best Dance Recording," and "Best Remixed Recording, Non-Classical". On December 5, 2011, the BBC announced that he had been nominated for their Sound of 2012 poll. On December 12, 2011, he was also named MTV's Electronic Dance Music Artist of the Year.
Skrillex – My Name Is Skrillex (EP) 
1. My Name Is Skrillex
3. Fucking Die 1
4. Fucking Die 2
5. Do Da Oliphant
6. With You Friends
Skrillex – Scary Monsters And Nice Sprites (EP) 
1. Rock N’ Roll (Will Take You to the Mountain)
2. Scary Monsters and Nice Sprites
3. Kill EVERYBODY
4. All I Ask of You (Feat. Penny)
5. Scatta (Feat. Foreign Beggars and Bare Noize)
6. With You, Friends (Long Drive)
7. Scary Monsters and Nice Sprites (Noisia Remix)
8. Scary Monsters and Nice Sprites (Zedd Remix)
9. Kill EVERYBODY (Bare Noize Remix)
1. Cinema Skrillex Remix Radio Edit ft. Gary Go
2. Cinema Skrillex Remix ft. Gary Go
3. Cinema Laidback Luke Remix ft. Gary Go
4. Cinema Maurizio Gubellini Remix ft. Gary Go
5. Cinema DJ Mazza Dub Mix ft. Gary Go
1. Right In
2. Bangarang (Feat. Sirah)
3. Breakin’ a Sweat (The Doors)
4. The Devil’s Den (Wolfgang Gartner)
5. Right on Time (12th Planet & Kill the Noize)
6. Kyoto (Feat. Sirah)
7. Summit (Feat. Ellie Goulding)
Saul Hudson (born July 23, 1965), better known by his nickname Slash, is a British-American musician and songwriter. He is best known as the former lead guitarist of the American hard rock band Guns N' Roses,
with whom he achieved worldwide success in the late 1980s and early
1990s. During his later years with Guns N' Roses, Slash formed the side
project Slash's Snakepit. He then co-founded the supergroup Velvet Revolver, which re-established him as a mainstream performer in the mid to late 2000s. Slash has since released two solo albums, Slash (2010), featuring an all-star roster of guest musicians, and Apocalyptic Love (2012), recorded with singer/guitarist Myles Kennedy, along with rhythm section Brent Fitz and Todd Kerns, known on the album as The Conspirators.
Slash has received critical acclaim as a guitarist. Time named him runner-up on their list of "The 10 Best Electric Guitar Players" in 2009, while Rolling Stone placed him at No. 65 on their list of "The 100 Greatest Guitarists of All Time" in 2011.Guitar World ranked his solo in "November Rain" No. 6 on their list of "The 100 Greatest Guitar Solos" in 2008, and Total Guitar placed his riff in "Sweet Child o' Mine" at No. 1 on their list of "The 100 Greatest Riffs" in 2004. In 2012, he was inducted into the Rock and Roll Hall of Fame, along with other members of Guns N' Roses.
On October 10, 1992, Slash married model-actress Renée Suran in Marina del Rey, California. They divorced in late 1997 after five years of marriage. Slash married Perla Ferrar on October 15, 2001 in Hawaii. They have two sons, London Emilio (born August 28, 2002) and Cash Anthony (born June 23, 2004). In August 2010, Slash filed for divorce from Ferrar, but the couple reconciled two months later. The family lives in Los Angeles, California.
Slash, the son of a white English father and a black American mother, has called himself a "proud" dual citizen of the United Kingdom and the United States. A British national since his London birth, he has resided in Los Angeles since 1971 but did not acquire American citizenship until 1996.
In 2001, at the age of 35, Slash was diagnosed with cardiomyopathy, a form of congestive heart failure
caused by his many years of alcohol and drug abuse. Originally given
between six days and six weeks to live, he survived through physical
therapy and the implantation of a defibrillator. Slash has been clean and sober since 2006, which he credits to his wife Perla. In 2009, following his mother's death from lung cancer, he quit smoking.
Slash has received recognition for his longtime contributions to establishing environmental welfare programs. He is a board trustee of the Greater Los Angeles Zoo Association and has long supported the Los Angeles Zoo and zoos around the world.
Slash's love of reptiles was for many years a notable aspect of his
public persona—with several of his many snakes appearing with him in
music videos and photoshoots until the birth of his first son in 2002 forced him to rehome his collection.
Slash's former friendship with Guns N' Roses frontman Axl Rose
has soured since his departure from the band. In 2006, Rose claimed
that Slash had shown up at his house uninvited the previous year to
offer a truce. He alleged that Slash had insulted his Velvet Revolver band mates, telling Rose that he considered Scott Weiland "a fraud" and Duff McKagan "spineless," and that he "hated" Matt Sorum.
Slash denied the accusations. In his 2007 autobiography he admitted to
visiting Rose's home with the intention to settle a longstanding legal
dispute and make peace with his former band mate. He claims, however,
that he did not speak with Rose and instead merely left a note. Slash
maintains that he has not spoken with Rose in person since 1996.
In 2009, in response to a statement by Rose in which he referred to
Slash as "a cancer," Slash commented, "It doesn't really affect me at
all....It's been a long time. The fact that he has anything to say at
all, it's like, 'Whatever, dude.' It doesn't really matter.
1. Ghost (feat. Ian Astbury and Izzy Stradlin)
2. Crucify the Dead (feat. Ozzy Osbourne and Taylor Hawkins)
3. Beautiful Dangerous (feat. Fergie)
4. Back from Cali (feat. Myles Kennedy)
5. Promise (feat. Chris Cornell)
6. By the Sword (feat. Andrew Stockdale)
7. Gotten (feat. Adam Levine)
8. Doctor Alibi (feat. Lemmy Kilmister)
9. Watch This (feat. Dave Grohl & Duff McKagan)
10. I Hold On (feat. Kid Rock)
11. Nothing to Say (feat. M. Shadows)
12. Starlight (feat. Myles Kennedy)
13. Saint is a Sinner Too (feat. Rocco DeLuca)
14. We’re All Gonna Die (feat. Iggy Pop)
1. Apocalyptic Love
2. One Last Thrill
3. Standing In The Sun
4. You’re a Lie
5. No More Heroes
7. We Will Roam
9. Not For Me
10. Bad Rain
11. Hard & Fast
12. Far and Away
13. Shots Fired
14. Carolina (Bonus Track)
15. Crazy Life (Bonus Track)