Reviews by Time Bomb

After the resounding success of the single " I love it" with Charlie XCX and have published the new single "Girlfriend ", carried out on a sample of the song " Me and my girlfriend " made by Tupac Shakur in 1996 and already sampled by Beyonce and Jay- Z for their " Bonnie & Clyde " , the Pop Icon released their second album "This is ..." , which also includes a few episodes already in the first eponymous chapter.
Aino Jawo and Caroline Hjelt are from Stockholm and have met at a party and their meeting was "the best thing that could happen," as stated by Aino . A few days after the two girls form a pop - electronic duo and are immediately hired for their first evening .
The rest is recent history : " I love it" placed in numerous commercials and video games and its role as a catchphrase of 2013 (although in Sweden exploded in 2012 ) and this new album that mixes fact EDM , synth -pop and tip straight on the charts. The topics covered by the two Scandinavian girls are mainly ' light ' : parties, fun, weekend and girl power .

TRACKLIST :
" I love it" (featuring Charli XCX )
" All night "
" We got the world"
"Ready for the weekend"
"Girlfriend "
" In the stars"
"On a roll"
"Just another night"
" Hold on"
"Light me up"
"Then we kiss"

The second test for the Dream Theater version of " sans " Mike Portnoy , with good Mangini to keep time and to crush the skins . So a record in which the band ( and fans ) are looking for confirmation of the state of health of the group, after an event so telluric .
Well, lets get that , despite the title - usually hard "self titled " have a meaning rather peculiar mark and attempts to rebirth or turning points in careers - Dream Theater show that they were themselves, albeit with some obvious adjustment and variation. And quite a load of weariness increasingly evident.

Fatigue, he said , already . Because basically this "Dream Theater " would also have the numbers - at least on paper - to be one of the key albums of the band. There is the soul classic metal ; wealth faceted and hyper- prog , and the pop sensibility of all time , a vein is increasingly present cinema-themed , with a cut evocative , as a great soundtrack. But , in parallel to these top elements , rinveniamo also the obvious tendency to repeat itself : how many pieces of "Dream Theater " are EXACTLY responsive to the idea of a typical piece at Dream Theater? Most . Everyone from . In short, we are certainly not all'autocitazione , but for sure the push and inspiration are down - as is the provision of a good athlete no more than twenty, but tried most of the pressure and expectations always high on his account , which is not from actual physical problems




The summary of these nine tracks ( including two suites composed of three five movements respectively - an opening and a closing) is that Dream Theater have recovered just fine from the release of a key member of the band and they are - by great professionals and teachers who are - in search of a new dimension , because they have to avoid imploding in mannerisms and in the syndrome of " navel-gazing " , which has ruined so many prog band and that always plague the genre itself seriously .
There you can even dispense with a little thought put on the plate style devil's advocate ... namely: what prog metal is hyper able to hold on long distance, before turning into a kind of framework of Bosch reread and repainted by Spinal Tap ?

PS It's interesting to note a trio of bizarre coincidences that true fans of the prog will probably have jumped at , but I'm not sure what for all ... This is the twelfth album of DT and is " self titled " , just as it did for the twelfth of Genesis - that came out 30 years ago ( in 1983 ) and he also contained nine songs . Coincidences juicy . But , in fact, coincidences ... or not?


TRACKLIST
" False awakening suite"
" I. Sleep paralysis "
" II. Night terrors "
" III. Lucid dream "
"The enemy inside"
"The looking glass "
" Enigma machine"
" The bigger picture"
"Behind the Veil "
" Surrender to reason"
" Along for the ride"
" Illumination theory"
" I. Paradoxe de la lumière noire "
" II. Live , die , kill "
" III. The embracing circle "
" IV . The pursuit of truth "
"V. Surrender , trust & passion "

If they had not slowed down in the last three pieces, I would have had a hard time not further reward the return of Pearl Jam record . Lightning Bolt is a very good album, probably the best published by Eddie Vedder and company in the new millennium . Four years away from Backspacer and after the legitimate celebration of the twentieth anniversary of the milestone Ten , here is one of the most popular rock band of all time struggling with the tenth round in the studio, yet another important milestone for a group that does not really have anything to prove.

