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Recent reviews

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Black Messiah review

Posted : 1 month 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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Honor Is All We Know review

Posted : 1 month ago on 27 December 2014 05:13 (A review of Honor Is All We Know)

Finally back Rancid and they do it in great style. And 'in fact released "Honor Is All We Know", the band's eighth album Berkeley successor of "Let The Dominoes Fall". Five years of silence are many, although we can not speak of absolute silence as the various components have been busy with their respective projects and considered the big operation of discography in 7 "that many times I tried.

Digressions aside "Honor Is All We Know" comes as a compact disk and straightforward, just the opposite of the previous "Let The Dominoes Fall" perhaps a little too broad in part because of the large number of songs.
The beginning of the album is mouth-watering: Back Where I Belong seems a kind of redemption by Tim Armstrong who wants to tell the world that his way is precisely the way, Raise Your Fist reminds me very closely Cock Sparrer not only from a musical point of view, but also from a lot of opera "riot" (as well as the subsequent a Power Inside and in the Streets), while Collision Course is a veritable ode to punk-rock and music in general. The album flows away like a dream through pieces ska, I think of Evil's My Friend and Everybody's Sufferin ', as pieces pulled Already Dead (very Social Distortion-style) and the closing Grave Digger and Pezzoni in 4/4 simple simple, but at the same time highly effective, as Face Up and Diabolical.
I would make a special mention for the title track Honor Is All We Know, a song that I think is the best philosophy Rancid. Tim, Matt and Lars sing a verse by one, but the chorus is unanimous: "the honor is all we have," and this is shown in the middle of the disk. Listening to him day after day, we feel a passion and an attitude that over the years have made the Rancid what they are today.

Musically maybe it will not be "Let's Go" or "Rancid 2000" definitely will not have the same success as "... .And Out Comes The Wolves" but "Honor Is All We Know" demonstrates once again that the Rancid, after 20 years and passes of activity, they still have a lot to say.

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Under the Radar Volume 1 review

Posted : 1 month, 3 weeks ago on 11 December 2014 06:25 (A review of Under the Radar Volume 1)

The records from which you expect less often are the ones who end up giving you more satisfaction. Nobody expected this "Under the Radar", and still less could be expected from its content. Posted surprise (it's a trend that now is not surprising any more), is a record of "waste" of other discs, songs recorded at the time, never published in the album for which they were written and recorded. "Waste" in quotes: paradoxically sounds better than a lot of things done recently by Robbie Williams.
In fact, the news of the release of the album sparked especially other reactions. The British media were already smelling blood: released the album Take That, the first of three training - and Robbie released an album, the same week. It was thought the nth replica of a script already seen rivals go head to head in the charts. We imagined news, gossip, analysis of who would sell the most and why. Then the disappointment: this disc, only sold on the site of Robbie, will not be detected by the British charts. Farewell direct confrontation, goodbye blood.
But the story of this record is not only tripped media to friends / enemies Take That - not the first: remember the tour of 2011, in which Robbie came from star and half concert, played some piece alone, before returning to the group? Imagine the negotiations for that ladder ...
"Under the Radar" is the album of a pop singer who makes a move from typical rock singer: publish a collection of outtakes, unreleased studio sessions, such as those collected or box type "Tracks", "Bootleg Series" .. .. And in some ways here Robbie sounds more rock: there are some songs that recall those sounds and generally sounds freer than at any other time in his career in which he tried at all costs the impact pop (ular).

The understatement with which arrived "Under the Radar" is probably explained by the flop of "Rudebox", the disc of 2006 born almost as a divertissement but treated and promoted as a regular disk. Better go easy, so even if "Guy Chambers is not happy that I publish these songs without promotion, no radio or TV appearances," as he himself said Robbie, citing the advice of his historical author.
An understatement even excessive, however: the disc is sold on the site of the singer to 5 pounds in digital (just over € 6). The download contains simple raw files, without the cover (a .jpg file separately to add to mp3), a single detail on additional songs. The CD will come later in the mail, ordered from the site, but not in stores. The album is not on streaming services, but only on YouTube.

