Reviews by Time Bomb

The atmosphere that pervades the new album Crystal Castles is easily understood by some clues. "III" was recorded in Warsaw icy and dark, and the cover is a dark elaboration of known photos of Samuel Aranda (winner of the World Press Photo 2011), taken during the uprisings in Yemen, Alice Glass has defined the word 'oppression' as the one that comes closest to the mood of the disc.
Three clues are evidence and in this case indicate that the Canadian duo has focused on mark their image to be dim, dark and 'cursed' and news, as strengths to present their third installment record, which comes in two years away from "Crystal Castles (II)".
The main new features are the use of the voice of Glass, even filtered (and almost unrecognizable) and some great ideas witch-house packaged by Ethan Kath, who produced the entire album.
In this regard stand out on all three pieces as "Wrath of God", "Telepath" and "Violent youth": the first fast and furious ("They'll strip you of your heritage," screams Alice), cash and techno sounds really well-balanced, and the second is roughly on the same wavelength, dark and pulled, but without the voice of Glass, and confirms that the CC are strong when they go heavy on the brake and let go, and the third is witch- house in a pure state, to dance, with the voice of Alice filtratissima.
When instead create hybrids between synth-pop and darkwave, the results are mediocre, as for example in "Pale Flesh", "Sad eyes" and "Transgender", tracks that while not displeased, fail to engage at all, as if missing the decisive rhythmic thrust to impress.
Of note instead "Child I will hurt you," successful experiment ballad Crystal Castles, electronics and soft at the same time, with keyboards to the fore and Alice's voice that becomes incredibly sweet ("Taught them with solace; They know to soft caress, To lower your defense ").
With "III", ultimately, Crystal Castles have tried to make a small step forward compared to the past, and succeed only in part. A missing is the courage to make (when they do the results are excellent), won by a (legitimate) desire not to stray too far from the formula that so far has brought them success. In the flood of record releases an album is not essential.

TRACKLIST:
"Plague"
"Kerosene"
"Wrath of God"
"Affection"
"Pale flesh"
"Sad Eyes"
"Insulin"
"Transgender"
"Violent youth"
"Telepath"
"Mercenary"
"Child, I will hurt you"Annulla modifiche
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"Grrr!" Is an object that has to do up to a certain point with the music. "Grrr!" Is the object that the Rolling Stones have used to celebrate their fifty years of activity. Fifty years, only to think of shaking the blood. The biggest rock band of all time has condensed into fifty songs, three discs, a booklet with photos and memorabilia of five postcards depicting posters of five of their tour (at least in the Deluxe Edition that I have at hand, there is also a Super Deluxe Edition more impressive where the songs are eighty plus a vinyl plus a book plus a poster and five postcards), a half-century of career.
To close the third CD is "Doom and gloom" and "One more shot", two new pieces, the only two new songs in this collection. Indeed, nothing memorable (though not so little). Even if, what you hear is Mick Jagger singing and the guitar sound is unmistakably Keith Richards usual backed by Ron Wood. And also, and above all, to support all there is behind the metronome Charlie Watts.
Ok, almost seventy years, however, there are no terms of comparison, no other band has been pushed so far. What will happen in fifteen U2 or Pearl Jam in thirty years. Who knows ...
"Grrr!" Is an object, not music, although the music contained here is irreplaceable part of the lives of a number of people transgenerazionalmente hard to imagine. If a hypothetical click could delete these songs and make sure that they had never existed svuoteremmo in an instant part of the soul of the world. Big words, but only for those who underestimate the power of music and what have been the Rolling Stones, also socially, in all these years.
"Grrr!" Is an object, something old-fashioned these days for anyone who enjoys music. Now the music has no more space, no longer has weight, is no longer visible. "Grrr!" Is an object, it is visible and it does not matter what kind of music is contained and is not important to listen once more because the music we already inside and we have heard a million times. It 'a beautiful object which is celebrating a birthday. The celebrated without much pomp, with the nonchalance of his English band. Why are you so agitated - they seem to want to say - what will never happen ... the penny, that yes it will be an important milestone. And who has sold his soul to the devil does not mean that I do not reach.
Finally, "Grrr!" Is an object stored in the library in the future when you cross paths with an eye will make us remember that Christmas of 2012. Watching the gorilla with the iconic tongue will think of us with a little 'more understanding if Mick and Keith Charlie and Ron (because the devil, you know, is lazy) should not be longer among us know that something good has been done and there is no reason to be sad. God bless you.
PS The judgment has 5 stars, could also be 50 ... it really is not very important.

