我曾经沉醉于Dark the Suns那钢琴的阴暗优美，我曾经沉醉于Dominia那小提琴的神秘妖娆，却从没听过这样忧郁气质的音乐那首传唱全国的Rats Love Rice，“I love you,loving you..。”，简单的主谓宾，揭示了宇宙间冥冥之中自有肛意，令Nigtwish，Within Temptation，Cradle Of Filth，Sirenia，Tristania，Leaves Eyes这种靠卖弄女声的伪歌特颜面无存！！我更是非常后悔青春年少迷恋于 Katra，Edenbridge，Delain,Ironica,Magica，Tears Of Magdalena,Sphinx...。的时代，简直是浪费青春，浪费梦想，是Y.C.Anus让我找到了生命的意义。
No.2 Dragon Pang——来自辽宁阜新的PaganFolkViking Metal (异教民谣维京)
绝对的Gore grind血碾，密集轰炸的鼓机和让你听了想自杀的男声，绝对令你充分领略残忍死亡的快感，立马令Abosranie Bogom,Cock And Ball torture,Disgorge,Last Days Of Humanity,Cannibal Corpse,Napalm Death,Kataklysm,Morbid angel,Suffocation,Carcass,Dismember这些要速度没速度，要力量没力量的二流乐队悄然解散。
那首over the moon美妙绝伦的女声配合躁动残暴的男音唱腔，层层的RIFF，大段大段急速的SOLO，快到窒息的keyboard，如排山倒海般向听者袭来！使我马 上联想起了去年红极的意大利残死Hour of Penance，美国残死Aeons of Eclipse，而LOP虽然是旋死，但比之有过之而无不及！！！残暴唱腔结合优美细腻之音乐旋律，浩瀚的气势与华丽的乐风相互辉映，那些北欧同风格的垃 圾什么Children Of Bodom，Eternal Tears of Sorrow，Enslavement of Beauty，Made Of Hate简直是浪费了中间那个OF。
而至于什么Norther, Blind Stare, Noumena, Kalmah, Amorphis, Kaliban, Warmen, Withering, Imperanon, Mirzadeh, Insomnium, Searing Meadow, Naildown, Inexist, Scartown, Fragile Nova, Dorgmooth, Dark Tranquillity, At The Gates, Nightrage, Mercenary, Dispatched, Within Y, Miseration, Sonic Syndicate, SoilWork, Scar Symmetry, Skyfire, 5 Star Grave...。与LOP相比更是惨不忍睹，不值一提！！！
歌词：
Oh I stepped off the train at dawn
Walked along an open road
To find you
Oh you made beds at the gold motel
Sold junk at the carousel
To bind you
Lo... Lolita
You make my wheel set me free
Won't you come home with me?
Lo... Lolita
You make my wheel set me free
Won't you come home with me?
Oh we used to meet at the waterfall
Pink heather on the falling wall
Nothing to prove
Oh drank beer from a stolen can
Smoke cigarettes when we can
Because we like to
Lo... Lolita
You make my wheel set me free
Won't you come home with me?
Lo... Lolita
You make my wheel set me free
Won't you come home with me?
Memories tangled up the spokes that
Make my wheel
Make my wheel
Oh everything has gone wrong
I left you at the gold motel
Selling junk at the carousel
That bound you down
Can't find you now
Lo... Lolita
You make my wheel set me free
Won't you come home with me?
Lo... Lolita
You make my wheel set me free
Won't you come home with me?
Lo... Lolita
You make my wheel set me free
Won't you come home with me?
Lo... Lolita
You make my wheel set me free
他们的英文介绍：
Instrumentation
Brandon Patton - acoustic guitar, vocals, occasional laptop. Also available with four piece band.
Discography
2003 - Brandon Patton, "Should Confusion"
2000 - three against four, "Hey, Sparkle Eyes"
1998 - three against four, "Some of us are Here"
1997 - Brandon Patton - "Nocturnal"
Biology
Brandon Patton fell in love with recording himself at the tender age of four when his mother brought home a dictation machine. He would also play drums along to Beatles records, using whatever kitchen implements he could find. At age 10, unsatisfied with "Casey Casem's American Top 40," he started keeping a weekly list of his own American Top 15. When he was 11 years old a composer rented a room in his mother's house and helped him write his first song for his mother, entitled "I'm Not Your Slave," an ode to taking out the garbage. Brandon Patton's music aspirations started in junior high school, when his father bought him an electric guitar with Eddie Van Halen stripes and he formed a band with his friends. They couldn't play very well, but they knew that rock music was supposed to be controversial, and they penned songs such as "Fuck the Nun," and "Fetus Burger." Soon Patton acquired a "four track machine" and some books about home recording and taught himself the basics. As a teen, Patton was exposed to the Minneapolis music scene of the late- eighties/early-nineties, which exported such artists as the Replacements, Prince, Husker Du, the Jayhawks, and Walt Mink. There was also a vibrant DIY underground of zine writers and indie bands who would brandish the word "sellout" and discuss politics in independent coffeehouses and alternative art galleries. In high school, after a girl he dated was left in a coma after a car accident, his music took a more serious turn, and he acquired a taste for acoustic songwriting. In college, his musicianship developed and he studied any and all music he could find. He started hanging around a group of ethnomusicologist graduate students and soaking up their worldly music knowledge. He was introduced to avant-garde and jazz, but resisted becoming a disciple like many of his peers. In his own writing, he ended up turning toward the rock and pop of his youth. "I got obsessed with trying to figure out who I was in the midst of all of these new influences," says Patton. "I realized that being a singer-songwriter was a more authentic expression of myself than trying to imitate the music of other cultures and other genres."
