Reviews by Time Bomb

"I bet on sky" is the third album by Dinosaur Jr. when, in 2005, they returned to their original line-up consisting of J Mascis, Lou Barlow and Murph. The tenth since they formed back in 1985. The first signs of a new album for the band to Ahmerst came last January, when Lou Barlow (which by the way the month of July, he released an EP with Sebadoh) announced via Twitter that Dinosaur Jr . had started to compose new songs.
"I bet on sky" is a typical record of J Mascis and members, with distorted guitars featured, powerful riffs and sounds typically lo-fi and it was so described by the band: "The guitar of J reaches its peak of madness on this album, grinding riffs that will make you fall in love, but above all shake their heads as they could. The lower Lou now has more melody, although his two songs in 'The Sky Bet On' keep the rhythm rougher who often distinguished his work. And Murph still affects the battery so strong and hard as a professional wrestler, with seemingly simple structures that manage to intertwine perfectly with the melodic outbursts of his companions. "

There are no birthdays and birthdays: Some help to increase the distance from forgettable dates, while others are a good opportunity to remember and celebrate milestones unforgettable. "They killed the spider man", the first record of 883, was released in 1992, twenty years ago, and marked just such a memorable milestone. And we said, what we must not forget is celebrated and so revived. Hence the idea to record again the debut album of the duo Pavia, who was not only a hit (press releases speak of more than 600 thousand copies sold, the net amount would rise to 650 thousand), but above the mirror of a 'entire generation that has lived through adolescence at the turn of the eighties and nineties and who elected (they say the sales results), this disc spokesman of their mental trouble. And here the word mess we are in really help, at the cost of sounding illiterate, because no word better describes the loss of teenagers of that era. Today all generations wander in the dark - the elderly, which often bears the economic burden of children and grandchildren, to adults who live from day to day, to the young people without great prospects - but at the time the adult world was full of certainties and parents offered their children future events pre-qualifications and fixed seats, enough to kill their desire to carelessness, aka Spider-Man. And to think that in exactly one week after the onset of recording 883 - took place February 10, 1992 - broke the scandal Tangentopoli, which are not immediate enough to awaken the slumbering souls, too busy to break away from the many family and social pressures, the They replied by clear signs of detachment: sub woofer car that seemed to explode and Super Mario Bros to open a port on tomorrow. It was a time of wonder before the first technological gadgets, the future had arrived, from which would cut off most of the previous generation. Here glimpsed their unconscious revenge. The 883 had it all: the song of their trivial amusements banal, irritating as realistic reflection of a vocabulary that was changing in the throes of new - as vacuous - the need for expression: "You do not lead", "6/1 loser" "With a deca" and "S'inkazza" (the k instead of c is not hard, of course, the era of discovery sms). At that time we were all able to grasp the perfect fit at the time, but now, with a little foresight and twenty years too late, must be given to 883 - then Max Pezzali and Mauro Repetto - the merit of having documented a generation. Attempt, in this new edition, is repeated in "Always us," one unreleased album, written and sung by Pezzali four hands and two entries with J-Ax, in an ideal continuation (or repetition) of the song "We Part 2 ", located on the disk of 883" 1 + "(WEA, 2001). With a substantial difference between the two: In this new episode is not only a surfacing of memories, but irrepressibly the desire to look ahead. "And there's nothing to be denied - sing the two - what's done is done, everything is just so, but now you have to go, that way there yet." How to make a point. So "They killed the spider man 2012" is already the past, certainly more than one disk, the testimony of an era made through the song form, not exposed as memorabilia on display, but with the clear intention to actualize the memory . So all eight original tracks were arranged in key rap and ricantate in a fully credible rapper known as the Italian scene: J-Ax, Entics, Ensi, Two Fingerz, Emis Killa, Dargen D'Amico, Club Dogo, Fedez and Baby K. Many of them also spoke on the texts, writing and rapping new verses here and there (which is why you will find some titles added this year), but without ever distorting the language of the young. Claudio Cecchetto, producer of the disc yesterday and today - together with Pierpaolo Peroni - says that "everything has returned with their highly topical," and you'd be: thanks to this festive team, the album sounds a teenager and his twenty years just does not look it.