TRACKLIST:
"Come on"
"Not fade away"
"It's all over now"
"Little red rooster"
"The last time"
"(I can not get no) Satisfaction"
"Time is on my side"
"Get off of my cloud"
"Heart of Stone"
"19th nervous breakdown"
"As tears go by"
"Paint it black"
"Under my thumb"
"Have you seen your mother, baby, standing in the shadow?"
"Ruby Tuesday"
"Let's spend the night together"
"We love you"
"Jumpin 'Jack Flash"
"Honky tonk women"
"Sympathy for the devil"
"You can not always get what you want"
"Gimme Shelter"
"Street fighting man"
"Wild horses"
"She's a rainbow"
"Brown Sugar"
"Happy"
"Tumbling dice"
"Angie"
"Rocks Off"
"Doo doo doo doo doo (heartbreaker)"
"It's only rock'n'roll"
"Fool to Cry"
"Miss you"
"Respectable"
"Beast of Burden"
"Emotional Rescue"
"Start me up"
"Waiting on a Friend"
"Undercover of the Night"
"She was hot"
"Streets of Love"
"Harlem Shuffle"
"Mixed emotions"
"Highwire"
"Love is strong"
"Anybody seen my baby?"
"Do not stop"
"Doom and gloom"
"One more shot"

In the course of his career, Amy Winehouse has several times had the opportunity to perform for the BBC and hold live sessions always special.
Now the best of these performances has been gathered in this box set entitled "At the BBC", is composed of three DVDs and a CD. Audio support includes fourteen tracks from various occasions between 2004 and 2009: there are songs like "I know you know" recorded in 2004 for the Leicester Summer Sundae, "Valerie" for Jo Whiley Live Lounger in 2007 and again "Rehab "by Pete Mitchell and" Love is a losing game "for Jools Holland in 2009.
The first DVD includes an entire concert held instead just to Jools Holland (for a total of ten tracks), the second a live fourteen episodes held for the BBC One Sessions Live at Porchester Hall, and the third contains "The day she came to Dingle ", the exhibition held by Winehouse at the intimate church of Dingle, a small town situated in Kerry on the west coast of Ireland.
The package also includes a booklet in which they appear unpublished photographs and a note written by his rapper Nas, with whom Amy worked on several occasions.

TRACKLIST CD:
"I know you now"
"Fuck me pumps"
"In my bed"
"October Song"
"Rehab"
"You know I'm no good"
"Just friends"
"Love is a losing game"
"Tears Dry on Their Own"
"Best friends, right?"
"I should care"
"Birdland Lullaby"
"Valerie"
"To know him is to love him"

The promotional tour of "Mylo Xyloto" began October 26, 2011 in Madrid and ends on February 19, 2013 in Monterrey, Mexico. Over $ 148 million received to date and nearly 2 million viewers.
Numbers thrill that convinced Coldplay to release a live CD + DVD simply titled "Live 2012", an account of what has happened so far on tour, recorded in the Stade de France in Paris, the Bell Centre in Montreal and the Pyramid Stage at Glastonbury Festival English.
The film, which was screened in cinemas Italians, was directed by Paul Dugdale, the director of Adele live from the Royal Albert Hall and the concert film "Worlds on Fire" by The Prodigy and is available in DVD and Blu Ray .
With regard to "Live 2012" Chris Martin, leader of the band from London, said: "The tour of 'Mylo Xyloto' was the most amusing ones made as a band. It 'party immediately on the right foot, partly because we were proud of the music, bracelets LED, fireworks and everything in tow, but mainly for the incredible audience before we played. Over the years, our audience has become increasingly part of the concert itself. They are amazing, varied, full of soul, and make the songs sound better than we already are able to do. We have tried to collect the incredible feeling that comes from them to carry it in the concert film ".

