Reviews by Time Bomb

The Foo Fighters will never make a wrong move? For years, they are moving ever higher the bar of coolness, that embody the idea of ​​being contemporary rock 'n' roll. Dave Grohl is one that continues to play with a broken leg, who invents a throne of guitars to continue the tour even with the leg in a cast, one that responds immediately to a group of fans who showed a video to get him to play in a city of the province - and then it keeps the promise and organize a full-scale concert in a place outside the channels of live music. The only shadow was the cancellation of the post-concert on November 13, also completely understandable after the events in Paris (but some Italian fans have complained that the decision to cancel the date of Turin came only in mid-afternoon, a few hours before the concert, while many were already on).

Here, this EP is yet another smart move of a long winning streak. A sequence dwarfing even the 15 victories in a row in which the Golden State Warriors started the NBA season (records of all time).
After the massacre of the Bataclan, this EP has a completely different taste, explains Dave Grohl, in the letter accompanying it. Announced with a countdown, it would still have to go out today, the day after the feast of St. Cecilia (November 22), the patron of music and musicians. Engraved in Austin, in a hotel that is called just "Saint Cecilia", the EP contains 20 minutes slow music-style Foo Fighters, from rock, hard, ballad - 5 songs straighter than "Sonic highway ": recorded music on the fly, ready and on.

It was a way to thank fans. E 'became a way to riaffarmare the power of music in difficult times. Here is the EP, song by song


Saint Cecilia
Electric guitar and voice, then the song opens in style Foo Fighters: "Bring me some healing, Saint Cecilia, carry me on to your house of broken bones." Words written months ago, but now talk about the healing power of music. And 'far the best song of the EP, destined to become a minor classic of the repertoire of the band.

Sean
He gets up the pace: the song straight part, guitar and drums - and remains so for the two minutes that lasts. Pure power-rock old-fashioned, almost reminiscent of an old passion Grohl, the Husker Du, with that union of charge and melody. But we have lost count of how many songs by the Foo Fighters, cite the band Bob Mould ...

Savior Breath
The rhythms are raised even more: a riff granite, now supported by a short guitar solo, before the voice of Grohl, very much back in the mix and shouted: "Save your breath, 'cause it's mine", screams - a pun on the title - but certainly Grohl not save your breath. Here the reference is to the world of hard rock, one of the passions of historical Grohl. Almost a fun, as they carved many Foo Fighters.

Iron Rooster
It slows to a ballad that Iniza with acoustic guitar, and then opens on the chorus. Grohl's voice is again in the foreground, while the central part is a guitar solo and almost psychedelic '60s, which could come out of a disk of Jonathan Wilson. Superb piece.

The Neverending Sigh
The song that recalls the atmospheres "Sonic HIGWAYS" guitars that cross, tempo changes. Almost five minutes - is the longest song and complex of an EP that has so far staked everything on arriving straight in the face.

