It might be their weakest album, but Presence is among the most special; none of these songs sound like they could have come from another record. Despite its weak second half, Presence is too good of an album to be dismissed. The Quietus. Devoid of the light and shade that had highlighted the many musical facets of the band, Led Zeppelin's seventh studio album remains a difficult album to take in a single sitting. For sure, it contains some incredible individual moments Q Magazine.
User Reviews. Write a Review. Positive: 2 out of 2. Mixed: 0 out of 2. Negative: 0 out of 2. Easily Led Zeppelin's most underappreciated album, and an essential component of any self-respecting Zep fan's collection.
I have been without Easily Led Zeppelin's most underappreciated album, and an essential component of any self-respecting Zep fan's collection. I have been without internet for a few weeks, and the only song I had downloaded to an iPod, was the remaster of Presence.
So for the few weeks I've spent alone listening to Presence, I have truly understood the subtly in Zep's songwriting in their later years. I'll go through it song by song, then discuss the quality of the remaster.
It is perhaps their largest and most ambitious song, with some truly beautiful guitar work. First of all, although not as iconic as some other Page riffs, the riffs in this song are truly representative of the speed and vibrancy the song creates. Multiple solos are thrown about the song, and more subtly the transitions in the guitar work are incredibly fast and for me at least difficult to replicate yourself. There is something about the drumming in this song which really is fast and lively, perhaps Bonzo's best drum track, with some truly powerful fills.
Overall the song is just colourful and vibrant in a sense creating a grand and powerful atmosphere, reminiscent of their most iconic song "Stairway to Heaven" For Your Life: A slow moving, but surprisingly swaggering track.
The drum beat is hard and the riff is a classic hard rock sound, but the 'sexually' for lack of a better word charged delivery of the lyrics. The song never breaks the pace and is consistently hard hitting and fun. Just a fun, catchy song, with a terrific solo. Page really shines in this album. Royal Orleans: I have listened to this album many times, but there is little to no way of explaining the remarkably average nature of this song.
Its solid, but there is not much substance to the song besides the lyrics which I suspect are about some sort of inappropriate sexual encounter, classic Zep. Nobodies Fault But Mine: Yet another masterpiece.
The song is not trying to be hard and fast, its a smooth and catchy song, with some incredible use of flange the guitar effect in the introduction. Hofer was a leader at the Junior Level as defencemen seemed to look to him when under pressure. He does not get flustered with heavy traffic and keeps his concentration when his team is dominating the game.
Hofer needs more AHL time. He should be the starter in Springfield this season, getting a heavy workload and adjusting to playing against men. It could be two or three years before he is ready for regular NHL action but he has the potential to develop into a number one goaltender.
Alexandrov also played in seven games for Utica. He put up three goals and five points. Despite this, he is still able to generate good but not great speed. His acceleration is even better, as he reaches top speed in just a few strides. Alexandrov is able to get by defenders Beat Beat - Presence (11) - The Very Best Of Presence (CD) quick cuts and changes in direction due to his strong edgework and agility.
He has a strong core. It also makes him difficult to knock off the puck. Alexandrov can fight through checks and get the puck to the front of the net. He is also strong along the boards as well as able to fight for position in front of the net.
He is strong enough to get the puck to the front of the net, and this is where he creates the majority of his offence. Alexandrov drives the net hard as well as having the soft hands to finish in tight to the goal. He can make a quick move to get by a defender or to open up a passing lane to a teammate.
Alexandrov has very good hand-eye coordination. He can pounce on a rebound and put the puck into the back of the net. He is also very good at deflecting pucks. Alexandrov has a knack for getting open without the puck, setting himself up to fire a wrist shot on net or take a one-timer. His shot is accurate and features a quick release. Alexandrov also handles the puck well and can make some really creative plays at times. However, he does not always use his offensive tools consistently.
There are times where he can revert back into playing a very simple and safe game, leading to reduced offensive production. Alexandrov plays a steady defensive game. He is committed to working hard on the backcheck as well as supporting the defence down low.
Alexandrov works to contain opponents in the cycle game. Away from the puck, he is strong in covering his man. Alexandrov maintains his position, keeping his body between his man and the puck. His positioning along with his quick stick help to create turnovers. Once a turnover is created, he moves the puck up the ice quickly, transitioning from offence to defence. Alexandrov is an effective penalty killer. He is also strong in the faceoff circle. Alexandrov could become a middle-six centre on an NHL team.
He should spend next season in the AHL with Springfield, continuing to grow into Beat Beat - Presence (11) - The Very Best Of Presence (CD) frame and learning to play the game at the pro level.
Over 24 games for Charlottetown, he put up a record with a league-leading 1. However, he struggles in the playoffs with a 3. At six-foot-one, Ellis is a little undersized for what NHL teams are drafting today but makes up for it with quick reflexes, and excellent athleticism. He gets in and out of the butterfly extremely quickly, taking away the bottom of the net. Ellis skates very well, coming out past the top of the crease to challenge shooters and cutting down angles.
