I guess everyone pretends to hate on Glee, but secretely they watch it every week. Or so I like to think. It pissed me many times, with unflattering song choices and bad covers, but at times it was simply amazing. Also, it opened a door for me to find out about new bands and I can’t be ungreatful for that, right?
But this review isn’t supposed to be about Glee; it’s about Smash. The TV show was officially cancelled on May 10, 2013, with the finale airing on May 26. I’ve watched it several times since then (the whole second season, to be more specific) and I still miss it.
I watched it back in 2012 because of Jack Davenport (Derek), Anjelica Houston (Eileen) and Debra Messing (Julia), while taking Steven Spielberg’s word for granted, as he served as one of the executive producers. I needed a new show, so I thought „Meh, a TV show about producing a Broadway musical about Marilyn’s life, maybe it’s fun”.
The first season is a blur, but I remember the animosity between Karen (Katharine McPhee) and Ivy (Megan Hilty), who battled for the role of Marilyn Monroe in Bombshell.
There were a lot of characters I despised, including Ivy, Karen’s boyfriend, Rebecca Duvall (played by Uma Thurman), Julia’s son, husband and lover (those are 3 people there, don’t understand differently, please!), Eileen’s ex-husband, and many more.
Personally, I think that the first season had very poor written characters, the story was as badly written as the characters, there was no development and no dynamic in there. I’ve seen that people point the finger at the playwright and showrunner Theresa Rebeck, but I’m not familiar with her work, so I can’t say a thing on the matter. Only that the second season, when she wasn’t the showrunner anymore, was much better. That’s why last days I’ve been watching only the second season.
Smash started out as this story about a group of people, writers, directors, producers, actors and singers and dancers, who try to tell us the story of Marilyn Monroe. At times, it annoyed me greatly the way they insisted on Marilyn the icon, Marilyn the human, Marilyn the used and abused, but maybe that’s partly because here, in Romania, she doesn’t seem to have much impact (only if you count lost little girls that quote her at every second).
The second season sees Bombshell running into legal and creative troubles, so there’s space for a second show to develop. Karen gets the Marilyn role, under Derek’s supervision, and there are sparks seen there often. But after the boat starts rocking, Karen and Derek leave Bombshell and go on working on Hit List, a show created by 2 unknown geniuses, and Ivy takes Karen’s role as Marilyn in Bombshell.
There are love triangles all over the place. Karen starts falling for Jimmy, one of the creators of Hit List, while still having some kind of feelings for Derek who, because the unrequited-something-he-feels for Karen, turns back to Ivy for comfort.
Eileen goes back and forth with her ex-husband, with her lover and with some New York Times reporter.
Julia is seen flirting with a playwright, an artistic director and later she is seen going back to her first love from season 1, the actor who originally played Joe DiMaggio in the initial Bombshell workshop.
Tom Levitt is seen making out and breaking hearts, I don’t even remember all the men he had sex with this season.
The second season impressed me with better songs, all of them covers or written for Hit List. Even though the characters or the story didn’t improve much, the music was a great step up for me. I wish they could keep Smash and cancel something else, but I guess this has been a wreckage for too long. I’m glad that at least I got to keep a few good songs and I got to root for some of the characters.
I’m glad they de-vilified Ivy, in the end, even though I hated her storyline, her stringing along by Derek and her pregnancy, so stupidly written, and her happy ending with Derek, which seemed not only improbable, but simply impossible.
I’m glad they thought of Hit List, it would’ve been an awesome show. But I hated Jimmy, the songwriter, and I loved his partner, Kyle. I also hated Jimmy’s relationship with Karen and I think they would never workout in real life, while I loved his relationship with Derek. It made me think Jimmy was a younger Derek, with more spunk in him and a little more rebel. (I have to admit I love Derek more).
I really loved Eileen this season, she seemed more powerful than ever. I hated her publicist, she was nosy and annoying. I also hated Julia, in the first season she seemed more grounded. I also hated Tom, with his sleeping around and his thoughts of grandeur, thinking he deserves it all.
All in all, the second season brought more songs, more entertainment, more development, more characters. And it made me want to see a Broadway musical, sometime in this life. All I’m left after Smash are the beautiful songs in Hit List.
This concert should’ve been called Dave Gahan, the stripper Elvis and his pelvis. This was my first impression of the show. The second one – this concert was a little bit lighter in energy than the one in 2006.