A melodic theme vague menacing in the air, cut counterpoints increasingly alarming. Short vocalizing without words appear and disappear like lightning, while the strings climb up on the higher register. The orchestration becomes charged, tense, grim. It's the sound of a tragedy that is ensuing. It is the world of "The hateful eight", the soundtrack by Ennio Morricone and performed by the Czech National Symphony Orchestra for the western Quentin Tarantino, in Italian cinemas on February 4th (and in those overseas on Christmas Day). Do not look for Sergio Leone, in here, rather the sound of scary controfagotti advancing menacingly, themes circular, large detached, low vibrations and gloomy representing the subtext of songs that create a strong sense of anticipation.
Set a few years after the end of the Civil War, the film tells the story of two bounty hunters (Kurt Russell and Samuel Jackson), a prisoner to be taken at Red Rock (Jennifer Jason Leigh) and an alleged sheriff (Walton Goggins) who are refuge in a cabin during a snowstorm. There they meet a former Confederate general (Bruce Dern) and three others recorded (Tim Roth, Demian Bichir, Michael Madsen). Already the setting - a mountain pass in Wyoming instead of sunny views of Monument Valley - makes it a western singular. Morricone plays this anomaly with a soundtrack full of tension, austere and dark colors, of which the full version of "The last coach of Red Rock" is the most significant moment, seven minutes of great turmoil sound.
"It's a soundtrack spaghetti western", writes enthusiastically Quentin Tarantino in the liner notes. It's not true. It is something more sinister and disturbing, with a recurring theme of eight notes that creeps into my head like a worm or an omen, a "Overture" anxiety-provoking, a fleeting moment of peace ("rays of sun on the mountain"), a theme solemn trumpet ("The letter of Lincoln") and a short growing dread as final. Music is claustrophobic and gloomy as the rest being announced the film, shot mostly indoors, with the characters undergo a stressful game of mutual suspicion.
Fruit of the encounter between artists from two different generations who s'annusavano long, a collaboration that has sparked a lot of hype and the fantasies of many music fans & cinema, "The hateful eight" has already earned a Golden Globe nomination. It is the first original soundtrack that Tarantino commissions and simultaneously demystifies the process of composing for the screen, not a work of music synchronization with the images, but a group of scores composed on the basis of only the script and a chat with director.
With just one month to hand to write, Morricone has fished out some new compounds to the John Carpenter movie "The thing" (1982) and wrote arrangements and variations of a handful of themes designed specifically for the film by Tarantino. The result was a tense and eerie soundtrack, with brass and wood used in their darker colors. Apart from one notable exception - the 12-minute "Snow", the other key piece of the disc that captures the static character, vaguely hypnotic - the music conveys the pathos of a thriller and the panoramic views of a Western. Frightening, has called Tarantino.
More than the value of the individual compositions, the soundtrack has its charm in color and atmosphere. The music is cohesive, coherent, consistent, but more variety in the topics would be beneficial to listen already fragmented by the introduction of dialogue from the film and four songs, three of which are published. This is not pieces of small value in the context of the film will have a reason to exist, but incorporated into the fabric of the orchestral soundtrack work by anticlimax. It is "Apple blossom" White Stripes of the second album, "Now you're all alone" David Hess and "There will not be many coming home" by Roy Orbison, the latter two linked to other films, respectively " The Last House on the Left "in 1972 and" The fastest guitar alive "in 1967. The actress Jennifer Jason Leigh sings in a rudimentary way the traditional" Jim Jones at Botany Bay "which tells a story similar to that of his character. It is interrupted by the gruff voice of the bounty hunter Kurt Russell takes her guitar and smashes: "Music time's over!".
Surpassed by time the controversy sparked by statements of the Master about the use of his music out of context by the American director, Morricone could go work with Tarantino for his next film. Meanwhile, he gathered at the Abbey Road Studios in London the Czech National Symphony Orchestra for an incision direct-to-vinyl soundtrack that will be printed soon in limited edition. It is already available in stores, in addition to the CD, the version recorded in studio on double vinyl, and the United States comes to the Third Man Records of Jack White. In 2016 Morricone will tour to celebrate sixty years of activity and will be the subject of the documentary film by Giuseppe Tornatore "The look of the music." Meanwhile, with "The hateful eight," he writes one of his darkest and strengthens its role in the imaginary pop.

It consists of 23 tracks, for a total of an hour and a quarter of music, the soundtrack of the last installment of the "Star Wars", "The awakening of force"; composed by John Williams, the soundtrack of "The awakening of force" it contains songs whose performances were directed by the same John Williams with William Ross - special guest - Gustavo Dudamel. The album reaches the market for Walt Disney Records, since Disney bought all rights related to the series.

For the soundtrack of "The awakening of the force," John Williams decided to dredge up material is already contained in the soundtracks of previous film "Star Wars", is new material. The recordings began on 1 June 2015 at the studios of Sony Pictures in Culver City and ended last November.
TRACKLIST
Main title and the attack on the village Jakku
The scavenger
I can fly anything
Rey meets BB-8
Follow me
Rey's theme
The Falcon
That girl with the staff
The Rathatars!
Finn's confession
Maz's counsel
The Starkiller
Kylo Ren arrives at the battle
The abduction
Han and Leia
March of the Resistance
Snoke
On the inside
Torn apart
The ways of the Force
Scherzo for X-Wings
Farewell and the trip
The Jedi and the final steps

It starts "Drum dream", the first of 56 pieces spread over three CDs, and one wonders: is it possible that you either had to wait until 2015 to get their hands on an object anthology that would represent more than worthy Tullio De Piscopo? Mysteries of the discography and its strategies, but so be it. Warner has finally filled a void that no collection or poorly engraved hastily compiled, meant no alternative to baskets of the motorway, has never been able to vaguely fill.

It 'been a weird year, what you are going to conclude, by Tullio De Piscopo. Before the enterprising (and independent) Archeo Recordings vinyl reissue that absolute gem that is "Playing drums modern" (1974!), Then Warner reinterprets the musical adventures of one of the greatest drummers alive through its many (and often curious) exploits. Three CD from which emerge different truth, but two above all: if the pop vein of De Piscopo has experienced the ups and downs of an artist sometimes "loaned" to the song form of immediate enjoyment ("slow performance", here in this version "remix 2015" remains a wild card memorable, not the rule), the instrumentalist De Piscopo has instead always had an extraordinary sense of smell, by genuine connoisseur, for the right partnership.