When was 2005, Billy Corgan bought an entire page of the Chicago Tribune to announce the return of the Smashing Pumpkins, wrote of wanting to resume his dreams. The road was, as usual for the band and its leader, long and winding. But seven springs away (the same length of time which served as the original line to climb the charts and then melt: 1993 - 2000), can finally consider closing the file. What will be from here on out remains to be seen, because of certainty, in the changing psyche of an amiable and unbearable as the first woman Corgan, there are few. Better enjoy the present time, that represented with unexpected effectiveness of "Oceania", the seventh studio album for the group. But first studio album for this group, that consisted, besides Corgan (vocals, guitars, interviews questionable), Nicole Fiorentino on bass, Mike Byrne on drums and Jeff Schroeder on guitar.
It's really hard for these Smashing Pumpkins and a new episode of Billy solo in disguise, it is evident to anyone who wants to approach with white spirit to sixty minutes of music spread through the thirteen episodes of what is a thematic album. Yet another themed album in the career of pumpkins: with "Mellon Collie & the infinite sadness" that had been better we could not, with "Machina / The Machines of God" the box office performance was not the most egregious. Correct to speak of disc being played by a band, event, non-trivial when there is half the ego (rightly) hypertrophic an artist revered, especially in the nineties, as Corgan. But between the bass lines of "Pale Horse" and grafts Schroeder in "My love is winter", between attunements (!) Of "Pinwheels" and the new approach to the skins, at least for the sound of the Pumpkins, of Byrne on multiple tracks ... a win is a renewed sense of wealth.
Wealth of resources and solutions that the four used to drive the melodies, solar and ever so vital to Corgan of openings or dreamy adventures aftertaste prog. These are the dreams that are reclaiming the Smashing Pumpkins "Oceania" those ethereal flavors that made the unique sound of the band when they were calling the shots ethics and approach grunge. The flights of fancy, often the single reason why writing Corgan was appreciated and hated at the same time, returning finally to recover their place, after attempts willing but limited "Zeitgeist" (2007).
"Oceania" makes it even more obvious misunderstanding of the project "Teargarden by Kaleidyscope" that the new band has kept busy over the past two years. There he spoke to deploy individual pieces through the web, but Corgan and (also) those Smashing Pumpkins work best when they can play on a full tracklist, with its wide range of emotions and sounds, however, taking the opportunity to put sensational pop songs and concessions to radio programming.
Who wants to find in Oceania the effrontery to "Siamese Dream" can do with the opening of "Quasar" (where Byrne evidence clearly to imitate the style of Jimmy Chamberlin) or "The chimera" (where Byrne test clearly a caring style Chamberlin). Adventure seekers Mellon Collie can play on the intercom "The celestials" or "Panopticon". Those interested approach and massive marble "Machina" can query the title track. But none of the pieces sound like a clumsy attempt to be quoted him: the explosive power of the aforementioned "The celestials" (in fact chosen by some U.S. radio as the first single) is compelling, the delicacy of "Violet rays" daughter of the most enveloping the repertoire Pumpkins, dressed in new clothes from a synthesizer as big as a studio apartment.
Like all the albums before him, Oceania lives and dies of his imperfection, daughter of pretentious character of Corgan. The triptych of pieces before the greeting minimal, yet spectacular, the "Wildflower" is positioned so questionable. Three tracks aggressive and does not perform the best in the few minutes available to them (the guitar "Glissandra," however, applies only to the endurance of the next "la la la").
