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Time Bomb

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Penguins in movies & TV (26 items)
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Recent reviews

All reviews - Movies (9) - TV Shows (3) - DVDs (1) - Books (3) - Music (180) - Games (3)

Tale of Tales review

Posted : 1 day, 13 hours ago on 25 May 2015 06:19 (A review of Tale of Tales)

Garrone's film is a feast for the eyes and mind. It draws liberally from the tradition of ancient fairy Basile and proposes a translation blazing, made solemn landscapes and disturbing, kings and courts who are living with the misery of the people, crenellated castles that stand out on the slopes oblivious of the course of time and a set of -draghi mythological creatures, orcs, witches, fleas Giants- that look like the materialization of instincts and fears of human -desideri possession, power, maternity, fear of old age, death, solitudine-. Environments that host three events -a queen sterile willing to do anything to have a child, a king obsessed with sex that falls in love with a crone of which only listens to the voice, a ruler who organizes a contest whose winner will marry his daughter- are extraordinary and so evocative that, while watching the film, I thought they were digital effects products to the computer. Instead, the film was shot between the Alcantara Gorges (a Sicilian river flowing between high walls smoothed by water), the Castle of Donnafugata in the province of Ragusa, the forest Sasseto in northern Lazio, Castel del Monte and Gioia del Colle in Puglia. In the film Garrone, beyond the grandeur of the exterior, there is nothing ethereal and metaphysical: the stories - along with the facility of the fairy tale anticachectic are carnal, raw, essential in expressing drives that dominate humans, life and death chase, touch, is with / merge, there rises to a privileged condition suddenly or lose everything. There is no sign of intent to moralizzatore- Fortuna-, but even willingness exposing the vices of the weak and the powerful. The introduction of elements of "fantasy" seems well integrated in the work of the director Roman. The opening sequence of the king who plunges nell'acque torrent armor diving in search of the sea dragon appears not only credible, but also engaging and beautiful. As well as several other passages of the film that I will not spoil. The merit of "The Tale of Tales" consists in integrated visually stunning work (with a pictorial taste and exquisite frame) with a narrative that recovers the allegorical dimension of the work of Basile and proposes an excavation on the archetypal dimensions of human nature. Daring operation, similar to that of a tightrope walker who crosses a precipice walking on a rope. An operation, in my opinion, that makes success Matteo Garrone one of the most talented Italian authors in the current landscape.

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The Desired Effect review

Posted : 1 week, 1 day ago on 18 May 2015 06:59 (A review of The Desired Effect)

Good old days when you make a great afternoon was enough free house, the radio on, pants, shirt and sunglasses and to slip away from room to room in "Risky Business." And with the right light and no one around, even end up feeling a bit 'Tom Cruise.
But it's just a minor detail in this case, because when it comes to energy that has moved and stirred the 80s there are genres and categories that take. What made those tumultuous years, cha like it or not admit it, he never lost the power of his recall.
And all this, Brandon Flowers has paid tribute.
It is not a simple impression, but a real statement of intent that formulated with his second solo album "The Desired Effect": distill the 80 in 10 tracks and possibly bring down a tear to the more sensitive listeners. To understand it, among other things it would be enough to look at the video for "Lonely time", the second single of the disc.
The leader of Killers - no, for the umpteenth time: the band broke up, he took a break, then come back - he used the whole arsenal of music and sensory available to package a variety of fun pop-rock songs as, indeed, "Lonely time", you can more or less melancholy ballads like "Between me and you" or "Still Want You" pieces "on the road" that transform the west ring road in the most desolate of American highways, the route to go to work for the adventure of life (try with "Diggin 'up the heart").
In "The Desired Effect" is everything, it was said. So everyone will find what we want. For better or for worse. There are bursts of synth, electric guitars accompanied by drum pads or synthetic marimba used without any fear, the combination of voice / organ, double voices echo (!). In "I Can Change" is Neil Tennant of the Pet Shop Boys, in a piece that revolves around the sample of "Smalltown Boy" by Bronski Beat. A "Can not deny my love" is not enough to be a mere means synthpop, but it gives an intro that gives a nod (and the pit of the stomach) to "Twin Peaks" and its main theme.
"The Desired Effect", the desired effect. Who knows what it is, then this desired effect. Certainly Brandon Flowers has created a successful tribute to a decade that many have lived and loved and hated in equal number. An album so therefore, while not shining for some inventive, something moves: they are memories or the simple pleasure of listening to good music; it is melancholy or terror to review the straps of their jackets widen dangerously.
Everything can be in the presence of a job well done.
TRACKLIST
Dreams come true
Can not deny my love
I can change
Still want you
Between me and you
Lonely town
Digging up the heart
Never get you right
Untangled love
The way it's Always Been

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Dreaming of California...

