Reviews by Time Bomb

When you have the makings of a saga of 50 million copies, the last chapter of which has sold over 10 million units, it is difficult to resist the temptation to produce an episode a year. Not by chance we find each fall Ubisoft in good company with other well-known "serial seller" such as Activision, Electronic Arts and Konami, along with their Call of Duty, FIFA and PES. That's why the announcement of Assassin's Creed IV: Black Flag is not surprising that much, perhaps more amazed when the cause of the repeated leaks that Ubisoft forced to hastily raise the curtain on a title that was supposed to remain secret for a few more hours.
On the other hand, the interest around the brand of Assassin's Creed has always been very high, even for hackers. As can be seen from the title, however, this time the appointment is a bit 'more special than usual because we are not in front of an expansion, as in the case of Brotherhood and Revelations, but a new chapter in the series. And you do not mislead by the subtitle (usually absent in the main episodes), or the setting marinara highly successful last year. This time the protagonist and therefore changes the numbering of the series.
Assassin's Creed IV: BlackFlag.
Ubisoft though, maybe a little careful not to confuse the casual user, with Black Flag back in time a couple of generations, narrating a story located right next to the Assassin's Creed III. Here is the publisher transalpine leave Connor to his fate Kenway, the Indian fighter still involved in the recent expansion called The Tyranny of George Washington, and introduce his grandfather, Edward Kenway. Which, according to what we saw on the occasion of its world conference in London, appears much more aggressive and charismatic nephew.
According to Ubisoft development of Black Flag would begin in the summer of 2011. In that year came the fourth feature film dedicated to Pirates of the Caribbean, "Beyond the borders of the sea", which brought the total earnings of the quartet Disney license plate above the threshold of three billion dollars. Here then is a possible explanation for the choice to bow to one of the most popular trend in recent years, with a chapter set in the Caribbean islands. Visit such places like Havana, Kingston and Nassau, famous for being populated by unscrupulous appears whose pastime was accost the boats of others to plunder the assets. All things that we can do ourselves, expanding the already popular mechanical naval Assassin's Creed III, with the difference that this time the boats we really abbordarle, making off with his sword drawn towards the opposing captain.
The game features as usual a series of characters that will be the shoulder to Edward Kenway, but the real actor will be our ship, the Jackdaw, we can improve our earnings by investing in parameters such as speed, strength and firepower. Operation this highly recommended, if it is true that we will face even powerful ships that we "greet" with about a hundred guns.
Assassin's Creed IV: Black Flag is not, however, only chases across the roofs of the Caribbean and fighting in the open sea, but a kind of Grand Theft Auto pirate we will explore some fifty different locations, seamlessly. And we will not just for the sake of exploring the tropical jungles or to walk on the heavenly shore of the Bahamas, but to discover the inevitable treasures that can be expected to play in setting pirate. We can not just look at the ruins of Maia or in inaccessible caves but even the bottom of the sea, now finally explored in depth. And if you do not know how to pass the time, pace WWF can also go hunting for whales, in spite of his grandson Connor in Assassin's Creed III more than bears and wolves could not hunt.
For release next fall for Xbox 360, PS3, PC, Wii U and PS4, Assassin's Creed IV: Black Flag may not be the revolution that everyone expected but with its setting "true naval open world", as he called the same Ubisoft