This attitude has instead produced a collection of songs that, although from different backgrounds, are more free precisely because they do not have the will to overdo the last "Take the crown" or not necessarily looking for the refinement of Swing "Swing both ways." Robbie has more fun in songs like "HES" - citing the avowedly Springsteen's "Wrecking Ball", is inspired by U2 ("Bully") and puts little electronics ("The cure"), many songs-songs (as "Surrender" or "National treasure") and some ballad ("Love is You", "Green light", with that beginning which brings back to mind something ...). Robbie Williams, the 14 songs he knows what he does best. singing, fun and entertaining, with the usual irony.
In short: do not waste, are not simple outtake. It 'a collection of songs which do not have to deal directly with each other end up paradoxically feel good together. A non-album that is better than many albums: sometimes the sleep of reason - or simply a thought less thought than usual - not generate monsters, but good music.

TRACKLIST:
Bully
Raver
H.E.S.
The Edge
Climb on
Surrender
Love is you
The cure
The pilot
The Brits
National treasure
Super tony
Greenlight
bullet

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TZN -The Best Of Tiziano Ferro review

Posted : 1 month, 3 weeks ago on 6 December 2014 09:22 (A review of TZN -The Best Of Tiziano Ferro)

Fourteen years after its official debut with "Xdono", Tiziano Ferro public "TZN - The best of". But it is not a "best of", as the misleading title may suggest, but a larger project. It is not a hard (rather: the basic version are two disks; in the deluxe version are four discs, and are four well as in special fan edition, which will also include two dvd), is not a collection, not an anthology (because for an artist behind only fourteen year career can not yet speak of anthology). But then, what is this "TZN - The best of Tiziano Ferro"? Here, to establish exactly what this new album of Tiziano Ferro is a bit 'complicated; probably the word that can best describe it is "story".


Yes, "TZN - The best of Tiziano Ferro" is just a story; but it is a reverse chronological narrative, that part that is in this (indeed, from the future, because next to the titles of the new songs "The stadium" and "Enchantment", the tracklist, shows the year 2015) and rewinds the tape to to 1997, which is the principle of the recording career of Tiziano Ferro. Presented himself, just seventeen, the Academy of Sanremo with the song "When you shall return" (written in 1997), Titian aroused the curiosity of those who - a little later - would become his "mentors" and producer of her first two albums ("Red relative" and "111"), Alberto Salerno and Mara Maionchi. It was through these last two that Iron came into contact with Michele Canova (now one of the most popular Italian producers): the two began working together in a room of Padua, as recalled in the same Titian great booklet in this special fan edition, with some computers and many ideas. So many that these ideas then got out of that room, have also gone beyond national boundaries, and who also inside of the discs of other artists. Here, with this tale Tiziano Ferro wanted to retrace the key stages and the highlights of his first fourteen years of his career; but on this record are not content only his greatest successes, but also some rarities, songs known to his audience why finished in Network versions in "pirate" and never officially published on disk, songs that do not fit within the previous albums, demos of songs written for other artists, unreleased recordings of some important performances and the inevitable unpublished (so the story, as well as being reverse chronological and has succeeded in depicting the key stages of the first fourteen years of career of the singer, also widens the speech to what we might call the "behind the scenes"). All this, in the special fan edition, one that we decided to take into consideration for this review, is divided into four discs: the first disc retraces the period 2015-2007, the second disc goes over the period 2007-1997, the third disc contains some rarities, the fourth instead contains all duets already published.

