Ir directamente al contenido principal
lord_of_overstock

lord_of_overstock

1,3 mil artículos vendidos
22 seguidores
Contactar

Todos los artículos

Artículos por página
Ver todo

Acerca de

Ubicación: Estados UnidosUsuario desde: 11 ago 1999

Total de votos

Últimos 12 meses

Positivos170- Votos positivos durante los últimos 12 meses
Neutros0- Votos neutros durante los últimos 12 meses
Negativos0- Votos negativos durante los últimos 12 meses

Valoraciones detalladas sobre el vendedor

Promedio durante los últimos 12 meses

Descripción precisa
5.0
Gastos de envío razonables
4.9
Rapidez de envío
5.0
Comunicación
5.0

Todos los votos (3.549)

3***3 (685)- Votos emitidos por el comprador.
Mes pasado
Compra verificada
AAA
t***f (6130)- Votos emitidos por el comprador.
Mes pasado
Compra verificada
great- fast shipping
v***n (346)- Votos emitidos por el comprador.
Mes pasado
Compra verificada
Good
f***a (298)- Votos emitidos por el comprador.
Mes pasado
Compra verificada
Great transaction
o***e (27)- Votos emitidos por el comprador.
Mes pasado
Compra verificada
Quick shipper. Item was as described.
e***e (1280)- Votos emitidos por el comprador.
Mes pasado
Compra verificada
Arrived quickly and in good shape — thank you
Ver todos los votos
Opiniones (4)
27 dic 2007
A Great Album to Know By Heart.
The American Analog Set sound is intact on "Know By Heart," their fourth album, with droning farfisa organ, crystalline guitars and whispery vocals. But here the songs are tightened into memorable, poppy indie-rock gems, like the opener "Punk As F***", "The Postman" and "Aaron & Maria." Those who crave their classic 7-minute drone fests will appreciate the last track, "We're Computerizing And We Just Don't Need You Anymore." This is a great introduction to the band, at once representative of their overall sound and accessible to anyone who digs breezy, mellow indie pop.
18 feb 2007
The Mona Lisa of Sad.
This San Francisco band (now reformed, huzzah!) is one of the bands that spearheaded the 1990s' "sadcore" sub-field of rock music, along with similar-minded artists like Idaho, Low, Red House Painters, and Codeine. AMC had the widest sonic palette of their peers, however, combining the intense songs and powerful voice of Mark Eitzel, and using the guitar shadings of guitarist Vudi, the pedal steel guitar of Bruce Kaphan, and the steady rhythm section of Danny Pearson and Tim Mooney, to create an amalgam of atmospheric post-punk, anthemic arena-rock, rootsy Americana, and everything inbetween. MERCURY was their first release on a major label after nearly a decade of obscurity on dead-end indie labels, but in no way is it a commercial-minded release. Some of Eitzel's finest melodies and lyrics are here, like the gorgeous opener "Gratitude Walks," which introduces the unwary listener to his world like an unwelcome but inevitable hangover ("Why don't you be good for something/And draw down the shades/On a sun that sat up all night shivering/On a sun that sat up all night afraid"). On the chorus of "If I Had A Hammer" Eitzel swears that "maybe, maybe, I'm almost there," but songs like "I've Been A Mess" and "Apology For An Accident" certainly give one reason to question his well-being. The bouncy "Keep Me Around" sounds like any other catchy alt-rock anthem of the time; that is, until you hear the first line: "There's so little love left in my heart, for anyone, or anything..." The band shifts chameleon-like around Eitzel's songs, providing everything from the noisy barrage of the title track, to the Las Vegas lounge schmaltz of the CD's centerpiece, "Johnny Mathis' Feet" (as in, "I laid all my songs at...") which showcase his oft-overlooked gallows humor, and the ghostly coda of "Will You Find Me?" ("If you ask the man at the tollbooth, I'm sure he'd tell you/that there's a million ways if you want to disappear..."). Some reviews have pooh-poohed reknowned producing team Mitchell Froom and Tchad Blake's tendency to add unnecessary and uncharacteristic touches, muddling the established sounds of artists like Richard Thompson and Los Lobos, but the mysterious percussion and other flourishes adds a labyrinthine texture to AMC's sound, resulting in a fantastic--though it could be called morose--album. Music fans who worship at the altar of Leonard Cohen, The Replacements, Nick Cave, Joy Division and Nick Drake cannot be without this CD.
05 jul 2008
Same Great Sound, Different Name
After a decade of music released under the Red House Painters moniker and his own name, Mark Kozelek returned in 2003 with yet another sprawling epic, this time under the name Sun Kil Moon. RHP fans will fall in love yet again with Kozelek's mournful voice, deftly finger-picked folksy guitars, and droney Neil Young-influenced guitarscapes. There is not much that differentiates the Sun Kil Moon sound from those of his previous incarnations, except for the upbeat "Lily and Parrots," which borders on power-pop, and the prominent use of a string quartet throughout. Songs like the spare "Glenn Tipton," the haunting and gorgeous "Carry Me Ohio" and the swirling, 15 minute-long "Duk Koo Kim" are among the finest he's ever written and recorded, which makes "Ghosts of the Great Highway" a welcome addition to an already impressive body of work, and a great introduction to those unfamiliar with Kozelek's unique craft. This is the 2006 version of the album, re-released on Kozelek's own Caldo Verde label, which features a bonus disc of six largely inessential bonus tracks (including two versions of West Side Story's "Somewhere"); however, the solo acoustic reading of "Salvador Sanchez" is fantastic.
Ver todas las opiniones