But despite the constant chatter and a bit 'sickly love as the only saving power of Corgan, despite texts whose basin lexical seems less attractive for the "good old days" and despite some svirgolata here and there, Oceania is revealed for what it is : A hard to hear from beginning to end, with his feet improbably set between the claims prog, hard rock of the seventies, and a generous use of electronics. Just complain about a lack of quell'imprudenza a bit 'naive that made inimitable the first part of the group's career, but it is the price to pay for a Corgan, finally, can leave behind adolescence.

Usher is back. The singer of Tennessee is experiencing a rebirth of sound artistic and personal torment (in place is an uphill battle with ex-wife for custody of their two children) that led him to seek new horizons. Two years ago, announced they would take a different disk and revolutionary. "Revolutionary Pop" called him and some work with David Guetta for the song "Without You", has opened a lot of new musical possibilities. It is no coincidence therefore that, in addition to the usual well-known producers like Rico Love, will.i.am and Pharrell, have been engaged names like Swedish House Mafia and Alesso.
"Looking 4 myself" opens with "Can not stop will not stop", the expected number will.i.am who borrows "Uptown Girl" by Billy Joel, but has the merit of illustrating the versatility immediately Usher. The album title may suggest an existential crisis, but is soon clear that the singer is actually in search of the many facets of his artistic identity. In fact, it can be seen already dall'impetuosa "Scream" that Usher has in mind something more than just riding the wave of "Euro-dance." Through the power of his vocal chords, the artist is able to offer valuable performance marking his new musical territory. It uses the wisdom of the team Swedish House Mafia (in song "Numb" and "Euphoria"), but does not neglect his innate propensity for sensuality ("Climax" produced by Diplo) or the love for the old school ("Sins of my father "produced by Salaam Remi). In truth, there can be no truly revolutionary element that may go down in history. However Usher seems to have taken a more precise way, that reminds the world that it is not just a balladeer. In fact, before the proliferation of various Rihanna, Lady Gaga and the latest version of the Chris-Brown, Usher had dominated the world with the hit that was truly innovative "Yeah!", But also "Caught Up" and "OMG."
"Looking 4 myself" has the right numbers for evolution rather than a revolution. There is "Show Me" produced by Danja, but there is also the genius of Pharrell in "Twisted" and the amazing collaboration with Luke Steele (Empire of the Sun) in the title track. Usher could rest on their laurels of the previous "-V-RAYMOND RAYMOND", but prefers to take a chance and get back in the game.
It 'a perfect interpreter of his time this "Looking 4 myself", imbued with those sounds that now depopulated and that make it increasingly difficult to relegate to a specific category of new musical productions.
Usher is back. It has, however, started a revolution. But a metamorphosis

Before we get started, for the avoidance of doubt: "Living things" is an album unresolved. In the sense that you pull the money there are some things that are still in the fifth round in the studio of Mike Shinoda and company return to fatigue. This is the impression at first listen, at least. Then, restarting the sequence of tracks from "Lost in echo", you begin to understand.
Linkin Park are facing a path not easy. Indeed, perhaps the only group of his generation, to have been able to go beyond a period, a hic et nunc unique - specifically, the explosion of nu-metal in the late nineties - to devote himself permanently on the markets and among the general public. Korn have succeeded only for a while. Limp Bizkit have lasted just a couple of seasons. Them, since "Hybrid Theory", the upper floors of the chart are customary tenants.
Strange thing, success. It allows you to work without thinking about yourself, about your music, but imprisons you in a cliché. And the size of Linkin Park is right here. Since the days of "Minutes to Midnight" that the purpose of Bennington and cronies not to perpetuate the stereotype of the post-teenage alienated suburban America was quite clear. The direction became manifest with the subsequent "A Thousand Suns": "There are those who hated us first after hearing him has become one of our fans, and our fans are some of the first hour instead consider it a piece of crap," he had Chester told the same, at the European presentation of the album, in Berlin: "It did not bother us: we would give really annoyed, however, that the work could remain indifferent."
