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Recent reviews

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Sonic Highways review

Posted : 1 day, 12 hours ago on 22 November 2014 12:34 (A review of Sonic Highways)

How to move higher up the bar, after you've done the most important rock bands of the last 25 years and then you have put up another that fills stadiums, has credibility to spare and never misses a move? Make a record like "Sonic highways".
Nearly you imagine, the band meeting in which the Foo Fighterssi are sitting at a table to decide what to do for their 20-year career and for their eighth album. Grohl says that "we do a hard experimental? So no one can say anything "(blank faces of the other members). "Reincidiamo our first album?". "Dave, but you're stupid?" (This really happened). "There are: the thing I enjoyed the most in recent years is" Sound City ". Why do not we turn this disc in a documentary? But not on a recording studio, all about America. "
And so it went eight songs, each recorded in a different city, each influenced by the musical history of the city, each with a musical guest of the cities, each the subject of an episode of a documentary directed by Dave Grohl, aired in america on HBO (in Italy will go on Sky Arts as of 12 November).
Once, when it was fashionable "post-modern", it said it was the era in which there were not the great stories, great stories that can explain the world. The post-modern is out of fashion and is back to tell in great. With "Sonic highways" the Foo Fighters have set up a huge story, he wants ripercorrrere the history of American music, in one place, a "Sound City" which includes all cities sound like on the cover of the disc, which brings together all symbols metropolitan in a collage in which the center stands the 8 / symbol of infinity. Ambitious, yes. The bar is there, higher. But the Foo Fighters the jump nimbly, and with style.
Because the base of all there are the songs. It is not a soundtrack, maybe not even a concept album. It 'a collection of good songs, paying homage to the roots of the music, however, in a not too obvious: the links between places and songs are certainly not didactic.
The Foo Fighters are able to be both ambitious and humble, without being presumptuous putting himself to the level of their heroes - which could easily do, because many of the groups mentioned in the documentary and it involved the project are seemingly "minor".
Eventually, in these eight songs, the Foo Fighters sound like themselves and just: "Congregation" is power pop of the best kind, "The feast and the famine" is perfect for the granitic rock to jam an arena or a stadium . Then, of course, playing with sound references (the jam Californian "Outside", the horns of "In the clear", they do play the FF as the last E Street Band). And they play well with the song form, affording deviations from classical structure (the ride "Something from nothing", the final suite of "Subterranean" and "I am a river"). But the general feeling is that always have fun, not intellettualizzino ever, and always have in mind the goal: to entertain themselves, ok, but above the listener.
"Sonic highways" is a big, ambitious story, we said. But also the musical tale largest deflates, if there are no songs.

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The Endless River review

Posted : 1 day, 12 hours ago on 22 November 2014 12:31 (A review of The Endless River)

A musical dialogue with the hereafter. A tribute to Rick Wright. A collage frayed. Fifty minutes of immersion in a timeless sound. A long introduction to the song that closes the adventure of Pink Floyd. A tombstone light. "The endless river" is the album that no one had expected, not to the tweet of Polly Samson last July. Instead of leaving with a final statement bombastic, with a disc full of meaning and a colossal tour, Pink Floyd take their leave with a tribute to the art of the keyboard player who died in 2008, but also to its talented architects sound. Substantially instrumental album, "The endless river" refers to the freedom that the band had in previous years "The dark side of the moon." The freedom to get away from the song form, the freedom to make mistakes. With one key difference: those were Pink Floyd bold and progressive, these are satisfied and conservatives.

"The endless river" is first and foremost an appendix to "The division bell". For the few who do not know the story, during the sessions of the album of 1994, the group then composed of David Gilmour, Richard Wright and Nick Masoncarezzò the idea of publishing a double: on one hand the songs, the other instrumentals , a kind of "Ummagumma". The project was abandoned and for almost twenty years and jam music sketched remained in the archives of Gilmour. There is also finished "The big spliff", collage assembled by Andy Jackson from those fragments to demonstrate its potential. But "The endless river" is not "The big spliff". The twenty hours of archival recordings were entrusted to the co-producer Phil Manzanera, youthe same Jackson in order to obtain and install the best moments. Devoid of design talent of a Roger Waterse perhaps distracted by the recording of his solo album, Gilmour has entrusted to them the task of laying the foundations of the album. When she regained possession of the project tracks assembled by the producers were partly echoed and reworked, supplemented by new performance, shuffled and rearranged to compose the four sections of the album. The session was attended by Jon Carin and Damon Iddins on keyboards, Guy Pratt on bass and Bob Ezrin, saxophonist Gilad Atzmon, three singers and the female quartet of electric arcs Escala, launched at home from participation in "Britain's got talent".

