Reviews by Time Bomb

Trent Reznor is one of the most important artists of the last 20 years. For what he did with the music and for what he has done around music. These are the years in which the form and manner in which we receive and the sounds are as important as , if not more of the substance. And Reznor played a lot with the shape of the music of his Nine Inch Nails has arsed record companies , displacing and anticipating industry : gave it , he used USB drives , file sharing applications and before all the other ( while these same " other " gave him the fool) . He used the band's name as a brand . But never without forgetting the substance : why Nine Inch Nails have built a unique sound , with great songs and great live performances.
A preamble to say that you are born and you end incendiary fire : to appreciate this " Hesitation marks" must forget the shape. The first album in 5 years the group ( which is actually Reznor always accompanied by other musicians ) arrives in the simplest way possible : published by a major label - Columbia in America , EMI / Universal from us. Of course, in the network band has circulated a lot of stuff lately ( records of evidence of the tour) . But in this round , there is very little in the form of innovative - if not the idea of ​​making available a version of " uncompressed " audiophile disc , for sale only on the band's website .
And, even in substance, there is almost nothing innovative . But it is a "nothing" that dope because " Hesitation marks" is a beautifully hard conservative, where you can find all the elements that have made love NIN . "They are a copy of a copy of a copy," Reznor sings at the beginning of the disc , perhaps it is not only the usual imaginary dark and gloomy , repeated at the title (the " Hesitation marks" are light wounds of a suicide bomber who hesitates before inflicting the fatal blow ) .
There is the union of violent electronic and rock that once someone called "industrial " and that today is only a kind sound that almost nobody knows how to juggle Reznor . What should not be forgotten , is not only a great arranger but a songwriter . Even when it engages in the pop- punk Cure, as in " Everything" , he knows exactly how to handle the matter . Then, when it does what you'd expect , the result is breathtaking : the final suite "I would for you" / "In the two" / " While I'm Still Here " / " Black Noise " is a true jewel of claustrophobia sound .
Just as there is no form unsettling , in " Hesitation marks" there is not even any " Closer" , no " Hurt " . Even if there were , perhaps not notice it : the songs have left their mark thanks to the time they were posted , then why were not only great, but different from all the rest . Today, Nine Inch Nails are more "normal" . Inutule Reznor ask to have the same force and disruptive nature of " Downward spiral " . We are content with the fact that here we are just great songs , produced and played the way God : and it is a great consolation .
(Ps: in an interview, Reznor said: "Our music is not free , it costs five cents , it costs a dollar. Worth $ 10. If you do not like it , go fuck yourself " - think about it, the real innovation in the form of this record is to reaffirm the value of music , something that you can afford only after it has been donated . )

TRACKLIST

"The eater of dreams "
"Copy of a "
" Came back haunted "
"Find My Way "
"All time low "
"Disappointed"
"Everything"
"Satellite"
" Various methods of escape"
"Running"
"I would for you"
" In two"
" While I'm still here"
"Black noise"

The Goldfrapp are an extreme group . Their discography is divided neatly into two : on the one hand, the ambient album that made them attend in the compilation of chill-out , the advertising stilose and the rose of the Mercury Prize on the other, the electronic works that gave their international popularity , the number one in the dance charts and two Grammy nominations . Alison Goldfrapp and Will Gregory have always followed the instinct so stubborn , not without paying the consequences : to promote every time a disc of a different sort from the previous is complex, and "Head First" in 2010 ( a collection of synth-pop years ' 80 , perhaps the least successful of their work ) got poor results .
In an interview a few weeks ago , the singer - while not denying his electronic experiments - said to me as "the world pastoral , bucolic and orchestral " is the one closest to her at the time . And listening to this " Tales of us" , it is clear that it could not be in a more suitable .
The album consists of ten tracks dedicated to as many characters, mostly fantasy. They range from the Hollywood star stalked by a serial killer ( " Laurel ") to a soldier who has lost her lover to war ( " Clay" ) to an intersex child who can afford to be a little girl in a dream ( " Annabel " accompanied by a video of Lisa Gunning who masterfully interprets the story ) . Alison tells the lives of others by offering a new perspective on the characters of movies or novels to her loved ones, but , despite being an album in which the narrative has such an important role , the lyrics are nearly indecipherable . Seems to want to do this on purpose , so that you only paid a few words every now and then ( "lake ", " dream" , "Sunday" ), suggesting a small image that goes to fuse with elegance to the music . So Goldfrapp care soundtracks ( and direction ) of short imaginary , led by a voice that no longer willing to overdo it , but he knows still enchant. Arrangements, and a seeming simplicity , there is room for a few essential tools and arpeggios until the timely arrival of the arches transforms the intimate epic . Only one track , the beautiful " Thea " is led by a rhythmic element important , and the presence of other passages might have facilitated listening to those fans (and those record ) that they would like more lively . But Goldfrapp are not going to please everyone and always follow their instincts with obstinacy : I am an extreme group .