And if you are among those who have joined the enthusiasm for "Where are we now? 'A little' fear for the fragility trumpeted, for the melancholy that seemed to confirm the rumors about the precarious health of Bowie ... Well, get ready to change your mind.
"The next day" is an album by the rock solid heart with many, many facets. "Where are we now?" Is the best song of the album - strange choice for a single return after nearly 10 years. Rather think of "The stars (are out tonight)."
A solid core of rock songs, straight but never banal: "The next day", "Valentine's Day", "Boss of Me" and "You Will Set the world on fire" over all, with a lot of work on the guitars (feels the hand of Tony Visconti, producer of trust), which refers to the electric Bowie. And then songs that vary on the pop by adding elements such as wind (the blues waitsiano of "Dirty Boys"), organ ("Love Is Lost"), arcs ("Heat"). Or echo other phases of his career - the rhythms of "If you can see me" that remember the period drum 'n' bass of "Earthling", the psychedelic pop of "I'd rather be high," the pop genetically modified " "How does the grass grow." The ballads are in the minority: "You feel so lonely you could die" and the closing and gloomy "Heat".
Amid references also ironic and not too veiled to his absence and rumors about his illness, hidden inside stories in which Bowie apparently is not speaking of himself: "Here I am, not quite dying," says the chorus at the opening of "The next day. " "Wave goodbye to life without pain," he says, "Love is lost" album in half, closing with "And I tell myself I do not know who I am" to "Heat".
Bowie actually knows who he is, and "The next day" proves it to perfection. Is not to "Heroes", and the cover reminds us, with that game chart (please continue on the back, where the back of the historic album is deleted by another white square). But it is an artist who is conscious of his past, he has no fear and knows how to look forward too. Still knows how to write great songs (the signature on the songs is always his, but two co-signed with Gerry Leonard and one with Jerry Lonard). Knows how to surround himself with the right people (as well as Visconti, the disc was recorded with Gail Ann Dorsey, Tony Levin, Zack Alford, all in the past with him).
Above all, Bowie is an artist who knows how to find the right sound, never assume, always with the paw of originality that is in every song on the album and how there's almost always been in his career. But it is not a fatal blow that kills the song never looking for special effects, but is at his service.
"The next day" is the result of what may become known as the "Bowie Care" for an artist. Disappear from the scene. Give the impression of having withdrawn, regenerating and finding inspiration. Return with an album that sums up his career and brings it all home. Congliatissima care for many artists and iperprofolifici ipoqualitativi. Bowie worked with, and how if it worked. The album's most anticipated, and the wait will not disappoint.

About teenager that will be much talked about in the near future, Jasmine Van Den Bogaerde in art Birdy is one of the most reliable for years to come. You know when you hear and say predestined? Well, this is one of those cases. This is one of those cases that if there Beelzebub sulfur dips its tail and tempting the assumption that two plus two is four is confirmed again and again for the umpteenth time. The ingredients are all there, but everyone: the musical talent is combined with the good looks, the freshness of youth maturity pleasantly unexpected.
Let there by beating about the bush, "Birdy" is a debut of good standing also and above all in the light of only fifteen years (at the time of recording) of the interpreter. A debut with all the trimmings for the size and class with which each song is interpreted. The fact that all the songs (except for "Without a word", signed by the young pianist) are other people's songs does not make the company easier, even the damn complicated. Dealing with the repertoire of others remain credible is never simple. Around the corner, especially when you're very young, lurks the 'mortal' karaoke effect that both found success in television music talent. It is never a simple matter to have the sensitivity to compose a playlist others that is balanced and credible, more if male matrix.
In Italy the general public became aware of its existence - this is the honest truth - for participating as a guest at the recent Festival of Sanremo where he proposed "Skinny Love". Piano and voice, on the stage of the Ariston Theatre. Difficult, between those who saw her perform that night, did not at least exclaimed to himself ... but! For those that do not know "Skinny Love" is one of the best compositions of Bon Iver, one of the most talented indie rock crystal current. The hypothesis that the reference points of the girl should be sought more of the compositions of the young beards among the glitter of pop is corroborated also by the joyful "White Winter Hymnal" drawn from the repertoire of Fleet Foxes and "Terrible Love" at the National . Indeed the latter comes penalized in comparison with the original. There is, in the eleven songs on the album, a decided step back in time to pay tribute to one of the singers to five stars with the revival of the 1970 edition of James Taylor "Fire and Rain".
This first test is far exceeded. It 'came naturally listening to the record, as a comparison, think of Adele (same voice cleaning "People help the people" of Cherry Ghost and identical passport), we are not yet at that level but the statement may not be a curse . At this point the inevitable test will be the second disc when Birdy will call to confirm all the good credit it has earned, perhaps raising the ante with a full album signed by her. The passage of time and experience can only give to Birdy greater depth and intensity to his interpretation in this debut is sometimes still immature and without a touch of warmth in his voice. And maybe it can not be otherwise, at the end has not yet reached the age of majority.
Before closing a curiosity that I can not deny readers: Dirk Bogarde, no less, is a great uncle of Birdy. Who is Dirk Bogarde? A pretty good actor who has made his mark in the history of cinema for some unforgettable performances, for all those worth of "The Night Porter" and "Death in Venice".