The impact of the front rattling production immediately struck in the face with the opener Getaway: the urge to turn up the volume and enjoy a song more and more urgent with each passing minute . Mind Your Manners has been likened by many to the historic Spin The Black Circle, column Vitalogy : no denying the similarities , but who twists his mouth saying that this piece knows too much already heard, happily say " fuck it " while on the pogo happy tiratissimo up-tempo . My Father's Son instead, it starts to make me seriously think of returning back twenty years , thanks to a low hyper button that opens another beautiful electric shock.

To bring me back to Earth thinks Sirens , which lowers the time and gives the time ballad that will appeal mainly to casual listeners of PJ . Mind you , it's a beautiful song , plus the longest, and joking aside is one of the best moments of the whole Eddie Vedder Lightning Bolt. With the title track is back on the road fast, rock beast and uncompromising with lethal acceleration . The surprises continue with Infallible : well-kept arrangement , sound hyper vintage keys out in a score that sometimes leads to even funk . Pendulum is definitely one of the highlights of the entire disc, with a mood absolutely borrowed from Into The Wild and a theatricality that is unlikely I would have expected after the initial slaps . With Swallowed Whole you can go in and attack sound amplifiers , but did not get too bad - maybe with a playing time than I would have appreciated it even more. Let The Records Play knows blues and Neil Young, also in this case I would have liked a jam session longer, but the track is so cool .

Here we are in what I said initially , slowing tried , wanted to end the album. That, to do what is never satisfied , leaves me a little 'bitter taste in the mouth after so much good things . Sleeping By Myself was picked last solo Eddie , rearranged and made a little ' more substantial than Ukulele Songs , but it is not indispensable. For the two (!) Pearl Jam ballad conclusive choose Yellow Moon , ( not so much craft that is unlikely to appeal to fans of all time ) and Future Days , with piano and violin to accompany the emotions of a conclusive work varied, powerful and charismatic few would have expected to hear

Among the fans of Kings Of Leon , raise your hand if you really did not think "What a bore! " When a couple of years ago Caleb Followill and his associates made ​​their triumphal entry in the gallery of the clichés of rock, when " Come around sundown " ended to have the effect on them of the fateful second ( and fifth ) album . The unfulfilled promise , the collapse under the pressure of celebrity, the claim to overcome a gem like "Only by the Night" as well , with ease. They became New Yorkers , the four of Tennessee, but instead of enjoying the city got drunk while they put on family, ran out because they had no right to impact of their own greatness , bulky as the arenas that they could no longer contain their audience. Read the canceled dates , of those feats that seemed outputs "Spinal Tap " sickened him . But , at least , I am grateful to Caleb Followill and his three cronies not letting me live live dell'hangover also the cliché : the hangover , of course, have disposed of before recording "Mechanical bull" , which comes just ten years since " Youth & young manhood " , the debut that revealed them immature but promising . And here we are , today , the best classic rock available.
" Supersoaker ", the single which preceded the exit, contains the full promise of the album: mix the urgency of his early experience with the grandeur of stadium ( therapeutic , no?) . The piece shooting with a relentless pace , with the passion that had gone astray . It is not pure musical energy , not just uptempo - is primarily brio , is heat , is rein . Some vintage tones sound and the voice of abraded Caleb Followill - one that sang the monotonous and hoarse made ​​a trademark - do the rest, giving balance to the mixture and hinting that the promise will be kept , because it is genuine and sustainable Kings of Leon , in fact, at this point I have more problems with the curse of the "already heard" and let themselves go. "Rock City" - ie : their Nashville - continues in the work of self- reconstruction , with its mid-tempo bar , guitars soaked in whiskey and an atmosphere of constant danger , while " Do not matter " explodes frustration here is a song that seems to be a tribute to Stooges Queens of The Stone Age , punctuated by excruciating distortions , supported by a rhythm section pompatissima anger and a voice that , in some ways , reminiscent of the best recent Eddie Vedder. The Kings of Leon already had a sound -as- brand - of - factory , but lately seemed to suffer. This time, however , they are at ease and prove to themselves that the formula is not stuffy , sowing also songs like " Temple " and "Beautiful war" : distant echo of the eighties emerge so without embarrassment, even bringing to mind something the Cure and U2's "The Joshua tree " .
In a tracklist of 13 tracks all is not very important, but "Mechanical Bull " - just as it sports a single dynamite to the caliber of "Sex on Fire " - shows , among other qualities , to not rely on unnecessary filler. Indeed . And it is with " Family tree " that the album touches its peak , demonstrating that a robust and reliable system every digression and deviation is permissible. Initially built on a funk rhythm by Jared and Nathan , the first few bars this sounds like a typical piece that could end up in hell because of " improper testing " and, instead, actually then takes off thanks to a chorus -proof stage ( "I am the your family tree , I know you from A to Z , here's a secret proposal : put me hands on him " ) , the grunt of the singer and a couple of sticky riffs that , all together , they promise to make it a classic of the repertoire of KoL , those able to reconcile the different souls of their fan base .
Search for "Mechanical bull" the diversity that made ​​a case of the first Kings of Leon would be stupid - let's look that , if anything, in the next KoL that one of these days you staglieranno horizon. Here is something quite different: a band matured , completely on fire , which produces the disk you've been waiting to find ourselves the familiarity that you missed , to obtain confirmation as reassuring as the usual banal chord progression from which the quartet regularly part of Tennessee then stratificarci on a touch-up after another, blanketing of simplicity expertise of those who went there in Nashville for fashion but cut his teeth on the stages of the bars. Here's an album produced and designed in vinyl and live with which the Kings of Leon downloading the anxiety to show the world their ability to innovate and , happily conventional and relaxed in their comfort zone , they return to entertain great.