FOX opened the show, with an hour-long of weird music. The lead singer tried to be everything from Debbie Harry to Lady Gaga, with little success. Her voice was good enough for a rock band, but not this mashup of things.
After FOX finished doing their thing (whatever that was), there was a little break before Depeche Mode entered the stage.
On time, as always (to prove that they’re pros), Depeche Mode engaged in full-blown awesomeness with Welcome To My World.
Dave Gahan manages to do what he knows best: he makes the audience his bitch. His energy fills up the stadium and more and his voice moves the great mass of people like a wave, a single organism.
With a balanced setlist, Depeche Mode brings out the best in Delta Machine, while not forgetting old favorites. Black Celebration and Precious, Barrel of a Gun and Soothe My Soul, Enjoy the Silence and Heaven, everything blends in perfectly, alternating Dave’s voice and hips with Martin’s sensibility.
A few observations:
What’s with the shambala bracelets lately? Even Martin wore one, and I must say I dislike them even more now. They are feminine on men and not feminine enough on women.
Dave owns the crowd through Black Celebration. For a slow track, everyone seemed so full of energy, it was amazing. Especially considering the fact that they didn’t sing that one live since 2001.
Dave also makes the perfect ballerina on Policy of Truth, one of my favorite songs. He’s a god, just like Elvis was, making the people go wild, men and women alike.
The visuals for The Child Inside made Martin look like Nightcrawler. And I’m not saying that’s a bad thing!
The biggest disappointment (for me) was A Pain That I’m Used To. Back in 2006, they started the show with this one and it totally took me by surprise. It also blew me a away. Being my favorite Depeche Mode song (then, as is now), I had high expectations. In 2006, they were met. In 2013, not so much. They chose to do a remix of the song (‘Jacques Lu Cont’s Remix version), a slower version of it. I’m not big with the remixes and all and this one ruined a perfectly good song. Where is my sex song, I ask you? Well, I don’t know, I didn’t got my sex song last night.
The classics Enjoy the Silence and Personal Jesus rocked the joint. There’s nothing I can say of these two, except they’re perfect. Enjoy the Silence is their signature song, after all, and you recognize it the second it starts. Personal Jesus is also one of my favorites, being covered by Marilyn Manson (one of the few covers I really-really like), so to me there was no surprise seeing the people moving and singing as one person with Dave.
For the encore, Martin came back with Home, which I declared „my new favorite song”. He transports you to his world when he sings and even though, at times, I find him a better singer than Dave, I like him in small portions. Strong essences are kept in small bottles or, in his case, emotions and thoughts are better shown rarely, for you to appreciate and understand them. I especially enjoyed the recognition the public had shown Martin, applauding his genius and his soul bared in front of us. He deserved it, that and much more.
Just Can’t Get Enough took us back to the 80s. And oh, man, we loved the 80s! Everyone was dancing, everyone was happy and free.
I remember thinking that, for the visuals on I Feel You, they took Ciara and made her dance. The figure behind Dave was funky and raw, and Dave was raw too.
I really loved the visuals. Anton Corbijn did a really good job with those, as usual.
Two hours of my life filled with music and energy. Two hourse when you can chose to listen to the lyrics or you can chose to dance like Dave. Two perfect little hours. And I am speachless again when it comes to Depeche Mode.
I was never a Leonardo DiCaprio fan. However, I must admit I’ve seen some of his movies. I’ve seen The Basketball Diaries when I was younger. I’ve seen Titanic instead of learning French (because what’s a French teacher supposed to do but play Titanic for us?). I’ve seen Inception and I even paid for it (what a total waste of money!). And I’ve seen Django, as you probably know by now.
My latest visits to the cinema introduced me to the spectacular trailer for The Great Gatsby, played by no other than Leo. At first, I was like „meh”, but I remembered the songs on the trailer and also the great visuals. So I kept it in mind, trying to ignore the fact that DiCaprio makes another dull appearance. With every visit to the cinema, I grew more and more impatient and now I must admit that The Great Gatsby is a must see, even for me.
Here in Romania I’ll have to wait few more days, since the official date for its premiere is 17th May. Meanwhile, I’ll have to enjoy the greatest soundtrack I’ve ever layed my ears on. This year, at least.
Titled Music from Baz Luhrmann’s Film The Great Gatsby and released through Interscope Records on May 6th, the album was produced by Baz Luhrmann and Anton Monsted, while Jay-Z served as the album’s executive producer. When you hear that Jay-Z is involved in a project, you automatically know that it’s going to be good. And also I have to praise the multi-talented director Baz Luhrmann for his involvement in producing the album.
