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Cintecele Diavolui

Artist: Cintecele Diavolui

   Genre(s):
Rock

Discography:

The Devil's Songs

Year: 1997
Tracks: 8

This week's releases: 9 June 2008

This week�s albums (June 9) sees the return of The Fratellis and a new album from The Zutons.

The Cure and Foals will also be releasing singles.

Album releases:

The Fratellis - 'Here We Stand'
Lykke Li - 'Youth Novels'
Joan As A Policewoman - 'To Survive'
Ox.Eagle.Lion.Man - 'The Lay Of The Land; The Turn Of The Tide'
The Zutons - 'You Can Do Anything'

Single releases:

The Cure - 'Freakshow'
Foals - 'Red Sox Pugie'
Panic At The Disco - 'The Green Gentleman (Things Have Changed)'
Portishead - 'The Rip'
The Duke Spirit - 'My Sunken Treasure'
The Music - 'Strength'
We Are Scientists - 'Chick Lit'

‘Cavemen’ Star Nick Kroll Is in Just As Much Denial As We Are

Photo: Getty Images
"Right now I’m just waiting to hear about when we’re gonna start shooting Cavemen again. Seems like kind of a long break but I think we’re gonna come back really strong. Season 2 should be a pretty big deal." —Cavemen's Nick Kroll [Best Week Ever]

"I remember hearing Kermit sing and then finding out that that was actually a real person singing. That kind of blew my mind." —Jim James on his early musical influences [NYT]

"After the broadcast, people at E! told me Team Fanning was furious. To me there's something hilarious about a 10-year-old girl having that much power. Hilarious to the point where I got fired." —Kathy Griffin on making a joke about Dakota Fanning at the 2005 Golden Globes [NYT]

"Lyrically and as being an artist, I have nothing to prove. Me and Dre have done everything there is to do. We've won the Super Bowl of music." —Big Boi [MTV]

"One of the things about Barbara Feldon is she has a certain ineffable quality. You either have that or you don't, and I leave it up to the audience to decide whether I do." —Anne Hathaway is unsure about how ineffable she is [NYDN]

During Rush hour, there's no slowdown

If you need one moment to sum up Rush, consider “Far Cry,” the new song that opened the Canadian progressive-rock veterans’ second set Sunday night. On CD it’s a textured, melodic rocker with tricky rhythmic shifts and thoughtful lyrics about modern-world dislocation. But live, its midsection found guitarist Alex Lifeson slinging power chords, bassist Geddy Lee duck-hopping across the stage, and fireworks going off at the climax. Half cerebral kicks, half arena-sized cheap thrills - that’s Rush in a nutshell.
Sunday’s concert was partly a visit to familiar territory: It’s officially a continuation of last summer’s tour, so the set list and staging were essentially the same (two filmed song intros again from Bob and Doug MacKenzie and the “South Park” kids). As always, the show was epic in length (nearly three hours). And a Rush audience is still at least 70 percent male, many of them expert air-drummers: Aping Neil Peart’s tom-tom fills on “Tom Sawyer” has become a communal ritual.
Still, it was a slightly different kind of Rush tour, tilted to the band’s more cerebral side. The current “Snakes & Arrows” is one of Rush’s most nuanced albums, with moody layers of melody and textured arrangements, including Lifeson’s first-ever mandolin solo. While most veteran bands avoid playing new material, Rush did nine songs from the album, including five in a row to start the second set. And they dug up older songs (such as buried album tracks “Between the Wheels” and “Witch Hunt”) that suited the new material’s direction.

“Snakes & Arrows” is a strong disc, but it’s one that takes a few listens to fully get, which is why an encore tour made sense. The band seemed looser and more comfortable with the new songs this time around. Stone-faced drummer Peart seemed especially limber compared to last summer’s show. And Rush gave the set list a couple of tweaks, swapping some of last year’s deeper tracks for more obvious crowd pleasers (“Circumstances” and “Entre Nous” are out; “Red Barchetta” and “2112 Overture” are in). That made the show less geek-friendly, but it made for a more balanced set. It also allowed for a rousing end-of-show blowout, with the “2112” section played between dependable barnstormers “The Spirit of Radio” and “Tom Sawyer.”
Variations aside it was still Rush, with the usual complexity and oddball humor. In a neatvisual pun, there was a chickenrotisserie onstage where you’d expect to see a wall of amps. There aren’t a whole lot of veteran arena bands who work this hard or deliver as much.
RUSH aComcast Center, Mansfield, Sunday night.