Logowanie
HIMALAJE aufiofilizmu
ORFF, Tschechische Philharmonie Prag, Vaclav Smetacek
Carmina Burana
BACH, Jean Guillou
Toccatas et Fugues (BWV 538, 540, 564 & 565)
ELLINGTON, SCHUMANN, VIVALDI, Arne Domnerus, Gustaf Sjokvist
Antiphone Blues
Arne Domnerus, Bengt Hallberg, Lars Erstrand
Jazz At The Pawnshop
Legendarne brzmienie DORIAN
Winylowy niezbędnik
ClearAudio
Double Matrix Professional - Sonic
Klasyczne evergreeny
BEETHOVEN, Valdimir Horowitz
Piano Sonata No. 23 in F Minor, Op. 57 APPASSIONATA // Piano Sonata No. 7 in D, Op. 10, No. 3
TCHAIKOVSKY, RACHMANINOV, Arthur Rubinstein, Daniel Barenboim
Piano Concerto No. 1 in B-Flat Minor, Op. 23 // Piano Concerto No 2 in C Minor, Op. 18
The Offspring – Ixnay On The Hombre
Ixnay on the Hombre Review by Stephen Thomas Erlewine [-] 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 assertion 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-righteousness and visceral forward force. Since the Offspring slow 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" or "Self Esteem," which leaves Ixnay on the Hombre as a tedious, turgid mess of anemic punk metal.