The unpublished "TZN - The best of Tiziano Ferro", and "unpublished" means the songs never published before (or disk, or in versions of "pirate" on the Net) are four, each one different from 'other for content and sounds: listening opens with "the stadium", a pop song characterized by the presence of some choirs who have the task of fomenting the public concerts that Titian held in Italian stadiums this summer: it is therefore a case if the song has this title and also talks about concerts in stadiums; continue with "Incanto", a beautiful song sounding distinctly folk and rhythm ternary (written together with Emanuele Dabbono, best known for taking part in the first and historic edition of "X Factor" - here you can listen to his "There will find here ", presented just during the final of the talent: curious to remember that in the same year he signed Tiziano Ferro Giusy Ferreri for the new" Do not ever forget me ", presented on the same stage and on the same night - and for signing, with the same iron, the song "Do not ever be afraid" section of the debut album by Michele Bravi). The third song to be considered unusual, although published as chosen as the lead single of the project, is "Without escape ever": this is an important song to Titian, who for the first time in public career that sees him sing a song in explicitly homosexual love (from the musical point of view, with its sounds r & b song seems to reconnect to the very first production of iron, represent a kind of look in the old days). To listen to the other unreleased must instead wait for the track number four in the second CD: the song is titled "If the world were to stop" and is characterized by sounds decidedly swing. Titian had written, in 2005, according to an album of swing music to be published after "111" (album where iron had been experimenting those sounds thanks to songs like "Temple Bar" and, at least in part, "You were as gold now are like them "); The project, however, for which the singer wrote maybe even songs like "TVM" and "Quiero vivir con vos", both merged into de "Love is a simple thing", did not go ahead and "If the world would stop "has remained to this day in a kind of limbo.

The rarity: it is songs that, if for the most casual audience can appear as unusual, in fact they are not. We are indeed talking about songs never published officially by Tiziano Ferro on his records before and circulated on the Net for years in versions of "pirate". And they are: "When you shall return" (which is also published officially, not in an album by Titian but the disc anthology of the Academy of Sanremo 1999), a ballad is characterized by a certain immaturity in the arrangement (linear, focused on some notes played on the piano and guitars) in the text (characterized by easy rhymes and elementary: "Tell me if you live in a little ', or not," sings Iron in a sentence of the text); "On my skin", a pop song rap from the sounds and rhythm and an addictive melody easy grip (Iron built it in 1998, in collaboration with the duo ATPC and is contained within the album "Body and Soul "the same duo); "My angel," which mixes pop sounds to more r & b singer-songwriter care (is the Italian version of "Angel of Mine" of the Eternal, never released on disc); "The Wind", a song dating back to 2000 which seems to contain in itself the seeds of what will become in a short time the characteristic traits of writing composition of iron, from the ability to play alternating different vocal registers. In these passages, all contained in the second CD, then you have to add "Latin", a song - included in the third CD - from the arrangement simple, that is situated around the piano: Titian has executed only live during a concert held in his hometown (which, as you might guess from the title, is dedicated: "Spread your wings and then, you feel that there's scent from now: spring blossoms already in Latin," reads a sentence of the text). A "rarity" can also be considered the cover of "The passers" Fabrizio De André that Tiziano Ferro has achieved in January 2009 during a special episode of the television program "Che tempo che fa" dedicated to the Genoese singer-songwriter and present "TZN - the best of Tiziano Ferro" own version "live" of 2009, with the voice of Iron who plays with depth and with great firmness voice every single word of the text, without letting go of unnecessary virtuosity.

The "re-appropriations" contained in the third CD are songs originally written for other artists. In order of appearance: "Air Life", written by Giusy Ferreri and contained within "Gaetana", the first album released by the latter after the moral victory to "X Factor" and the success of "Do not Forget never to me "(the version of Tiziano Ferro is an acoustic version of the song, the less sensual than that of Ferreri and immersed in a certain bitterness, as suggested by the initial guitar arpeggios and disillusionment with which Iron plays phrases like" and you think ... What a world of shit "); "Rescue me forever," written for the album "Pure Love" Alessandra Amoroso and here in this version "demo" (already particularly poignant version of Amoroso, sung by the warm and deep voice of Iron the lyrics are even more intense, intimate, enveloping); "The love and nothing else", also written for this "Gaetana" Giusy Ferreri and here in this version "demo" ("And my only I know the story with those who loved me and who really with me has prepared a suitcase and looked at me and said: 'you run, do not feel alone, that with you I'll be there as well. it felt tired if you want: you deserve it sometimes, my love, "sings Titian in beautiful crescendo of the song, almost to want to reclaim the autobiographical manifesto written by Giusy); "Changing the house", written with Michele Canova for Alice (who inserted it in the album "Samsara", delivered to the market in 2012, and here present in a very faithful to the original engraved version electropop singer).

