#alicecooper — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #alicecooper, aggregated by home.social.
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Bob Dylan’s opinion on Alice Cooper
https://rockandrollgarage.com/bob-dylan-opinion-on-alice-cooper/
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Bob Dylan’s opinion on Alice Cooper
https://rockandrollgarage.com/bob-dylan-opinion-on-alice-cooper/
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Bob Dylan’s opinion on Alice Cooper
https://rockandrollgarage.com/bob-dylan-opinion-on-alice-cooper/
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Bob Dylan’s opinion on Alice Cooper
https://rockandrollgarage.com/bob-dylan-opinion-on-alice-cooper/
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Bob Dylan’s opinion on Alice Cooper
https://rockandrollgarage.com/bob-dylan-opinion-on-alice-cooper/
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https://www.europesays.com/at/380705/ „VAMPIR-FEUERWERK“ – Johnny Depp & Alice Cooper rockten in St. Pölten – krone.at #AliceCooper #AmélieVanTass #AT #Austria #Celebrities #Entertainment #JoePerry #JohnnyDepp #NXP #Österreich #Prominente #RenéVoak #StPölten #ThommyHenriksenWahrhaftige #ThommyTen #TommyHenriksen #Unterhaltung
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https://www.europesays.com/cz/205701/ RECENZE: Vydařený rockový vampýří rej s Johnnym Deppem #AliceCooper #Entertainment #HollywoodVampires #JohnnyDepp #Zábava
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https://www.europesays.com/cz/205585/ RECENZE: Na rockové tancovačce. Johnny Depp nabídl v Praze prchavý zážitek – iDNES.cz #Aerosmith #AliceCooper #DavidBowie #Entertainment #Hollywood #JoePerry #JohnnyDepp #Kultura #Zábava
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"You and Me" is a song by American singer #AliceCooper, released in 1977 as the lead #single from his album #LaceAndWhiskey. The song is a #softRock #ballad, reaching number nine on the US #Billboard Hot 100 and number eight on the #CashBox Top 100 in the summer of 1977. The song reached number three in Canada and number two in #Australia, where it is ranked as the 13th biggest hit of 1977.
https://www.youtube.com/watch?v=TyYhd0H9bLI -
Golf ist gar nicht wie Sex. Golf ist wie Drogen.
Du machst einen einzigen tollen Schlag und fühlst dich richtig gut, so gut wie nie. Dann willst du gleich den nächsten Schlag machen - und auch, wenn der daneben geht: du wirst es immer wieder versuchen, weil du dieses gute Gefühl wieder haben willst.
Alice Cooper hat dies für uns heraus gefunden, weil er mit dem Saufen aufhören wollte und seitdem sein Suchtverhalten im Golf auslebt.
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"School's Out" is a song first recorded as the title track of #AliceCooper's fifth studio album. It was released as the album's only single on April 26, 1972. "School's Out" was Alice Cooper's biggest international hit and it has been regarded as their signature song and reached number seven on the Billboard Hot 100, number three in the Canadian #RPM 100 Singles chart, number two on the #IrishSinglesChart and number one on the #UKSinglesChart. In 2015.
https://www.youtube.com/watch?v=rcEbSkaAqkg -
Busted's James Bourne makes first public outing after surgery to 'extend life'
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No More Mr. Nice Guy 🍭
#AliceCooper
https://www.youtube.com/watch?v=PPhgKNmBFCo -
The #BBC used #AiSlop to quote #AliceCooper, via #VincentPrice
IYKYK
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On August 3rd, 1968: 100,000 attend two-day Newport Pop Festival in Costa Mesa, California; performers included #AliceCooper, Canned Heat, The Chambers Brothers, Country Joe and the Fish, Paul Butterfield Blues Band, #SonnyAndCher, Steppenwolf, #TinyTim, The Animals, Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service, and The Byrds.
