Download Album Wings !!TOP!!

We all know that, all things considered, Wings had a little bit of a rocky start to their foray onto the world stage. For a band headed up a former Beatle we all expecting something of a an instant classic, and while I could argue till the cows come home that Wild Life is, in its own way, a minor classic, the fact of the matter is that it was a not a very well received album. Both fans and critics tended to keep this album at arms length. And who can blame them.

So there we have it. In my humble (and somewhat bloated) opinion, what we have before us now is a much more enjoyable, and much more entertaining debut album from a band that happens to feature an ex-Beatle.

Download Album Wings

Download Zip 🔥 https://urlgoal.com/2y4Iqm 🔥

If you think that I missed off any songs that should have been included, if you think the songs could have been rearranged, or even if you think the album was perfect the way it was, please leave a comment or drop me an email as I would love to hear your thoughts on the matter.

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Birdloom, K I N, Swift Wings, Welcome to Punkie Night, Friends and Enemies; Lovers and Strangers - second pressing, Joy's Reflection is Sorrow, Time Takes Away, If You Put Out Your Hand, and 18 more. , and , . Purchasable with gift card Buy Digital Discography 103.20 GBP or more (40% OFF) Send as Gift Share / Embed 1. Ivory 02:47 buy track 2. Orchard Songs 02:04 buy track 3. Coombes 03:33 buy track 4. Frenchlands 02:47 buy track 5. October 01:55 buy track 6. Cuckfield 02:19 buy track 7. Rock Pool 03:02 buy track 8. Rottingdean 02:56 buy track about After collaborating on 'Chanctonbury Rings', 'Swift Wings' sees Justin Hopper and Sharron Kraus joining forces again, this time using the poems of Victor Neuburg as their starting point.

Victor Neuburg had two claims to fame: he discovered Dylan Thomas, and Aleister Crowley once turned him into a camel. 'Swift Wings: Songs in Sussex', his 1921 collection of poems, is a lesser-known artefact. But 'Swift Wings' is, in a tiny way, special. It vibrates with the magic of nature and of ancient humankind. With imagination and history. And it is from 'Swift Wings' that Hopper and Kraus have selected the poems on this recording.

The earthy-yet-diaphanous poems written by Neuburg and set to music by Kraus on this album are hymns to old gods, paeans to nature, love, wonder, and the enchantment of the Sussex landscape. After an abusive childhood and the darkness of his relationship with Crowley, Neuburg found love, freedom and happiness in West Sussex, and his new spiritual landscape became a magic of light.

Neuburg's poems shimmer with the rich colours of nature, the yellow of the daffodil, the golds, greens, violets and blues of spring, the grey of October. The fruits of nature are plucked and tasted by him, as by a child, and his ecstacy and wonder are contagious.

'Swift Wings' is in some ways an anachronistic project, and Neuburg's naivety may grate on some. But setting his poems to music during a pandemic that isolated us from each other and many of the things we cared about, at a time in which nature was a real source of solace for most of us, it may be that this collection is timely for other listeners.

'Swift Wings' is a companion release to 'Obsolete Spells: Poems & Prose from Victor Neuburg & the Vine Press', edited by Justin Hopper and published by Strange Attractor Press. $(".tralbum-about").last().bcTruncate(TruncateProfile.get("tralbum_about"), "more", "less"); credits released May 16, 2022

Words: Victor Neuburg

Music: Sharron Kraus

Sharron Kraus: voice, recorders, bamboo flute, dulcimer, synths, programming, percussion

Justin Hopper: voice

Jane Griffiths: viola on 1, 6, 8 and violin on 8

Neal Heppleston: bass guitar on 1, 2, 4, and double bass on 1, 5, 7, 8

Guy Whittaker: drums on 8 $(".tralbum-credits").last().bcTruncate(TruncateProfile.get("tralbum_long"), "more", "less"); license all rights reserved tags Tags alternative sussex landscape new weird britain psychedelic folk psychogeographic singer-songwriter soundscape wyrd Oxford Shopping cart subtotal USD taxes calculated at checkout Check out about Sharron Kraus Oxford, UK