His drumming, now powerful, now sinuous, always absolutely class, featured songs of Mina, Battiato, De Andrè. Tracks like "Our dear angel", "The era of the white boar" and "Turn the paper", however, are not sure diffcult to find, so the real added value of this box lies in songs like "Cages" ( 1979), "Black Star" (1978) or "one Rio" (1975), valuable goodies ethno-disco-funk that never deserved oblivion.
De Piscopo virtuoso who never pulls back before the possibility of a good jam, De Piscopo the Allegrone participating in Sanremo, De Piscopo who for 15 years lends his "The stadium" to the historical transmission "Sunday Sprint". Here there is everything and even more. The "more", specifically, is perhaps the third album, consisting of only instrumentals and genuine parade of flavors, arrangementi rhythms. And 'here that the good Tullio becomes more serious, almost intimidating in his wallow between genders with immaculate technical expertise and without embarrassment.
Many live versions of the songs in the lineup. DJs Balearics last generation they might have enjoyed the full in the study, the most classic "Stop bajon", but the live version here included scontenterà few.
Discrete three unpublished ("Fate and hope", with the great James Senese, a song dedicated to Pino Daniele, who also sings in "Toledo", taken from "Beautiful 'mbriana", "Song of the East", with Rocco Hunt; and "Funky virus", together with Randy Brecker and Ada Rovatti), rather than stimulating the songs composed in the current century ("It will be who knows," among many others).

50 years of "music without a master" states, but not blatantly lie, the title of this box. A career extraordinarily nomadic wandering, counterpointed by acute powerful and silent pauses. A box, perhaps belatedly, center fully the objective that every similar operation should aim: better represent the art of a musician difficult to "fill", "synthesize", "collect

Disco 1 “Drum dream”

Disco 2 “Destino e speranza”

Disco 3 “Toledo” (canta Pino Daniele)

Quo vado? or Checco Zalone volume 4, is the fourth film starring comedian Puglia Luca Doctors, aka Checco Zalone, also directed by Gennaro Nunziante with the production of Taodue Pietro Valsecchi. A trident of gold, from collection exponential. The last two of their films: What a beautiful day with rain and sun are respectively the second and first built higher in Italy so far. The challenge now becomes more difficult with Star Wars: The Awakening of the Force already in the hall for two weeks but Checco responds with 1,300 copies and screenings of New Year, since the midnight of '1 January 2016, the release date of the film.

Outside of competitive metaphors, let's move to the plot of Quo Vado? the new film by Zalone focuses more on him in the shoes of a young man who, since childhood, while peers wanted to scientists, he wanted to "do the job". A dream that became reality in a post office for hunting and fishing licenses where Checco moves stamps unison and hold gastronomic gifts. But the "job" will be threatened by a bill for cutting the provinces, Checco does not want to give in to liquidation and so engages a confrontation with a public leader (Sonia Bergamasco) that will ship in Norway. It must protect the researchers from the bears. In the beautiful and civilized land north European Checco know the sweet Valeria (Elena Giovanardi) and will experience a totally different world from him ...
quo go movie review Checco Zalone Quo Vado Ludovica Modugno who plays the mother in the film Checco © Medusa / Taodue

The Italian comedy this year has a common thread in both ends along 365 days: from January 2015 when he left Italian Middle (review) Maccio Capatonda to January 2016 when incoming is coming Quo go? with thousands of copies of receipts and forecast river. Both are united by a sprinkling caustic on the negative myth of the average and mediocre. If Maccio irrigates his story of an original comedy, Zalone remains more usual approach but not least weak in strength satirical.

Four and profitable film Zalone - Nunziante - Valsecchi, Quo Vado is certainly the best in many ways. Definitely in the package: there are so many locations, staged slightly higher than in the sufficiency of the previous chapters and, finally, a writing (Zalone and Nunziante) more agile that it only ever runs aground on the gag but chooses opposition prolific, fun: that between the executive well interpreted by Sonia Bergamasco and Zalone. Well established is also the choice of place, although not as protagonists, two stars of the Italian comedy as Lino Banfi and Maurizio Micheli.
quo_vado_film-review 2 Lino Banfi in Quo Vado? © Medusa / Taodue
All these are reasons that highlight the one that works: the comedy of Zalone. The young man from Puglia has a skill not common among his colleagues of television and cinema: the "evil" understood as "evil comic", the ability to put the sedan strongly traits of certain Italian average (Ocri) ranging from sgravedole all 'horrifying. Arrogance rhyming with ignorance, maschilisimo more or less latent, the cafoneria and also annoying that attitude that is expressed in some Italian emigrants. What of those who go abroad after being born and raised in Italy and expressed loudly, and soon after arrival in the new country, the civilized of his countrymen, beyond the reasons more or less right that they pushed away. Perhaps as a way to emphasize, especially to himself, because he was right to leave. Everything then melts in reviewing thousands of kilometers away a duet between Al Bano and Romina. With shots that recall the spirit of the masterpiece Fantozzi (the spirit, not the writing that remains for incostrastata acumen), Zalone teases the "First Republic", the obsessive cultivate their own backyard in the curtain finally secure a permanent job that, of course, it gives guarantees economic and social, but for Checco Quo Vado? There does remain fixed in their privileges and comfort.