TRACKLIST :
" Supersoaker "
"Rock City"
" Do not matter "
" Beautiful war"
" Temple "
"Wait for me"
" Family tree "
" Comeback story"
" Tonight"
"Coming back again"
"On the chin"
"Work on me"
"Last mile home "

High Rise , the first EP recorded by Stone Temple Pilots transformed with Chester Bennington , will enter into circulation on October 8 for the Play Pen LLC records . The band that sailed through the maze of grunge craze since 1986 , returned from a reunion of the historical formation in 2008 sealed with a disc in 2010, Stone Temple Pilots frontman Scott Weiland definitely abandoned in favor of Chester Bennington, Linkin item Park since 1996.

The entrance into the band 's chameleonic singer from Phoenix , whose fame blooms dramatically since 2000 with Hybrid Theory , albums classified as diamond disc and the father of the successful In The End , has sparked fierce criticism by Weiland against the DeLeo brothers , founding members of the band. The main cause of the conflict that led to legal recourse Weiland was the decision of DeLeo to keep the original name of the band at the expense of the former singer who , on the record , it was still considered present in the formation . To overcome the unpleasant question , the Stone Temple Pilots have registered a new brand name also adding in the neo Chester Bennington .


The new line up of Stone Temple Pilots with Chester Bennington, Linkin Park leader
- Credits by myrock.it
Voice of Velvet Revolver along with some members of Guns N Roses from 2003 to 2008 , Scott Weiland has distanced itself from a group that has made it popular in the collective world , about twenty years from the outputs of Core and Purple , work more meaningful and engaging the band, who have incorporated them among the jewels of the grunge movement .

The histrionic talent of Bennington that sometimes juggles in imitation of the singing style of the likes of Bon Scott and Axl Rose , blend in perfectly in the new order sound of Stone Temple Pilots.

The five-track EP are full charge and musicality , connoted by the unmistakable melodic rhythmic games and those that characterize the features peculiar to the initial discography . The songs are close to nature a composition similar to the post masterpieces , which features Tiny Music ... Songs from the Vatican Gift Shop 1996 album but still controversial impact that sees the first flight of Weiland from training because of its risaputi substance abuse problems .

The intense nostalgic song Tomorrow binds to the residual memories of that Purple proponent of their reputation , as opposed to the pressing Out ​​of Time , the first single from the EP who scored the first place in the Hot Mainstream Rock Tracks chart in the U.S. Billiboard . Black Heart , the second track taken from High Rise in rotation since September, commemorates the irreverent spirit so dear to the song Big Bang Baby 1996.

High Rise beautifully celebrates the rite of initiation for a fruitful collaboration between mature musicians awakened from hibernation by meeting the quirky personality of Chester Bennington and greets , perhaps forever , the intriguing and ambiguous figure of Scott Weiland , an artist at three hundred sixty degrees from the fate that has received the gift of a rich dish of possibilities, giving him musical feeling and stage presence but at the same time causing him a questionable character hardening .