TRACKLIST :
" Jo "
" Annabel "
" Drew "
" Ulla "
" Alvar "
" Thea "
" Simone "
" Laurel "
" Clay"

"Whatever people say I am , that's what I'm not" was released in 2006 , this means that , net of the pre debut , with the Arctic Monkeys have to do about seven or eight years . Eight years that have produced the beauty of five albums , and the thing must be emphasized for a couple of reasons. The first is , of course , linked to the productive aspect : the Arctic Monkeys , despite the inevitable unexpected , are a constant and prolific band like few . It seems evident that still feel a strong need to enter the studio to make sense of their being, the need to communicate something. What this brings us to reason number two : if sforni five albums in eight years , and of these five, maybe a half (but I keep wide sleeves ) could be revised , here , most likely below is much more than a " simple " band very prolific and very consistent . I do not know , but to me, talking about Arctic Monkeys , seems to speak of a band that has been around for much longer. And I say that after listening to this new "AM", an album that more mature, complete and essential than that, well ... you can not. Let's simple . We take " Humbug " and as a fundamental turning point. Great album " Humbug " , at least for myself . Here comes Josh Homme ( God bless him ) , and the Arctic Monkeys opens up a world , not to mention a sound . Sound that will be more refined in " Suck it and see" , the classic hard transition , only to find fulfillment in their "AM" . "AM" , as already said , is a disc essential from every point of view . The title ? Only "AM", a tribute to " VU " by the Velvet Underground . The cover ? Needless to say black and white (again Velvet Underground ? ) , With a graphical hyper minimal : on the cover of "AM" is represented the sound. And inside ? Into twelve pieces, and the pure sound , incidentally, are the best expression , the quintessence of songwriting Alex Turner, here , of course, reduced to a minimum : granite riff sabbathiani in leather jacket and slicked-back hair that alternate with midtempo ballads and lentoni strappamutande (see " Mad sound" ) . There is everything . How is it that has defined Josh Homme ? A ... "cool , sexy after- midnight record ." True, not much else to add.




In "AM" There are at least five units well above average , and I'm referring to the amazing opening track " Do I wanna know " , a piece of which it is impossible to escape , the already well known "RU mines " proposal well in advance right to give us time to let us cook on duty ( but no less beautiful today ) , " Arabella " , razor Beatles able to resurrect the more inspired John Lennon ( a side effect ? wonder what has triggered the AM sing " How together " at the opening ceremony of the Olympics ) , the perfection of the single" Why'd you only call me when you're high ? " , probably one of the best ever in the course of the calendar year and not just (ironically , mortally fascinating ... disillusioned , and then how nice the video) , and the closing "I wanna be yours ." Five out of twelve - but , to tell the truth , it should be said twelve out of twelve - for me to make a great record , one of those who once finished you feel the physical need to start over because you want to hear it again , and maybe get us over a beautiful song. It is not easy to write and produce a fifth album like this. It means to be a great band , it's something that goes far beyond just " another" confirmation . "AM" is arranged to perfection, full of detail ( many say the least : Try for a moment to break away from the melody and voice of Turner and make the case that behind ) , yet unique and special spirit essentially pop, for as always in the manner of the Arctic Monkeys ( "Snap out of it" to believe , and the Beatles again thank you) . You listen and you like it . I listen again and you'll love it even more . Listen to him a third time and go get the ticket for the concert. Because that's where , as always, will play the final match , right on the stage. And these twelve pieces , believe me , I am perfectly equipped to give their best in front of an audience .

I do not want to talk about masterpiece like someone has already done (see 10/10 buckled cold dall'NME ) only because I believe that to do so will serve time . The album, after the initial blow , must necessarily settle. Nevertheless , as I have already said, a fifth album like this is undeniably classified as material to be champion. Especially if we consider that only comes eight years since it all started . For me , England today sounds like this.