It is impressive to think that this is the first solo album by Johnny Marr. Because the former Smiths guitarist has never stopped over the years. He has played with almost everyone: Electronic (with Bernard Sumner of New Order), The The, Modest Mouse, Cribs, just to mention a few of the groups that has been part of the permanent staff. Then there are the Healers, which released an album in his name a few years ago - now partially disregarded. He was the leader of a band. Today is just Johnny Marr.
If you grew up in the 80s, you can go to "Generate! Generate. "You will have a sinking heart. But also the first song on "The right thing" is good. That riff, the sound.
Johnny Marr.
Almost no one has marked the English rock like him, with his guitar, wore everywhere: they were the Smiths or some other band. It 's like Peter Buck (another guitarist who marked an era) sounds everywhere recognize him, know his touch. Only Marr is a true nomad, and maybe this time has found a home.
Writes, and well. Sing, decent (better than Peter Buck, anyway). "The Messenger" is a real rock guitar clinic, to be studied by generations of musicians, both when it evokes the Smiths ("European me", with electric and acoustic guitars that overlap), and when he plays with the rhythms in backbeat of "the Messenger", where he gives lessons Strokes, Interpol and company sounding.
It says nothing new, of course: there is nothing shocking in these songs. There is style and there's so much. There is a concentration of a bright career, and there's Johnny Marr who finally takes the merits in the first person, without paying his work to the good of others. Enough, it is certain.

Annalisa I had never seen nor heard sing live (I met her two minutes, the time for a handshake when he accepted the award for Best Video of the PVI emerging artist of 2011). I discovered it to "Friends of night," and I was impressed because it was different from the other singers in the competition. Not screaming, not crying, not squirming: was composed of discrete, "modern". Best of the songs that he sang, he sang new songs, up to the songs that played when he sang songs already known. A promise already partially realized, wishing to be carefully monitored (no offense) a repertoire better than what had been available so far.
"No offense," I say not to you, but to the authors: the people of profession and worthy of respect, as Federica Camba, Dario Faini, Andrea Amati, Roberto Casalino, Francesco Campedelli, people in this third album is almost Annalisa all this with his own compositions - but apart from a few exceptions, they are not to sign the songs more interesting and "new" to "I can not dance."
The absolute best is "The First Time", a delicate and intense comp signed by Ermal Meta, La Camilla Fame. Meta is also the author of "I can not dance" (one of the two songs presented in the race in Sanremo by Annalisa, the one that has been eliminated), "you and I we" and cosigner (with Faini) of "Shoot my love" substantially , to my taste, the most interesting songs on the disc. The other, well, "Sparks", Faini and Antonio Galbiati, is a very good writing - vaguely Elvis the period 1974/1975, "The pink garter" and stuff like that - that Annalisa sings with confidence and the right of aggression that there is evil, "Alice and the blue" seems a little something less than the repertoire of Arisa (by the way, here and there the voice of Annalisa brings to mind that of Arisa - and you know that as a compliment) and the similarity back in "All the other people," written by Annalisa with Pino Perris, which is the remake of a song, "The Other People", written by one Annalisa before starting his solo career. "In my own way I love" is a very old song from the plant: it could come out of a Sanremo sixties, which in itself is not a defect or a limit, but it forces Annalisa singing as Anna Identical - which is not beneficial. It's ok "I'll be back to love", signed by Casalino with Nicholas Verrienti, but I get the impression that it is saved arrangement and interpretation, could have become one of the songs scream of Emma.
About arrangement and production: the novelty is that nut Parisini, which had produced with Nicolò Fragile "Nali" in 2011 and had produced only "While everything changes" (2012), has given way to David Graziano, musician and Turin former drummer of Africa Unite. It should be remembered here that Graziano is the life partner of Luciana Littizzetto, host of the Festival of Sanremo 2013, and do so with a suggestive wink: I did, because it's my job. But Graziano is good and has packed a good job - putting much of her, as I understand it.
Annalisa sings of how you can not tell that well, is in tune, expressive, capable of giving color to the sentences. And here I imbalance: if he - or if those who guide him leave to do - get rid of the remnants of his coming "talent", and wants to become a point of reference for young authors less aligned (the previous album were, to say Two songs Giulia Anania, that the new generation is one of the most promising pens), it could become the new Fiorella Mannoia which the Italian scene so desperately needs. I wish him, and I hope so