Observer yesterday, Sunday 29th , there was a long interview with Jessie J that opened with an anecdote : the singer , before boarding a flight to Los Angeles a few weeks ago, she had fainted and was being choked . So you are locked in the bathroom of the airport and to masquerade the sense of anguish , he made ​​a song a cappella and shared with almost a million people on instagram . That says a lot about how the English pop star alive the fame and interacts with his fans : he wants to encourage and " inspire " the audience in ways that even Lady Gaga would find cloying . And cloying is the adjective that best describes "Alive" , his second album.
Nothing is missing : the attacks on the hater ( " Excuse my rude" ) , thanks to fans ( "Wild " ) , the words of comfort to those who do not feel beautiful ( "Sexy lady" ), and even a ballad for a loved one who suffers from Alzheimer's disease ( " I miss her" ) . They are not necessarily clever marketing ploys : Jessie J seems to really believe it , but the best intentions are thwarted by the screams . Because what the singer still does not understand , just like the contestants of the talent he has worked for two seasons ( The Voice ) , which is also the world's most powerful vocal cords may be unnecessary and expressionless .
Yet the virtuosity of Jessie J are the only ( and , depending on your taste , annoying ) detail that allows us to distinguish " Alive " from the album of a pop star any . The music , in fact, are a mix of pop / r & b so generic that the suspect were composed with an algorithm. Scientists (or robot) that we bring the signature are the usual Dr Luke , Stargate , Darkchild , and dozens of other names infallible , and the results are not much different from what it would feel between the filler on an album of Katy Perry and One Direction .
" Alive" is a war machine that for the next two years will fire hit singles and Jessie J will continue to be the biggest female pop star at home . But it would be nice if that ambition that exudes from his every tweet or interview even when it materializes in the recording studio .


TRACKLIST :
"It's my party"
"Thunder"
"Square One"
"Sexy lady"
" Harder we fall "
" Breathe"
" I miss her"
" Daydreamin ' "
" Excuse my rude"
"Wild "
"Gold"
" Conquer the World"
"Alive"

" Bangerz " is important. It is the album that allows us to understand if Miley Cyrus goes taken seriously by the musical point of view , if one of the most talked about celebrities of recent times may also work in headset, where her scandalous image can not support it or damage it , and if it is, Kelly Clarkson as she tweeted the day after his performance at the VMAs , a " stripper out of tune " or a popstar talented besides smart. So here we will not speak of tongues , hammers and twerking , but the album , its songs and its bangerz .
First, " Adore You" , the first track is not a banger , but a love ballad classic and measured : a choice that now may seem confusing, but is particularly apt because it is in the songs that the album shines . The other notable example is the first number one on the Billboard Miley : " Wrecking Ball " . Starting somewhere in the middle between Bonnie Tyler and Gwen Stefani , the piece explodes into a dramatic chorus , played with the knowledge of who seems to be behind much more than twenty years of destructive relationships . It will be a classic , it will be the kind of song that all competitors will bring to the talent show auditions, a peak will be difficult to repeat for a producer to record as Dr Luke .
The other lenses album will not collect the same success as " Wrecking Ball " , but they are far fillers. The minimal " My darlin ' ," which steals a few verses to "Stand by me" , is the most sophisticated that could produce and Mike Will Made It is proof that behind the autotune can still be a soul ; " FU " is a ballad for broken hearts timeless , but brought up to date by the inclusion of a " LOL " in the text and inspirations post- dubstep in the arrangement : it would sound like " I will survive " if it had been recorded yesterday to an audience of Millennials , and its interpretation has already led to comparisons sounding ( Adele , Aguilera ) but not at all risky .
Moving in the territory of bangerz true , "SMS" is a candidate for heir to "Push it" the Salt -N- Pepa (which also contains a sampling). The presence of Britney Spears in the song marks , although in a discrete (or distracted ) , an ideal handover , while Mike Will Made It , after the unexpected and hypnotic hit " We can not stop" , it is confirmed perhaps the best outstanding to find a point of contact between hip hop and pop.
In this concentration of zeitgeist , could not miss Pharrell , who says she has had a stroke of lightning Miley hearing her sing " Jolene " . So do not hesitate to make them rediscover its roots in the modern country of Nashville and lightweight "4x4" , and then handed a piece very pharrelliano ("# Getitright " ) of which strangely did not feel the need. And if even a tune old-school Pharrell - that would make the fortune of any pop star - is cannibalized from the rest of the tracklist , it means that the album in question is a power out of the ordinary .
" Bangerz " is not only powerful is varied and delirious ; sound is the summary of 2013 and a point of reference for pop which will , it is the work of a twenty year old with an incredible control over their creative vision. Where her colleagues have failed for lack of ambition or lack of contact with listeners , Miley Cyrus prosperous : he has found his place in the music industry and there was hurled them like a wrecking ball .