Duets: Also of note was the presence of important collaborations: with Jovanotti, unpublished, to the tune of a "(So) ³" made in 2005 in relation to a possible launch of Jovanotti on the Latin market and then remained locked in a drawer (it a sort of divertissement, a question and answer hectic between the two artists - appreciated the ability to Titian to enter into the rhythm and mood of the song until it's); one with Fiorella Mannoia the tune of "The King of those who love too much" recorded live at a concert given by the singer at the Stadio Olimpico in Rome in 2009 (with the voice of Titian that appears a little 'surprise, almost stealthily, in the bridge that connects the first verse and chorus - the whole song deals with the voice of Mannoia, and Iron is entrusted only some work here and there); Liah with the notes of a "Sere black" in Brazilian version (the duet, as impressive and functional than the original version of the only Tiziano Ferro, if only because of the inability of the singer to his and interpret with more "belly" less vocal technique and the words of the song was recorded in 2005 and was included in the album "Perdas and ganhos" of the same Brazilian singer); and the one with the German singer Cassandra Steen on the notes of Italian-German version of "Love is a simple thing" (with the voice of Steen who plays with sweetness and exquisite refinement to the song, supported by the interpretation safer and direct iron), originally included in the German version of the eponymous album. A considerable number of duets is also contained within the fourth CD, but it is already known to most as duets included or within the previous studio album of Tiziano Ferro or because included in the album of artists with whom the singer has had the opportunity to work during his early career. Have learned from previous efforts record of Iron (and their respective versions for the foreign market): "Karma" with John Legend, appearing in "Love is a simple thing" of 2012; "Time itself" with Franco Battiato and "Breathe Gentle" with Kelly Rowland, both contained within the album "At my age" of 2008; "The gift mas grande" with Amaia Montero, who charged her performance with excessive emphasis, contained within the Spanish edition of the same "At my age"; with Biagio Antonacci in "Kissing women", from the album "No one is alone" in 2006; and Pepe Aguilar in "I think", a song that mixes acoustic sounds to more electronic, originally included in the Spanish edition of the same "No one is alone" and the album of the same name of the Mexican singer. Come instead from albums of other artists: the duet with Mina, slightly dirty blues, to "de Cuestion feeling" (from the album "Todavía" 2007); what - virtual - with Dean Martin on a passionate "Arrivederci Roma" (originally included in the album-tribute "Forever cool", made by a cast of international artists, which included well Tiziano Ferro, in 2007); what, almost confidential and fraternal, with Laura Pausini in "I do not know how to explain" (from the album "I Sing" in 2006); ones - recently published - with Luca Carboni in "People silent" (from the album "Body and political" the singer from Bologna) and Baby K in "Killer" (from the album "Serious"), published just last year; with Miguel Bosé in "Amiga", sounding latin, taken from the collection "Papitwo" the Spanish singer; and, finally, the surprising - at least for those not familiar already - with Line 77 on "punkeggiante" "Dreams shine" (originally included in the album "Horror vacui" of 2008 the band Turin).

The two DVD: we could end our story here, but it is worth spending a few words on the two DVD content within the special fan edition: in the first of two DVDs include, in addition to an introductory comment by Titian, all of the official videoclip singles released by singer-songwriter from 2001 to 2014 (and therefore from the video for "Xdono", with a Tiziano Ferro greenhorn and danceable, that of "no escape ever again", in which live all his "alter ego" of the nerd "And Raffaella is mine", the player failed "At my age," the boy from the disfigured face of "I love you", the romantic "Ti scatterò una foto", to name a few); the second of two DVD is instead structured in two-part form. In the first part include video documentation of the work of this "TZN - The best of Tiziano Ferro" realized at Sunset Sound Studios in Los Angeles with the interventions of keyboardist Jeff Babko, bassist Reggie Hamilton, guitarist Tim Pierce and drummer Vinnie Colaiuta that by means of some short interviews expressing flattering comments towards Titian and its working methods. "I wanted to give a cut to the new songs that might be almost the natural progression of what we did in the previous album. I wanted this record to become a kind of testament and that represented the time line that led me in 2014: did not have to miss anything because all these songs have marked my life, "says then Titian in a sort of commentary on the disc content," I chose those little stones that alone maybe would have never found a place in a conceptual album or genre but that in 'economy of a collection so multicolored found their way up. "There are also records videos of unreleased studio recordings of "Without escape ever again" and "Enchantment". Noteworthy also is the long interview this in the middle of the second DVD on the genesis of "TZN - The best of Tiziano Ferro", lasting less than 43 minutes, in which there are also reflections of Titian on these first fourteen years of his career (including curiosity, background and anecdotes). In the ideal second part of the second DVD included instead the official videoclip of the tracks made by Tiziano Ferro paired with other artists (Italian, as Laura Pausini, Baby K, Luca Carboni and Fiorella Mannoia, present in the video documentation of the duet Olimpico on "The king of those who love too much", but also foreigners, as Amaia Montero and Kelly Rowland).