I’ll have to quote Wikipedia for some precious information regarding the work that Luhrmann and Jay-Z did together.
„translating the Jazz Age sensibility of F. Scott Fitzgerald’s novel into the musical equivalents of our own times, through the blending of hip-hop, traditional jazz and other contemporary musical textures”
On his approach to the project, Luhrmann said: „The question for me in approaching Gatsby was how to elicit from our audience the same level of excitement and pop cultural immediacy toward the world that Fitzgerald did for his audience? And in our age, the energy of jazz is caught in the energy of hip-hop.”
A supergroup-like pack of artists recorded songs for the album, including Lana Del Rey, Florence and the Machine, Jay-Z, The xx, will.i.am, Beyoncé, André 3000, Bryan Ferry, and many more. It is quite the crowd!
Del Rey said of her experience contributing to the project:
„It was an honor to work with Baz Lurhmann on his amazing adaptation of one of the most extraordinary books ever written. The movie is highly glamorous and exciting; Rick Nowels and I were thrilled to write the song for the film.”
Focused on decadence and love and triangles, this whole soundtrack transposes (I guess, I haven’t seen the) movie in a modern way of thinking, while keeping the 20s close. It is a mixture of hip hop and jazz and electronica and indie with slow ballads (performed by Sia and Lana Del Rey) and heartbreaking lyrics. Samples of lines from the actual movie can be heard as standalone tracks or at the beginning of some songs (ie: Jay-Z’s 100$ Bill). Florence & The Machine scores yet another song for a movie (after Heavy in Your Arms from The Twilight Saga: Eclipse and Breath of Life for Snow White and the Huntsman) and this time it takes baroque to a whole new level.
The Deluxe edition of the soundtrack includes:
100$ Bill by Jay-Z, with an intro spoken by Leo’s carachter, it is a classic rap song, nothing out of the ordinary for the music mogul. (7/10)
Back To Black by Beyonce & Andre 3000 is maybe the worst cover song on this soundtrack. Andre 3000 doesn’t manage to salvage this one, even with all his charisma. Beyonce’s vocals give me the impression she wants to be the black Lana Del Rey, but she has no chance to occupy that spot. (6/10)
Young And Beautiful sung by Lana Del Rey is another haunting piece by the wild songstress, chanting forever and ever the lyrics „Will you still love me when I’m no longer young and beautiful?”, echoing Daisy’s desperation. The orchestra brings out emotions hidden deep inside of you, and Lana’s voice, so soothing and shy, empowers you. (10/10)
Love Is Blindness covered by Jack White (originally by U2) has a rough sound, emphasized by White’s voice and guitars. I am glad that they didn’t chose this one as a lead single. (6/10)
Crazy in Love by the collective effort of Emeli Sande and The Bryan Ferry Orchestra is one of the best covers I’ve heard in years (this seems a little much, until you find out I kinda hate covers and remixes). Emeli Sande is one of the best female vocalists of 2012, and also a very good songwriter. With The Bryan Ferry Orchestra she manages to bring class (and also a lot of jazz) to Beyonce’s classic debut song. (10/10)
Bang Bang. I couldn’t believe that this song was performed by the actual will.i.am. He makes such bad music lately, it’s hard to believe it’s even him. If you want jazz and Louis Armstrong and (apparently) EDM and electropop, you came to the right song. It also preserves the vocabulary of a real life hip hopper, so +1 for being funny too. (9/10)
I Like Large Parties spoken by Elizabeth Debicki (who plays Jordan) is next aaaaaand… It’s gone. (in the true spirit of internet memes). I won’t rate this one.
A Little Party Never Killed Nobody (All We Got) made me mistake Fergie for a black fat dude. It has additional vocals by Q Tip & GoonRock. It has swing, hip-hop and dubstep, all in one, with Fergie’s powerhouse vocals. She’s so underused in The Black Eyed Peas! (9/10)
Love Is The Drug by Bryan Ferry with The Bryan Ferry Orchestra starts off like an old Sinatra song, but after a few notes you recognize Ferry’s unmistakeable vocals. I am an old fan of Roxy Music, but this version of the song, with its jazzy-jazz and bass and sleazy strings make „oohs” go „oooooooohs”. (10/10)
Can’t Repeat the Past? it’s a dialogue between Leo and Tobey Maguire (yes, Spidey is in this one!).