Posted : 1 week, 5 days ago on 14 May 2015 07:25 (A review of California Nights)

English countries call them "one trick pony" are the characteristics, those who know how to do one thing, those that have a distinctive strong, like certain animals that respond to a single command.
l Best Coast, in reality, to have two tricks. The first is to put the California, everywhere: in titles, in the atmosphere, on the covers, in the references. The second is to make a specific kind of song, and only that, to repeat: guitars and melodies solar.
The third album by the duo of Los Angeles is no exception: look at the cover, read the title, and heard "Heaven sent", the first single: a power-pop perfect, with a progression that recalls the Go-Go's, the Bangles, the jingle-jangle, and all that world of songs buried by the guitars of the '80s (Jesus & Mary Chain) and 90s (the shoegaze).
The duo's third album is a culmination of the previous ones: the walls of guitars of the first album, and the sonic clarity of "The only place". They left behind the attitude a bit 'low-fi, early, and the more rarefied atmosphere of their second album, with a partial return from the EP already marked "Fade away".
The result? In 43 minutes and broke the record, it seems often to hear the same song loop. But, contrary to what one might think, it is a good feeling. Because, as good "one trick pony", that play Bethany Cosentino and Bobb Bruno know how to do to perfection.
When they go out a bit 'from these tracks, it is even better: "California nights" is slower and psychedelic, with its 5 minutes and passes: the best time of the album, along with "Heaven sent". But it is only a momentary diversion, because the next time you will return to the former pattern. Only the final "Wasted time" was minimal and evocative.
"California nights" is a pleasant drive, just as some pop to women known to be: a perfect listening for the arrival of warm, dreaming of California even if you are sunbathing on the new dock in Milan, or anywhere else Italy.
TRACKLIST
Feeling ok
Fine Without You
Heaven sent
In my eyes
So unaware
When will the change
Jealousy
California nights
Fading Fast
Get outta my head
Run through my head
Sleep will not ever like

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Sol Invictus review

Posted : 1 week, 6 days ago on 13 May 2015 06:19 (A review of Sol Invictus)

Makes an impression to think that those born in the year of release of the album prior to "Sol Invictus" are today, in practice, older ... so they put Mike Patton and cronies to reassemble the files just enough to work new music. But, obviously (and thankfully!) To Faith No More long break has done well ... and a first signal is that, for the first time since 1992, the band did not change training from one disk to another . Then there is the music.

Who follows them from late eighties heard them define the different ways: alternative metal, rap metal, funk metal, experimental metal ... well, with metal adjectives dystonic, indicating an inherently rebellious spirit to the conventions of a genre; and rules / stereotypes that are imposed by accession to it.
So, from the very beginning (when there was Patton on vocals), the point was that you could not fit them. They liked to metalheads, even without being thrash, glam or classic. Liked to metalheads not without being rap, wave, pop or alternative. And everyone - especially at the beginning - they felt a little 'guilty nell'apprezzarli because it constituted a strange spot in their diets music, stuff that was hard to justify ("We care a lot" or "Introduce yourself" included in a collection of thrash and speed were not uncommon to see, in the second half of the eighties: they were guilty pleasures no small feat).