TRACKLIST

" Do I wanna know "
"R U mine"
" One for the Road"
" Arabella "
" I want it all "
" No.1 party anthem "
"Mad sound"
" Fireside"
" Why'd you only call me when you're high ? "
"Snap out of it"
"Knee socks"
"I wanna be yours "

" Final " . Overused adjective , in a world short memory like music - especially when it comes to retrace the productions of the artists with posthumous publications and reprints . But for once we want to believe and not only because Mick Jones said in an interview: this box, " Sound system" is the latest publication , the Clash, the final one, which puts an end . We want to believe it for what it contains and how it contains : 11 CD , the whole discography of the band (except " Cut the crap ", recorded after the expulsion of Jones and Topper Headon before him) , plus 3 CD of rarities and unreleased and a DVD. In a box -shaped Sound System , which contains all God's
Let's start from here: there are gadgets, lapel pins, an empty notebook (because " The future is not written ," as he always Strummer ) , anastatic reprints of old fanzine and a new fanzine for which respondents were those who were to be interviewed - from Don Letts to Kosmo Vinyl, by Topper Headon (reminiscent of an almost touching his expulsion from the band for his drug addiction ) , Paul Simonon ( who oversaw the design of the box) to Jones , which tells the story of the band as if it were a TV series in seasons. All topped off with an instruction booklet , as if it were really a ghetto blaster . A pack made ​​great - that justifies the price ( between 130 and 150 € ) . Then there's the music - also found in the digital (this includes , in this case a couple of live albums here absent ) . But even here it is worth the physical format. Not so much for the most interesting new materials are on the DVD that contains recordings of Julian Temple ( which tells how at one point he was forced to choose between the Clash and the Sex Pistols , so then turned " The biggest scam of rock 'n 'roll ) , along with live recordings (such as this excerpt that we brought exclusively ) together with material already published , as the official videoclip and live mini- movie " the Clash on broadway " , already known ( and easily found on youtube ) . In the three unpublished CD there is a lot of interesting stuff , but not always completely new : there are EP , promo, B-sides (bottom of the review you will find the complete list) . There is some overlap with " The Clash on Broadway " box of the same title of the film , which was released in the 90s, and now out of print .
No, this box makes me want to listen to the discography original remastered by Tim Young ( if you put the CD on a good stereo , you will hear the differences ) - with reprints of the originals , even in the packaging : "London Calling" , so to speak , respects the distribution of disks (not 1 CD only , as in the versions that were on the market ) the same for the inserts.




Final publication , then ? We say yes. But not only , because in contemporary concert have been released reprints of individual disks, you alone or as a mini -box and a new collection, " The Clash Hits Back," with the songs in the original versions , but jagged like a concert 82 at the Brixton Academy (plus 8 classics not played that evening) . In short , we say that there really is something for everyone - even if for the fans this box is an investment, yes, but an investment practically mandatory.

TRACKLIST :
Albums ( remastered by Tim Young , with original packaging ) :

1 . " The Clash "
2 . "Give em enough rope "
3 . "London Calling " ( double CD )
4 . " Sandinista " (triple cd )
5 . "Combat Rock "

CD Extras:

Disc 1:

1 . White Riot (Single version)
2 . 1977 ( B-side )
3 . Listen ( Capital Radio EP) / Interviews (Capital Radio EP)
4 . Capital Radio (Capital Radio EP)
5 . London's Burning ( Live B -side Remote Control)
6 . Complete Control (Single version)
7 . City Of The Dead (B -side )
8 . Clash City Rockers (Original Single Version )
9 . Jail Guitar Doors ( B-side )
10 . White Man In Hammersmith Palais ( A-side )
11 . The Prisoner (B -side )
12 . 1-2 Crush On You (B -side Tommy Gun)
13 . Time Is Tight ( Black Market Clash )
14. Pressure Drop (B -side Inglese Civil War )
15 . I Fought The Law ( Cost Of Living EP)
16 . Groovy Times ( Cost Of Living EP)
17. Gates Of The West ( Cost Of Living EP)
18. Capital Radio ( Cost Of Living EP)
19 . Armagideon Time
20 . Bank Robber ( A-side )
21. Rockers Galore On A UK Tour (B -side )

Disc 2:

