Guttermouth:
Este grupo americano, consta de cinco componentes, que serán citados bajo estas líneas:
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1.Use your mind2.Trinket trading... 3.Generous portions 4.A day at the office 5.Teri Yakimoto 6.Whiskey 7.Lock Down 8.Gods kingdom 9.Marks ark 10.Room for improvement 11.Casserole of life 12.Thought... 13.I saw the light 14.1-2-3-4 15.Under the sea |
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AFI:
*Markus
Stopholese - Guitarra
*Adam
Carson - Batería
*Davey
Havok - Cantante
*Geoff
Kresge/Hunter Burgan - Bajo y vocales
Han editado varios trabajos, en concreto 3
discos con Nitro Records,
con un formato de música de tipo HARDCORE-PUNK.
En la tabla de abajo se hallan los discos, comentarios
y puntuaciones, que rápidamente paso a comentar:
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Puedes encontrarlos también en: http://www.wingnutrecords.com
*Audio:
*"I
Wanna Get a Mohawk"
Vandals:
AMG REVIEW: The Offspring's second album for Epitaph did the impossible:
it landed in the Top Five, unheard of for independent records. The Offspring
crossed over due to the raucous, Eastern-tinged single "Come out and Play
(Keep 'Em Separated)," which stopped and started just like Nirvana, only
without the Seattle trio's recklessness. The record stayed in the charts
because The Offspring sounded relentlessly heavy, no matter how much the
band claimed to be punk. Their tempos are slower than traditional hardcore,
and their attack is as heavy as Metallica. But they acted like they were
punk, with odes to no "Self Esteem" and singing about fighting in school.
Nothing on the album matches the incessant catchiness of the singles, but
Smash is a solid record, filled with enough heavy riffs to keep most teenagers
happy. -- Stephen Thomas Erlewine, All-Music Guide
--------------------------------------------------------------
Dexter Holland - Guitar, Vocals, Vocals (bckgr)
Lisa Johnson - Photography
Noodles - Guitar, Vocals (bckgr)
Ken Paulakovich - Engineer
Eddie Schreyer - Mastering
Ron Welty - Drums, Vocals (bckgr)
Thom Wilson - Producer, Engineer
Fred Hidalgo - Art Direction
Mike Ainsworth - Assistant Engineer
Uly Noriega - Assistant Engineer
1. Time to Relax (Offspring)
2. Nitro (Youth Energy) (Offspring)
3. Bad Habit (Offspring)
4. Gotta Get Away (Offspring)
5. Genocide (Offspring)
6. Something to Believe In (Offspring)
7. Come out and Play (Offspring)
8. Self-Esteem (Offspring)
9. It'll Be a Long Time (Offspring)
10. Killboy Powerhead (Didjits)
11. What Happened to You? (Offspring)
12. So Alone (Offspring)
13. Not the One (Offspring)
14. Smash (Offspring)
-----------------------------------------------------------
Offspring's metal-inflected punk became a popular sensation in the
1994, selling over a four million copies on an independent record label.
While the group's credentials and approach follows the indie-rock tradition
of the '80s, sonically they sound more like an edgy, hard-driving heavy
metal band, with their precise, pulsing power chords and Dexter Holland's
flat vocals.
Featuring Holland, guitarist Kevin "Noodles" Wasserman, bassist
Greg Kriesel, and drummer Ron Welty, the Offspring released their first
album, Ignition, in 1993. It was an underground hit, setting the stage
for the across-the-board success of 1994's Smash. The Nirvana-soundalike
"Come out and Play," the first single from the album, became an MTV hit
in the summer of 1994, which paved the way to radio success. The band was
played on both alternative and album rock stations, confirming their broad-based
appeal. "Self Esteem," the second single, followed the same soft verse/loud
chorus fomula and stayed on the charts nearly twice as long as "Come out
and Play." The group got offers from major labels, yet they chose to stay
with Epitaph. While they were able to play arenas in the U.S., their success
didn't translate in foreign countries. Nevertheless, the band's popularity
continued to grow in America, as "Gotta Get Away" became another radio/MTV
hit in the beginning of 1995. The Offspring recorded a version of the Damned's
"Smash It Up" for the Batman Forever soundtrack in the summer of that year;
it kept the band on the charts as they worked on their third album.
Following a prolonged bidding war and much soul-searching, the Offspring
decided to leave Epitaph Records in 1996 for Columbia Records. The move
was particularly controversial within the punk community, and many artists
on the Epitaph roster, including Pennywise and owner Brett Gurewitz, criticized
the band. After much delay, the Offspring finally released their Columbia
debut, Ixnay on the Hombre, in February of 1997. Expectation for the record
was high and it did receive good reviews, but Ixnay on the Hombre failed
to become a crossover hit on the level of Smash, and the group also lost
a significant portion of their hardcore punk audience, due to the album's
major-label status. -- Stephen Thomas Erlewine, All-Music Guide
-----------------------------------------------------
AMG REVIEW: The Offspring's self-titled debut album is a rawer,
harder-edged collection than their breakthrough set Smash, but that doesn't
necessarily mean it's a better record. Although it makes a more convincing
argument for the band's punk credibility -- the record lacks the metal
guitar crunch that dominated Smash -- The Offspring doesn't have any songs
driven by hooks as catchy as "Keep 'Em Separated" or "Self Esteem.," nor
does it have the consistency of Smash. A handful of tracks make a lasting
impression, but most of The Offspring is notable for its surface style,
not its substance. -- Stephen Thomas Erlewine, All-Music Guide
----------------------------------------------------
AMG REVIEW: The Offspring may have been a product of the Southern
California hardcore scene, but their instincts have always been more metal
than punk. Their guitars plod along with a heavy backbeat, and even their
speedier numbers are weighed down by clumsy riffs, which is evident on
Ixnay on the Hombre, the follow-up to the group's unexpected hit Smash.
Despite Jello Biafra's opening assertation of the Offspring's punk credentials,
Ixnay on the Hombre sounds like a competent hard-rock band trying to hitch
themselves to the post-grunge bandwagon. The riffs don't have hooks, and
Dexter Holland yelps his vocals tunelessly. Of course, much hardcore followed
this formula, but it got by on its self-rightousness and visceral forward
force. Since Offspring slows down the tempo of hardcore, it doesn't have
either the undiluted rage of hardcore, or the four-on-the-floor groove
of hard rock. Also, they haven't come up with a ridiculous hook on the
level of "Come Out and Play (Keep 'Em Separated)" or "Self Esteem," which
leaves Ixnay on the Hombre as a tedious, turgid mess of anemic punk-metal.
-- Stephen Thomas Erlewine, All-Music Guide
1. Disclaimer
2. Meaning of Life
3. Mota
4. Me & My Old Lady
5. Cool to Hate
6. Leave It Behind
7. Gone Away
8. I Choose
9. Intermission
10. All I Want
11. Way Down the Line
12. Don't Pick It Up
13. Amazed
14. Change the World