Time, history and talent, in the end, were gentlemen, making Faith No More a sort of cult band that transcends the basic rule (and penalizing) of that status: the relative obscurity and lack of fame / exposure. Cult mainstream? Maybe. And chapeau.
So how has this "Sol Invictus", the seventh round in the band's studio with headquarters in San Francisco? Be ', in the words of a famous advertising eighties ... "It looks good." Indeed, great.
Patton, Bordin, Gould, Bottum and Hudson have made Bingo and returned proud, confident, arrogant enough, but especially in great shape, assembling 10 tracks (for a total of less than 40 minutes duration) rivangano the splendor of the golden age more commercially successful of the FNM and combine them with the instinct she own band, which tends to offset, to the surprise and subversion of expectations. But be careful: this is not "The real thing pt. II "- indeed, perhaps the only song that really could be closer to the mood of the album is the single" Motherfucker "... for the rest, however, we face a band that distills, refines and amplifies (strong than thirty years' experience) its historical strengths - above all, the unpredictability.
The great thing about this album, apart from giving the pleasant sensation of finding a great band - which also could hypothetically make do with the occasional reunion show (Patton, above all, no shortage of commitments and projects to follow) - is joining the 'accessibility of the episodes most commercial of the FNM to the study, research and construction of a multi-faceted sound universe, faceted, never banal. A drive that was not easy to handle, especially after so many years, and was in danger of sinking into a jumble of self attempts.
With an album ... so we can be genuinely happy for the next 17 years abundant.
TRACKLIST
Sol Invictus
Superhero
Sunny side up
Separation anxiety
Cone of Shame
Rise of the fall
Black Friday
Motherfucker
Matador
From the dead

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Squallor review

Posted : 1 month ago on 20 April 2015 05:19 (A review of Squallor)

That votes had to school in themes Fibra? I wondered listening and listening again to the tracks that make up his new album, released in surprise April 7. Fiber has a tendency to not hold the theme. And 'his beautiful, what defines his way of making music and to tell: part with an idea and then rambles on human knowledge. A palette of phrases, ideas, assembled in metric based instrumental duty. "The text you do not understand / I hope so at least" raps in "Alien".
Also heard continuously for a week, leaving sensations that overlap, which require more time to be processed. 85 minutes are not easy, those of "squalor", a rap pepperoni: good stuff, but that does not assimilate and disposing in a blink. No pieces piacioni, duets with the beautiful female voice of the moment, is not "music for the masses."
It is probably right that "The rap in my country" was chosen as the first single, the song is more direct; and then there's dissing with Fedez: the two most followed rapper boot arguing is manna from heaven for the media. Curious, however, that the same song Fiber tent virtually hand Vacca former friend, with whom she has given birth to one year in an endless fight with blows of traces repartee.
If "squalor" has a quality, is that it is unquestionably a disc of fiber, very consistent with what was and is the style of Fabrizio Tarducci: themes, rapping technique, joints of words, thoughts that fall on the trail without mediate with the market, self-criticism (see the song "EURO"), reasoning that to get from place to follow the endless streets of arabesques
. Compared to the past, the artist of Senigallia has lost his way a little 'smile, there's definitely a little joking in "squalor". Tarducci for an hour and a half ago what they like without mediation: extrabeat goes out of the blue, blocks the instrumental, puts the sound of what could be a stuck pig at the end of a track. Himself in "Pablo Escobar" reveals his magic formula: "A tip to all to do it: exaggerated". And he exaggerates, for better or for worse. 21 songs are an overdose of words, not all missed. "How Vasco", for example, has a text really weak, but the songs are not lacking valid: for example "Rock that shit" that houses the French rapper Ypussoupha, "Dexter" and the title track "squalor". Many guests: Marra, Guè, Clementino, Nitro, Salmo just to name the most popular with the last two of the most incisive. Gaber in his famous monologue saying "For me to be good at certain sports is not just that you have to be stupid, but it helps." This disc of fiber is a trip not need to be crazy to enter fully into his world, though probably helps.


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Edge of the Sun review

Posted : 1 month ago on 20 April 2015 05:14 (A review of Edge of the Sun)

It 's true. At first listen, especially if you are lost in the street the extraordinary "Algiers" in 2012, the new Calexico may seem a disc of another band. Listening distractedly "Edge of the sun" and you think: "It is they, really?". The move, slow and insightful, discs more body and tex mex to sound more melodic and immediate, the Calexico they did it through " Algiers ", and with this new studio effort seems to have refined the technique of perfect record. No, I'm not exaggerating. The ingredients are pretty much the same as always, but the recipe is different, the elements mixed together with another spirit , and the result tastes so overwhelming as not doing without.