1 . Magnificent Dance ( 12 " ) 5:36
2 . Midnight To Stevens ( outtake )
3 . Radio One (B -side Hitsville UK)
4 . Stop The World ( B-side The Call Up)
5 . The Cool Out ( U.S. 12 "B -side of The Call Up)
6 . This Is Radio Clash ( A-side )
7 . This Is Radio Clash (B -side 7 " - Alternate Text )
8 . First Night Back In London ( B-side Know Your Rights )
9 . Rock The Casbah ( Bob Clearmountain 12 " mix) - unreleased
10 . Long Time Jerk (B -side Rock The Casbah )
11 . The Beautiful People Are Ugly Too ( Outtake ) - unreleased
12 . In Idle Kangaroo Court ( Outtake listed as Kill Time ) - unreleased
13 . Ghetto Defendant (Extended version - unedited ) - unreleased
14. Cool Confusion ( B-side Should I Stay Or Should I Go 7 ")
15 . Sean Flynn (Extended ' Marcus Music ' version) - unreleased
16 . Straight To Hell (Extended unedited version from Clash On Broadway ) - unreleased

Disc 3:

Excerpts from the first recording session of the Clash at Beaconsfield Film School in 1976, recorded by Julien Temple

1 . I'm So Bored With The USA
2 . London's Burning - unpublished
3 . white Riot
4 . 1977 - unpublished

Demo of Polydor - Second recording session of The Clash 's, in November 1976 by ​​Guy Stevens Products

5 . Janie Jones
6 . Career Opportunities
7 . London's Burning - unpublished
8 . 1977 - unpublished
9 . White Riot - unpublished

Live at The Lyceum , London 28th December 1978

10 . City Of The Dead
11 . Jail Guitar Doors - unpublished
12 . Inglese Civil War
13 . Stay Free - unpublished
14. Cheapstakes - unpublished
15 . I Fought The Law

bonus DVD

Julien Temple Archive - 6:20
White Riot Interview - 7:10
Promo interviews with Tony Parsons
1977 1:87
White Riot 1:48
London's Burning 2:05

Sussex University 1977

I'm So Bored With The USA 2:14 - unreleased
Hate & War 1:94 - unreleased
Career Opportunities 1:42 - unreleased
Remote Control 2:73 - unreleased
Don Letts Super 8 Medley 11:40
White Riot 1:52
Janie Jones 1:73
City of the Dead 2:04
Clash City Rockers 2:15
White Man in Hammersmith Palais 2:53
1977 1:41

Clash On Broadway - 19:50

London Calling
This Is Radio Clash
The Magnificent Seven
Guns Of Brixton
Safe European Home

Promo Video

Tommy Gun 3:00
London Calling 3:20
4:00 Bankrobber
Clampdown (Live) 5:00
Train In Vain (Live) 2:10
The Call Up 3:10
Rock The Casbah 3:20
Should I Stay Or Should I Go ( Live at Shea Stadium) 2:50
Career Opportunities ( Live at Shea Stadium ) 3:00

During the tour of "Era Vulgaris", remember, we are already talking about how he could be the next album by Queens Of The Stone Age. The album just came out did not convince a lot (although it was absolutely disappointing, mind you), and as happens in these cases, the goal post was immediately pointed out to the future. A future that, at the time, in 2007, it seemed near and far at the same time (and I may be forgiven the pun). A future finally untied from the weight of an album like "Songs for the deaf." Why is the whole thing: that record ... it was too good to be replicated, and for many years he weighed a lot 'on the shoulders of Josh Homme. For goodness sake, a cross not bad to take with him, however, was that the risk of restarne crushed. Josh Homme, however, is one with broad shoulders. Time passes and for a long period of QOTSA do not hear about if not for the sporadic appearances of someone on some disc or side project of that other (Eagles of Death Metal, Them Crooked Vultures at all). 2010: "Rated R" back on the shelves in the deluxe version. Something is happening. 2011: Homme star admits to working on a new studio album. 2012: takes you to the recordings, and some rumors began to circulate. Type that Joey Castillo left the group, and in its place came back Dave Grohl. All hell broke loose. It also seems that the new disk will put their signature the tumultuous Nick Oliveri and Mark Lanegan, in practice the dream team of "Songs for the deaf" that comes together. The hype grows exponentially. The year 2013 opens with an exchange of courtesies between Homme and Grohl, the latter engaged in the production of the documentary "Sound city: real to reel" and as such need of soundtrack. It turns out that Trent Reznor is the game, but it is also home QOTSA, so as not to miss anything. End? But no: the list of guests is officially complete with Jake Shears (Scissor Sisters), Alain Johannes, Alex Turner (Arctic Monkeys), James Lavelle, Jon Theodore (ex-Mars Volta, the new official drummer), Brody Dalle (The Distillers) , and, unbelievable, Sir Elton John. Ladies and Gentlemen: "... Like clockwork". The record of desires.