Hearts A Mess by the Belgian-Australian revelation of 2012, Gotye, is plain boring. Worst. Original. Song. On. The. Album. (1/10) sorry, I’ll +1 this, cause of the jazzy side of it. (2/10)
Where The Wind Blows by Coco O. of Quadron. Piano is strong with this one, but it seems quite repetitive and the voice of Coco O. is quite boring. So this song is not quite it needed to be. (2/10)
The Green Light. Dialogue, apparently.
No Church in the Wild by the Carter Army. Jay-Z and Kanye West featuring Frank Ocean and The-Dream. Best combo on the album (found only on the Deluxe edition). Frank Ocean’s emotion, with Jay-Z’s roughness and Kanye’s straighforwardness. Favorite lyrics? Kanye’s, of course. (11/10)
Coke on her black skin made a stripe like a zebra
I call that jungle fever
You will not control the threesome
Just roll the weed up until I get me some
We formed a new religion
No sins as long as there’s permission’
And deception is the only felony
So never f-ck nobody wit’out tellin’ me
Sunglasses and Advil
Last night was mad real
Sun comin’ up, 5 a.m.
I wonder if they got cabs still
Thinkin’ ’bout the girl in all-leopard
Who was rubbin’ the wood like Kiki Shepard
Two tattooes, one read “No Apologies”
The other said “Love is cursed by monogamy”
That’s somethin’ that the pastor don’t preach
That’s somethin’ that a teacher can’t teach
When we die, the money we can’t keep
But we prolly spend it all ’cause the pain ain’t cheap
Preach
Over The Love by Florence + The Machine and I am speachless. I don’t know where to begin explaining this song and I am pretty sure I don’t want to. It has such a power, fueled by Florence’s angelic voice, and it builds up constantly towards the end of the song, filled with book refferences. (10/10)
Together is an overhyped material by the legendary band The xx. I was expecting more from them, I’m guessing this is the „dark” side of the album, but I’m not seeing it. The paino saves it, though, only barely. (5/10)
Into the Past by Nero was the revelation of the album. At first, I confused Nero with Neo (a band that visited our country back in 2008, at the second edition of B’estfest). Slow-tempo and dubstep-ey, the song has an eerie feeling to it. It hears like it’s from the future, blending perfectly with what Lana and Florence and Sia do on this album. (9/10) (I am not very coherent with this one, because I don’t usually listen to this kind of music.)
Kill and Run by Sia wanted to bring more emotion and sensitivity to the album. After you get past by the combo of soothing voice and killing suggestions, you may like it. Or maybe not. For me, it was not. (6/10)
Over the Love (Of You) by Florence and the Machine and SBTRKT is a different take on the said song, remixed and given an electronic sound, but keeping the same rhythm as on the original. (8/10)
Young and Beautiful (DH Orchestral Version) by Lana Del Rey feels, at first, like a waste of time. With little differences applied to the beautiful original, it is a more string-ey version of the song. (9/10)
Gatsby Believed in the Green Light. Dialogue. Stupid dialogue.
For those of you who are keen on seeing the movie, listen to the soundtrack. For those of you who are Jay-Z fans, or Florence fans, or The xx fans, or Jack White fans, listen to the soundtrack. For those of you who love music, listen to the soundtrack.
It’s commercial and all that, but it’s also great.
Last night I checked one more concert for this year (not the last, people, I am not that shallow when it comes to music!).
I went to see Tarja Turunen (I think we can stop associating her with Nightwish) with the awesome Mike Terrana, a beast of a drummer with mad skillz (bro! I always wanted to say that).
While I never liked her with Nightwish (yeah, I’m biting my own tongue now, with association and stuff), I really enjoyed her last night. I found out she’s a funny person and very-very friendly with her fans, and not a diva (as they used to say).
Mike Terrana is a well known drummer (I won’t bother you with history, since that would be imposing from my part and we don’t want or need that) and I haven’t had the chance to „meet” him face to face until last night. I discovered a dude a year older than my mom, with energy to spare, and who could easily be the beauty in all that stuff that happened at Sala Palatului (I thought that because at first, Tarja wasn’t her full-blown awesome self and I was afraid that her recovery was still in progress).
Being a classical meets rock music type of concert, they also had an orchestra, with its director providing high quality comic relief.
The first part of the concert was bent on teaching people great classics (Carmen for life! and also Bach), with a mix of Tarja + orchestra / Mike + orchestra very well ballanced.