I had promised to write this review of the new band of Tucson without using certain words such as land, boundary, asphalt, dust, etc., but the disc title already says a lot, so here we are: in "Edge of the sun" and Burns Convertino succeed as always to compose songs each time more evocative and suggestive. A magical journey, which starts with the first track "Falling from the sky" made with Ben Bridwell (Band of Horses), and that is a great business card, as was the first single-patchanka mariachi entitled "Cumbia whence the "with good Amparo Sanchez, a member of the Spanish group Amparanoia, exactly.

The album continues with songs like "Bullets & rocks", where we find an old friend of the band, Sam Beam. The song made the leader of Iron & Wine is perfectly in keeping with the spirit of "Tapping on the line", one of the most exciting and immediate steps of the album, which sees the feminine presence of Neko Case, another old friend of the group. With these two songs Calexico show that he had lost none of their cultural and musical, churning out two songs so that fish with both hands in their artistic past (References are records like the EP "In the Reins", so to speak, Incidentally together just to Iron & Wine). Comes the time for the much loved and hated with Latin folk "Coyoacán" - inspired by traditional Mexican, typical of Calexico, certainly, but nice in the middle of the track listing - and the relentless, fast and quick "Beneath the city of dreams "home to the songwriter and guitarist Guatemalan Gaby Moreno. The final disc is not left to chance. There are still many collaborations to explore and there is still time for a relaxing time with the sweet "Woodshed waltz" and to be pampered dall'avvolgente melody of "Never Moon Rises" starring Carla Morrison, young promising pop singer of Mexican descent. Close two goodies worth noting: the hypnotic "World undone", a blues suffered registered with the magnificent Takim, band of traditional Greek music, and "Follow the river" that hosts Nick Urata of Devotchka (remember them yes, the columns Sheet of films like "Everything Is Illuminated" or "Little Miss Sunshine"?).



"Edge of the sun", in conclusion, yes wants to emphasize the artistic maturity of Calexico, but with an eye to those who always have their musical roots. And 'why the band embarked on a journey into the heart of Mexico (to record "Algiers" Instead, they moved to New Orleans), almost to breathe again those territories that have inspired more disks roots as "The Black Light" .

So, no matter if you are in a busy metropolis or in a village in the province, listening to these songs will seem to be catapulted into a world full of nuances, energetic, bubbly but reassuring at the same time. A disc perhaps reflective, in its own way, but always practical in musicality and melodies that carry the songs, some species such as the beautiful "When The Angels played" that sees the collaboration of Pieta Brown & Greg Leisz, flowing fast thanks to continuous change of the music calendar. It will be the natural elements that have always characterized their texts (the borderlands, the streets, the sun ... here we go again) but the Calexico have the ability to describe their surroundings in a manner so lively and easy to render (ce) one of the most amazing things in the world. So either the curve of aging has taken early and we are particularly sensitive, or they are really good. Obvious that this is the second.
TRACKLIST
Falling from the sky with Ben Bridwell (Band of Horses)
Bullets & rocks with Sam Beam (Iron & Wine)
When the angels played with Pieta Brown & Greg Leisz
Tapping on the line with Neko Case
Cumbia de Donde with Amparo Sanchez
Miles from the Sea with Gaby Moreno
Coyoacán
Beneath the city of dreams with Gaby Moreno
Woodshed Waltz with Greg Leisz
Moon never rises with Carla Morrison
World undone with Takim
Follow the river with Nick Urata (Devotchka)

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The Day Is My Enemy review

Posted : 1 month, 1 week ago on 13 April 2015 06:51 (A review of The Day Is My Enemy)

Ladies and gentlemen, welcome in July 1997. Get ready for a bizarre summer flood and temperature good, although not hot as feared: you hear a lot of El Niño, especially in news and weather reports. We remind you that, from this moment, the Internet will be a novelty and 56k uncommon, your phones will be able to handle only phone calls and text messages (even some of the most advanced photo grainy) and has just released the first chapter of the saga Harry Potter. We are pleased to inform you that smoking in public places is allowed.