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Mary Harron – „Daliland“ (2022)Ein Film, der sich mal nicht für das Genie als Monument, sondern für den Künstler als Marke, Pose und patriarchales Nervenbündel interessiert. Das ist konsequent. Eigentlich wurde es aber die Geschichte von Gala. Der Muse, der Managerin, Kuratorin und Dompteuse des männlichen Egos von Salvador Dalí, das ohne seine permanente Spiegelung wohl längst kollabiert wäre. (ARD, Free-TV-Premiere)
Zum Blog: https://nexxtpress.de/mediathekperlen/mary-harron-daliland-2022/ -
🎵 🎶 🎵
You made it to FRIDAY - you've earned it ... take 5!
(halloween '25 edition)
Witchy Woman* (1972)
-- The EaglesWelcome to My Nightmare (1975)
-- Alice CooperSpooky** (1979)
-- Atlanta Rhythm SectionScary Monsters (and Super Creeps) (1980)
-- David BowieWays to Be Wicked (1987***)
-- Tom Petty* - scary elaine benes alert
** - cover alert
*** - sort of#halloween #theEagles #aliceCooper #atlantaRhythmSection #davidBowie #tomPetty #take5 #takeFive #70sRock #70sMusic #80sRock #80sMusic #hardRock #arenaRock #classicRock #popRock #popMusic #music #rockAndRoll #rockMusic #glamMetal #britishRock
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Spooktacular – Watch the trailer for the documentary about America’s first horror theme park https://www.liveforfilm.com/2025/09/26/spooktacular-watch-the-trailer-for-the-documentary-about-americas-first-horror-theme-park/
#Spooktacular #film #themepark #horror #documentary #AliceCooper #Elvira #TomSavini #LindaBlair
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#nowplaying während der #zigarettedanach nach der #abendrunde mit #django
#supertramp - #school
Neben #schoolsout von #alicecooper und #anotherbrickinthewall von #pinkfloyd , wohl DIE #Hymne aller #schueler -
https://www.fogolf.com/1024135/trumps-big-golf-boast-backfires-amid-renewed-cheating-claims-2/ Trump’s Big Golf Boast Backfires Amid Renewed Cheating Claims #AliceCooper #DonaldTrump #Golf #GolfNews #RickReilly
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G-Nitro’s Daily Music Wrap-Up – 5/28/25
I check out an Alice Cooper album, and the latest release from Ella Vos.
Favorite Videos include BIBI on Tipsy Live, CHANMINA on The First Take, and more!
https://g-nitro.com/g-nitros-daily-music-wrap-up-5-28-25
#Music #MusicVideo #1001Albums #AliceCooper #EllaVos #Bibi #TipsyLive #Chanmina #TheFirstTake
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The third dimension is desperation.... click link to read more.
#1991 #anightmareonelmstreet #alicecooper #blogging #breckinmeyer #freddysdeadthefinalnightmare #freddysdeadthefinalnightmarereview #horror #johnnydepp #lezliedeane #lindseyfields #lisazane #monthofspooks #movieblog #racheltalalay #rickydeanlogan #robertenglund #robertshaye #roseannebarr #shongreenblatt #thecraggus #tomarnold #yaphetkotto
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My absolute favorite thing about Friday the 13th P6: Jason lives is the song He's back from Alice Cooper. When this song came out my friend & I drove the DJ nuts taking turns requesting it all night long! #MyHorrorfest #Fridaythe13th #AliceCooper #JasonVoorhees #Killers #SlasherFilms #Horror #HorrorMovies
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By Dear Hollow
2021’s Chinook was an impressive feat. While Vancouver’s Svneatr is undeniably second-wave, the album showcased and established a formidable blend of melody and riffage in a package wrapped in the tightly wound razor-wire frigidity you expect from black metal – reminiscent of Master’s Hammer or Vredehammer. Tracks like “Lavender,” “The Wind Stirs,” and “The Veins of the Earth” were some of the best tracks in the style that year with this dueling style, benefited by a rougher DIY aesthetic, even if some movements were lost in the fold. After three years, we are graced with Chinook’s follow-up, Never Return.