I really loved the blend that was Tarja and the orchestra – they felt like they were the same body, coming over you like a wave. This all happened during The Rain – this being the first song that really captured their unity.
At one point, Mike really-really wanted to siiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiing! But more on that, after the break.
The second part of the show came with a female director instead, who was a very graceful woman, leading a very Tarja-ey cover of Queen’s You Take My Breath Away.
The rendition for Witch Hunt, with the previous director and Mike, was absolutely grandiose, followed by a Led Zeppelin medley (really, really awesome!).
After some Looney Tunes music (as I call it, because I am a blasphemer when it comes to classical music), there was some I Could’ve Danced All Night (which I know from Glee, don’t hit me, please!) and also Mike, who sang some Sinatra, with Tarja on drums, because… Well, if he can do it, anyone can! (To quote Tarja).
After listening to Tarja’s version of I Feel Pretty and Mike’s approach on Mozart, we got to hear I Walk Alone, full power on, speakers blasting, hearts pumping, hearts on sleeve and all that.
I was a magical night, it gave me goosebumps and feeling and shivers down my spine. And if that’s not the sign of a good concert, then what is?
I’ve been a Fall Out Boy fan since Sugar We’re Going Down, back in 2006, in my ugly dark room filled with nothing but music. Their hiatus made me at least a little sad, but I can’t say their album at the time (Folie a Deux) was memorable.
Nothing prepared me, back in 2012, for a new Fall Out Boy album. When their first single, My Songs Know What You Did in the Dark (Light Em Up), got out, I was like „WTF?! This isn’t Fall Out Boy!”. I didn’t press play again. I just stood still enjoying God knows what.
The next single, The Phoenix, was awesome. It was what I expected from their comeback move, the thing I didn’t get with My Songs. Released on April 12th, Save Rock and Roll didn’t save rock and roll. It didn’t bring us back the old FOB. It wasn’t unexpected. I’m not sure how to define it, it’s raw and mature at the same time, lyrically and musically. It’s old FOB mixed with Patrick’s black beats. I can almost swear I hear arena songs in there, but I’m too afraid to admit it. What if that doesn’t come true?
Because it’s something so out of the blue, you are caught unprepared and while the musical genre is not quite saved, I can say it is revived.
The Phoenix (10) is the second single and it benefits from a sexy video. It’s core is the power of string instruments that dominate the whole composition. I like the raw power this song has and it’s a very good workout entertainer (as is the whole album, of course).
Cross walks and crossed hearts and hope-to-dies
Silver clouds with grey linings
So we can take the world back from a heart attack
One maniac at a time we will take it back
You know time crawls on when you’re waiting for the song to start
So dance alone to the beat of your heart
Hey young blood
Doesn’t it feel like our time is running out?
I’m gonna change you like a remix
Then I’ll raise you like a phoenix
Wearing our vintage misery
No, I think it looked a little better on me
I’m gonna change you like a remix
Then I’ll raise you like a phoenix
My Songs Know What You Did in the Dark (Light Em Up) (9.5) was the first single off of the album and, as I said before, it didn’t impress me much. After the release of Save Rock and Roll, I really fell in love with this one, especially Patrick’s vocals and the chorus. It really strikes me as a summer song and I find it perfect for this hybrid sprinsummer we have in Romania. Also, I’d love to hear this one on a stadium (I’m in love with rock anthems! But who isn’t?).
A constellation of tears on your lashes
Burn everything you love, then burn the ashes
In the end everything collides
My childhood spat back out the monster that you see
My songs know what you did in the dark
So light ‘em up, up, up
Light ‘em up, up, up
Light ‘em up, up, up
I’m on fire
Alone Together (8.5) is a teen-angsty song, with Wentz’s unmistakeable signature (lyrically wise). If you ignore the poetry for just a little, you get great power and rhythm and, though it’s not quite rock-y, it’s a great summer afternoon song.
My heart is like a stallion
They love it more when it’s broken
Do you wanna feel beautiful?
Do you wanna?
‘Cause I don’t know where you’re going
But do you got room for one more troubled soul
I don’t know where I’m going but I don’t think I’m coming home
And I said I’ll check in tomorrow if I don’t wake up dead
This is the road to ruin
And we’re starting at the end
Where Did the Party Go (10) is, supposedly, the first song they wrote (Stump and Wentz) for Save Rock and Roll. It has a new vibe, it is party-like (as the title suggests) and it has young energy and optimism, so I would play it in my favorite clubs (if they would allow me to bring weird music to the scene). It’s one of my favorites on this album and it makes me want to start dancing (and when I say dancing, I mean I look like Elaine from Seinfeild, if she was in a whole body cast, while slipping on a banana peel).