Now, how do you deal with such an album? The idea shows him Homme same. To calm, indeed, better, ferrying the right way towards the listener listening, Queens Of The Stone Age have used the tactics of warfare. No assault, no output sensational, rather many small advances spread along a discrete period of time. Half a song coming out on youtube, a live performance here, a small trailer there, then the release of the single, then the cover, then a talk show ... We put the pieces together and it turns out the disc again before it is released. We need to get an idea? We still have the idea first. We'll be disappointed once listened to the record? No, because we already know what we're up to. Is there a better way to promote and, above all, launch a drive like that? No. Not for me. Congratulations to Homme and all its employees.
The point is that this album by Queens Of The Stone Age in danger, again, is destined to be labeled as the new "Songs for the deaf", and not like the new album QOTSA. Given the circumstances and the list of accredited persons then ... Instead, what we've got is "only" the new record by QOTSA, an album basically good, mature, with points of real excellence (the songwriting Homme is a gift from God but not new), some episodes revisable and various goodies scattered. A solid work and no frills (ten pieces, forty minutes) from the persistent retro taste to say the old school.

"Keep your eyes peeled" is a good intro industrial flavor, a piece algid you do not expect, because the name next to the title in the credits is not to Trent Reznor but Jake Shears (Scissor Sisters). Alienating atmosphere for a bit more sour than sweet. Bello. Speech immediately turned from "I sat by the ocean", ballad-style QOTSA whole riff and chorus, the quintessential dell'Homme more breezy. A single. "The vampyre of time and memory" again changed its register: intro for piano and voice, then a synth and the piece takes off in a more staid, an interesting sad song traits unusual, but very touching: "Does anyone ever get this right? / I feel no love. " For "If I had a tail" just do a copy / paste of what was said for "I sat by the ocean" (and I refer to my comment on songwriting Homme) by integrating with the reporting of the presence (actually pretty lame) Alex Turner (Arctic Monkeys), Nick Oliveri and Mark Lanegan. "My god is the sun" is the single, all caps. Paced, dry, lethal, almost (finally!) stoner: the QOTSA. We put it next to the relevant "Little Sister" and "Go with the flow". And so closes the side A.
Side B opens with Trent Reznor's hand to bless the anxiety-provoking "Kalopsia", a lullaby synthetic hyper slowed down which results in a good chorus square. "Fairweather friends" is the final parade of stars: Elton John (his piano), Trent Reznor, Nick Oliveri, Mark Lanegan, Alain Johannes and Brody Dalle all together under the same roof. Complex, hyper arranged, inevitably multi layer. A successful experiment more no than yes, as I see it. "Smooth sailing" then opened the final with a minimal rhythmic blues, all interpretation and falsetto, and a charming growing dissonant closing. A good piece for live shows, but not so good such as "I Appear missing" and the title track "... Like clockwork", the peaks of the disc, elected by acclamation. Chorus (and the atmosphere incredibly dense) of the former is sufficient to warrant any praise. suffused The beauty of the second mode better to close a disc. Absolutely. Again. Truly a masterpiece.

The soul of "... Like clockwork" is a poignant ballad, an amazing tribute to Neil Young. And that was that.

TRACKLIST

"Keep your eyes peeled"
"I sat by the ocean"
"The vampyre of time and memory"
"If I had a tail"
"My god is the sun"
"Kalopsia"
"Fairweather friends"
"Smooth sailing"
"I Appear missing"
"... Like clockwork"

"There are other songs darker and faster. Now we do not know what to do, where we're going to end up, we are in a position where it is as if the world was ours and we will do what we believe. We will return to our roots thrash? We will experience and we'll take on the melody? "Said Dave Mustaine in 2012, while" Super Collider "was taking shape in the studio. Well, it is clear that Megadeth (or better: Mustaine, being the deus ex machina) have a rather clear and have focused on the melody, on a sharp corner and a sensitive use of colors less dark.
Not that Megadeth had never attempted this - in fact: among all the thrash titans of the school, since the eighties, were perhaps the first to adopt a sound approach in which the melody had a well defined space, the point is that with "Super Collider" has been lowered by a lot, and without much ado, the bar that marked the limits of the "too melodic": what we are, then, is a bizarre version of Megadeth in sauce almost AOR (not all! songs, but for the most part).