Never Return finds Svneatr embracing its roots while also dabbling in more stark experimentation. The theme revolves around environmentalism and capitalism’s vicious consequences, that in a way, humanity can “never return” to its prior glory. Weaponizing trademark riffs to a predictably vicious degree, the act finds its sweet spot, while utilizing a more melodic dueling guitar attack reminiscent of Rotting Christ or Dissection. However, questionable is Svneatr’s newfound incorporation of industrial textures, classical instruments, choirs, and clean vocals. This makes Never Return feel a bit drawn and quartered in too many directions, that while its signature riffs and melodies remain second to none, the more experimental elements combined with glaring production issues and strange placement make their third full-length a letdown.
Some acoustic guitar plucking adds a nice melody to opening tracks “Mechanical Wolves” and “Never Return,” before hitting you with everything you love about Svneatr: thrashy riffs, ripping solos, and a beating heart of melody that adds a nice humanity to the proceedings. This is what makes “And When Comes the Storm” all the more confusing, as it sidewinds its riff-first structure in favor of sprawling bleakness in the form of fretboard noodling and blazing tremolo atop riffs. While not a bad song and featuring a pounding riff and unique melodies, it sets the tone for the likewise industrial “Omen,” featuring mumbled Alice Cooper-esque clean vocals and cold ambiance, while the suddenly synth-heavy Midnight Odyssey approach saturating “Blackout” adds a certain icy vibe. Closer “Reaper of the Universe” features the most straightforward second-wave track since Svneatr’s The Howl, The Whisper, The Hunt and offers one of the most technical riffs of the band’s catalog, and is a nice adrenaline rush amid the dueling guitar licks and heartfelt melody.
The highlights are short-lived. Never Return is a perplexing album for Svneatr to make, because while its predecessors were bulletproof, if not predictable, the tracks here are wildly inconsistent and jarring. The first clue would likely be the suddenly melodic portion of “Never Return,” but you’d be forgiven to dismiss it, only for “And When Comes the Storm” and “Omen” to make you feel silly. These tracks, and in part “Blackout” as well, forego nearly all trademark tricks for a starkly drawling and whimpering approach to black metal whose guitar melodies and warbling distorted clean vocals toe the line between avant-garde and “do they know how notes work?” These tracks aside, another tragic element is that “Reaper of the Universe” could easily be one the act’s best songs, but ultimately, Never Return features a dismal drum tone that loses the snare beneath nearly everything else, only making frail appearances in fills and moments of silence. Svneatr’s songwriting chops in the bookends is head-above-shoulders better than they have been, but considering glaringly absent percussion and painful industrial elements, it’s difficult to wade through the muck. Although the promo details inclusion of choirs, cello, and contrabass, for the life of me I cannot find where.
Never Return hurts me, because I love Svneatr and their catalog. However, much of Never Return feels like the boys hurriedly wanted to incorporate more Nine Inch Nails influences when the album was already halfway done, but even the frail drums derail the solidness of “Mechanical Wolves” or “Reaper of the Universe.” While the band has already established their prowess as songwriters, “And When Comes the Storm” and “Omen” make me question if they even know how to play in key – and I know they can. Never Return metaphorically attempts to portray a world bereft of beauty in the wake of mankind’s greed, but due to lousy production, jarring experimentation, poor melodies, and lack of cohesion, I only hope Svneatr can return to their former glory.
Rating: 1.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records
Websites: svneatr.bandcamp.com | facebook.com/svneatr
Releases Worldwide: May 10th, 2024#15 #2024 #AliceCooper #BlackMetal #BlackenedThrashMetal #CanadianMetal #Dissection #IndustrialMetal #May24 #MelodicBlackMetal #MidnightOdyssey #NeverReturn #NineInchNails #ProstheticRecords #Review #Reviews #RottingChrist #Svneatr
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By Dear Hollow
2021’s Chinook was an impressive feat. While Vancouver’s Svneatr is undeniably second-wave, the album showcased and established a formidable blend of melody and riffage in a package wrapped in the tightly wound razor-wire frigidity you expect from black metal – reminiscent of Master’s Hammer or Vredehammer. Tracks like “Lavender,” “The Wind Stirs,” and “The Veins of the Earth” were some of the best tracks in the style that year with this dueling style, benefited by a rougher DIY aesthetic, even if some movements were lost in the fold. After three years, we are graced with Chinook’s follow-up, Never Return.