The first 20 minutes are by invoice, but the film makes you laugh all the virtuous mixture of these components. Remains a considerable doubt, however, the tack on glad and good feelings in the final stage. The authors, in the press conference of the film, have motivated this change of tone with the desire to give hope. But perhaps close with malice with which you began, cinematically speaking, would have been more striking. But it must be understood as well that this is a Christmas movie and asks her share of sweetness. Overall, to answer the title question, we can say that the direction taken by Checco popular national is definitely fun with a depth that will give hilarious results. The first is this film.

"All my life I have tried earnestly to do my best with what I had," reads the opening words of a song from a few years ago, a song about always feeling out of place and out of time. Hard to say if the new album is really the best expression of what David Bowie today. It sure is a disc out of time and from any more common commercial logic. Beginning with the single of the same name, written for the television series "The Last Panthers": a suite ten minutes long that blends two distinct compositions and that seems to repeat, with his pace to Scott Walker, the apocalyptic tones and spectral "Heat", the closing track of "The next day," the mantra of "and I tell myself, I do not know who I am." With one important change, however: the use of a musical language that, for the most part, located in the energy dissonant jazz experimental as core driving force.

In fact, although the co-production there is once again the historical companion Tony Visconti, to translate into sound scores of rock "★" is a bunch of musicians rehearsed avant-jazz (and "post-bop") led by the talented saxophonist Californian Donny McCaslin. Soloing, improvisation and virtuosity of the latter underpin the whole album, accompanied by changes in electrical Ben Monder (guitar), Tim Lefebvre (bass) and Jason Lindner (keyboards), but above all by the inventions of young rhythmic drummer Mark Guiliana, a Fans of electronic music by Squarepusher, Aphex Twin and Photek. The stylistic imprint of the new band, to which was added James Murphy aka LCD Soundsystem (on percussion in only a couple of songs), is profound. Gives the entire work a completeness and consistency that "The next day", to name the disk latest White Duke, he had not. But above all, for 41 minutes, casts Bowie in a very unusual sound dimension.

There are seven new songs (almost equaled the record for brevity of "Station to Station" which enumerates six, for a total of 38 minutes ...), two of which had already been published last year, but in a different guise. In the hands of McCaslin and his companions, in fact, the single "Her (Or in a season of crime)," hybrid drum'n'bass present in the collection "Nothing has changed", and its gloomy B-side "'Tis a pity she was a whore "(title borrowed from the work of John Ford's Theatre on the theme of incest which debuted in London in the distant 1629) become thunderous electric rides at the service of melodramatic voice of Bowie. They serve as the backdrop to "Lazarus", the song that gives title to the musical by David Bowie and Enda Walsh (sequel to "The Man Who Fell to Earth") that made its successful debut last December 7 at the New York Theatre Workshop. Hypnotic and dark as it was a "slip away" (the ethereal ballatona of "heathen") dedicated to the followers of Joy Division, The Cure and Tuxedomoon, "Lazarus" has a more traditional rock structure and has all the ingredients of the Bowie classic : sumptuous vocal interpretation, text visionary theme "Space" ("Look up here, I'm in heaven / I've got scars That can not be seen"), great arrangements and an electric sax memorable. In "Girl loves me", instead, to get in the chair is the drummer Guiliana. His vehement syncopated drumming frames a particularly cryptic text, built by Bowie using the vocabulary of Nadsat, the Anglo-Russian slang invented by Anthony Burgess' A Clockwork Orange. " Following is "Dollar Days", bittersweet ballad punctuated by guitar Monder and dragged by the tenor of McCaslin. And 'the prelude to the grand finale that comes with "I can not give everything away" (title autobiographical?), A six-minute epic orchestral openings and leaks guitar with Bowie, sporting his unmistakable vibrato while, in the background, a' harmonica solo rekindles the memory of ancient adventures in Berlin.