Not that we are in the realm of the bouffant hair, dust coats of leather, the boot python and the only melody that makes the horny fortysomething U.S. average, but we miss very little in certain situations (see the single that gives the title track, which know much philological of the eighties and glam metal / pop metal of the Sunset Strip, which almost no one believes). So the feeling is alienating, since Megadeth had never gone so well.
The real question is: "Super Collider" a bad drive? Difficult to answer without getting carried away by the irrational side. Certainly not the top of Mustaine, it must be said, and it's not an album thrash or speed metal. But it is not bad ... it's just different. With all the load of positive and negative adjectives that this implies, for example from the point of view of the fan more or less historical.
Melody aside, however, it is clear that Mustaine has really tried new ways: in "The blackest crow", of all songs, there is a feeling throughout southern folk / Cajun tasty and unusual. Then there are two collaborations with David Draiman of Disturbed and a cover of Thin Lizzy to enrich the overall picture.
Too bad this will become a bit 'out of focus, giving us an album that can only be described transition, with songs of robust metal hard rock a bit' too simple and linear to the standards of the band. Moreover, the evolution and the changes do not always occur in sudden jerks, but in fact require periods of adjustment, gray areas and neutral areas: this is - at least at the moment and unless future developments - "Super Collider". Maybe Megadeth are trying to deliver their soul rock band at 360 °, partially setting aside the rigid categorizations that after all this time, are likely to suffocate creativity and motivation ... so we await the next test and store "Super Collider" with a full enough, but bewildered.

TRACKLIST
"Kingmaker"
"Super Collider"
"Burn!"
"Built for War"
"Off the Edge"
"Dance in the Rain"
"The Beginning of Sorrow"
"The Blackest Crow"
"Forget to Remember"
"Do not Turn Your Back ..."
"Cold Sweat"

Despite the success of Walking On A Dream, the debut album of Luke Steele and Nick Littlemore had only got halfway. And not only in a figurative sense, but just from the structural point of view: the first bright part of the disc, forgettable (if not poor) the second. The rumors that the band disbanded have to think about the phenomenon of One-Hit Wonder (groups that are remembered only as a function of a famous song - although to be accurate in this case there would be well We Are The People), but the two Australians after five years on the run are back.

Since the title, cover and trailer on Vevo (in pop internet plays a vital role, as recently demonstrated in a definitive way Daft Punk) it is clear that the concept behind Ice On The Dunes is something visionary and fantastic: c 'it is even a story that chronicles the adventures of Emperor Steele and Lord Littlemore struggling with the King of Shadows, which contaminated the nature and put an end to world peace. We move, therefore, on the fine line between fable and trash, just like the music of Empire Of The Sun flirts dangerously with the vintage synth-pop and balance with hints of french-touch and a solid production and credible. The start is with a bang: the single Alive and the title track kidnap at first listen, Awakening is magical, while the sounds of the excellent Concert Pitch teleport weight as far back as 1982, when FR David sang Words (there was talk of One-Hit Wonder if I'm not mistaken). Later convinces the march of Surround Sound, but there are also some missteps: Old Flavours knows filler, Celebrate is slightly subdued and the slow closing (Keep A Watch) seems a bit 'forced. Breakthroughs are undeniable, but it would take a bit of belief in more.