It's hard ambient Pink Floyd, has been said. But "The endless river" denies one of the principles of ambient music that is designed to serve as a background to daily activities. Music as a piece of furniture, a painting, upholstery. "The endless river" does not work that way. Demands your attention to be appreciated because it communicates through small changes, the alternation of tone colors, the idea of instrumental music as abstract narration. To understand this you have to immerse us. Frustrates the listener from YouTube, he wants a refrain within thirty seconds and it's sensational. The album offers a partial view of Pink Floyd, showing mostly their talent in launching into digressions instrumental mood. It provides good evidence of Gilmour, his tone, his touch. In this sense, the disc is perfectly within the tradition of the band. Too, and this is its main limitation. References to works ranging from "The Dark Side of the Moon" and "The Wall", and of course "The division bell", make it seem the album echoes of the past. It is absent any recklessness. Fortunately, even the sounds are absent dating dating back to the 1993 session and traceable in "The division bell". Curiously, it appears a fragment from Wright played the organ of the Royal Albert Hall in 1969: not clash at all.

What we hear is not the creative dialogue between the musicians of the group. Resembles rather the collective vision - Gilmour, Mason, Manzanera, Youth and Jackson - the essence of Pink Floyd. It is a collage of many hands constructed from existing material and following an idea of what Pink Floyd are or should be. Gilmour and Mason did not alter the character of impromptu recordings, have safeguarded their precarious denying opportunity. They could transform some instrumental songs and meet an even wider audience. They preferred to remain faithful to the original idea by producing one of those albums "minor" that appear in the discography of Pink Floyd pre "Dark side". The problem is that being tied to a "script" - the assembly of old engravings - Gilmour and Mason have not fully solved the problem of the fragmentary nature of the material. If "It's what we do", "anisina" and "Allons-y" offer a musical narrative accomplished, many more songs than a few minutes in duration seem queues or preludes of songs that never arrive, and especially at the beginning of the third section group seed remnants music easily amendable. Once every note of Pink Floyd seemed sculpted, designed, required. S'ascoltavano their instrumental in suspense, to see where they were going to end up. Today their music is beautifully predictable.
The album may sound to the ears of the most impatient as a long introduction - somewhere between trance, dream and nightmare - the piece that closes sang, "Louder than words" (the deluxe version includes three other instrumental and six video tracks). Twenty years ago, "The division bell" would close with the intense bittersweet nostalgia for "High hopes" for an era in which "the grass was greener and more turned on the light." Today "The endless river", which takes its title from a line in the same song, closes the story of Pink Floyd with a feeling of peace and a look that embraces seemingly the entire history of the group. When David Gilmour sings "What we do is louder than words" - him in low tones and singers octave above, on the model of Leonard Cohen - the memory goes to the parable of Syd Barrett, the merciless battle with Roger Waters, exclusion of Richard Wright. To borrow the words of Polly Samson, the group launches with "Louder than words" the first compassionate gaze on himself, on his miseries, on their talents. Pink Floyd have no more to say. Now they can dissolve in history.

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Forever review

Posted : 1 day, 12 hours ago on 22 November 2014 12:28 (A review of Forever)

The literature / horror filmography teaches that the undead must be treated rather rudely: usually necessary to chop their skulls to neutralize them. Without thoughts and second thoughts, however - worth the not too welcome opportunity to join their army of zombies.
Well, listen to this "Queen forever" - designer Queen, of course - the first instinct is to run for the pick or bat 10 pounds to crush the skull of "returnees". And the reason is obvious: in this album, the lead singer is a dead man for 23 years - the legendary long as you want, but irrevocably passed away. Freddie Mercury, in fact. He adds, putting the proverbial load to be ninety, another performer in duet, for a song announced with great fanfare: Michael Jackson, who died in June 2009.
What the hell? We are in a film by Romero?

Not really. We are only in the presence of one of the many operations of squeezing the legend for the benefit of the record industry perpetually in trouble. So here is that, just a month and a half before the fatal and fateful Christmas period, comes out this compilation of the Queen that - in addition to the usual parade of classic versions more or less known - reveals three pieces more or less unknown.