Now we are ready to deal with this "The day is my enemy" - the latest effort Prodigy in order of time) with the mood right. The reason? Simple ... in front of a scene changed radically, with regard to electronic, dance, rave and big beat (and those who use the most recent two terms, however?), The Prodigy seem to have taken - and deliberately - the road back to (its) past. So no hints to the recent evolution of the EDM dance scene, but a willingness to comply with the spirit harder, dark, dangerous and a little 'dirty incubator from which the sound of the band was born in 1990.



The gps musical journey contained in "The day is my enemy" seems (and how could it be otherwise?) To point to the coordinates of the successful "The fat of the land" - for episodes more rock - and those of "Music for the jilted generation ". An album uncompromising, therefore, old school, with touches not too hidden by Nine Inch Nails, Rage Against The Machine and Sisters of Mercy; all in sauce Prodigy. The impact is good: violent, stun, no half measures. The only problem is that, objectively, a sound like now is stripped (for chronological reasons) of the devastating power that has had 25 years ago ... we metabolized and Prodigy are a well known music category. In short, do not hit like they used to.
The lack of the news does not make the album, however, negligible. If we want, however, is one of the most successful of the recent production of the band, a sort of recovery of the vein and uncompromising hardcore of their beginnings: set out with the intention of criticizing the commercialization of the rave scene / big beat, paradoxically got a great commercial success ... and now seem to want to repeat the concept: the dance music is not only the EDM coated and padded Pop.

Like all "return to the future", "The day is my enemy" is not flawless - at times sounds a bit 'too glossy and built on automatic pilot - but also gives great moments. It would not be fair to crucify Howlett and cronies for some self-quotation too.
All Quiet on the Western Front. But if you loved the Prodigy at their top, you will also like this their latest effort.

Special mention for featuring two nasty philosophers pub suburban Sleaford Mods, who in "Ibiza" hurl themselves - in their uncompromising style and violent - against the EDM scene mainstream clubs of Ibiza, made of superstar DJs and music plastic:

"Attack the cable, pre-mixed stuff, we have fallen all,
it all depends on the equipment,
Friends wankers with bleached hair standing either side of the stage, specially flown,
private jet, pilot staff ".

TRACKLIST:
The day is my enemy
Nasty
Rebel radio
Ibiza
Destroy
Wild Frontier
Rok-weiler
Beyond the deathray
Rhythm bomb
Roadblox
Get your fight on
Medicine
Invisible sun

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Chasing Yesterday review

Posted : 2 months, 3 weeks ago on 4 March 2015 05:43 (A review of Chasing Yesterday)

Recurrences. Quotes. At one point he went to fashion the term - that for about 25 minutes was also pretty cool - "postmodern." The gist of the matter, that Mr. Noel Gallagher has well understood and handles with skill, is that "creativity" is not necessarily synonymous with "originality" and that to write a good book or a good song - as in our case - you can also adopt a method that provides the citation, the recovery, the repetition, the restyling of themes, styles, patterns, riffs and melodies already heard and / or used. Warning: do not speak of plagiarism, though, but of metabolism and use to create a different job, which in any case - clear - bring evident and recognizable signs of "inspiration" to start.
"Chasing yesterday" is, in this sense, a new, unequivocal manifesto of the modus operandi of Noel, who has never made scruple or worry in the face of raised shields of the critics who accuse him of being repetitive, to write - sometimes - riffs and melodies reminiscent of the great successes of the past (or other Oasis). So, let us rise the tooth immediately: the opening words of "Riverman" remembers "Wonderwall"? To "The girl with X-ray eyes" powerfully evokes the beginning of "Stairway to Heaven" Zep? There are riffs / melodies very same things Bowie? And that aroma strong Bolan and T-Rex?
It's all true. But Noel clearly tells us, with a shrug: "So what?". His poetry, (re) explained in a recent interview promotion is: "It is up to others to decide what it looks like my music. I refuse to puzzling ... play what I play. My influences are those that know and end of the speech. I accepted my limitations and work within those stakes. "



Found the access key to which you alluded, enjoy "Chasing yesterday" is a walk. Why is it, in fact, a collection of songs pleasant, with beautiful melodies of which Noel Gallagher has always championed, and taste very seventies rock to act as fil-rouge. There are very good pieces and other more generic, but never ugly. "In the heat of the moment", for example, with a mood vaguely blues, but also the brilliant "The Ballad of the mighty" (song unusual - a bit 'darker, a little' danceable, a little 'Seventies disco-rock , with the master Johnny Marr as a guest); and then "Lock all the doors" (a nice repechage an almost unprecedented punkeggiante, dating back to 1992), the dall'incedere bull stomp of "The Mexican" ...