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The London Sessions review

Posted : 1 month, 3 weeks ago on 6 December 2014 09:17 (A review of The London Sessions)

Not easy to do R & B Beyoncé era, that era of who succeeds at the same time to be very large in terms of popularity, and it also allows you to go deep with sounds sophisticated and little commercial (his last album "Beyonce "contained no singolone pop and it was very dark and staff, and still had a great success).
So to be relevant in terms of sales and status you need to invent something new, raise his head from the usual sounds of the studies in Los Angeles, New York and some hip-hop and go where those things come from new enough to have been already been partially digested by the ears of the public.

And 'this more or less the reasoning should have done a little' time ago Mary J Blige, ultra forties black singer defined is the heir of Franklin and Chaka Khan, in order not to spend the rest of his career in some concert hall of big hotels in Las Vegas, he went to London to learn about prominent personalities of the EDM (Disclosure) and pop soul (Sam Smith, Naughty Boy, Sam Romans, Prezzemolina Emeli Sandé). After a couple of sporadic collaboration - with Disclosure in F for You - here comes this, didactic from the title, "The London Sessions.


It breathes London since the first track; in "Therapy" atmospheres and text report now to Amy Winehouse and her "Rehab", also with an opposite direction ("Why should I spend the rest of my days unhappy / When can I go to therapy twice a day?" sings between Mary Hammond, clap hands and gospel choirs). All disc moves between the soulful house mixed electronics and a range of ballads. The songs with Disclosure ("Follow", "Right Now") are those that strike at first listen, but the other pieces up time as "Nothing but you" and "Pick Me Up" (another great floorfiller where to Mary one point, taken by the enthusiasm, he launches into a michaeljacksoniano "Shamone") work wonders. As for the ballads alternate the classical repertoire black ("When You're Gone", "Not Loving You", "Worth my time") to songs like "Whole Damn Year" a masterpiece of synthesis of new soul English played with an intensity rare to find among the English voices, usually quite cold and set.

And here lies the greatness of Mary J Blige: both if you put it with U2 or with Andrea Bocelli, with nerdoni Londoners or with more tamarro rapper from LA, he always manages to convey his soul without distorting it.

TRACKLIST:
Therapy
Doubt
Not Loving You
Where You're Gone
right Now
My Loving
Long Hard Look
Whole Damn Year
Nobody But You
Pick Me Up
follow
Worth My Time

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5 Reasons to like this album

Posted : 1 month, 3 weeks ago on 6 December 2014 09:09 (A review of Listen (Deluxe))

Listen marks the return of David Guetta. The new album confirms the dj at the top of the world dance collaborations with important and successful songs. Here are 5 reasons why the disc you will love.

1. Listen closes an era without denying an important story
Listen to David Guetta is a pop record with a heart that beats strong for the dance. A "full album" which is always the case straight to emphasize the legitimate role of top players EDM. Or the obvious one of rock stars among the dj. Only a month ago, the artist records stated: "I composed the guitar and the piano, and thinking about the voice, and only at the end of the process I produced all in an electronic way." It is a commitment that Guetta keeps to the letter, without betraying its history.

