The rest of the song sustains this insight as the masked man pulls out all his techniques-tremolo effects, slap guitar, bluesy lead playing, and lightning fast riffs that would make the likes of Dream Theater’s John Petrucci look twice.
The album segues brilliantly into “Electronic Slight of Hand,” employing a tapping riff that showcases Buckethead’s shred guitar prowess once again. In “We Can Rebuild Him,” Buckethead again explores his funk-metal roots, fusing fast-paced melodies and percussive riffs with a tasteful use of effects and time changes. Sanders” is a heavy track that focuses primarily on rhythmic work, but has some catchy melodic breaks that keep the song structure interesting. The rest of Crime Slunk Scene is highly experimental. In a genre where showcasing virtuosity is all too often valued over song structure, Buckethead’s “Soothsayer” proves that guitar gods (with melodic sensibilities) still exist. Buckethead also manages to avoid the all-too-common pitfall of shred guitarists-the unnecessarily long guitar solo. This track alone is worth the price of the album. Establishing itself with a beautiful clean-toned melodic line, “Soothsayer” gradually builds in intensity, juxtaposing elementary rhythms with virtuosic melodic phrases evocative of innumerable emotions. Unquestionably, Crime Slunk Scene’s strongest track is the nine-minute tour-de-force “Soothsayer,” a brilliantly crafted piece that is one of Buckethead’s best compositions ever.
BUCKETHEAD CRIME SLUNK SCENE ALBUM DOWNLOAD MOVIE
As the album plugs on, horror movie fans will feel at home with the track “Mad Monster Party,” an eerie piece where homicidal guitar riffs are fired out through a series of abrasively beautiful effects.
BUCKETHEAD CRIME SLUNK SCENE ALBUM DOWNLOAD FULL
In fact, one of Crime Slunk Scene’s most laudable features is the painlessness of its changeovers-a notable feat on an album full of such eclectic musical stylings. The transitions between all the songs are relatively seamless. This heaviness continues into “The Fairy and the Devil” and “Buddy Berkman’s Ballad,” two tracks in which Buckethead successfully bounces back and forth between distorted rhythmic vamping and crisp melodic riffing. His impossibly fast slap guitar riffs collide with equally mind bending Yngwie Malmsteen–influenced harmonic runs in a song that gradually evokes the full range of aggressive emotions.
Short, catchy, and aggressive, it’s a great album opener that clips by at a fast pace and seamlessly transitions into the funk-metal track “Gory Head Stump.” Here we see Buckethead’s funk influences (he is a self-proclaimed disciple of Bootsy Collins and Eddie Hazel) come out in full force. As is characteristic of a Buckethead song, “King James” has a simple, yet catchy, backing riff that chugs along under the ebb and flow of a technical lead line. The album opens with Buckethead breaking out the whammy pedal on “King James,” hitting impossibly high notes that he skillfully brings to life with tremolo effects. Beautifully engaging and highly satisfying, Crime Slunk Scene takes the listener on a musical journey that combines psychotic shred, ethereal guitar melodies, and Buckethead’s signature tapping and tremolo techniques into a wonderfully constructed experimental album that is his strongest release since his much-lauded 1998 masterpiece Colma. Perpetually sporting his signature white kabuki mask and his famous Kentucky Fried Chicken bucket hat, the masked guitar virtuoso recently concluded a nationwide tour in promotion of his latest album, Crime Slunk Scene. Starting out as the masked axe-swinger for the bay area–based band the Deli Creeps, Buckethead (aka Brian Caroll) quickly established himself as one of the world’s premiere guitarists via impeccable technique and an uncanny aptitude for producing face-melting riffs. Buckethead, one of underground rock’s most eccentric and highly acclaimed avant-garde guitarists, has been lighting up the world of hyper-speed shred metal since the early 1990s.
0 kommentar(er)