Ambitious and unsettling, "★" reserve continual surprises from start to finish. It 'a relatively hard disk that grows each time you listen and, meanwhile, carves out a prominent place among the bravest of the album King of change artists: remarkable feat for an artist to come to the finish line of the 69 springs.

Di'Anno is - as everyone knows - the frontman of training with which the now huge Iron Maiden debuted on the music market: with it the voice, the band released the first two albums, the ones who laid the foundation for the legend. Then, in 1981, their paths separated (the bells are obviously very different, depending on who tells the story: for Maiden was driven out because of the excesses and declining performance, but he claims to have gone to artistic differences) ... Despite this for many fans, Di'Anno remains THE voice of Iron Maiden. With him, in fact, the band had a sound more rough, more punk - with respect to the direction taken with the advent of Bruce Dickinson.

This autobiographical volume would be the story of the life of Di'Anno told by Di'Anno. Here lurk at the same time, the strength of the book and its greatest weakness. The strength of "The Beast" is the exuberance, the bravado taken to the level of excellence, the constant repetition of a mythology of rock'n'roll made mountains of coca hectoliters of Jack Daniel's and overdose sex. Always, in every situation, in compliance with a categorical imperative for where too much is never too much. And actually the funny anecdotes abound.
But right here we fall - since we're on the topic of "beasts" - the proverbial donkey. Because basically Di'Anno runs his story in a rather crude, following a scheme that more or less can be summed up thus: on each page must be at least a couple of fights, a couple of sexual adventures and the mention of the fact that he married many times sending everything to hell; a couple of hangovers from primacy, at least a mention of weapons like guns, knives or even broken bottles used for Menara shots; then, at least, a couple of underlining the fact that Di'Anno has always had a lot of money (and a spendthrift) and - finally - the repetition of the notion that his music is exceptional and his band Iron post Maiden have all been on the verge of becoming "the most important heavy metal band in the world".

In short, the picture is clear. We all have the classic friend contapalle, very nice and expensive, shooting crap bigger and bigger, continually raises the bar meter bales to be the center of attention. And Paul is one of the greatest living exponents of this category, in the light of his book. After the first twenty pages of the boundaries between "tavanata galactic" (to quote a Ezio Crude vintage) and reality - or simple memory - it becomes labilissimo. And about half the book everything becomes very repetitive.
Lacks, then, a real musical depth look - as if the rock was just a trinket, something more, something taken for granted in the life of Di'Anno, professional drinker, fucker, sniffer coca, thug and divorziatore. And this is perhaps the most serious lack of this story. Paul interest us exploits from animal to a certain point ... actually we would like to read more of Iron and his band back: arguments suffocated in a whirlwind of dust, groupie complacent, drinks giant and senseless fights. All fun, but dragged for almost 250 pages arrives early to annoy

This review not contains spoilers. For a very simple reason: if you know Star Wars, there is virtually nothing to spoil, because you have already seen the whole plot. Star Wars: The Awakening of the Force is a copy-paste of scenes you've seen in the classic trilogy. Copy-paste so that the movies I, and who was with me we have repeatedly anticipated softly several jokes, never having seen the film, because they were the same, identical of the classic trilogy.

Mind you: the quotes are always pleasant, the freebies as well. But when the film is made up exclusively of repetitions of things already seen in the previous films in the series, changed just that bit you need to not be dragged into court for plagiarism, and when the entire story is similar to that of the first film (Star Wars: A New Hope, or Star Wars), is no longer quote. It is no longer free. You copy. It trim heated soup fresh guise.

I do not know about you, but I feel taken for a ride. Again, because J.J. Abrams did the same copiaincolla with Star Trek. I was hoping that Star Wars was more in his ropes and I dared to be optimistic, but I had to reverse.

You like it? To those unfamiliar with the original probably yes, because it does not know that The Awakening of the Force is a shameless rip-off and there is a lot of action, there are spectacular scenes, there are interesting characters, there's an epic story. Fans a little 'vintage men, those like me who have fallen in love as children wonderful universe created by George Lucas, probably not, if not due to nostalgia.

It could have been worse? Certainly. If the comparison is with Episode I: The Phantom Menace, this film is very successful. Abrams has certainly done less worse than Lucas. But with all the money you give to the writers, because we always have to make do with a measly lesser evil? Paying the difference, you could have at least a flicker of originality? A plot not already seen and stravista? Why not just take the scenes of previous films and stir a bit 'the assignment of beats to the characters to say that he wrote a screenplay (a method already used by Abrams for Star Trek Into Darkness).

