When left 's, who would have predicted his departure would result in one of the finest offerings in the band's catalog? Is a double CD or, rather, two completely different albums packaged in one very handsome box with a stylish lyric booklet and subtly colored pastel sleeves. They were recorded in a total of 16 days by producer (,,,,,, et al.)., the first disc in the set (packaged in pink, of course), is a rock & roll record.

That the communication by the bank at the point of transfer to GRG was not good enough; we agreed and have apologised for this. That the bank forced them.

Yeah, the same guy who released the,, and albums has turned in a pathos-drenched, volume-cranked rocker, full of crunch, punishment -- and taste. Drummer Jim Sclavunos' aggressive, propulsive kit work is the bedrock of this set. It and 's storm-squall guitar playing shake things loose on 'Get Ready for Love,' which opens the album. As goes right for God in the refrain -- 'get ready for love' -- in the maelstrom, a gospel choir roaring 'praise Him' responds. His tense, ambivalent obsession with theology is pervasive; he mocks the Western perception of God in the heavens yet seeks the mystery of His nature. That he does so while careening through a wall of noisy rock damage is simply stunning. It leaves the listener revved up and off-center for what comes next.

The chorus -- members of -- is prevalent on both records; ' arrangement utilizes them wisely as counterpoint and mirror for 's own baritone. 'Cannibal's Hymn' begins as a love song musically; it's chocked with 's dark wit and irony and ends far more aggressively while retaining its melody. The single, 'Nature Boy,' finds itself on Scalvunos' big beat. And his piano use love's irony in contrast with cheap innuendo as underlined by the choir in their best soul croon. 'Let Them Bells Ring' is a most dignified and emotionally honest tribute to and the world he witnessed. The Western wrangle of 'There She Goes, My Beautiful World' references 's desert cowboy groove against a swirling cacophony of drums, bashing piano, and the chorus swelling on the refrain, while name drops and poet Philip Larkin. The pace is fantastic; its drama and musical dynamics are pitched taut, with lulls in all the right places., by contrast, is a much quieter, more elegant affair.

It is more consciously restrained, its attention to craft and theatrical flair more prevalent. But that doesn't make it any less satisfying. How to use intel proset wireless tools.

It is a bit of a shock after, but it isn't meant for playing immediately afterward; it is a separate listening experience. The title track tells the myth's tale in 's ironical fashion, where God eventually throws a hammer at the subject and Eurydyce threatens to shove his lyre up his nether orifice.

' swampy bouzouki and 's more stylized drumming move the band in the tense, skeletal swirl where chorus and meet the music in a loopy dance. But in 'Breathless,' the bard of the love song emerges unfettered at the top of his poetic gift. On 'Babe You Turn Me On,' he wraps a bawdy yet tender love song in a country music waltz to great effect. But on this album, along with the gentleness, is experimentation with textures and wider dimensions. The sparser sound is freer, less structured; it lets time slip through the songs rather than govern them -- check the wall of ' strings married to a loping acoustic guitar on the moving 'Carry Me' as an example. 's nastiness and wit never remains absent for long, however, and on 'O Children,' the album's closer, it returns with this skin-crawlingly gorgeous ballad of murder and suicide.