I’m here to collect your hearts
It’s the only reason that I sing
I don’t believe a word you say but I can’t stop listening
This is the story of how they met
Her picture was on the back of a pack of cigarettes
When she touched him he turned ruby red
A story that they’ll never forget
Never forget
And all the boys are smoking menthols
Girls are getting back rubs
I will drift to you if you if you make yourself shake fast enough
My old aches become new again
My old friends become exes again
Oh, where did the party go?
We’re ending it on the phone
I’m not gonna go home alone
Oh, where did the party go?
(Sorry for my obsession, I really love this song!)
Just One Yesterday (8) features Foxes (and that’s all I can say about this singer). It is a song for the heartbroken people (which I am not), so I can’t say much about this one, except that it has a nice rhythm, even though the lyrics are not the most happy ones.
Letting people down is my thing, baby
Find yourself a new gig
This town ain’t big enough for two of us
I don’t have the right name
Or the right looks
But I have twice the heart
Anything you say can and will be held against you
So only say my name
It will be held against you
Anything you say can and will be held against you
So only say my name (name)
The Mighty Fall (9), another song featuring someone (they are plenty on this album!), this time is Big Sean. I have a very Kanye West-vibe, circa Niggas in Paris and also Katy Perry‘s ET. This doesn’t mean it’s bad. I’ve heard of Big Sean before, but this song can be easily named his best one until now. If you’ve read so far, you’ve noticed that I said something about Patrick’s black beats. So here they are, please enjoy them!
Hello?
Yeah I know you said not to call unless I’m dying
But I’m driving and I can’t stop staring at my eyelids
But even though my eyes closed, I still see you
I just hope that when you see me I’m not see-through
You know how we do
Some times I swear, I need a day just for me to lay
With some T and A, but the way we, they way we is do deeper
Baby straight up chemistry DNA
Make me wanna give you every dollar out my B of A
Like, I let her climb on top
I’m either fuckin’ or workin’, so the grind don’t stop
They say I got screws missing, well hell, only when I’m missing you
And hell yeah I’m a dick, girl, addicted to you
Whoa, how the mighty fall
The mighty fall
The mighty fall
They fall in love
Miss Missing You (9) is so simple, yet so good! Like all the good things, this one takes its geniusness (is that even a word?!) from simple music with simple words. Love is the base, people. Love.
Baby, you were my picket fence
I miss missing you now and then
Chlorine kissed summer skin
I miss missing you now and then
Sometimes before it gets better
The darkness gets bigger The person that you’d take a bullet for is behind the trigger
Oh
We’re fading fast
I miss missing you now and then
Death Valley (8) has a nervous side. It’s animalic and raw. It’s mature. It’s everything at once, even though it misses something (but I can’t put my finger on it).
I wanna see your animal side
Let it all out
Oh there you go; undress to impress
You can wear the crown but you’re no princess
So put the “D” in „dirt” now, baby, baby
Let’s get you wasted and alone
Young Volcanoes (10) is my favorite (I know I said that about some of the songs before, but bear with me). This is the third single off of Save Rock and Roll and the video continues the story from The Phoenix. I have a strange feeling of accapella and stadium, combined with a jungle of emotions, energy and love. How can I not love this one?!
When Rome’s in ruins, we are the lions
Free of the coliseums
In poison places, we are anti-venom
We’re the beginning of the end
Tonight the foxes hunt the hounds
It’s all over now before it has begun
We’ve already won
Come on make it easy, say I never mattered
Run it up the flagpole We will teach you how to make boys next door
Out of assholes
Rat a Tat (9.5) is for the people who didn’t love Courtney Love. Because she is just awesome on this track. You know her as the drunk widow of Kurt Cobain, but here she gives me the impression she’s bigger than Madonna (and that’s hard to pull off!). If Madonna had talent, she could’ve been what’s Courtney on this track. With a Britney refference (It’s Courtney, bitch!) as an intro, the song dives into punky soul phase that is this new Fall Out Boy thing they’re doing now.