Once abandoned the hope of living experiences similar to those that may have given the best Oasis, therefore, it becomes easy to enter the world of Noel and surrender to its sounds reassuring, the result of an undeniable talent, but also a taste for the already known and the reassuring feeling to know where it will end. The genres "classic" rock are all there (from classic to punk, passing through psychedelia and powerpop), the choruses are always by the book and you hang out with solutions that go beyond Oasis-centric universe where Liam is often self-seclusion and / or has been relegated.

To paraphrase Liam, no sense puzzling over such a disc. It's a good album and everyone we find good and bad depending on your feelings; but certainly can not deny that it works.

TRACKLIST:
Riverman
In the heat of the moment
The girl with X-ray eyes
Lock all the doors
The dying of the light
The right stuff
While The Song Remains the Same
The Mexican
You know we can not go back
The Ballad of the mighty

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Il Bello D'Esser Brutti review

Posted : 3 months, 3 weeks ago on 3 February 2015 07:50 (A review of Il Bello D'Esser Brutti)

I grew up with J-Ax. I was 20 when I started to go on the radio the first 45 laps of Article 31. Perhaps I preferred the B-side "what 6 6" but, loving rap Italian in a period where the genre hardly existed, I spent side, side b if I could, I would play even the big cardboard cover. It was the period of Onda Rossa Posse, Dj Gruff, the first single from Frankie Hi-Nrg, Only Zippo Otierre him and a few others. There was content also hybrids like Aeroplanitaliani Alessio Bertallot. It was enough to hear words in metric.
"Streets of cities" was the first rap album of Italian commercial success followed shortly after by "Verba Manent" Frankie Hi-Nrg. Franco Godi, the producer of all disks of J-Ax to the previous "Better than before (?)" Of 2012, promised the two boys of the province of Milan a trip to New York if the disc had sold 50,000 copies, made it almost twice.
Thus began the journey in the discography of Alexander Aleotti. Almost 25 years in music, with various changes from the separation with Dj Jad and the dissolution of the Article 31, the transmission of sound, the introduction of the singing, the disk with the former enemy Neffa, now one of his most trusted collaborators (co-signed with 5 songs, here). Were years in which Ax has changed ideas about things and people ("I do not smoke the most with outside the box") has seen its popularity get on and off, won a reality TV as a judge doing that piss off the haters blame a nonexistent inconsistency with the effective closure of the wonderful "SNOB" ("If I fail I bricklayer mica Music Farm"). The main talent of J-Ax has been, in my opinion, to have always had something intelligent to say and to be able to knock it down in bloody metric. A similar longevity in rap is not fresh water, especially if you're not finished singing for 20 years, "Tranqi Funky" the festival of fried dumplings.
"Copy free yourself less pain than be cuts in the heart and blood look for the words" reads a passage from the new album. Ax has put into play several times, you have not followed the hit at all cost or Lenton Paraculo heart / love in salsa street life. Its average quality of writing is such that among my favorite pieces I could mention several songs that have not even seen the light on his album: "People like me", "So hold me", "Knight without a king", "Snob reloaded" .

"The beauty of being ugly" is undoubtedly a much important for the career of J-Ax, the first without the Best Sound and without Franco Godi, the first from his own producer in that Newtopia which started on the right foot seen the success of the disc Fedez, his companion for adventure and co-funder of this label. Important work in the number of tracks, as many as 20, all with them because, with a story to tell, nothing stuff thrown in just to give playing time. Then, of course, tastes are tastes, and not everything can and should enjoy. For example, the chorus of "Bimbiminkia4life", a duet with Fedez, reminds me too much a piece of "Sleeping Beauty in the Bronx" Partner label as "Candy" with Neffa seems the tenth track of "The Ref". Personally I prefer the rapper J-Ax to the rocker and singing that put even the beeps of the censorship of certain words.
The most interesting chapters? I personally enjoyed the imaginary dialogue of "All or Nothing", the autobiographical reflections of '"Intro" that, in spite of the fact that it is bereft of a title, in my opinion is one of the finest pieces of the disc, or a tribute Freak Antoni in "Rebel and just." Find a place back at the crime scene: a new piece to honor the green leaf from drug effects: "Maria Salvador". In "You broke the catso" who has a good memory he found the angry cry of "Molly" while "The pub song" has an attack that would have liked to Jannacci or cockpit inspired the years.
Welcome back Mr. Aleotti, are the history of Italian Rap but you fell asleep on the pedestal, remaining at the level of the best of at least three different generations of rappers. Do not stop to tell us about your world, do not turn your anger: you were and remain credible. It is no small thing.