I've always been wary of the enthusiasm of converts, and now I am in the position of the converted - which would require me to temper my enthusiasm. But I can not even shut my admiration for a record that I listened to five times to duty - to prepare for a meeting and interview - and then I listened to at least three other times for pleasure, in spite of the inconvenience of listening in streaming (but I will tell you this postscript).
Rap and hip hop are neither competent nor passionate. It's not snobbery, is that this is not my bread takes teeth too young to chew it. I do not think I've ever listened to an entire disc of rap and / or hip hop before that, though, of course, I've heard something here and there, if only for a minimal need for training (though I did not yet clear about the difference between rap and hip hop purists will forgive me and technicians if I happen to confuse the two terms). To say, I happened to attend the children of a group of Varese, the Huga Flame, whom I met in time by no suspects, giving them the first prize in a contest that was presiding over the jury (we're talking 2002), and to follow their beautiful growth with affection and attention, I liked certain things about Frankie Hi-NRG MC, but for the rest I confess my ignorance, not due to end prejudice against the genre (although I have always bothered a certain look and some gestures that can make sense in the United States, but which I imported verbatim in Italy are simply ridiculous) but caused by the knowledge that I said before - because distrust of older people who pose as gggiovani and boast an open mind that physiologically can not own.
But Fabri Fibra I have often been intrigued. When I read and reviewed Rockol his book, "conspiracy", I found it brilliant and advisable; overruns and pop - or at least to my ears sounded pop - some of his recent songs ("Vip in trip", "L 'Italian dance ") they seemed fun and non-trivial. More recently, near the exit of this album, the single "Ready, Set, Go!" Seemed to me an excellent example of a lightweight deep, deep or light (you choose the oxymoron you prefer). It will, also, that I trust very instinct of children who have an ear for songs that work - and in fact my son three years, has elected one of its songs at the moment - but, then, when they agreed the proposal to interview the rapper Senigallia I have not turned back, and I have assigned the task to someone more competent than me. I was curious to know the person, more than a musician. And I am very glad to have met him.
But here we must speak of the disc, right? So, I will say that "War and Peace" I thought it was a great job, made in an excellent manner by Michele Canova and full of interesting ideas.
As I said, I do not have the technical competence to express an opinion, but as a simple listener, I found some very catchy songs. For example, the opening sequence: "You write," that "sampling" a phrase from the lyrics of a song Baustelle, "Voice", which I find exciting (I mean really) the impact of the sentence cantata "And there is a voice echoes in my head that / says 'We're going to wave', "" What time ", enriched by the participation of the vocal soul singer Al Castellana. Of "Ready, Set, Go!" I said, "Panic", in which he participates Neffa, is very impressive, it is also the title track "War and Peace", "Ring Ring" and "fifteen hundred" have potential to single, and the bonus track on iTunes, "Too much of everything," it seems to me with the stigmata of a manifesto, and not look out of place as an editorial on some major newspaper (and perhaps, as was the famous remark of John Lennon on the Beatles " more popular than Jesus ", would cause burning sacrificial disks Fabri Fibra, because of the phrase" come to unveil the fourth secret of Fatima, the Church will disappear ").