The main selling point of "Queen forever" is "There must be more to life than this", duet that sees Mercury alongside Jackson, as mentioned just above (note: the song is not unprecedented 100%, as it appeared in the solo album of Freddie in 1985, but without the vocal track of Michael).
We are very close to the apotheosis of necrophilia pop, which is not even a bad thing in itself (rock and pop have always been a fascination for this dark side). Too bad the piece, despite stellar credentials, let cool and rather disappointed ... after all if it has never been published before in this capacity, as popular wisdom teaches, there is a good reason. And it is, simply, that it is not a great song: apart from the historical value and evocative, there is almost nothing.
The problem is to be found in the fact that two cocks in the same poultry house rarely lead to good results - because the sum of two artists of great value is often lower than that individually are able to do. And then the addition Mercury more Jackson does not automatically create a masterpiece, but rather an outtake minor, with the value of a notation in the margin in the history of pop.
Fortunately the other two pseudo-unreleased songs are, however, the most interesting: the power ballad in pure baroque-rock "Let me in your heart again" (already engraved and published by the wife of May - Anita Dobson - in his album "Talking of love "of 1988) holds up the great confrontation with the repertoire more consolidated; while the hard rock version of "Love Kills" (Mercury solo, in collaboration with Giorgio Moroder) lifts the fortunes of a piece in the eighties was not well received.

What, then ... if even before were part of the people of worshipers of Mercury and Queen, you will find yourself in the hands of yet another greatest hits with three curiosity (even if it is not discovered scratch) to act as icing on the cake. If you have never had particular transport or interest in the band, it is certainly not with this CD of remastered versions more or less that will change your mind ... in fact, you probably have several more reasons to avoid even the music of Queen. And maybe that's the problem: pray to the converted is easy, but if it becomes a practice landlocked different, it becomes a vicious circle. You know the cd anthology on offer that you see in the baskets of roadside restaurants or supermarkets in the province? Here ...

Let me in your heart again
love kills
There must be more to life than this
It's a hard life
You're my best friend
Love of my life
Long away
Lily of the valley
Do not try so hard
These Are the Days of Our Lives
Las palabras de amor (the words of love)
Who wants to live forever
A winter's tale
Play the game
Save me
Somebody to Love
Too much love will kill you
Crazy little thing called love

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The Art of McCartney (Amazon Exclusive) (2 CD) review

Posted : 1 day, 12 hours ago on 22 November 2014 12:11 (A review of The Art of McCartney (Amazon Exclusive) (2 CD))

The project was signed by Ralph Sall, author and producer who began to fix it as far back as 2003. Sall has to his credit other tribute albums, such as those dedicated to the Eagles ("Common Threads", the Doors ("Stoned immaculate ") and the Grateful Dead (" Deadicated "). he proposed his project with Paul McCartney, obtaining the consent, and began working with the band that accompanies the former Beatles in his concerts (guitarists Rusty Anderson and Brian Ray, keyboardist Paul "Wix" Wickens and drummer Abe Laboriel, Jr.). Then he began to search for artists willing to contribute: the first to accept was Brian Wilson of the Beach Boys, that McCartney is linked by a high esteem each other. from then on, Sall has put together a pretty impressive list of names, among which stands out above all that of Bob Dylan.

There is no need to reflect on one point: Paul McCartney, with all its limitations - that make it little sympathetic to the critics, and often with good reason - it is, however, highly regarded by fellow musicians, who recognize an amazing and prolific compositional a high profile as a bass player. Not have been so difficult to obtain the consents Sall; if anything, it has been more difficult to arrive at a final tracklist, so much so that the standard version of the double CD counts 34 pieces, while the deluxe version contains eight more (there is also a special edition boxed limited edition of one thousand copies with a number of bonus content and gadgets).

The specific methods used - the artists have sung on a basis prepared by McCartney's band, so faithful to the live performances of the songs in concert - means that there are no disruptions, refurbishment or radical interpretations particularly daring: in essence, we have for hands a great karaoke in which the voices that replace that of Paul are known or well-known people. It would be interesting to know exactly how you have made your choices, or combinations (in the deluxe version includes a documentary that will perhaps shed some light on this aspect). Of course some are coupled to the limit of the obvious (Harry Connick Jr for "My Love"), others are very happy ("Wanderlust", the richly orchestral track of "Tug of War", Brian Wilson is in the ideal interpreter) others reveal the deep knowledge of the repertoire of the artist honored (Jeff Lynne sings the jewel of the "Junk", a song written by the Beatles and active published after the dissolution of the first solo album by Paul, Toots Hibbert, Sly and Robbie fished "How and get it, "written by McCartney for Badfinger). If you want to know Dylan, does a nice job with "Things We Said Today" excursion into the country & western Beatles' "A Hard Day's Night" (perhaps he would have chosen "Norwegian Wood", but that's John Lennon ...) .