Rihanna, as suggested by the title of his seventh album, does not apologize. In particular, makes no apologies for apologizing to Chris Brown, the boyfriend that one night three years ago sent her to the hospital and by which he seems to have made peace. The couple even in a duet song "unapologetic" where keen to point out that their relationship is "Nobody's Business": only their cocks. However, it is really hard not to be interested in the dynamics between the two when they are the first to raccontarcele. In such a case, you can not really separate the private life of the artist from his work? In theory, yes, according to production notes listed on Wikipedia, Rihanna did not write a single word of the album and is simply an interpreter who, like many others, he sings of love tormented. In practice, no, because you can not help but take frequent references to his personal history in many ways the album. In the above "Nobody's Business", Rihanna and Chris swear eternal love of a sample of Michael Jackson, the reggae of "No love allowed," the singer said they were prepared to die for the only man who made her cry and then confirms the concept "Love without tragedy / Mother Mary." This is also the best track of the album: Almost seven minutes of confession and prayer (with a wink to "Message in a Bottle"), Rihanna recalls the idyllic story ended in tragedy, reflects on his relationship with fame and performs the interpretation most intense of his career.

Doubt takes the space of a moment. The hesitation disappears in the blink of an eye. The judgment is suspended just in time to an agreement on electric guitar. The first few bars of "Good times bad times" (the first track on the first album: an unexpected choice but symbolic, non-random) immediately dissolve the reserve: 10 December 2007, at the O2 Arena in London, Led Zeppelin have seriously (and then disappear again.) The first reaction listening to "Celebration Day" and the vision of the film documenting the historic and perhaps unrepeatable evening, is a smug smile, reassured and satisfied. The same as images on the faces of Jimmy Page, Robert Plant, John Paul Jones and John Bonham's son, Jason, have rekindled when amplifiers and microphones in the rehearsal room of Shepperton Studios and realized that this time the Airship would fly high over London, without the risk of curl in on itself as had happened in the airspace of Philadelphia and New York, the fortieth anniversary of Live Aid and Atlantic.

Was a question mark for all, not so much a calculated risk. And it went well, very well, beyond all expectation. The secret formula of the Zeppelin, the most envied and imitated than the Coca-Cola, played by magic when no one - perhaps not even them - believe it anymore. They wanted to remember because it had earned a reputation as the best live band of all time, as in the heroic times had conquered the West: they succeeded turning the fuse of a bomb sound that contradicts logic and arithmetic, three instruments and a voice, giving a firepower almost inconceivable, reconstructing the "cathedrals of lights and shadows" that are the hallmark of the musical writing of Page, architect and magician of sound dynamics.

He was the biggest unknown for this reunion. The mysterious object silent for years, apparently dehydrated inspiration. He no longer has the same fluidity of touch, perhaps, but feel like holding a straight bar reciting the monumental riff of "Black Dog" and "For Your Life" (a first on stage for the song taken from "Presence" ). Or as they are still able to squeeze tears, mellow sweetness and sensual moans from his Gibson in "Since I've been loving you". A soloist still formidable, a rhythm guitarist evil. Plant, in the midst of a second (or third) and rejuvenate with voice output who knows still be powerful, has the foresight to lower the pitch; aware of not being able to recapture the sharp and vibrant squassanti of his youth, when compensates served with phrasing, nuance, the craft, the right timing. And if the front men are doing their part, the real heroes of the evening, perhaps, are the men of the second row Bonham Jr., been run for years on stages around the world, has committed to memory patterns dad Bonzo, amplifying with agility and virtuosity children these days devoted to the technique. And Jones, who knows how to be with the low anchor at the same time rhythmic and melodic shore ("Ramble On", a classic almost never proposed live) rightly takes the limelight in the steamroller funk of "Trampled underfoot," Stevie Wonder James Brown and Robert Johnson at the crossroads that intersect (this is the version of Led Zeppelin's "Terraplane Blues," says Plant introducing it) and spectral livid atmosphere of "No Quarter." Absolutely perfect, the latter, and one of the peaks of a show repeated with very few adjustments in post-production (some imperfection is obvious) along with blues and expanded supersonic "In my time of dying" and "Nobody's fault but mine," Blind Willie Johnson launched into orbit between screeching wailing slide, harmonica puffing hammer blows on the snare drum.