In fact, the one that made me excited about the songs on "War and Peace" is the dense masses of phrases and speeches, quotations and references, paraphrases and references, which reveals an extraordinary lexical richness (and an equally admirable ability to manipulate the words: Giuseppe Antonelli, the author of "What do you want to be a song," could write a short essay). Now that I think about it, I'm pretty sure would have liked to Fabri Fibra Edmondo Berselli, and I really regret not being able to read what he had written the lyrics of this album.
In which film references abound ("Karate Kid," "Mission: Impossible," "The Godfather," "The Wizard of Oz," "Austin Powers", "Clockwork Orange", "A Falling Down", "The Sixth Sense , "" Pretty Woman, "" Seven, "the horror of China, the Sofia Coppola for" Lost in Translation ", even Florestano Vancini of" Snow in the glass, "1986, and the whole finale of" Frank Sinatra "is a tribute to the ramblings of the computer HAL in the finale of "2001: A Space Odyssey") in which they are appointed colleagues in the music (Arisa, Ligabue, Alberto Camerini, Jovanotti, Lucio Dalla, Vasco Rossi - "en travesti" I say this without malice, but in the sense that the first and last name are deformed - Valerio Scanu) in which are scattered phrases that could become proverbial, or at least enrich some dictionary of "quotes" ("I am in search of God like every writer," "You be careful and put aside the good feelings "," It takes a lot of courage to be losers, "" those who have less few mistaken ideas "," Do not take advice from those who never accepts advice "," This is the world to be entertained "," There is the event if there is no waiting "," The best revenge is success "," No cock is as hard as life "), in which allusions appear not easy to decipher ( "I'll teach you how to walk with Clara" understands only one who has seen the cartoons of Heidi, "It was better when there was Aelle" is a nod to the lovers of the genre - "Aelle" was for all years Ninety an Italian magazine of hip hop culture, "time to talk radio you and Rita" is a mockery of a broadcaster only Italian music - R Ita, geddit? - that does not transmit songs Fabri) and characters not just from weekly hairdresser (Aleister Crowley, Nikola Tesla).
And in the texts abound, too, critics harsh and brutal contemporary Italy. "All bugger all, in Italy almost here we are already born with a dick in the ass." "From abroad we are able to decode." "And the country is not in motion." "Where are the new proposals - I mean in politics, the singers?". "The country where young people speak like the old and where the old are still young." "This nation always seems on the verge of the end."
Sentences pamphlet, with the strength of the slogan and the weight of the judgment lapidary. But transmitted, broadcast, supported by a robust music, energetic, catchy: quite the contrary, therefore, the self-styled "song writing" soporific, verbose, pedantic that you continue to pass off as a kind of "high" and which is become a sticky molasses which celebrates its rites in front of public ever fewer and no longer able to transmit any message that is not that of an unbearable self. That Fabri Fibra is excellent songwriting: modern but not "gggiovane" social but not political, but not committed Pallosa. And never boring. Applause for Fibra.