Attendance must be reported less striking (Owl City / Adam Young, The Airborne Toxic Event), combined curious (BB King addresses "On the Way", one of the smaller pieces of "McCartney II"), unlikely collaborations (the Cure with her son Paul, James McCartney, for "Hello goodbye"), surprising absence of interpreters (Ringo Starr?) and one of the songs (there's "Another Day", the first single from the solo career of Paul, and there 'is "Goodnight tonight").
It remains to point out the double presence of Billy Joel (which with McCartney has long been a beautiful relationship and has the honor of opening both Cd), of the Heart, Steve Miller, before concluding that probably if you were prevented from spreading to a double album and we were limited to one called the final result would have been better (and it would be more correct to focus on the songs of McCartney's solo, post-Beatles). A pleasant work, then, but far from the inventiveness and originality of similar ones by Hal Willner.

"Maybe I'm Amazed" Billy Joel
"Things We Said Today" Bob Dylan
"Band on the Run" Heart
"Junior's Farm" Steve Miller's "The Long and Winding Road" Yusuf Islam (Cat Stevens)
"My Love" Harry Connick, Jr.
"Wanderlust" Brian Wilson
"Bluebird" Corinne Bailey Rae
"Yesterday" Willie Nelson
"Junk" Jeff Lynne
"When I'm Sixty-Four" Barry Gibb
"Every Night" Jamie Cullum
"Venus and Mars / Rock Show" Kiss
"Let Me Roll It" Paul Rodgers
"Helter Skelter" Roger Daltrey
"Helen Wheels" Def Leppard
"Hello, Goodbye" The Cure featuring James McCartney

"Live and Let Die" Billy Joel
"Let It Be" Chrissie Hynde
"Jet" Robin Zander and Rick Nielsen
"Hi Hi Hi" Joe Elliot
"Letting Go" Heart
"Hey Jude" Steve Miller
"Listen to What the Man Said" Owl City
"Got to Get You Into My Life" Perry Farrell
"Drive My Car" Dion
"Lady Madonna" Allen Toussaint
"Let 'Em In" Dr. John
"So Bad" Smokey Robinson
"No More Lonely Nights" The Airborne Toxic Event
"Eleanor Rigby" Alice Cooper
"Come and Get It" with Toots Hibbert, Sly & Robbie
"On the Way" B.B. King
"Birthday" Sammy Hagar

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Il Padrone Della Festa review

Posted : 2 months ago on 24 September 2014 07:05 (A review of Il Padrone Della Festa)

Scordatevi Life Is Sweet, che è un gran bel pezzo, ma allo stesso tempo è quello che più ci si poteva aspettare dal trio composto da Niccolò Fabi, Daniele Silvestri e Max Gazzè. Il primo singolo è un mix perfetto degli autori che già conosciamo. Ma il meglio viene dopo. Bisogna immergersi nell’ascolto de Il padrone della festa per scoprire un album immaginifico e immaginato, sognante e sognato, ma profondamente vero e concreto nel mettere in luce l’anima di tre cantautori amici che hanno fatto quello che (quasi) nessuno finora aveva fatto in Italia. Forse solo Volume 8 di Fabrizio De Andrè (con Francesco De Gregori) era riuscito nello stesso risultato di essere un lavoro di tanto sincera collaborazione tra due artisti.

Il padrone della festa è un album da ascoltare e riascoltare per coglierne a fondo l’intensità e l’intimità. Il primo ascolto incuriosisce quanto serve per farlo ripartire dall’inizio con la voglia di ripercorrerlo dalla prima all’ultima nota: non c’è una canzone che svetti sulle altre rubando tutta l’attenzione. Non ci sono tormentoni come Capelli, Salirò o Una musica può fare. Ma tante Ecco, tante Mi persi, tante Mentre dormi. Tutte gemme che brillano e continueranno a brillare. Forse nessuna rimane in testa dal primo ascolto, ma ognuna resta nel cuore perché il livello è davvero molto alto. Si tratta di un disco che racchiude molti generi, ma riesce a essere molto uniforme e ben amalgamato.