We’re all fighting growing old
We’re all fighting growing old
In the hopes
Of a few minutes more
To get on St. Peter’s list
But you need to lower your standards
Cause it’s never
Getting any better than this
I’m about to make the sweat roll backwards
And your heart beat in reverse
Our guts can’t be reworked
As alone as a little white church
In the middle of the desert getting burned
But I’ll take your heart served up two ways
I sing a bitter song
I’m the lonelier version of you
I just don’t know where it went wrong
They saved the best for last. If they didn’t saved rock and roll until now, maybe Elton John can lend a hand? Who knows? Save Rock and Roll (10) is a beautiful musical combo of young and new, not very rocky, but very rollable, filled with soul and patience and time. Even though it’s not as alert as the other songs on Save Rock and Roll, this one is its heart.
I need more dreams
And less life
And I need that dark
In a little more light
I cried tears you’ll never see
So fuck you, you can go cry me an ocean
And leave me be
You are what you love
Not who loves you
In a world full of the word yes
I’m here to scream
No, no
Wherever I go, go
Trouble seems to follow
Only plugged in to save rock and roll
Rock and roll, no
Wherever I go, go
Trouble seems to follow
Only plugged in to save rock and roll
Blood brothers in desperation
An oath of silence
For the voice of our generation
How’d it get to be only me? Like I’m the last damn kid still kicking
That still believes
I will defend the faith
Going down swinging
I will save the songs
That we can’t stop singing
This album is more than I can expect from a comeback album. I can only compare it (sentimentally speaking) with Blink 182‘s Neighborhoods. It shows us a grown up version of our lovable punk kids that help granny cross the street, a version in which they love love and they suffer and they want to party, in which they are angsty and annoyed and worried and so human.
Leaving the album for a second, I can’t wait for the whole The Young Blood Chronicles, inspired by Daft Punk‘s Electroma. Until now, there are three episodes available, for My Songs Know What You Did in the Dark (Light Em Up), The Phoenix and Young Volcanoes.
This is the album I’ve had on repeat for three weeks now. I listened to it while walking to work, doing chores, getting ready to get out and party, while working out or doing nothing. It has grown on me and I’ve come to love it more and more. Please be gentle to beautiful music!
Science Fiction Double Feature, as one old song used to say. But my science fiction is my music, as usual, so my double feature will be comprised of HURTS and IAMX. Both of them are musical projects with their names written in capitals, so I’m guessing they mean business.
I remember the first time I heard about HURTS, while working for this website as a content editor of some sorts. They were having this concert in Romania, and it was sold out very fast, unusual for Romania and also for a band relatively unknown.
So far, I’ve missed their two concerts here, but I somewhat enjoyed their first album, Happiness (only about half of it, but still ok).
Another thing I remember is the comparison with Depeche Mode and White Lies. Even though I’m not a big Depeche Mode fan, I could recognize that their sound, electronica-ish as it was, it wasn’t depeche-y. But I am a big White Lies fan and for me, to be said that they are surpassed by these relatively unknown boys who like to dress up nicely to hide their pending deviations, it was too much! I was outraged by these suggested resemblances, so after the first listening of the album, I didn’t gave them a chance. That changed afterwards and I still have 2 or 3 songs from Happiness I like to listen to when I wanna feel down.
Their new album is called Exile. I’d like to think it’s their ugly child, because some of the lyrics are quite disturbing, and also the music is different. They sound so much darker than on Happiness, so now I’d like to think about them as balladeers crossed with Timbaland beats and weird, real electronica sounds. The vocals are outlandish, the music is so harsh and rough and wild and also well studied.
Exile (8) has this low volume, but such a high intensity. It’s not the peak of the album, but it’s the starting point from it can grow bigger and bigger.
Miracle (10) has passion and wilderness and fear and it’s disturbing and intense, and for that I wish I
could give it more than a 10. Also, I wish they didn’t remove the first video, it was perfect for the song. It was decadent and outrageous and I want it back!
Sandman (9) is a very disturbing composition, with Theo’s voice flowing and ticking like a clock along with the music, I almost have the impression he is dreaming.
Blind (7) starts really, really good vocally and musically, but then the lyrics hit in and… Nothing. Somehow, I don’t find it appealing listening to „Cut out my eyes and leave me blind”.
Only You (5) is not a memorable song, because it blends on the album between Blind and The Road. Lyricially speaking, I would say it’s a little bit more than the previous songs, but nothing remarkable.
The Road (9) is one of the songs that got promoted by the band. At first, I didn’t know whether I liked it or not, but when the chorus hit me, it was like a hurricane. And I couldn’t help but notice the ever present dubstep sound.