Initially had to be two separate albums of ten pieces each: the first would be called "The land at the end of our toes," while the second "The sand at the core of our bones." These plans for the publication of the sixth studio work weblog Biffy Clyro. Today, the disk is only one, it's called "Opposites" and is, of course, a double, twenty pieces complete edition, accompanied by a concise edition (for the less daring) of which there are only fourteen. "Opposites" comes four years after its highly successful predecessor, "Only Revolutions", a disc that can catapult the Scottish band outside the borders of native thanks to a handful of singles hit the spot and live performances particularly popular in many summer festivals old continent.
The Biffy Clyro, aware of the great success and popularity has now reached, then came back with the intent to do great things. Confirmed the producer of the two previous episodes (Garth "GGGarth" Richardson), probably to give continuity to a winning formula, the trio has recruited Ben Bridwell, the voice of Band Of Horses, as a guest vocalist: "Opposites" is an album that, despite the amount is not indifferent, manages to keep compact and scroll nicely, alternating pieces by shooting more radio (see the excellent single "Black chandelier") to other characterized by a heavier rock and pulled. A dualism evident from the title.

TRACKLIST:

"THE LAND AT THE END OF OUR TOES"
"Different people"
"Black chandelier"
"Sounds like balloons"
"Opposite"
"The joke's on us"
"Biblical"
"A girl and his cat"
"The fog"
"Little hospitals"
"The thaw"

"THE SAND AT THE CORE OF OUR BONES"
"Stingin 'Belle'
"Modern magic formula"
"Victory over the Sun"
"Spanish radio"
"Pocket"
"Trumpet or tap"
"Skylight"
"Accident without emergency"
"Woo woo"
"Picture a knife fight"

Charles Dickens sang three in his famous story. That is one of Baustelle in it past, present and future intertwine. The Phantom of the passage of time, the central theme around which pitted the nineteen songs from the new album of the Tuscan.
The sequel to The Monks of the West is a work in some respects different and unsettling, yet at the same time, could not be signed by none other than the Baustelle. Francesco Bianconi, Rachel Claudio Brasini Bastreghi and are back in the beginning, Montepulciano, to record, in beautiful places that certainly helped shape the evocative atmosphere of the disc. The rest did the orchestra of sixty elements that made ​​use music for the trio's own words, minimizing the presence of instruments typically "rock."
The result is a classic album, symphonic, orchestral, opera in which educated are so many references to poetry, literature, music and current affairs, to the cinema, which plays an important role in Ghost. In fact there are horror films (could it be otherwise with a title like that?) Italian 70's, of which Bianconi is fond, that inspired the album artwork and tracklist, conceived as if it were an imaginary film, with a lot of titles, range, and credits.
Then sit back and turn off lights and smartphones: the spectacle of the time that passes is about to begin.