E in realtà il vero, grande merito de Il padrone della festa è proprio questo: regalarci non il meglio di tre grandi cantautori, ma un artista altro, differente. Non dunque la somma delle parti (e già sarebbe stata gran cosa), ma qualcosa di nuovo e diverso: ogni volta che sembra di intuire il contributo di ciascuno al brano in una nota o in un arrangiamento, subito il pezzo cambia e non si capisce da chi e come sia stato rielaborato. Perché dentro si sono uniti tutti i pregi di ciascuno, dall’inizio onirico di Alzo le mani, splendido brano che ci porta a svegliarci in un sogno quantomai reale, fino alla chiusura della bella title track che sembra quasi non voler finire, come se non volesse concludersi la collaborazione di questi tre amici.

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Ghost Stories review

Posted : 6 months, 1 week ago on 14 May 2014 06:31 (A review of Ghost Stories)

It has a certain effect only to say, but "Ghost Stories " is only the sixth album by Coldplay. Seems to have been around forever , not only from year zero . An effect derived from the density of their history : full of great records, questionable music choices , great songs and mega-hit (which often do not coincide ) and extra-musical factors . They filled a void - that of the epic group - U2 , lost in their grandeur , no longer seemed able to fill . I've always been a bit ' old youth , Coldplay , they were already "classics" from the beginning.

"Ghost Stories " comes in the aftermath of an extra-musical factors : the separation between Chris Martin and Gwyneth Paltrow, communicated well in advance so as not to make too much shade to the album but still recent enough to trigger a hunt for references the disc - and those who want it will find plenty of them, as many are in inverted commas Martin playing on " say - do not say " nay " i talk about it but do not speak ." From the title , which refers to the ghosts of the past. Willy-nilly , the private life of Martin is one of the factors that have made Coldplay stars.

But this is not all , and this is not what makes it interesting "Ghost Stories ." The album comes two and a half years from " Mylo Xyloto " - the most pop album of the band, many (too many ? ) Colors put together, as in the cover . "Ghost stories" moves away from the right by its cover, soft colors, night (Opera Mila Fürstová ' : streaming on iTunes has turned into a beautiful animated video directed by Alasdair + Jock of the Trunk Animation) .
"Ghost Stories " , in essence, is an album minimalist , minimalist as can be Coldplay. Has a much more homogeneous production of " Mylo Xyloto " - largely operates Paul Epworth . Indeed, it is probably the most homogeneous disk of the recent production of the band, perhaps the purest of " Viva la vida" . You can tell from the first notes of "Always in my head ," angelic choirs on which part of a beat and a guitar just mentioned - and so on until the closing piano , voice ( and effects "ambient" ) to "O". To say , in "True love" is also Timbaland, a manufacturer that is not usually noted for minimalism or understatement and fortunately it does not feel nearly , if not for a beat that colors the song .

One of the keys to understanding the music of this period is the transformation of the hot in the new mainstream and pop in the new indie, with a reversal of roles between what is niche / cool and what's popular ( and inevitably some ' less cool) : adored pop singers and pumped a few "chosen ones " and indie bands that are mass phenomena - with inevitable distortion of the original labels .
Coldplay are good at playing on this border , fishing from both sides , running on the edge of pop and indie . Looting the now -mainstream indie ( the vocoder of " Midnight" that calls openly Bon Iver ) , now giving a dimension to pop indie pop that is - the tastieroni EDM Avicii in "A sky full of stars " , minimized with little guitars , piano , solids and voids that are filled and emptied . "A sky full of stars " is the missing piece chain to " Milo Xyloto ."
To want to see well , Coldplay arriving late on all these sounds, it's true: Bon Iver is that the EDM are certainly not the most avant-garde. But Coldplay have never been great innovators. If anything, the excellent craftsmen of song and sounds, with sound strong and recognizable identity . All confirmed in "Ghost Stories " at the end , it's a great disc . Typically Coldplay but also a bit ' different from the recent past.


Always in my head
true love
Another 's arms
A sky full of stars

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XSCAPE review

Posted : 6 months, 1 week ago on 14 May 2014 06:26 (A review of XSCAPE)

They have agreed a day at lunch in a restaurant in West Hollywood, Epic boss Antonio "LA" Reid and the administrator of the immense heritage of Michael Jackson John Branca. By real businessmen have done things seriously and wasted no time : 's been a little less than a year , here comes now the second posthumous album in stores and " new" King of Pop , needy - Billboard with pragmatism also emphasizes all-American - a revival of trade after last year its back catalog, 584 000 copies sold, turnover has considerably less than that of Elvis Presley (1.1 million copies) and that of Johnny Cash ( 969 000 copies ) while maintaining a distance other legendary dear departed as Whitney Houston and Jimi Hendrix.