Joy Division were absolute protagonists.
In this work, however, the guitars are sovereign, immaculate in every aspect and most of the songs were recorded live. The sounds are warm, broad arches he make the delicate melodies and fluid, like a caress donated to give comfort to a troubled soul from the power of love. The disc opens with "The weight", a song intense when Tom's voice is more intense than ever: an introduction that captures well the darker sides of both the sounds of the texts. It continues with "Sugar", a song that goes straight to the stomach. Smith sings "It breaks my heart to love you," in many cases the weight of love is this: to be able to withstand the force of a feeling so powerful as to be at the end of the story, exhausted. The third piece of the tracklist is the single which preceded the album, "A ton of love": melody, rhythm, crescendo, it is a powerful touch after two songs very reflective. A song by journey, mental and physical references to REM, U2 and very rock 90s. It continues with "What is this thing called love", a song that digs deep and enriched by the falsetto of Tom, who has competed in the high notes for the first time, and "Honesty" in which choirs are starring together to the rhythm of the drums, gentle but firm. The arches of "Nothing" make the melody of the piece inspired as never before. The morning breeze that caresses the face, that feeling of happiness as strong as weak, that I want to scream, so fills you. "Every talk with you the joy arouses in me," sings Tom. Then there are "Formaldehyde", where the guitar and drums come together in perfect harmony, and "Hyena", in which the disillusionment and disappointment felt towards who you loved so much are accompanied by a sound full and engaging. "Two hearted spider" is a dreamy ballad, dreamy, gentle and very soft while "The phone book" is melodically close to the rhythms of country and blues, with acoustic guitar and vocals scratchy. The disc closes with "Bird of prey", so many guitars and backing vocals on a tune slightly more pop than the rest of the disc.
Surely "The weight of your love" is a hard reflective and really well thought out by the band. "Talking about love is like dancing about architecture", but the editors have been able to do properly.

TRACKLIST

"The weight"
"Sugar"
"A ton of love"
"What is this thing called love"
"Honesty"
"Nothing"
"Formaldehyde"
"Hyena"
"Two hearted spider"
"The phone book"
"Bird of prey"

The soul is Alice In Chains Jerry Cantrell. It was at the time of Staley, it is today, even more. Alice In Chains are back in 2009 with "Black Gives Way to Blue," an album nice and hard. Difficult because of the inevitable comparison with the cumbersome past with the myth. The soul of Alice In Chains however, again, it's Jerry Cantrell, and it is the time a bit 'all if not make it a reason, especially after listening to "The devil put dinosaur here": it is not guilty of treason in saying openly that this is one of the best albums ever Alice In Chains. It is not sin, and above all, we should not feel guilty at all, because to admit it does not in any way diminish or even less (God forbid) forget Staley. Let me be clear once and for all. "The devil put dinosaur here" is an album born without the slightest pretense (or debt to pay): "I do not think you will be surprised what you'll hear. We are. It 'still a single disc, the new chapter in the story of Alice In Chains, a big one. " Cantrell says: then do that from here on then turns definitively page.




Twelve pieces, almost seventy minutes. Sound dry, dirty riffs and heavy as boulders; melodies acid (the trademark of the ACIs) that stand out against the background and knead in the vocal harmonies perfectly mixed (high-impact) of Cantrell and DuVall, one who agrees, will not have the intensity of its predecessor, but has amply demonstrated that it deserves the place giving that touch of extra, his touch to each piece. Pieces in this case more metal than rock, no doubt, put out to dry in the Seattle area. There really is not much else to say about this album except that its great beauty lies entirely in its strength. A force performed without compromise, as a vent. The triumph of songwriting Cantrell; dark ballads of a disarming clarity: "Hollow" ... "Pretty done", the intro deadly "Stone", a true masterpiece, a charging bull with his head down, or the beautiful and atmospheric " Hung on a hook, "commissioning rightly closing. "Voices" and "Scalpel," exude the essence of Alice In Chains, those who know how to write large pieces with just a voice and a guitar. And then "The devil put dinosaur here" almost seven minutes for the direct descent into hell; perfect title track, multi-faceted, layered. Not surprisingly, what we hear, these are the Alice In Chains. In its own way, however, is unique and powerful. Elegant and wonderful. "Lab monkey" and "low ceiling"? See above. "Breath on a window" a runaway train. "Phantom limb", again seven minutes of furious raw metal, a straight shot to the body, and finally "Choke" to close it all with a touch of melancholy. A closure cathartic for contrast makes everything else more defined and dense. Everything even more beautiful.

"The devil put dinosaur here" is a Mr. disc. An album to take with heat and consume without restraint. The new album of Alice In Chains: to date, one of the absolute best out this year. A Layne probably would have liked.