TRACKLIST :
" Adore You"
" We can not stop"
"SMS ( Bangerz ) " feat . Britney Spears
"4x4" feat. Nelly
"My darlin ' " feat . future
" Wrecking Ball "
" Love money party" feat. Big Sean
"# Getitright "
"Drive"
" FU " feat . French Montana
"Do my thang "
"Maybe you're right "
"Someone else"

It's full history ( of rock, pop, but in a general sense ) of what are called meteors , brilliant artists for a season, capable of a nice insight, but without a solid base on which to build a real career . And , beyond sympathy for the Scottish trio , the Fratellis we seem destined , at least for the moment, to be part of that category. Their debut was fulminating , that Costello Music , which contained the hit Chelsea Dagger, and had them thrown into the top of the British charts with the heavy reputation as the next big thing that is almost never anything good. The three brothers fake ( s ) were good at replicating , at least in part , the success with the second test , Here We Stand 2008, but sorry to admit that the third step , as often happens, is what convinces least of all.

The ingredients , paradoxically, have remained the same - rock , '50s and '60s influences , a splash of punk and a strong aptitude for the beautiful ballad - but the taste , not that , is mutated in a manner sensitive to become little flavor . In their favor , fortunately, plays the ability to know how to choose the songs perfect for charts and radio (this time it's up to Seven Night Seven Days and She's Not Gone Yet But She's Leaving , the two best of the lot) , which justifies the announced sold-out tour of the UK , but it is very unlikely that anyone would settle for so little from one album . Tracks like This Old Ghost Town, Whisky Saga, Jeannie Nitro and conclusive Rock'n'Roll Will Break Your Heart and Until She Saves My Soul are examples of discrete capacity Fratellis , but they lack that spark that makes them take off in earnest. The timing of a hit as Flathead already seem hopelessly far away ...

It will not be so new and different as the title and advances would occur , but the Paul McCartney of " New " is certainly an artist playful, curious, ball and in a good mood . After the projects off the field and experimental ( the Fireman , collaboration with Bloody Beetroots ) and certain indulgences openly nostalgic ( " Kisses on the bottom" ) , difficult to ask him on this occasion another vigorous turning from the main road , and yet a certain minimalist and hi-tech , as the cover art sculptures and installations inspired by the American author Dan Flavin's fluorescent , blows a gust of fresh air on this disc where perhaps the obsessive attention to sounds and energetic boldness of execution are more the quality of the composition. In the sense that Macca writes to memory , almost automatically , to which other melodies suderebbero seven shirts and seems to enjoy especially in comparison and exchange of ideas with the four producers with whom he worked in Los Angeles, New York , London ( Abbey Road Air Studios , of course) and his home studio in East Sussex Hog Hill Mill. Big names , and worship, with the already experienced Giles Martin (son of Sir George) to do the lion's share and Mark Ronson, Paul Epworth Ethan Johns and to divide the rest , people who have some of the discs in the game bag more intriguing , 2013 ( "Once I was an eagle " by Laura Marling ) and a bunch of the best seller among the most popular in recent years ( "Back to Black " by Amy Winehouse, " 21 " by Adele ) .