To transform a collection of outtakes and " waste" caught between 1983 (just after "Thriller" ) and 1999 (just before "Invincible " ) on a hard solid , convincing, and dignified as possible homogeneous moved the bigwig of black music and the mixer , led by Reid ( who also signed a piece along with Babyface , " Slave to the rhythm , a techno funk worked in the days of " Bad " and then again during the sessions of " Dangerous " ) and led on the field by Timbaland, eager to prove himself in a challenge mica laugh . disc of the deluxe edition also features the original versions retrieved from the immense archives Jacksonian and realizes the work: the super team has nearly erased the old bases , however, often enough already finished and processed to build around Jackson's voice - loud, shrill , always in the front and central - gleaming , chrome and modern arrangements that ( stated intention ) would like to pay tribute to his restless spirit and pioneering , to his perfectionism and his willingness to always look ahead . Missing rebuttal (from " control freak " that he was, would never have published these pieces ? ) And you have to settle .

The already-known single "Love never felt so good ," written by Jackson along with the evergreen Paul Anka , published in 1984 by Johnny Mathis and reinforced , in one of two new versions , from a small cameo by Justin Timberlake, is the perfect paradigm of ' operation (because of this , after all, that is) : a soul dance pop with strong echoes of the '80s, with strings and melodic , bubbling and summer : just what it takes , how he wanted Reid to compete in radio equals with the latest single from Katy Perry. Proceeding by subtraction by addition and then , Timbaland ( assisted by his faithful Jerome Harmon aka J -Roc ) and the other decided continue in that direction in the rest of the repertoire, virtually all known - because surfaced in various forms in the network - the most enterprising fan : their "Chicago" , very electronic and driven by a synth bass riff , it is less dark original, "Blue gangsta " , developed on a breakbeat rhythm and a symphony of voices from the Gothic cathedral, renunciation of touch "roots " accordion , while in "A place with no name" reworked by the Norwegian Stargaze , much admired by Jackson, the explicit references to the " A horse with no name" of America survive especially in the final chorus . The rhythms , scans , and the melodies are unmistakable sobs and Jacko , it must be said , does not come out distorted and indeed the protagonist because Reid has used the few clues available to build the project in accordance with its virtual liturgy : choosing only tracks "important" and presumably beloved by the artist who had returned several times by cutting multiple tracks and naming the artwork to a song " Xscape " , in homage to another tradition held ( in this case on the repainting of the hypnotic funk soul is also spoke at the original co-author , Rodney Jerkins ) .

It remains to be said of the two titles , perhaps better, a soft and dreamy soulful piano ballad entitled " Loving You" ( " The Boyz II Men that meet today ", said Timbaland) and a relentless , almost angrily , " Do you know where your children are ", where in a sea of ​​echoes and synthetic riffs closed by a distorted electric guitar solo a Jackson not yet overwhelmed by the infamous scandals of Neverland addresses the issue , even then topical , sexual abuse on adolescents with crude language and compassionate. The only real emotional shock that gives a thrill even mocking a hard iperprofessionale that works if it is understood as a "reinvention " (declared , however) of Jackson's music to the ears , palate , and the market in 2014.


Love never felt so good
Loving you
A place with no name
Slave to the rhythm
Do you know where your children are
Blue gangsta

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Indagine Su Un Sentimento review

Posted : 7 months, 3 weeks ago on 2 April 2014 06:00 (A review of Indagine Su Un Sentimento)

Indagine su un sentimento marks the return to the origins of the brothers Zampaglione . A " come back" to form , saw the return of the perfect pair Frederick Francis to the texts and sounds. A "come back " even sound , with echoes of classical instrumentation mixed with samplers , synthesizers and drum machines of its first production of Tiromancino . Investigation of a feeling is a concept album that sees behind the triptych freedom , loneliness, love. Topics within which bind the words engraved by Frederick Zampaglione . Pen careful to affect, through vivid images , the ethereal essence of emotions and feelings.

Forty minutes during which the fan musical opens on the Italian tradition of songwriting for Free and funk combined with synth fleeting presences . Notes and syllables in constant balance , a combination also found in the artistic life , one would think . Ten albums , and so this celebration could not use friends as Pierpaolo Capovilla and his unmistakable voice that goes to embed itself in a March night , keyboardist Mike Barson of Madness signing text and music Never knew your name - rehabilitation Never Knew Your Name - Joy Ragozzino and Gnu Quartet.