He is extremely aggressive but makes up for it with his ability to get back to his net quickly Beat Beat - Presence (11) - The Very Best Of Presence (CD) attackers try to deke him. He is also very good at tracking the puck, getting side-to-side quickly when opponents make cross-ice passes. Ellis is very athletic. If he does get out of position, he recovers quickly and can make some highlight-reel saves.
He is never truly out of the play. His glove hand is extremely quick and also gets on the highlight reel. His blocker is above average but could continue to see improvement. Ellis could also use some work on his rebound control, though this is a common issue with many young goalies. Ellis has experienced playing on very good teams and on some very poor teams.
In both situations, he remains focused. He did not let his mind wander or lose his focus while his teams have dominated games. He has also been a strong backbone for his team when facing a lot of shots.
Ellis maintains his cool and his composure in the net in all situations. When he does let in a bad goal, he is able to quickly recover and is ready for the next shot. Ellis should be headed to the AHL this season where he will compete with Joel Hofer for playing time. He is likely two or three years away from competing for an NHL spot, but goalie development is, of course, voodoo.
He picked up three goals and three assists for six points on the year. Coming in at 6-foot-4, Peterson is a good skater for a player his size. He has decent speed and is more than capable of keeping up with the play. His first step is a bit sloppy but that is often something a bigger player needs to work on. Despite that his acceleration is good. Peterson also has good edgework and agility.
His turns are sharp and he is able to get around defenders both with and without the puck. He is also a powerful skater for his age, as he takes advantage of his frame to fight through checks and to win battles for loose pucks. Peterson has a lanky frame though and will need to add weight before moving up to the pro ranks. He has a hard wrist shot and a good slap shot. The shots are accurate and feature a good release. However, Peterson does not use those shots enough. He needs to get shots off at a higher volume to really take advantage of his skill and score more goals.
He also does a good job of getting to the net and using his size to screen goalies. Peterson is a talented stickhandler. He protects the puck well, using his body to shield it and working down low on the cycle game. He is likely to make the safe pass to a teammate and keep it moving than to try something more creative. Once he moves the puck, Peterson keeps his feet moving, looking for the give-and-go. He takes advantage of his size and is willing to grind for loose pucks and put pressure on the opposing defence on the forecheck.
Peterson is a solid defensive player. He uses his size in helping out on the backcheck, supporting the defence down low and containing against the cycle game. Peterson provides good backpressure against the transition game. He uses his long stick to cut down passing and shooting lanes. It is also effective at stealing the puck away from opponents. Peterson is effective on the penalty kill. He is also good in the face-off circle.
Peterson is also a willing shot blocker. His positioning is strong. Peterson has good lateral agility and is tough to beat one-on-one. He funnels attackers away from the net and into bad shooting positions. Peterson has the size and defensive ability that NHL teams would love to add to their bottom lines, and thus is a safe pick.
As long as he can continue to add muscle to his frame and still keep his speed, he will be an NHL player. The question becomes Beat Beat - Presence (11) - The Very Best Of Presence (CD) he has the untapped offensive potential to be more than that.
It may be possible, but his production seems a bit lacking compared to where his skills are at. Peterson heads back to Boston University looking to put up bigger numbers in his sophomore season. Kessel put together an outstanding sophomore season with UMass. He scored 10 goals and 13 assists for 23 points in just 29 games with the Minutemen. His speed Beat Beat - Presence (11) - The Very Best Of Presence (CD) decent in both directions but nothing to write home about.
He can use some work with a good skating coach in order to lengthen his stride and add power. Kessel also could use a bit of work on his agility and edgework. This would help him to defend better by maintaining better gap control with particularly quick forwards. He certainly keeps up at the NCAA level, but there are some questions about his mobility holding up at the pros.
Lacking any rhythmic presence or strident riffs, this music luxuriates in a realm of gaseous quality, invoking a somnambulant predilection. Variation is constant, but drastically understated, mired in the type of slow-burning growth that eludes active perception and reacts primarily on the subconscious. This release from offers 65 minutes of captivating electronic music recorded live at National Space Centre in Leicester, England no date is given.
Airy textures establish a sedate opening. Space guitar takes advantage of this lull, diving in with smoldering notes. The guitar, endearing and soulful, explores a gentle melody for a while, paving the way for a rise of twinkling auxiliary effects and moody ambience. Deep down keyboard loops surge into dominance, tempered by additional cycles of more lighthearted disposition.
Gradually, these sonic threads intertwine to form a denser melody, one salted with livelier riffs. The guitar adopts more traditional expressions, belting out a pleasant undercurrent. Meanwhile, crystalline keyboard loops have conquered the mix with their sparkling definition.