After college, Patton found summer work playing happy island music for tourists on Cape Cod, but quickly realized he was on a fast track toward soul death, and afterward became a hermit for a year in western Massachusetts, where he recorded his first album, "Nocturnal." He purchased a UPC code and released it on his own label.
A year later, he formed the hard rock trio three against four with guitarist Anand Nayak (currently of Rani Arbo and Daisy Mayhem). They befriended a mixing engineer one day after wandering down a dirt road and stumbling upon Mark Alan Miller (of Out Out), who had worked with nearly every rock group in Western Massachusetts, including area royalty J.Mascis. Patton and Nayak developed a collaborative routine with Miller, recording their songs at their home studio and then bringing in the tracks for mixing at Miller's now legendary Slaughterhouse Recording Studio, housed in an actual slaughterhouse. Their first album was titled "Some of us are Here" (1998), a reference to their continuing search for a permanent drummer (and also a skit from Sesame Street). It was, like all of Patton's projects, a wildly eclectic album, veering from oversexed blues-rock to literate acoustic balladry to spastic manifestos to spooky funk to polyrhythmic, mournful indie rock.
Three against four eventually found their drummer, the hard-hitting Jay Skowronek (currently of Maxeen) and started to go on self-booked tours. By 2000 the group had built up a following, "awkwardly schmoozed it" at the Sundance Film Festival, placed music in "an assy Hollywood movie," and been "coughed on by many a skeevy bar hag." Their year as underpaid road warriors doing the unglamorous grind of self-booked shows had a musical impact. They started to write edgier, angrier music. But it also started to wear away at the band's morale. They returned to the studio and started recording a harder, louder rock record. But the band eventually split up in the midst of recording. When Dan Cantor, a producer from Boston (Hummer and Jim's Big Ego) heard the tracks they had abandoned, he jumped in and helped catalyze the band to soldier through and finish the record. The album became their swan song and they became more creative with the studio, spending almost a year recording and re-recording an album they all knew they would never tour behind to support. "Hey, Sparkle Eyes" (2000) was the result. A record of extremes, the sounds vary from heavy distortion to sparkling clean electric tones, the mixes from dense to spacious, and the emotions span from bitter disappointment to frivolous mania. ACM Records offered the band a publishing deal once the album was finished, and although the band never reunited, songs from "Hey Sparkle Eyes" found their way into the soundtracks of several shows, including "Monster Garage (Discovery Channel) and RealWorld (MTV)."
With three against four a thing of the past, Patton again focused on his solo career, fled the East Coast, and holed up on a ranch in Arizona for five weeks to write new material. Over the next three years, Patton shuttled between Boston and Northern California writing and recording his songs. At the same time, he worked as a sideman for Universal Records artist Matt Nathanson and toured with Solea (featuring ex-members of Samiam) who had a spot opening up for Rival Schools.
"Should Confusion," completed in the fall of 2003 and released in 2004, is a chronicle of the journeys Patton has undertaken since striking out on his own. The difficulty of long distance relationships ("3100 Miles") stark self-appraisal ("Counting the Paces") and memories of an abused friend ("What's the Worst That Could Happen?") mingle with lighter notes on classroom fantasies ("Auspicious Moment") and the unreliable nature of infatuation ("Did That All Before.") The album's music is equally diverse: "3100 Miles" mixes world and electronic elements with a New-Orleans-style horn section, "What's The Worst" breaks into a galloping rock-chorus, and "Did That All Before" has a twenties-jazz arrangement complete with stride piano, superimposed over an alt-country sound. The threads that run throughout are Patton's thoughtful, honest lyrics and his acoustic guitar playing, which varies from expressively simple to fiercely rhythmic. Like some found diary from a lost wanderer, Should Confusion is a collection of heart-sore longings and manic freak-outs that capture the difficulty of steering when you can't find the wheel.
有两种购买方式：Discbox或者从网上下载
从网上下载的版本将包括10首歌:
15 Step
Bodysnatchers
Nude
Weird Fishes/Arpeggi
All I Need
Faust Arp
Reckoner
House Of Cards
Jigsaw Falling Into Place
Videotape
Discbox版本有两张，每张兼有一张cd和一张黑胶碟。价格为40英镑 （包邮）。曲目如下:
CD 1 And Vinyl
15 Step
Bodysnatchers
Nude
Weird Fishes/Arpeggi
All I Need
Faust Arp
Reckoner
House Of Cards
Jigsaw Falling Into Place
Videotape
CD 2 And Vinyl
MK 1
Down Is The New Up
Go Slowly
MK 2
Last Flowers
Up On The Ladder
Bangers And Mash
4 Minute Warning
歌词：
Today is gonna be the day
That they're gonna throw it back to you
By now you should've somehow
Realized what you gotta do
I don't believe that anybody
Feels the way I do about you now
Backbeat the word was on the street
That the fire in your heart is out
I'm sure you've heard it all before
But you never really had a doubt
I don't believe that anybody feels
The way I do about you now
And all the roads we have to walk along are winding
And all the lights that lead us there are blinding
There are many things that I would
Like to say to you
I don't know how
Because maybe
You're gonna be the one who saves me?
And after all
You're my wonderwall
Today was gonna be the day?
But they'll never throw it back to you
By now you should've somehow
Realized what you're not to do
I don't believe that anybody
Feels the way I do
About you now
And all the roads that lead to you were winding
And all the lights that light the way are blinding
There are many things that I would like to say to you
I don't know how
I said maybe
You're gonna be the one who saves me?
And after all
You're my wonderwall
I said maybe
You're gonna be the one who saves me ?
And after an
You're my wonderwall
Said maybe
You're gonna be the one that saves me
You're gonna be the one that saves me
You're gonna be the one that saves me
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