Investigation of a feeling is a visual disk where polaroid of life are projected on ten tracks from the solitude of Shakespeare's King Lear Never knew your name , on which Zampaglione sews a filmic text . An album that hits like a hook to the stomach for emotional empathy . Lived and images may be compared to those photographs within the family album , which I browse alone and free in a room with the door open ready to run to new destinations . The Tiromancino are back and have exceeded all expectations.

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Old Boy review

Posted : 8 months, 3 weeks ago on 5 March 2014 07:28 (A review of Old Boy)

Sanremo, Wednesday 19 , at nine thirty-five. Giuliano Palma has just finished singing " So far away " and " A kiss cruel." Armin Zöggeler bronze medal in Sochi in luge, appears on the stage of the Ariston to proclaim the song that goes to the next step . While Fabio Fazio and Luciana Littizzetto interviewing the luger , Palma is on the sidelines with his legs crossed , his right shoe pointed to the ground, the boom contested at ninety degrees , his head slightly bowed , his eyes hidden by sunglasses. If it is so , still : the promotional photo of himself. " Old boy" has the same effect : it is the record of a dandy who performs his best poses . Seduce with ease, but struggled to leave a lasting impression and deep.
The story is this . After twenty years of concerts and fifteen discs with Bluebeaters , Giuliano Palma gave us a cut : the end of the collaboration with the group , just ska , stop the formula now worn covers. To start focusing on himself. As a follow up to the 2002 solo album " Grand Prix " . To break free from the past, a bit ' as the protagonist of the film by Park Chan -Wook , " Old Boy ", which was held in captivity for twenty years without knowing why . In spite of the premises , the album does not change the musical philosophy of Palma. There are no bumps or turning points . The production curated by singer Fabio Merigo is unashamedly retro . Puts aside ska to embrace a form of R & B melodious coded so well with Mark Ronson and Amy Winehouse here filtered through the sensibility of an esthete mod Palma. And so the introduction of " A fault" gives a nod to Curtis Mayfield and " A kiss cruel " mimics some lovely songs of The Supremes . This also applies to " So far ," with text by Nina Zilli , eleventh in the final standings of the festival. " Now you know " is instead written by Samuel Subsonica : it was upbeat , Palm has changed into a rock -soul because "enough with this upbeat, now we want to beat."

The plant soul and rhythm & blues based horn stabs and supported by tasty keyboard parts leaves no room for changes in the script , right in strokes of color as the flavors westerns " 10 Steps " , the panache exoticizing of 'L ' summer will come , "the indolence of jazz " Perfect wrong . " The latter would not tune in Sanremo with its romantic air , and those " endless walls " winking at "Heaven in a room " by Gino Paoli . The only cover is " Always something there to remind me" of Bacharach -David , who was already Sandie Shaw and Dionne Warwick passes without leaving a mark. " Like yesterday ," with two short inserts rap Marracash , has the fragrance of certain things of the Style Council , the group Eighties another mod esthete , Paul Weller . The autobiographical underlying the title " Old Boy " , which indicates - as explained Palma - nature boy disheveled despite 48 years of age, is not declined in the texts, but the tension in the fun and disengagement. A tension that culminates in " A grand finale " that closes the album with a surge of pace and with the image of angels drunken dancing in the storm . Elsewhere unfortunately abound words of love ( the lyrics are mostly Christian and Andrea Bonomo Sormani Valli ) is not exactly original or daring : " Blame your eyes that millions have seen me," "Heaven and we , nothing more , let's stay together under this blue "," Feel that cold it is , but your skin knows, the summer will come. " From one with the pedigree of Palma think it's reasonable to expect something better, something more.
" Old boy " suggests that at one time were the most melodious songs , the singers most elegant , the feelings the easiest , and therefore you might as well face the music you like you did then. The problem is the lack of daring leaps . Okay, are songs . It's stuff made ​​to be hummed , to dance , to entertain . And from this point of view, " Old boy" reach the goal . But it also serves as inspiration in pop unsettling , the passage you do not expect , the effect of surprise. And in here if they miss . With its ordinary love stories and his nostalgic impulses , " Old Boy " is likely to look like a disk unhistorical . Or maybe it fell perfectly into this weird time when you look back , because the future is gone and the present is unreadable.