TRACKLIST

"Hollow"
"Pretty done"
"Stone"
"Voices"
"The devil put dinosaurs here"
"Lab monkey"
"Low ceiling"
"Breath on a window"
"Scalpel"
"Phantom limb"
"Hung on a hook"
"Choke"

It would be nice to be able to talk about Beady Eye, and, for example, a disk as this new "BE", without having to always return to the so-called "affaire Oasis", or even less to be enraptured by the amazing statement that the good old Liam every so you leave "escape." See "occasionally do drugs again." Or: "The Oasis fan boycott Beady Eye." And, last but not least, "... it would be nice to play together again for the twentieth anniversary of our first album (" Definitely maybe "). I'd be there. " It would be nice even just talking about Beady Eye Beady Eye, as any band. I have no idea, however, that mention the Beady Eye means precisely to talk about all that surrounds Beady Eye. The life and statements of Liam. The answers, rare, Noel. Can be found to effect the last minute (the Talent show in this sense are and will be a boon in the near future). Why taken alone, the music of Beady Eye maybe not enough: it is the whole that counts. And maybe it's even better that way. Moreover, whatever people may say, Liam is one of the last rock star worthy of the name. That it continues to do his job well, in studio and outside.

And if the "outside" we have already said, Liam is back in the studio to work just to give a result of the still decent "Different gear still speeding", accompanied by the band of usual suspects: Archer, Bell, and Sharrock, assisted in this case by newcomer Jay Mehler on bass and, most interestingly of all, by David Sitek of TV On The Radio. David Sitek that this new "BE" has produced taking the starting material, typically styled pieces Beady Eye just to be clear, neither more nor less, and working slightly subtraction to be able then to concentrate on the job in the sound. A sound to "Sitek": "BE" is, quite simply, the new album by Beady Eye, with the same strengths and weaknesses of its predecessor, but it sounds a bit 'TV On the Radio. Aware of the choice of bycicle, Liam and his companions have forked convinced by pedaling in this direction. Stop.




Eleven pieces in the lineup, which become fifteen and seventeen in the deluxe version in that for the Japanese market. Good opening with "Flick of the finger," one of the two singles, the crescendo is as honest a bit 'too lacking in bite. What then, in two words, is the best description of Beady Eye. Liam, for his part if he hums with ease, while the final speech of the English (of Iranian origin) Kayvan Novak helps to define the general mood of the album: pop music mold brit rock, but updated to 2013. Treated. "Soul Love" is, however, a ballad minimal-soothing aftertaste icy, vaguely synthetic. Tasteless. Better in this regard vintage riffs and hyper traditional "I'm just saying" and "Face the crowd," square pieces and unpretentious, however embellished by an arrangement more layered than it may seem at first sight. Credit where credit to Sitek, one who has realized that Beady Eye never write pieces momentous and that has worked hard to transform the "good" at least "interesting." Mission accomplished? The commitment is there and you feel it, but it always seems that something is missing ... something in terms of songwriting. Lack bypassed in part by a different sound, however, undeniably, see "Second bite of the apple." For me a single full marks even want to risk it for a while '. Peace and Amen it seems a feat Liam on a piece of TV On The Radio, there will soon be a reason. "Soon as Tomorrow" then continues along this road. The ballad is very simple, but it is this simplicity that is the perfect size. The two beautiful solos that will overlap, beautiful sound texture in the background. It will not be "Wonderwall", mind you, but those are once in a lifetime. Eh. Less beautiful instead "Iz rite", a piece too obvious, while on "Do not brother me" should be written a separate review. To begin with you all too explicitly cite the Beatles from the title. Thing in the house Gallagher began to be already chopped a few years ago. Bah. Then open the piece and inside there are also "Come on now, give peace a chance, take my hand, be a man" ... What you said before? You can not talk about Beady Eye without touching anything? Here we are served. The piece then it is not even that great piece, indeed. In addition insult to injury. You might as well focus on the end of "Shine a Light" (here mention the Stones?), Five minutes tasty psychedelic Brit pop à la mode, followed by the concluding ballad Ballroom "figured" and "Star anew", unfortunately again negligible. And if the ballad and Beady Eye do not get along, maybe there is a reason.

For as much as we Beady Eye audition, it always seems that something is missing. Alone are not enough. We call then Sitek, unusual choice but, in my opinion, spot on, at least refreshed. Let then the statements of Liam, the gossip and find last-minute and all this chaos you pull out a disc anyway, again, decent.
The truth is that we can stand here and tell us about it, but the one thing that is missing, and you are trying in every way to replace, has a name and a surname.

TRACKLIST

"Flick of the finger"
"Soul love"
"Face the crowd"
"Second bite of the apple"
"Soon as Tomorrow"
"Iz rite"
"I'm just saying"
"Do not brother me"
"Shine a Light"
"Ballroom figured"
"Start anew"