2. It is full of hit
Should start from the next hit. How Goodbye Friend feat. The Script, reminiscent at times I Can Only Imagine and could become a new and more exciting Without You. O the tasty Hey Mama with colleague Afrojack, Bebe Rexha, the hot Nicki Minaj and already booked a place in the high ranks of the chart. Eye then the roaring Bang My Head, with the powerful sounds of Nicky Romero (and the usual Daddy's Groove) and with a proven Whether as a counterweight to a riff that does a lot remixes by Cedric Gervais. Yesterday, however, it is noted more for voice intriguing Bebe Rexha that the repetitive dance / country marked Avicii. While the spatial No Money No Love with Showtek, Elliphant and the usual excellent Ms Dynamite pulls out a Guetta so cunning as nostalgic.

3. It is a record that will do well to music, because it has great songs
"Dance, yes, but also a lot of heart." The notes evocative of staff The Whisperer and clear voice Both, for example, are looking straight ahead in this direction. In STOP, which is a more refined Titanium, Ryan Tedder knows to be sublime. And Emeli Sandé's What I Did For Love is bright, huge, exciting. Face more radio-friendly and less size of the festival is rather fantastic Bad Sun Goes Down feat. MAGIC! Sonny & Wilson, where the quote from The Sound of Violence of Cassius (on which Guetta put his hands in 2002), the hints of reggae and work more effective Showtek give a touch of magic all its own. Finally there is the voice of Sam Martin, seductive in Dangerous, more anonymous Lovers On The Sun, still a novelty.

4. Listen Guetta remains behind the times
No surprise instead for the stars on the catwalk. The highly decorated One Love or the indestructible Nothing But The Beat excel in terms of pop star dream (Rihanna), remixed (Madonna), cleared (Both the same) or resuscitate (Snoop Dogg, Usher, Ne-Yo and perhaps an entire scene hip hop until a few years ago in a coma). What changes, then, after nell'EDM Listen? At the level of sounds little or nothing. Guetta, simply, is updated.

5. Consecrate the role of DJ popstar
Listen, more than anything else, consecrates the figure of dj producer who not only supports but works in all respects according to the logic of the traditional pop star. Better yet: it tells us that today is the dj the only real big pop star, which starts from the radio hit and with remixes triumphs well in clubs (see Dangerous). Above all, remember a friend as Avicii and a pupil of the most technically savvy as Calvin Harris from that point is shared the dance, where she arrived and thanks to whom. On a personal level, it is more difficult because the disc is the first after the divorce from the former manager and before ex-wife Cathy Lobe. Even for this, Listen is a test muscle. An interesting restart. It is the motto of "Work hard, play hard" that nevertheless reinforces.

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Classics review

Posted : 1 month, 3 weeks ago on 6 December 2014 09:01 (A review of Classics)

