Rescate emotivo vol.11 - Helmet

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"While nowhere near as intense as it’s predecessor, Betty includes a lot of experimentation within it, as the band’s jazz and funk influences become very noticeable in multiple tracks. For example, “Biscuits for Smut” is a fun number that makes you question whether or not it was made by the same band that did “In The Meantime”. Henry Bogdan’s bass is incredibly thick and funky, bouncing against the juicy guitars, adding a carefree-attitude to the track. The dynamics on some of the songs here are also worthy of mention, such as those to be found on “Milquetoast”. This track begins with the band’s trademark crunch, with John Stainer’s complex drum work acts as the foundations for Page Hamilton’s and then-newly recruited Rob Echeverria’s heavy guitar riffs. Then, out of the blue, the guitar's end, leaving behind Bogdan’s irresistible bass tone, layered with Hamilton’s echoing croons."


(Nota completa en https://www.sputnikmusic.com/review/67682/Helmet-Betty/)

@Flac
 

Esto lo estoy tocando mañana #35 - Refused (1998)

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"In college, I lent this album to a friend of mine who, upon returning the album, asked me “What kind of music would you call that?” I looked at him silently for a moment and said “It’s called The Shape of Punk to Come.” He said “Yeah, but that’s not punk.” It’s true that, for the casual listener, the album’s mix of hardcore, electronic, jazz, spoken word, heavy metal, and even classical doesn’t necessarily sound like punk. Then again, to one who’s versed in the history of punk, from Suicide to The Screamers, Patti Smith, to Naked City, these genres don’t sound completely out of place on what is ostensibly a punk album."

(PunkNews.Org - https://www.punknews.org/review/16234/refused-the-shape-of-punk-to-come)

@Flac