The granite set (no acoustic guitars and mandolins, this time. Nothing English folk or sweet dreams of California) in the second part doth almost all crowd pleaser, the pieces most loved by the public. A "Kashmir" impressive, greeted by a roar, and a liberating / celebratory "Rock and roll", while Page spewed out by the bow ("Dazed and confused", eleven minutes and forty seconds of psycho-rock d 'other times), the theremin ("Whole Lotta Love", riff riff) and the double neck guitar and Plant wearing the old clothes of the "back door man" lowering without worries - despite its repeated embarrassment - in the role medieval bard's "Stairway to Heaven", inevitable and as always unattainable. "Ahmet, we did it!" Exclaims vocalist on completion of addressing the spirit of Ahmet Ertegun, the legendary founder of Atlantic Records. They did it for real. Mission accomplished, and perhaps this is really the best possible happy ending of the story. What would be the answer?


TRACKLIST

CD 1
"Good times bad times"
"Ramble On"
"Black Dog"
"In my time of dying"
"For your life"
"Trampled underfoot"
"Nobody's fault but mine"
"No quarter"

CD2
"Since I've been loving you"
"Dazed and cofused"
"Stairway to heaven"
"The song remains the same"
"Misty Mountain Hop"
"Kashmir"
"Whole Lotta Love"
"Rock and roll"

There was a time in 2010 when Christina Aguilera was the main suspect behind the musical project iamamiwhoami. The mysterious figure who appeared in the video viral remembered the singer, and it was rumored that his upcoming album, "Bionic", contained collaborations with Le Tigre, MIA, Ladytron and Goldfrapp. In addition, the aesthetics of iamamiwhoami was not far from the atmosphere of the director Floria Sigismondi (which she directed the video for "Fighter" and "Hurt") and the fans hoped would be ready to turn a trial that would enhance not only his voice, but also his courage.
Think of these conjectures in 2012 makes you smile because "Bionic" album turned out to be a far from revolutionary: the desire to move away from traditional pop singer was overwhelmed by the need to satisfy the general public, and for every idea was bold a bulky cliché. From the artistic and commercial flop "Bionic", is still perceived the talent and versatility of Aguilera, who now say resurrected, and not the lack of metaphors to prove it.
"Lotus", which opens the new album of the same name, is the manifesto of a new beginning: the indestructible lotus flower that survives adversity and risboccia - with a few extra pounds. Unfortunately, however, the introduction is by far the best time of the work and proves misleading: the rest is ordinary in particular, schizophrenic as a whole.
As in "Bionic", the singer once again spewed out by rabbits of all kinds of music: the dance post-Guetta that pollute the charts in recent years, the R & B itchy, anthems of self-empowerment rock-like, country with fellow The Voice Blake Shelton and the inevitable ballads. Belong to the latter category "Sing for me" and "Blank page": the two songs, stuck halfway, Aguilera found in its most celebrated and appreciated, the one that inspired all the participants of the talent show, what produces a contemporary classic every time down the BPM. There is no denying that, as corny and predictable moments are very successful: "Sing for me" is a self-celebration of his singing with all svisate appropriate, while "Blank page" is a heartfelt mea culpa for Both voice and piano written by the ubiquitous.
With these ballads, Christina Aguilera seems to suggest that they still need to warhorses traditional and royalties collected under RVM trailer and tear. Is not ready to lower his voice, tone down and do an entire disc of minimal electronics as the opening track of "Lotus" - and perhaps never will be. It should, however, find a cure for bulimia music already afflicted "Bionic", and that, in wanting to please everyone, not content with anyone.