Dear brothers and sisters starwarsiani, now you'll know how we felt we Star Trek fans after we got their hands Jar Jar Abrams. I prepare the tissues for you.


What you save

The music of John Williams. The theme of Rey is wonderful, a great classic theme, romantic and adventurous than those who only know John Williams to compose; the rest of the soundtrack is a great support for images, also it is not likely unique levels of A New Hope and The Empire Strikes Back, and initial fanfare still puts chills after almost forty years. If J.J. Abrams published a version of the Awakening Forces of no dialogue and only with the musical soundtrack and sound effects volume down, buy it.

Special effects. Excellent and flawless, but it is also true that today is the norm, if you have a good budget, and here there were about 200 million dollars. I can not say anything about the 3D, because I saw it in 2D.

The visual style. This film is wonderfully true to the style, design and photography of the original trilogy. Many sets and physical models (though extended and enhanced digitally), many creatures made in animatronics instead of computer graphics, the same air lived and worn rooms and vehicles that has always been one of the characteristics of genius and inventiveness of Star Wars missing so dissonant in the prequel, too glossy (also because of the time other than that described) and digitized. Among other things, the lens flare that Abrams fastidiosissimamente overused in his previous films here can be counted on the fingers of one hand.

The actors. Harrison Ford, despite the years have passed, is perfect in the play the role of Han Solo's oldest and most bitter, and Carrie Fisher is equally up to the task. All other new players get along very well, especially Daisy Ridley, the protagonist (Rey), which is good and strong, and John Boyega (Finn). The droid BB-8 is cute and adorable. Peter Mayhew also makes good Ciubecca (or Chewbacca, depending on the dubbing that considered canon), perhaps even better than in the classic trilogy, much to rip several smiles of fun and affection for an old friend found. See them in action is a joy, although refer things already seen.

The humor. There are jokes dazzling and memorable, but there are funny moments, and we are light years (or should I say "twelve parsecs") far from the levels of George "do-the-pound-a-crap-that-is-always- laugh "in Lucas prequel.

The choice of humanizing an Assault Troop. This, I must admit, it's a decision that shows the original look unexplored universe of Star Wars. It well be the choice to play the part by an actor of color.

Choosing to have a woman as protagonist. Considering that women in the original trilogy (except Leia) were practically irrelevant, this is a good step forward.

A scene. I promised that I would not spoilers, so do not tell you which one, but a scene that moved me so much there was.


What goes in the flush

A mistake of translation. More than once, in the wake of the Force, the characters speak of the "Dark Side" (the Force) and then the "light". But in the original it is "The Dark Side and the Light", which implies Light side. It is not light: the adjective is clear. Possible that there was a translator able to do a second search before making a blunder so spectacular? It's not that the concept of the Force, with a dark side and a light one, it was hard to find: it is well known to have entered the common lexicon. Just a click on Wikipedia, which even has an appropriate heading. Oh, and do not translate stormtrooper Stormtrooper, but shock troops (as famous line from Leia "Not a bit 'down to belong to the shock troops?" In Star Wars).

The bad guys. One is a spoiled brat; another is a tedious and disconcerting banality. Neither it is formidable. Darth Vader, the Emperor and Tarkin were quite different.

The plot. Throughout. The explosive force of the first Star Wars not only stemmed by the innovative use of special effects: gushed from disruption of the archetypes and the classic rules of the plot. The unblemished hero who conquers the princess; the princess instead of a damsel in distress is a tuff sarcastic; the universe frayed and worn, with things falling apart instead of being shiny and aseptic; the choice to get straight into the action, skipping even the opening credits (so that George Lucas is why it took a fine); the irony; aliens who speak with subtitles; etcetera, etcetera. Awakening to the Force completely lacks this charge of innovation. We already saw the fair.

I promised that I will not spoiler, so I'll be vague, but this is a short list of the many, too many conditions or scenes lazily copied and repackaged. If you do not want even these vague hints, stop reading here.