Yes, because a great band before making an album is not a focus group with fans and record labels, and - from this point of view - Linkin Park "Living Thing" proved (once again) to be a group of race . The direction, in some ways, remains that of "A Thousand Suns" much more electronic guitars - which, however, return to the roaring chorus of "Burn it Down" and "Lost in the echo" - with synthetic arpeggios in sight and old school drum loops almost to the rhythm, and a balanced alternation between the vocals of Bennington and Shinoda, now permanently svincolatisi the diagram from the strict alternation between rappati on verses and choruses sung about. Writing, as a result, along with this evolution: the songs of "Living Things", unlike those of "Hybrid Theory" and "Meteora", test the listener. Challenge him, accompanying him on a path designed to give a little distracted listening. Indeed, almost punishing, in case of lack of attention, because it is the most accessible passages of "Living things" to be perhaps the weakest. Not that the work of a dean as Rick Rubin - called the console by the group for the last round in the long run - just something to be left to chance: the '"great commander" (which seems to have the helm' habit of seeing very little, confessed the same Bennington) may have given the inputs is essential for drawing the route that could lead Linkin Park still far away, but - dare - the band losangelina, now figures as bulky on your side may no longer need. Because now the boys of "In the end" - as only a few others in the last thirty years - have gone beyond the Pillars of Hercules, which separate the groups of high ranking quality from those able to leave a mark, and what there is after him to just be able to say them.

What year is it? The upbeat rhythms croaking from the speakers of the laptop seem to come straight from the sixties / seventies, pure rocksteady and roots reggae of the then came blaring from the sound system walking around the streets of Kingston. E '"Rebirth", the rebirth of name and in fact Jimmy Cliff, old lion (but not too much: 64 years) of Jamaica survived Peter Tosh and Bob Marley, the Supreme him ousted in the role of a missionary and a symbol of a nation, but that paved the way looking for (and finding) before him luck in London thanks to Chris Blackwell's Island.
Here the legendary Jimmy, who still celebrates Bruce Springsteen in concert, from time to time, with an incendiary rendition of "Trapped", closes a symbolic circle. Why was another of his many patrons within rock, never too late Joe Strummer, to present him to the producer of this album and a previous EP, Tim Armstrong of Rancid, and now it's his turn, when to start repay both the Clash and their followers Californians have borrowed from Jamaica through two covers that are among the best from the album. Kingston-London-Berkeley and return: in the mouth of Cliff, uvula educated and melodious, the words of "Guns of Brixton" (one of the classic "London Calling") are less threatening than when sputtering with rage but the young Paul Simonon no less direct and evocative: between the seventies and today little has changed, and one immediately thinks of the riots in the summer of 2011 have once again ignited the suburbs of London and the whole UK. And "Ruby Soho" Rancid flamboyant punk anthem that singing in a blaze of electric guitars - was the 1995 "Out come the wolves" - is transformed into the arms of the Patriarch in a chant lazy gait. Irresistible, like many of the songs on this record that Armstrong has lent a hand in composing and recording stage, playing his guitar.