Mike Watt formed a group called Il Sogno del Marinaio with guitarist Stefano Pilia and drummer Andrea Belfi in 2009, days before the trio set off on a short tour of Italy. Between gigs, the three decamped to the north to record La Busta Gialla, committing to tape the oddly assembled jams and elaborate latticework with which they'd been peppering their otherwise Watt-heavy sets. The quickly constructed La Busta Gialla makes for a rickety listen, teetering, as it does, between tautly composed prog and loosely formed grooves that seem to fall apart as they totter along. What's most impressive about La Busta Gialla is how much proper band-stuff-- how does this one go, who takes which lead, that sort of thing-- these three managed to work out in just a few days. Watt-- Minutemen co-founder, fIREHOSE frontman, human dynamo, bassist extraordinaire, and one-man embodiment of all of punk's highest ideals-- will talk your ear off about music's ability to bring down the boundaries of language, distance, unfamiliarity. And at its best, La Busta Gialla feels like a conversation between three musicians working towards something communal while still feeling each other out.
Like most of the music Watt's made over the years, La Busta Gialla is at its best when it's on the move. Opener "Zoom" and immediate follower "Partisan Song" are both the album's busiest and best songs; the slightly silly "Zoom" plays a Battles-style game of brickbreaker, while "Partisan" is all post-rock corrosion. The sound here is in constant flux, passing blithely through section after section, and each move keeps you guessing. Watt's playing-- virtuosic but unflashy, melodically daring but never untethered to the tune-- has filtered down through pretty much all the non-cheesy progressive rock that's come in its wake, echoes of which pop up throughout La Busta Gialla. The eternally ageless Watt has always kept an ear to the ground, so it's a thrill to hear him not only in conversation with these two fine young musicians, but with a lot of the music he's inspired (indirectly or otherwise), and he plays the stuff with intensity and drive. He's always been willing to set ego aside to benefit the greater good, but here, he seems especially absorbed into the group dynamic; the bass tends to take the melodic lead, but it's rarely the focal point of these songs. The three read each other remarkably well, moving in lockstep, constantly rearranging themselves.
Things take a turn with "The Tiger Princess". After a few minutes of snaky bass, Watt sidles in, doing his best Randall "Tex" Cobb, imparting a little road-dog wisdom through a mouthful of gravel. It's so grave, so serious, it's borderline silly; mostly, though, it's just a momentum-killer, as all movement seems to halt while Watt does his spiel. Things get a little dicey whenever anyone in Il Sogno opens their mouths; "Il Guardino del Faro" is another Watt rap, this one translated into Italian, delivered over a barely-there bass-and-drone wash. It's not bad once, and I'm sure it was fun live, but amidst the instrumental tug-of-war that surrounds it, "Guardino" just feels limp. Still, the real sticking point here is "Messed-Up Machine". As the name suggests, it's a deeply troubled groove, a driving-on-a-flat wobble that barely holds itself together through seven increasingly excruciating minutes. It's a glorified rehearsal snippet, more exercise than song, the kind of thing that it's hard to imagine making the LP if Watt had had a few more days on his work visa.
As a record, La Busta Gialla's not great, just a hair more curious than pleasurable. Still, you've got to give a guy like Watt credit for his willingness to make a peculiar mistake like "Machine," to link up with young, far-flung talents like Pilia and Belfi just to see how that'd go. At the heart of Watt's legendary raps, there's this notion about the importance of engagement: with your convictions, with your community, with something larger than yourself. So when so many of his contemporaries seem content to sit by the phone and wait for the next documentarian to come calling, Watt's off in Italy, making strange records with near-strangers, forever engaged.

Diplo and Switch when they left to roam the Caribbean island of large reeds and Bob Marley with the intention of exploring the dancehall music, the musicians of the place, probably paranoid as a result of the esteemed grass, they could not see good eye on these two pale-looking enough nerdoni metrosexual.
Let's step back: What is dancehall? In other words is "reggae dancing" and someone here storcerà nose and fuck it. Born in the '70s as a bastard version and "low" of reggae (or nothing lyrics on Rastafarianism) has since moved merging the "ragga", reggae made by electronic means. Still do not understand? Do you remember Sean Paul? Here you are.
Often the dancehall has been criticized for its homophobia and for a total misogynistic and violent lyrics. All true, in fact. Luckily nowadays things are changing and vaguely on this record apart from some suggestion a little 'porn ("You're cute, your breast's stiff and your pussy is fat / That's why I give you what tough cock like it is a brickhut ") there is no trace of that stuff.
Back to us: at the end of the two nerdoni convinced Jamaicans because, after all, were not the last mica assholes having already drugged Albums MIA with beats electropicali absurd.
Same thing with the project Major Lazer: take a pre-existing stuff, smash all the rules that hold us together, and they stick with the stuff that sounds nothing to do with a saw. And sometimes even that sounds just did not think could exist. Already in the first track "Hold The Line", while a drum machine of the XXII century goes bad and a Jamaican rattles off rhymes with his funny accent-horny, you can hear, in order: steps of hoofs, a spaghetti-western music , Santigold, the ringing of a phone, "dling" of a box, a bottle breaks, the smack of a kiss, a nitrite, the vibration of a mobile phone verses of "birds digital" stuff that seems a sound of a gun being charged, the sound of a telephone isolated, etc..
A disc that runs very fast on the razor's edge that separates the buzz boombastico bad taste hyperkitsch, the revolution from desecration. Either you love it or hate it: however you stretch out on the ground as if you were sniffed a strip 10 meters long Bostik cut with Haze and Coccoina.
Boooyaaaah!
PS: this disc in the co-production of our own Crookers ganza in "Jump Up"Annulla modifiche
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