- No longer it called the Empire, but the First Order. Same soup first.
- It is not called Tatooine, but Jakku. Same sandy planet populated by beggars.
- They do not call Jawa, but it's the same old story.
- The bad guys have built a superweapon ammazzapianeti that must be destroyed.
- The above superweapon is destroyed using exactly the same technique of his earlier films. Even Han Solo points it out.
- The secret plans of something important hidden and stolen by good using exactly the same trick of his earlier films.
- An alien very old and wise, of small stature, dispenses advice to life and preserves important secrets. Only this time it is not green: a prodigious leap of originality ... is orange.
- The villain wears a long black robe and a mask.
- The villain is obsessed with power and is manipulated, without realizing it, a bad meaner.
- The dream scene in which a character is confronted with the ghosts of his past (as in the tree magic on Dagobah in The Empire Strikes Back).
- The bar filled with bizarre alien where there is a complex of other aliens who play music Earth very badly: virtually the Mos Eisley Cantina - New management.
- Some say that a character has yet passed to the dark side of the good within themselves and have perceived (as in The Return of the Jedi).
- The villain speaks via hologram with the bad in second in a breakfast room (as in The Empire Strikes Back) and discusses the idea that one of the good should be brought to the Dark Side (as in The Empire Strikes Back).
- The bad guys are asking each other if they have experienced a tremor (sorry, an awakening) in the Force.
- While the heroes are hidden in the belly of the enemy base, to one of them something serious happens, another cries of shock and so the Imperial troops ... er, the First Order realize suddenly the presence of intruders (in A New Hope, Luke cries when Ben Kenobi is shot down by Darth Vader's Death Star hangar).
- There are many other, absolutely central to the film, but as I said I will not do spoilers. You'll know yourself. And you too will cry out "NNNNOOOOOOOOOOOOOOOOOOOOOOOOO !!!!".

What would be your first words after 11 years of silence? How esordireste front of a crowd, impatient and disillusioned, he still kept an open channel in waiting for your move?
The British band chose "This one's for your heart and for your mind."
A drive for the heart and mind.

After years of false starts, rumors and some denials confusing blitz live, Carl Barat and Pete Doherty have once and for all given voice to their love-hate relationship with an album that is a hymn to a wasted youth (their): "Anthem for doomed youth" to be precise.
The history of the Libertines has remained entangled in the pages of glossy magazines thanks largely to the "brilliant" Doherty found that, prey to the fumes of alcohol, heroin and all kinds of drugs, has always taken the side to incriminating shots of the paparazzi and the poisoned pens printing. Meanwhile, the rest of the band took patience, or so we like to think, and at the same time the large group of fans regretted all that wasted time away from recording studios.
And the music? Obviously, before you can talk about the Libertines had to make peace with each other and most of all with his own demons. Go into rehab and stay there for a long time to clean up the body and mind, in the first place, then chords and melodies. "Anthem for doomed youth" in fact was born in Thailand, including the rehabilitation center for drug addicts and alcoholics where Pete has spent several months, and the luxurious Karma Studios a short walk from the bay of Bang Saray.

With determination and enthusiasm barbaric, with the motto "All I want is to scream out Lord!", The album opens with "Barbarians", once hidden by Doherty and his Babyshambles under dusty "Natives at the gates of Rome ". Covered with a bit gritty, maracas and tambourines, the song finally breathe thanks to choirs, raised with new force, are the strong point also for the single "Gunga Din".
"Fame and fortune" and the delicate title track are a flashback on the origins of the band, the time between the pubs of London, on stages and the floors of the capital, from the first record to the continuous and damaging disputes with the whole world and interiors the band. A melancholy awareness.
"You're my Waterloo" is the maverick that Doherty was brought back over the years and the formations, which already has several live performances and that has finally found its place in the world. Then there's "Belly of the Beast", with a typical piece Libertines: a seemingly sleepy little march that shakes off the torpor with a finish somewhere between '50s rock and gospel with a lot of hand clap accompaniment.
Sound of the sea, acoustic guitar and vocals introduce "Iceman" which, despite its simple structure has something disturbing and distorted. As a nursery rhyme dream. "Heart of the Matter" is a shock that moves the needle totally on rock until you reach the highest peak with the punk of "Fury of Chonburi", then resumed with no frills in "Glasgow as blues scales." "The milkman's horse" is a bit 'squashed between those two tracks, for this is a bit' less convincing. Finally "Dead for love" close "anthem" of the Libs bringing with it an air of mystery. The piece is dedicated to the musician Alan Wass, friend and collaborator of Doherty died at age 33. This makes the ending even more poignant.

They called the return of the decade, the "come back album" '10s. Under the weight of the pressing expectations, the Libertines loved dealing pretty well healed scars, and between still visible; They have not denied or betrayed and managed to re-float them that unmistakable sound that drowned the weight of too much chaos has resurfaced in all its lightness, sobriety and seriousness. And, although "Anthem for doomed youth" is not brilliant, like his predecessors, is composed of a track list that will satisfy all tastes of old fans attirandone easily new ones. No more young people genialoidi confused, in fact.
Carl Barat, Pete Doherty, Gary Powell and John Hassall form a full band in which, for the first time, all participate actively and equanimemente. The group is well calibrated without exceeding ever.
It 'likely that the rehab has really worked.