After a sequence of albums enervated, faded or spoiled by a desire to play "modern" at all costs, Cliff had a fixed idea in his head. Resume the thread from where it stopped in 1969 with his first self-titled album (is the same, at least in the logo, the label: the legendary Trojan). Return to a genre of music that drifts in the dancehall and ragga has run wrapped on the themes of machismo, homophobia and easy money the way, the message, the utopian ideal of those who wanted and still want to change the world. It 's so from the very first bars of "World upside down", organ chords and rhythms supple to tell a world which still reigns social injustice, religious hypocrisy and political tyranny: the unexpected physical and spiritual energy of Ivanhoe Martin, Cliff gave the outlaw philosopher whose voice and face of the legendary "The Harder They Come" in 1972. The music is the same as then, a lively mix and tantalizing reggae, pop, rock & roll and soul with a touch of James Brown in the veins ("Outsider", an irresistible r & b fiatistico dancefloor would have depopulated between mod and skinhead English) and Sam Cooke a lot, especially when Jimmy caresses the soft tones of his voice and winds up with the falsetto ("Cry No More", an invocation of encouragement to families plunged over the edge of deprivation). With the help of fundamental Armstrong, vocalist dosa good rhythms and climates: all 'uptempo pressing of the single "One more," the piece more marleyano and "anthemico" the deck in two versions, is mirrored by the mood soft and relaxed "Children's bread", a stance in favor of the movement "Occupy" to combat rock of "Bang" guitar twang and atmosphere of the "Sandinista!" the little history lesson of "Reggae music", in which personal stories (the first book deal with Leslie Kong in 1962) are mixed with large group events (Jamaican independence, the struggles for civil rights, the protest against the war in Vietnam, with Desmond Dekker and Prince Buster to act as a column sound). A nice review, as in essence it is all "Rebirth" in sunlight "Blessed Love" in the breeze "Ship is sailing", and fierce carnival mood of "Rebel Rebel". Cliff, fresh as a daisy, still has dreams and ambitions, the Jamaicans in Kingston and Notting Hill have found a great spokesman.

No, I did not go to the concert by the Beach Boys. While confessing proudly nostalgic (years ago I went to listen to what was left of Procol Harum!) Are not so masochistic as to risk the profound disappointment of those who are confronted with the remains of their idols. Not that the Beach Boys have ever been, my idols, but still record them I have heard and played plenty of them, and the respect and appreciation I have for their career are those who prefer to remain intact.
Listen to the record, that yes, I can. And I can tell that I'm not excited or not particularly unhappy. The craft is that, and do not you forget it, even if you have not practiced for a long time, the voices and their mixture are delicious, even if they are constantly at risk of self-quotation, if anything that is missing album is a decent number of songs of superior quality. The opening track, a cappella, is a kind of statement of intent, "That's why God made the radio" rentier title of a killer, but from there on you go. The average level is still high (and God forbid) but the intent autocelebrativo - connected to the fiftieth anniversary of the start of the band - is the desire to tell premium music in new and different things.
But then came the last three songs - "From there to back again", "Pacific Coast Highway" and "Summer's Gone" - a kind of mini-suites ispiratissima (the last track goes also, curiously, an authorial credit to Jon Bon Jovi) that can legitimately be the best epitaph for the career of a group that has all the reasons to stay in pop history.
I take this opportunity, and I think it's a good opportunity for them to report here the release of "FreebOObin '" of the Sunny Boys: born as a tribute band The Beach Boys, boys Turin are on their second CD of original songs (they also published a couple of songs in Italian, I really do not epochal), and while away, now, from the reference model primitive (and approaching a power-pop-punk-surf very pleasant) continue to have the sounds in their DNA the Beach Boys. Here, in "FreebOObin '" is a song - track 9, "Different circles" - which, frankly, would not disfigured in a disk of the Beach Boys and I speak not only of this last record. If you happen, so listen. I agree.

Seven years away from the stage and the music biz. Seven years to reassemble the fragments of that ride fast and coarse that it was the Darkness between 2003 and 2006, when they buckled under the weight of the classic problems rocker: disagreements, quarrels, success you grind it and especially the excesses. There was nothing to fear and reasonably, in fact, after all this time ... the rest in the artistic life of a band seven years is an eternity, in fact many people do not come to durarli, seven years instead of the Darkness, pure style champion, put to silence skeptics, detractors and Bastian Against professionals. Yes, because "hot cakes" (the third installment in the discography of the group), if possible, is even more convincing than its predecessors: the work magna Rock - uppercase, is a must - albionico, son of the tradition of classical and of the giants, but free from the effect monkey trained artists and productions that often plague similar, lacking personality, net of undoubted skill and philological rigor.
