Word: songe
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
...certain category or musical genre. Instead, he utilizes every genre in the strangest and most appealing combinations. In "Gangster Tripping," he blends a hip-hop beat and vocals with a big band brass arrangement and a Caribbean steel drum. At times, there are so many diverse elements to a song thatmany of his innovations can only be appreciated ifcarefully heard three or four times. In sharpcontrast, on the very next track, "Build itUp--Tear at Down," cyber distortion combines witha relatively slower beat tempo and a conspicuously'80s hair-rock vocal refrain. The overall effectof these seemingly unrelated and clashing...
Although the description of the elements ofeach song sounds as distasteful and cacophonous asa peanut butter and venison sandwich, the endresults are imaginative, innovative andsuccessful. "Kalifornia" is the mosttechno-influenced track on the album, relyingheavily on vocal distortion and cyber sounds. Asample that sounds like a whining robot babyunites the menagerie of synthetic noises. The onlyrecognizable lyrics are the repeatedtongue-in-cheek phrase "Kalifornia is drugee,drugee." The album then takes a major U-turn in"Praise You," sporting a funky bass line, a pianoaccompaniment that sounds like it was written byBilly Joel and emotional soul vocals. Fatboy Slimkeeps...
Suys, who has been playing the guitar for nineteen years, provides most of the punch behind Nashville Pussy's music. In the rip-roaring "Go Motherfucker Go," Suys proves herself to be more than just a passing instrumentalist, with admirable riffs that pretty much make the song. The fiery introduction to "All Fucked Up" is an exceptional example of her skill. Any notion that "chicks" can't cut it in the heavy metal world will quickly be put to rest by her amazing guitar pyrotechnics; as she is one of the few truly talented female guitarists in rock and roll...
...Them Eat Pussy is electrifying. The whole CD is only twenty-seven minutes long, which means that each song lasts an average of about two minutes. Each track is loud, fast-paced and chock full of adrenaline; it's definitely the kind of music head-banging was made for. The music puts you in a completely jittery, violent mood. "I'm the Man," in particular, made me want to drink lots of cheap beer and Southern Comfort, go hollering down a road in a pickup truck with some loud rebel yells, bash some mailboxes with a baseball bat, and then...
...criticisms go, Nashville Pussy is not the place to look for nuance or subtlety. I guess I first realized this when I noticed that the disc of Eat More Pussy is decorated with a knife and fork. Variety isn't a strong point, either; all the songs sound basically the same. Often, the only way I could tell that one song had ended and another had begun was the brief period of feedback which opens nearly every song, a habit I found to be too juvenile and hackneyed for the level of music they were performing...