TRACKLIST: Barbarians
Gunga Din
Fame and Fortune
Anthem for Doomed Youth
Heart of the Matter
Belly of the Beast
Iceman
You're My Waterloo
Fury of Chonburi
The Milkman's Horse
Glasgow Coma Scale Blues
Dead for Love
Love on the Dole *
Bucket Shop *
Lust of the Libertines *
7 Deadly Sins *

How nice to be able to use again the term Pop talking about an album. No denying that in recent years in saying "pop" there was always the real risk of associating the word of mediocre music. The return of Adele first need to restore dignity to a genre that level mainstream was flattened on a standard of productions we made identical to each other, and with very little space left to variations on the theme. Something beautiful in the great melting pot of pop has also heard lately, but especially in the independent (and even there the desire to go out of the sow is little). Not that Adele can define an innovator, but it is at least in having the strength (more than the courage) to discard much of what the music industry today propina via radio less and less willing to risk. For the rest Adele does not waive his taste amazingly and wonderfully retro.

For the great day of 25 is in fact arrived. And the new album Adele you can deal with a double spirit. To many, possibly all, it will naturally be tempted to compare it to previous 21. Only that most will do so with an approach "commercial" rather than with the idea to see if and what kind of artistic evolution entails. It is obvious to think about the tens of millions of copies sold since disk Someone Like You. And it is equally obvious that we have also thought of the producers of this new album, and the same Adele. But there is a big difference between thinking "only" and think "well" to sales. Here, you should try to listen to the songs and just 25 thinking the music of 21. I add that I personally consider 21 a disc overrated. Let's be clear: it is a good album, which contains some of the best hits of the last decade, but that does not make it any the most beautiful album of the last decade, and even one of the ten most beautiful. With 21 it just happened that nobody expected: he sold one scatafascio of copies and then you are no longer able (or willing) to listen without thinking about all that money (and hence criticism and praise were apart). Without this clarification due, although it will be for sales and impact the record of the year, at a first hearing 25 it does not seem the most beautiful album of 2015. But this is still a wonderful album, much better than 21. Especially in his consistency.

The opening know it all already. And, I will say now, Hello is the song on the album that more recalls Someone Like You, the last of 21. In other words: we start from where we left off. But also via the tooth away the pain, I do now what you seek. But as in 21 the second song in the lineup at once marks a clear break from the first: Send My Love (To Your New Lover) like a lot, but could also turn up your nose at someone. Because it reminds a lot of the atmosphere of Single Ladies (Put a Ring on It) Beyoncé. Will in any case a bomb, with the refrain that enters your head and leads Adele territories in more purely pop (Two thousand years). But now I Miss You Adele gives us a moving in a more classically its territory. While When We Were Young, the second song that the singer wanted to listen to the world, it has the amazing ability to sound out a song from the fifties, yet not at all old. With Remedy we pass to a song in which the voice of Adele is unique protagonist, next to the piano that accompanies it with a melody very pleasant, as a whole is a piece rather obvious. But this says a lot about the level of the album.

Water Under The Bridge hit between the hits of this record, maybe even more of Hello. It is a bomb ready to explode in the chart. And there will come out from the head. There is nothing else to say. Put your mind at rest. With River Lea continue on the line of a pop of class, with contemporary contaminations for rhythm and use of choirs and synth after the attack that has more of a debt to the gospel tradition. It remains perhaps the best song on the album, with that voice that you do not understand where it comes from. It is the perfect synthesis between the Adele Someone Like You and the more pop. Who knows how they did it. Choirs in closing the open plan and the arches of the next track. It can be said that Love In The Dark is a Remedy with more bite, while immediately after the Million Years Ago is the other side of When We Were Young, but with certain reflections of French song, from Yves Montand, Edith Piaf. All I Ask is poignant, yet another love song to cry. Then get to the closure Sweetest Devotion.

It must be the goal of Adele put songs strongest closing (the aforementioned Someone Like You in 21). The attack Sweetest Devotion has echoes of U2, but then changes immediately thanks to a plucked guitar that set the plan creates a Celtic to Caribbean Blue Enya to accompany the voice of Adele in a chorus of immediate impact. A perfect closure for an album of the highest level, where even less perfect songs (you can not talk less beautiful, because it would seem to belittle) will find admirers, because as a whole the disc manages the incredible result of being able to please an audience vast audience without being fragmented or too heterogeneous. Impressive, besides the quality of the songs, the production work that is the foundation of what will probably be the biggest hit of the next years.

Small final point: we are always complaining that the pop songs talk too much love and too little of others feelings / situations. The new album by Adele contains love songs. But raise your hand if you will complain.