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Black Messiah review

Posted : 5 months ago on 27 December 2014 05:30 (A review of Black Messiah)

The first question to ask is: how it confronts the new album of D'Angelo?
Quick and proper to rewind. Michael Eugene Archer, aka D'Angelo is a singer, musician and composer of black music that has made two albums in two decades, two milestones in the field of new soul and R & B. The last - "VooDoo", tagged in 2000 - was a masterpiece in which D'Angelo emerged as a new Marvin Gaye. Since then, the singer's life was a succession of long silences, detoxification, prison, mystical crisis, short tour abruptly interrupted and long studio session in an attempt to follow the record that at the beginning of the new millennium began agree audience and criticism.
The result, postponed several times, has finally come through the strategy of the hard to surprise year-end that is so fashionable today.
But be careful, "Black Messiah" is a thousand miles away from the operation of marketing of Beyonce. No exclusive contract, no sophisticated viral strategy, just a simple party listening in Manhattan organized by Questlove of the Roots which for some years has become a sort of spokesperson-friend-mentor of D'Angelo.
How then ask yourself in front of this record result of ten years of work, a decade in which black music is much changed, is now married to the hip-hop culture and the EDM, partly volgarizzandosi and partly increasingly sophisticated , becoming the true global mainstream?
Forgetting the first format crafty Pharrell, Timbaland's contemporary or ego overflowing of various Kanye West or Jay Z. Here we are faced with a record that speaks the language soul of Marvin Gaye, who has the urgency of Sly Stone of "That's a riot goin 'on", the psychedelic black Funkadelic and the unbridled sensual charge of the first Prince.
"Black Messiah" is a funk tells of torrid, stratified, not always easy listening (but also with a couple of singoloni as "Really Love" and "Sugah Daddy"). The only signs of modernity are data from the lessons imparted by J Dilla ("1000 deaths" that shows the recent cases of Ferguson and "Till it's done"), with those crooked beat drumming and dissonant and always on top of Questlove. No featuring high-flying (only Q-tip and Kendra Foster as contributors to the texts), only great musicians (bass fretless Pino Palladino is always most present and a lot of guitarists including Jesse Johnson of Time and the same D'Angelo, already excellent keyboard player) and a clear message ("We Should all aspire to be a Black Messiah")
Here and there the influence of Prince is more than obvious - D'Angelo has repeatedly declared his great esteem for the musician in Minneapolis: "Sugah Daddy" has the same gait of "Sexy MF", "The Charade" plays on territory of "Diamonds and Pearls", a funk rock drunk "Prayer" is the son of "Anne Christian", not to mention the end of the sitar "Another Love".
And then inside there is so much swing, jazz and writing a thousand layers of falsetto, strings, harmonies that sometimes seem to be faced with a Brian Wilson of funk, with the same wonderful sound confusion in the head. Finally, the texts alternate reflections on itself (Back To The Future) and his past, and civil and social issues of our time.
A disc is not perfect but sweaty and well played (in the notes refers to the use of analog instruments and vintage) that with each listen reveals a new nuance and a new light. Living material and button that in these times a little 'synthetic and easy impact is musical epiphany.




TRACKLIST:
"Is not That Easy"
"1000 Deaths"
"The Charade"
"Sugah Daddy"
"Really Love"
"Back To The Future (Part I)"
"Till It's Done (Tutu)"
"Prayer"
"Betray My Heart"
"The Door"
"Back To The Future (Part II)"
"Another Life"

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