The instruments enter a dreamy passage, with the guitar strumming chords of twilight demeanor, while synthesizers gurgle and froth in a closing periphery.
The guitar slides into a harpesque sound, evoking a delicately romantic edge amid the rising tide of liquid electronics. Pensive keyboards lend a forlorn touch, as if yearning for the promise of dawn.
Shrill keyboards take the rudder now, generating an eloquent starscape that sweeps across the sky, flavoring the darkness with shimmering sparks. An elevation of darker chords reminds the music of its crepuscular mien. Without warning, the guitar returns like a fiery blazon, spawning molten astral chords that grip the soul and squeeze passion from the seething dusk. Nostalgic riffs coalesce with futuristic harmonics, producing an urgency that saturates the night with portentous moods.
Space guitar lends a searing punctuation that fulfills the highest expectations with a resounding crescendo of nimble-fingered expertise.
These compositions blend tasty doses of dreamy passages with escalations of pace and melody, resulting in a thrilling sonic rollercoaster ride that is guaranteed to mesmerize and titillate EM aficionados. A waterfall of glittering electronics establishes an anticipatory opening which eventually leads to denser, more expansive harmonies. Roiling textures sweep in, establishing a solemn overcast.
Keyboards enter the flow, first expressing elongated chords that pretend to be additional atmospherics but inevitably evolving into substantial riffs. Regal keyboards introduce urgency to the mix, goading the tuneage into advanced stamina with their cyclic presence. A bevy of these keyboards cluster to form an appealing bulk. Nimble-fingered riffs belt out with assertive resolve, generating a lavish vitality with their insistent delivery.
As things progress, these cycles merge to acquire breathtaking scope. Cosmic guitar contributes bewitching pinnacles that persist in striving for frontier heights. Brilliant chords instill the music with a rapturous flair. Percussion is utilized in only one track, injecting tasty propulsion to the dazzling union of celestial guitar and twinkling electronics.
These compositions are marvelous and captivating. A suitable level of verve is achieved and then augmented by passion. The tunes mesmerize as they invigorate, inducing a thrilling state of bliss.
Listeners are guaranteed a stunning and alluring excursion to realms of interstellar wonder. After a couple of marathon listening sessions, and much note taking, three albums emerged from the large find of old CDRs. These were:. This album is over two hours long and is a distillation of over five hours of rehearsals for the Kubusschnitt gig in Bussum, just outside Amsterdam, in March From memory, he had also not long had his Roger Arrick-designed Synthesizers.
Com modular — here he is proudly standing in front of it for their artists section. You can read the full entry on the Synthesizers. Com website. All of the track titles were title adaptations of what the piece reminded me of when I was listening to it. Some are really obvious, some a bit harder. I may return to the other few hours of music at some point, perhaps as part of a second rarities compilation.
Exactly as it says, this is music that formed the basis of the album The Cubewhich was issued in — the sessions took place in Utrecht in What you can hear is the distillation of many hours down to just over an hour. There is no guitar at all on these tracks many will cheer, I knowthat went on afterwards, as did some of the synth solos.
The version of Wormhole here Formation of a Wormhole is vastly different as it was subject to a lot of extra studio work to produce the final version on The Cube. Hopefully, Google Translate helped me well enough with my Dutch to get that right. As I noted, these sessions were all recorded live so you do get to enjoy Dutch mains hum in the quieter moments and the odd dodgy note.
Having said that, the complexity achieved as a live session is very good and the sequencing is really first-class in my opinion. Playing with that pounding behind you really does inspire. There is an alternative cover by Tom hidden away in the extras if you download the album, here it is. This album is made up of different live sessions that I found with very little information. The guitar is really in rhythm mode on this track, locking in with the sequencer, rather than acting a lead instrument.
The actual track was a lot longer and had a few attempts at bringing in the sequencer section, none of which ever came to fruition. As the best sequencer section I found started so quietly, I elected to do a gentle cross-fade of the two parts, removing the earlier attempts. There is a theme to the track, the title and, to a degree, the cover. Currently Marchthere is a lot of interest in the forthcoming Tangerine Dream boxset In Search of Hades and the likely inclusion of the real Coventry Cathedral set from The title and the stained glass panel turned sideways pays homage to what I hope will be an interesting and excellent box set.
The track titles refer to those days of visiting various cathedrals — I was going to do a cover in the style of a guidebook, but I decided that might be pushing it too far. In the last update I said that the number of Kubusschnitt albums on Bandcamp was likely to stay at twelve unless one of us had an interesting find. Well, I have had an interesting find — I uncovered a large case of CDRs, the majority of which were Kubusschnitt sessions, early mixes, alternative versions and unissued material.
Whilst I use the term rehearsal, it really was just improvising and much of this never made to that gig or the Exeter gig.
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