If this album had a tag cloud in the kit, the effect would be an anthology of legendary names and references; already, because the inspirations from which "hot cakes" springs are straightforward to identify, but all delicate to handle without risking a fool. First, there is the trend of the British rock of the Masters: the most majestic Queen, The Who, Thin Lizzy Phil Lynott, a touch of Zeppelin, a nice touch of Stones, the spirit of Marc Bolan and T-Rex that hovers in every stanza, the pop metal band Def Leppard, the exuberance of taurine pub rock primitive of Dr Feelgood and company belligerent, fun easy by the pint of the Free, the Status Quo boogie rock, glam rock a little '( much) tamarro Gary Glitter and - why not - the air of hard rock punkizzato Iron Maiden vintage ("Street Spirit", since the attack, it looks like a outtake late seventies the band of Steve Harris, besides the fact that Justin Hawkins has some very "to Bruce Dickinson" in the singing). And then, as the legacy of the best Rock is by no means exclusive English, the Darkness will grant ramblings aroma of AC / DC, Boston, Van Halen, Kiss, Eagles and Chicago, just to accept.

There are artists who are lucky to have a period of success in their careers, let alone two. Maybe "success" less than it is - but not necessarily commercial credibility and recognition, too - but the career of Bob Mould is playing with Husker Du - poor sales but almost unparalleled importance in the landscape of American rock 80s - only to re-emerge in the '90s with the Sugar, which arrived in the standings and even thousands of people gather in England.
Now the third was coming at last. Age of silver? Mould is not so self-referential, but there is no doubt that solo is finally getting the attention it deserves: Steps on TV (it was recently a guest of Letterman Show), the big newspapers that devote space.
The solo career of this great American rock was actually quite fluctuating: the sound of the late '80s masterpiece "Workbook" to date he has released two very different things, sometimes even embarrassing (experiments with electronics, derived from his parallel life of that period, the DJ). The last few records, especially "Life and Times" were great.
What happened in between? A 'autobiography, the declaration of unconditional love by Dave Grohl - who wanted the last album of Foo Fighters and with him on tour. And still great music.
"Silver Age" is the album's more rock solo career Mould, a sort of "companion" to "Copper Blue", the disc of Sugar, rescheduled for entire tour at this time. Set aside the semi-acoustic and melancholic atmosphere of "Life and Times" (reflexivity is probably over in his autobiography), the recipe of "Silver Age" is simple: riff deadly modernized version (and inevitably somewhat 'softened) hard Core-they came from the Husker, together with the taste for melody. All this is not so far from the Foo Fighters (and even by Nirvana), in hindsight. Or perhaps we should say exactly the opposite: these groups are not to be so far from Mould: "Star Machine" and "Silver Age" are good examples of rock '90s revisited, "The Descent" really seems to come from a disk of Sugar (it's a compliment).

There are bands that you either love or hate, practically no middle ground. They are usually those bands who aim high, tend not only to do but to do too much and often they succeed as well. Like the Muse, or The Killers.
The two bands share those aspirations epic that often generate deep love or discomfort. Muse lead to stratospheric levels - see the next "The 2nd Law" - while The Killers are more faithful to the song form. But their mix of rock, retropop and messianic tone is a mixture of those that generate songs beautifully sticky and / or grandiose melodies on the edge of arrogance.
It 's their beauty and their ugliness and all can be found once again in "Battle Born', despite past four years," Day & Age ". The album brings together producers from their diversissim as Steve Lillywhite, Brendan O'Brien and Stuart Price. Or the Anglo-Saxon rock (Lillywhite), American (O'Brien), the danceable pop (Price): what exactly are the components of the music of the Killers. The band has introjected his inner Springsteen - what had exploded with (too much) force in "Sam's town". Today quell'afflato feels in the construction of melodies and declamatory tone, as in "Runaways". The return of the usual references to the new wave-rock-there New Order ("The rising tide", but on the other hand to the band the Killers are the name).