Listen to the vibrato palpable, timbre soft crossed by a melancholic. It is the call of a world that no longer exists, the echo of a whiteness vanished. The voice of Zooey Deschanel is one of the secrets of "Classics", the fifth album from She & Him, the first composed entirely of covers. Strange that the actress-singer and her musical partner M. Ward we are only now arrived. At the bottom of all their repertoire is an act of love for the classics. It is from 2008 winking crafts' 60s pop, to read and melodious songs of the girl group, in a retro musical taste. In "Classics" go even further back in time to when the rock'n'roll did not exist and teens were not with ears glued to the radio to hear Elvis Presley, but left for the war.
"We'll meet again," which closes the album, is one of the older things that Deschanel and Ward have recovered. Vera Lynn sang it during the Second World War, becoming the first choice of British soldiers at the front. To interpret this and the other twelve tracks on the album She & Him have chosen a live sound, enriched by the orchestral arrangements provided by winds. There is no bombast in here. The two use the colors of the orchestra without weighing the sound, aim at simplicity, subtleties, nuances, between stamps ultravintage guitar and jazz touches like never before in their history. They go around the time - from 1930 to "Would you like to take a walk?" To 1974's "She" - choosing songs according to their personal taste and realizing performance that have a heat usually fugitive in albums like. Just in "Unchained melody" take some liberties transforming it into a folk tormenting with the help of the voices of the Chapin Sisters. Do not miss other troubled love songs, but this is the only time when "Classics" abandons the tone light, the air of cuteness.
Zooey Deschanel has a powerful voice, does not possess a large extent, is not particularly versatile. But unlike other actresses lent to the world of music knows how to leverage the color of the voice and interpretation. Confronted with a repertoire seasoned but not granted, gives the best pieces in the 60s, those that resemble more closely the repertoire autograph She & Him. This is the case of "Stay awhile" by Dusty Springfield, a reference point for her, and "Oh no, not my baby" of the couple Gerry Goffin-Carole King, deliciously measured between strings, horns and bells. Deschanel is authoritative when interpreting "I'll never be free", already in the discography of Willie Nelson and Van Morrison, and makes it look lovely when the piece of 1953 "Teach me tonight" even older. Ward does not have the same charm. Sings in the only known piece, the "She" by Charles Aznavour already in the repertoire of Elvis Costello, and duets with Deschanel in "Stars fell on Alabama" with the stamp of a hoarse ironically Louis Armstrong, nell'ammiccante "Would you like to take a walk? "and the standard 40s" Time after time "that Frank Sinatra sang in the movie" it Happened in Brooklyn. "
Posted in Italy only in digital - for the CD and the vinyl one must turn to imports - "Classics" is not the best album of the duo. She & Him are more surprising when they interpret songs that seem written fifty years ago but they are brand new. Nevertheless, in "Classics" avoid the trap of the disks that are dripping with nostalgia those are heavy, cold, dark, this is light, spontaneous, bright. Resembles a flight backwards, in a time more reassuring. It gives the idea that the pop-rock is giving up to make sense of the contemporary. Or maybe, just, sometimes we need to be reminded where does the music we love. The Thirty-nine minutes of "Classics" instill nostalgia for a time that we have not lived. We like Zooey Deschanel in the video for "Stay awhile" happy while dancing with the ghost of the past.

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Average AC DC

Posted : 2 months ago on 30 November 2014 05:30 (A review of Rock or Bust)

Here are some very quick impressions , after a first listen to "Rock or bust" :

"Rock or bust": the title track with a little opening words' to "Nervous Shakedown" (Here comes again "Flick of the Switch"), is a typical hymn style AC / DC that pleases all, in the opening line ... just to make it clear from the beginning who we are and what we are doing.

"Play Ball": simplicity and zero frills. A piece of rock'n'roll that in the hands of any other band would sound like trivial minimum. Not played by AC / DC, but ... they can afford it and silence all. Beautiful the only Angus.

"Rock the blues away": a bluesaccio rockato, with pleasant southern drift. The text speaks of women and alcohol, the music takes you immediately to a pub with half a dozen medium lager on the table. Not memorable, but effective.

"Miss adventure" groove almost funky, hypnotic riffs, circular, which leaves no time to think. But the head starts to move immediately. Too bad for the chorus not too fast setting, which seems a try ruled out for what's "Thunderstruck".

"Dogs of War": the piece mid tempo darker is practically a must in an album of AC / DC-respecting. And they give him to. On a blues riff the band builds a song cut epic, almost NWOBHM. Beautiful choosing not to overdo with playing time ... and the final duet with Angus doing its SG with the voice of Johnson.

"Got some rock & roll thunder": business as usual. A piece by Bignami of AC / DC with all the elements in place. Deja vu certainly, but the result is taken home very well. Blues + rock'n'roll. And that guitar sound warm, clean, sharp, with the gain never exaggerated ...

"Hard times": a song beautiful rough, bad and heavy, with a touch of metal eighties.

"Baptism by fire": a kind of homage to the years of Bon Scott, with a riff that comes right away you want to try to play and all the dynamics that make full-empty recognizable pieces of AC / DC.

"Rock the House": AC / DC masquerade as Led Zeppelin!

"Sweet candy": rock high voltage for dummies. With that air stomp that takes you and makes you stand up without you noticing.

"Emission control": closing without a bang, but with an honest piece rock'n'roll. With Angus protagonist's final.

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Sonic Highways review

Posted : 2 months, 1 week 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 : 2 months, 1 week 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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Average AC DC

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