Sir Paul has obviously inspired them to shuffle the cards , so that - even if the label remains recognizable everyone - not always the case that you would expect . Johns, son of Art and lighthouse scene neo folk and roots ( but also works with the Vaccines , and signed the first things Kings Of Leon) prepares for his part sounds rustic and crystalline a flawless expanse acoustic ballad as "Early days" , but then , with " Hosanna " , outlines an elusive picture vaguely psychedelic , with guitars recorded on the contrary (or so it seems ) and chords in a minor key . And Martin jr. , After the melody quick setting and waiting to be whistling " On my way to work" ( one of those glimpses of life and daily routine in which McCartney is a master ) , also is in charge of manipulating the episodes most daring and , in a sense , less recognizable of the collection, from the grooves and loops of " Appreciate " or filtered items and carpets of keyboards of "Everybody out there ."

A first listen (the only one so far granted ) , "New " sounds like a pop record multi-layered , very colorful , moving, lively , with multiple interpretations. It works, more often than not , the mix of vintage and modern pop confection haute couture and intriguing studies on rhythm. Many acoustic guitars and melody, but also unexpected break and countless small sonic details to taste and discover little by little ; many references as always, to the 50's and 60's (especially in one or two early , between beats , guitars fuzz , pounding the piano and the choruses of "Save us" and Elvis screened in two thousand of " Alligator " , a prototype of the profile of this mutant , quick-change disc) , ballads and rock and roll, essential arrangements ( the piano & voice " turned out , "one of two bonus tracks included in the deluxe version ) and elaborate rhymes (" " Queenie eye" ) swirling keyboards, delicate arpeggios and distortion (all in the same song , " Looking at her" ) , Xylophones , bossa nova and lounge music in that final " Road" end up tangled in coils and more twisted nerve , while " New " , the "summer song " now more than known - but also for the march of "I can bet" , characterized by a Moog solo at the end - are words written by Stephen Deusner on Pitchfork ( " reassuring , warm and familiar as a worn- down comforter or a cup of tea " ) .

From the low register , used often in falsetto , used sparingly , Paul boasts a versatile voice in spite of the 71 springs and an irrepressible enthusiasm yet . The beautiful impressions of the concert in Verona are confirmed , even without the crutch of the repertoire of ultraclassici that forms the backbone of his shows ( the new challenge , anticipated by Macca , will bring to life the new songs on the stage with its own light ) . So much so that in the end perhaps he is right : this is a " new" McCartney singing his usual "silly love songs " and its usual tributes to Motown and Sun Records with a renewed desire to make discoveries and to put their finger in the cookie jar , an eternal child who perpetuates the myth of the rock and playful teenager tapping into mysterious , inexhaustible sources of energy.

TRACKLIST

" Save us"
" Alligator "
" On my way to work"
" Queenie eye"
"Early days"
" New "
" Appreciate "
"Everybody out there"
" Hosanna "
"I can bet"
" Looking at her"
" Road"
" Turned out" (bonus track on the deluxe edition only )
"Get me out of here " (bonus track on the deluxe edition only )

Twenty years have passed since that first, rudimentary, Rooms; twenty years in which the Maximum Volume continued their journey through literature and noise, always adding more chapters to their discography, melting in 2002 and reforming in 2008. Twenty years have passed but you would not think, at least to hear the new work Waiting for the Barbarians, filled with anxiety and a sense of urgency that you do not expect from a band now scafata like theirs.

But the ten episodes that follow alternating dark moments and look forward to real bursts of screams. This is the case of Dymaxion song, so angry and desperate that it is impossible to stay indifferent, or as the actions and reactions of the enemy advances, chronicle of a war being fought primarily in the trench of psychology. Same goes for Compound and God of ticks. The ability to Clementi in sketching characters emerges Silvia Camagni - the song that more reminiscent of the previous album Bad Habits, going as far - and in The Night, which depicts wonderfully different actors with increasingly simple sentences, up to, among the razor guitars of Sommacal and Pilia, the big question: what about me?

The instruments, but especially the production, bring everything to the extreme, a slight electronic joins dissonance and distortion always on the verge of Larsen (see again The enemy advances and Vic Chesnutt) and the rhythm of the drummer Victoria Puppets, dark and obsessive as never before. Even the voice, which was generally left on a floor other than an instrument, it is treated with effects, Deelay and compression, and is mixed with the music to give an even more compact and alienating. A small mention deserves the beautiful cover, a painting by Ryan Mendoza in an excellent manner that expresses the anxiety that runs through the entire disc.