The cyclical nature of the story when it comes to pop music, is even more pronounced: each generation of teenagers idols that will be taken for a ride by a generation of adults. Then teens get older and idols, with maturity and nostalgia in equal measure, are re-evaluated and reclassified: sometimes there is a place for them in the history of music and find out what they told of their (and our) time. But it will be perceived always better than those who are screaming girls today. For every "but how can they hear 'this stuff?" there is a potential Justin Timberlake or Robbie Williams or even Michael Jackson.
And what the heck, we were able to reevaluate even the Spice Girls.
The idols of the moment are the One Direction and, like all the idols of the moment that you meet, have broken all records. Judge their new album (the second) when you have a bit 'of years of difference compared to the original target is a privilege to be used with caution: you can expose all the tricks of the case strofinandoti beard pleased, but then you realize that only having a beard makes you inadequate listening, and you can dismiss it with the cynicism of those who already know the script, but do not really know anything. And there's a surprise.
The biggest surprise is that "Take me home" sounds dated. If the biggest success so far of the 1D ("What makes you beautiful") quoted shamelessly "Grease" (1978), the new single opening steals the riff to "Should I stay or should I go" (1982) and the seventh track proceeds from "We Will Rock You" (1977).
The suspicion is that it is not revival, but lack of ideas: there is never an unexpected solution in the arrangements or melodies, and the result is a pop / rock tiepidino already tested the first album. And if the sounds do not come out from territories rather than known, the language adds another layer of beige work. For 42 minutes waiting for a particular word, a rhyme that links this record to its year of publication, something that can wink a person under twenty years now - perhaps by an adult feel unprepared. Instead, "Take me home" looks placed in a space-time bubble where there is no entertainment, fashion or technology - the exact opposite of that other idol obsessed with swag and raised in collaborations "credible" with the rapper.
"We do not want our music seems written for us by a forty year old in an office," he said in an interview with a 1D. Too bad that the impression is just that, and also that forty is still used ink and does not care too much about some short circuits detectors ("I know we just met, but let's pretend it's love" is a line with a bit 'too hindsight for a puppy love).
It is not a coincidence that the two most compelling songs ("Little Things" and "Over again") come from their own age Ed Sheeran - after all, want to believe the legend, texts are discarded by the singer and not "are two verses and a half What should I do, I leave? ". The first dusting off the old topos of the girl to console because you do not like it (every generation needs its own "Bad" by Alessandro Canino!), The second is a declaration of love in which "only" rhymes with "Polo" (the hole in the heart with mint around). In the context of an album that has fourteen producers, signed by Sheeran acoustic songs sound more fresh and sincere than any dance piece tailor-made in Sweden.
And maybe this is the direction we should take a group who could not dance. Choreographed boy bands of the 90s no longer have place in the market post-Cowell, in which playback is a disgrace and the public is trained to judge the smallest imperfection voice. If One Direction have the opportunity to become a mature group and durable, let him do it sitting down.

You can not say that 2012 has not been very satisfying to Madness, the historic ska band from Camden Town, London.
In April, they performed at the legendary Coachella festival in California, in June honored the Queen Elizabeth II Diamond Jubilee playing at Buckingham Palace, in August, attended the closing ceremony of the Olympic Games, held this year in the capital English (these last two performances with the restoration of the historic bassist Mark 'Bedders' Bedford).
"Oui oui yes yes ja ja da da" is the title of their tenth chapter in the studio and comes three years after "The Liberty of Norton Folgate", came up to fifth place in the ranking of best selling records in the UK.
The album is a classic hard-beat to Madness, where light tracks more cheerful and lively than the more reflective.
The artwork, which gives some idea of ​​the album title, was designed by Peter Blake, known for having developed the design of the cover of "Sgt Pepper's Lonely Heart Club Band "by the Beatles.

"K25" is the name Kylie Minogue wanted to give his twenty-fifth year of his career, an anniversary that the pop star is celebrating with a number of initiatives since the beginning of 2012. First with "Anti tour," a series of concerts in which he proposed lesser-known songs (demos, b-sides, rarities) or different versions of his pieces, participating in major events such as the Diamond Jubilee Concert for the Queen of England Buckingham Palace, the Sydney Mardi Gras and the BBC Proms in the Park in London.
And then two publications: the collection "The Best of Kylie Minogue" with the single new song "Timebomb" and that "The Abbey Road Sessions". The album was recorded last November in the famous London studios frequented by the Beatles, with the help of Kylie band and a full orchestra: some tracks (eight to be exact) have been performed live in its premiere last September during the BBC Proms.
Known and less known songs of the Australian singer then here are completely re-arranged and re-proposed in reincise orchestral version: the recent "All the Lovers" to "The Locomotion", a cover of the original song of 1962 by Gerry Goofin and Carole King and Single Kylie's debut in 1987, through the collaboration with Nick Cave, "Where the wild roses grow" (1994) and his most successful, "Can not get you out of my head."
Worth noting is the only new song of the lot titled "Flower".