Full length number 19 from overkill certainly makes a splash in the energy stakes, I mean there's some modern thrash bands that are a good two decades younger than Overkill who can only hope to achieve the levels of spunk that New Jersey's finest produce here. That in itself is an achievement, for a band of Overkill's stature and reputation to be able to still sound relevant four decades into their career is no mean feat. Even in the albums weaker moments it never gets redundant and the energy levels remain high. There's a real sense of a band in a state of some renewed vigour, helped in no small part by the addition of Jason Bittner on drums. The former Flotsam & Jetsam skinsman is nothing short of superb throughout "The Wings of War" and seems to have squeezed a little extra out of the rest of his peers.

The album kicks of with a great build to opening track "Last Man Standing" and for the first 4 tracks of the album the Overkill crew stomp, bash and groove their way to a solid level of consistency. The lead work is of particular note and Blitz sounds as sneery and scathing as ever. The album is well produced and mixed too with all parts of the thrash machine audible as the five piece hammer away at your skull with the usual blend of chugging riffs and infectious anthems. It isn't even all thrash either, one thing that is also obvious in abundance here is the melody present throughout all 10 tracks.

There are weak moments as mentioned but they are more a victim of how good the strong tracks are. In it's own right "Distortion" is a solid enough - if not slightly varied a journey from the last offering - but it just doesn't stand up well against a "Bat Shit Crazy" or a "Head of a Pin". As the album draws to a close you get the increasing impression that the last few tracks are rescued really by some great solos and stomping skin work which is a shame because trimming of a couple of tracks may have made this less obvious. That having been said, last track "Hole in My Soul" is a cracking finisher. As I said though, the energy level is consistently high and there's a real sense of the band having created something they can be really proud of.

I am scoring this a 4 out of 5 just for the fact that even at the mediocre stages the album is still another great example of the old guard giving a Metal Music 101 lesson to all aspiring young metal bands out there.

When you reviewed Candlemass and The Door of Doom, you reviewed the last album I purchased a copy of, and here you review the last album I down loaded on Spotify. If you had reviewed Manilla Road and Out of the Abyss, we would be right in line, but you would never have done that, since unlike me, you are smart enough not to be duped by spotify into thinking that came out in 2018. I've been listening to that downloaded on Spotify and believing it to be Mr Shelton's swan song like a ne culturne asshole might. I see now it came out in 2005 and is a compilation to boot, so here you have my confessional.

Aside from seeing them live for the fourth, and unfortunately last, time in 1999 I had mostly lost track of them after 1994's WFO, which I hated, until I heard Ironbound in 2010. Ironbound totally blew me away and I've been back on the bandwagon since. The three albums after, The Electric Age, White Devil Armory and The Grinding Wheel are all very solid and I was expecting more of the same from album #19. What I wasn't expecting was another album as good as Ironbound. The Wings Of War is a fabulous album, completely in the vein of old school thrash without sounding dated or forced (cough, Hardwired, cough).

Yep, I agree, "W.F.O" was an awesome album. The bass was turned up very high in the mix, but with a talent like D.D. Verni playing, it's not a problem at all! I prefer the new era of Overkill (which I define as 2010's Ironbound through the present day) above all, but I really enjoy the classic albums as well. Albums like "Taking Over" and "Horrorscope" are thrashterpieces in my opinion. My all-time favorite Overkill album is 2012's "The Electric Age", with "Ironbound" in a close second. "Horrorscope", "Taking Over" and "Feel the Fire" round out my top 5. But I'd have all of these most recent 5 albums in my top 10. I'm not as crazy about the middle period of their career, where they experimented a lot with a groove-oriented approach, but I still like a few of those albums: "W.F.O.", "From the Underground and Below" and "Necroshine" to name them. I enjoy all of their albums to some degree, but the ones I tend to listen to the least are "I Hear Black", "The Killing Kind", and "Relix". e24fc04721