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G I R L review

Posted : 8 months, 3 weeks ago on 5 March 2014 07:22 (A review of G I R L)

The first ( and previous ) Pharrell solo album came out in 2006, was titled " On My Mind " and , although it was already a pretty popular character , was not a great success. It was a collection of pieces mainly hip-hop without infamy and without praise, winning a pair of hooks , featuring the usual deluge of texts and all money & pussy . The disc had various covers that portrayed the icon fumettosa Pharrell created by designer streetwear Japanese BAPE , one of them with a t-shirt " Billionaire Boys Club" , a brand of clothing created by the two together . In short , a kind of black Briatore , more street and stylish .
What happened thereafter is a continuous and never-ending tide of collaborations, productions , appearances and endorsements of various types culminated in 2013 with the triplet " blurried lines" , "Get Lucky " and " Happy" who have turned him into the little king contemporary pop .
Pharrell has since turned 40 years old, is married, has calved , has made ​​up his mind to become the next Michael Jackson and now, with a time- to-market perfect, he releases his new album .
Look at the cover: a photo apparently not very glamorous and cool ( but you will see , this summer when he will be right in the streets of Milan during fashion week parade many pegs with bathrobe and sunglasses ), three girls - but not the classic smandrappate from hip-hop videos - had just emerged from a session in the sauna or all'idromassggio , and then he , serious, clean, contented , confident and self-aware ( aid , the comparison with Briatore becomes more and more accurate ... ) .
Here , this image tells very well the intentions of this disc and the new direction of Pharrell Williams ( full name) in which they are made ​​precise choices .
First : no hip-hop. No counterpoint rap , not even a mention of the brand symbol for niggers , featuring zero of buddies with catenoni space instead to her new BFF Hans Zimmer which inserts at the start ( "Marilyn Monroe " ), a great orchestral carpet , just to make it clear to public that it is serious here . Great next single , however .
Second, remember the friends , take them a little ' around, and stay near your direct competitors . In " Gust of Wind " (the single accompanying the album release ) along with Zimmer gather Daft Punk, or their hardcover in robot version ( as named by Pharrell ) sadly more and more close to the Rockets. As Sun Tzu says, " Keep your friends close, but still keep your enemies closer " and then here's the piece chain "Brand new " with Justin Timberlake, the only potentially able to compete today with him in the song is difficult distinguish the falsetto of the two, but it is recognizable the small guitar à la "I Want You back " by Jackson 5 (so much for those who have not yet figured out what is the matrix and the ultimate goal ) .
Third : take the best of N * E * R * D and your foul . The underrated former band to which he belonged good Pharrell has produced some great things , mixing rock , funk and psychedelia as only few ( Sly Stone , Prince) have failed to do . In songs like "Lost Queen " and the final " It girl" is an evolution of that sound , which also come into play African rhythms , long guitar solos and cowbells . And it's a real pleasure to listen to.
Fourth, you're mature , be "adult " (even if you do not understand ) . Not only " GIRL" ( we write it at least once with the caps lock and spacious as the explicit request of the artist ) is a disc sounds for adult and intentions - as in the funk-rock of "Hunter" which refers to "Once in a lifetime " by the Talking Heads and " Rapture " by Blondie - Pharrell but also , like any self-respecting black artist , at some point in the career fits into the songs " spiritual issues " , although in a superficial way . Former Skateboard P intercepts the theme of mindfulness and inserts it into the hidden track " Freq" after "Lost Queen" repeating with the Curtis Mayfield falsetto like a mantra " you have to go to the inside to the outside living space that has been built for you "( you girls , of course) .
And so we come to the ...
Fifth: The Message . And if this could also be avoided. But there is a repositioning to defend and charges of misogyny derived from the text of "Blurred Lines " is a dirty stain on the reputation of our Google results . Here then is that the entire disk is an ode to the woman , " fundamental force in the world and the cornerstone of existence " as stated in the presentation of the disc. But in this celebration Pharrell does not speak of rights, equal pay and flexible hours at work, but what he knows best, which is to have sex with beautiful women who can not resist his charm ( "Hunter" ) . Hence the comparsata Miley Cyrus ( " Come get in bae ") with a series of metaphors about sex & engines that even in the best hustler, while in the notes lascivious of " Gush " Pharrell threatens the girl to turn to " make him your ass on fire " . In short, a bit ' like Beyonce that makes the feminist connilingus with others.
Oh, last thing . To read and sublime pop songs like "Happy" , here there is only "Happy" .

"Marilyn Monroe "
"Brand New " (feat. Justin Timberlake)
" Gush "
" How to Get It Bae " (feat. Miley Cyrus)
" Gust of Wind " (feat. Daft Punk)
"Lost Queen"
(Ghost Track ) " Freq"
"You Know Who You Are" (feat. Alicia Keys)
" It Girl "

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