Never Return finds Svneatr embracing its roots while also dabbling in more stark experimentation. The theme revolves around environmentalism and capitalism’s vicious consequences, that in a way, humanity can “never return” to its prior glory. Weaponizing trademark riffs to a predictably vicious degree, the act finds its sweet spot, while utilizing a more melodic dueling guitar attack reminiscent of Rotting Christ or Dissection. However, questionable is Svneatr’s newfound incorporation of industrial textures, classical instruments, choirs, and clean vocals. This makes Never Return feel a bit drawn and quartered in too many directions, that while its signature riffs and melodies remain second to none, the more experimental elements combined with glaring production issues and strange placement make their third full-length a letdown.
Some acoustic guitar plucking adds a nice melody to opening tracks “Mechanical Wolves” and “Never Return,” before hitting you with everything you love about Svneatr: thrashy riffs, ripping solos, and a beating heart of melody that adds a nice humanity to the proceedings. This is what makes “And When Comes the Storm” all the more confusing, as it sidewinds its riff-first structure in favor of sprawling bleakness in the form of fretboard noodling and blazing tremolo atop riffs. While not a bad song and featuring a pounding riff and unique melodies, it sets the tone for the likewise industrial “Omen,” featuring mumbled Alice Cooper-esque clean vocals and cold ambiance, while the suddenly synth-heavy Midnight Odyssey approach saturating “Blackout” adds a certain icy vibe. Closer “Reaper of the Universe” features the most straightforward second-wave track since Svneatr’s The Howl, The Whisper, The Hunt and offers one of the most technical riffs of the band’s catalog, and is a nice adrenaline rush amid the dueling guitar licks and heartfelt melody.
The highlights are short-lived. Never Return is a perplexing album for Svneatr to make, because while its predecessors were bulletproof, if not predictable, the tracks here are wildly inconsistent and jarring. The first clue would likely be the suddenly melodic portion of “Never Return,” but you’d be forgiven to dismiss it, only for “And When Comes the Storm” and “Omen” to make you feel silly. These tracks, and in part “Blackout” as well, forego nearly all trademark tricks for a starkly drawling and whimpering approach to black metal whose guitar melodies and warbling distorted clean vocals toe the line between avant-garde and “do they know how notes work?” These tracks aside, another tragic element is that “Reaper of the Universe” could easily be one the act’s best songs, but ultimately, Never Return features a dismal drum tone that loses the snare beneath nearly everything else, only making frail appearances in fills and moments of silence. Svneatr’s songwriting chops in the bookends is head-above-shoulders better than they have been, but considering glaringly absent percussion and painful industrial elements, it’s difficult to wade through the muck. Although the promo details inclusion of choirs, cello, and contrabass, for the life of me I cannot find where.
Never Return hurts me, because I love Svneatr and their catalog. However, much of Never Return feels like the boys hurriedly wanted to incorporate more Nine Inch Nails influences when the album was already halfway done, but even the frail drums derail the solidness of “Mechanical Wolves” or “Reaper of the Universe.” While the band has already established their prowess as songwriters, “And When Comes the Storm” and “Omen” make me question if they even know how to play in key – and I know they can. Never Return metaphorically attempts to portray a world bereft of beauty in the wake of mankind’s greed, but due to lousy production, jarring experimentation, poor melodies, and lack of cohesion, I only hope Svneatr can return to their former glory.
Rating: 1.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records
Websites: svneatr.bandcamp.com | facebook.com/svneatr
Releases Worldwide: May 10th, 2024#15 #2024 #AliceCooper #BlackMetal #BlackenedThrashMetal #CanadianMetal #Dissection #IndustrialMetal #May24 #MelodicBlackMetal #MidnightOdyssey #NeverReturn #NineInchNails #ProstheticRecords #Review #Reviews #RottingChrist #Svneatr
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Filter – The Amalgamut – 20th Anniversary Double LP Review https://allabouttherock.co.uk/filter-the-amalgamut-20th-anniversary-double-lp-review/ #CraftRecordings #TheAmalgamut #AliceCooper #anniversary #CDReviews #RobZombie #Ministry #filter #vinyl