Cupid (6) is yet another song I didn’t bother remebering. The lyrics are quite simple, but the music fades away and merges perfectly with the album.
Mercy (7) sees the boys returning to their balladeers roots, along with the same dubstep rhythms on the chorus. I liked the spelling part of the word mercy, the vocals on that one verse are amazing.
The Crow (5) is another lyrically-full song, a ballad in the complete sense of the word. However, for my taste, is a little bit boring.
Somebody To Die For (8) is a song full of promises and hope, and I love it just for that one special feature of it.
The Rope (6) is yet another song about hope and all the other things that make you go on (yeah, I don’t know them, I have no name for such things), but it doesn’t have the special trait of Somebody To Die For. It does, however, have the dubstep-ish sound ever present on the album.
Help (5) is the last song of the standard edition of Exile. I was left under the impression that I wasted a lot of time listening to the second part of the album, so I can’t tell you what this part is all about.
I can definitely see progress here, more instruments, edgier sound, provoking lyrics, amazing vocals and choruses, but I will stick to my first half of the album, if I need some introspection and depression. All in all, 8/10 for HURTS and their Exile.
The second part of this double feature is IAMX. IAMX is a violent, decadent artist, with knick for saying the truth about a bunch of things, including love. His love is usually sick and twisted, and that’s the best part of it.
Pic here. I will forever and ever love this photo!
I listened to IAMX for the first time in 2008 and I was much appalled. In February 2009 I missed their concert, but in August (or September?) 2009 I listened to Missile and You Stick It In Me and I fell in love.
June 2011 saw me at their concert, watching and singing along and being genuinely happy. Volatile Times was a beautifully constructed album, but the live experience surpassed it by far.
So 2013 sees my beautiful Chris releasing The Unified Fields, another appropriate name for a beautiful piece of poetry-philosophy-depression infused music.
I Come With Knives (10) portrays Chris’ decadence perfectly, so what’s not to love about it? It’s beautiful and violent and it even has a verse in German (beautiful poetry, btw).
Sorrow (10) is here to say that, if you ever doubted Chris’ poetic abilities, you are so very wrong. Please let me enjoy my sorrow, with a Chris classic-to-be.
The Unified Fields (8). I can’t say much about this one, I’ll just let the lyrics speak for itself.
We are all insane
Counting down every single living day
We are prisoners of fate
I smile at the way everybody accepts the pain
Just because I don’t care doesn’t mean I don’t feel
Just because I don’t feel doesn’t mean I don’t understand
We are one in the unified field
The Adrenalin Room (7) is one of the songs that makes me think Chris took up Chemistry lessons. Oh, and also he studies anger!
Quiet the Mind (10) is definitely my favorite song off this album. How can I not love it? It deserves a special place in Chris’ work, alongside Spit It Out, Bloodsport, Missile, Volatile People, Tear Garden…
Under Atomic Skies (7) explores the same chemical issue, while suggesting nakedness. It wouldn’t have been Chris, if it were otherwise!
Screams (6) I don’t get. I listened to it, it’s tempo second-dependent, but it didn’t move me. I’m guessing he wanted to say too much, in too little time.
Come Home (9) hit me just were it should’ve. I feel like talking to myself, since I am for too long lost.
Animal Impulses (8). No explanations, just this.
I’m tired of this human duet
No civilizing hides
Our animal impulses.
Walk With The Noise (9) fool’s world, game, blows ripping, souls, killing me, terror, propaganda, flesh and blood. Excerpts of the song, powerful SOB!
Land of Broken Promises (8) starts out as weird, then we have a silent guitar, while Chris tells us the story. I have the feeling I listened to this song already, but I’m guessing it’s because the recurring theme in his work (The Stupid, The Proud).
Trials (8) of course it’s about demons in us, about acceptance and a half-hearted hope!
I couldn’t help but notice the score-y sound this album has. It’s full of instruments and it’s grandiose and it has power, I saw fit for Tarantino movies at least two of tracks (Walk With The Noise & The Adrenalin Room, maybe Land of Broken Promises too). 9/10 from my part. Please enjoy it!
I watched The Walking Dead season finale last night, of course, since I’m such an avid fan.
To be honest, I remember almost nothing from this season, maybe except for a few things:
– Rick’s going nuts, and then ruthless
– Carl seems to be a better leader than all of them combined (or at least, he’s capable to make choices when the need arises)
– T-Dog died, as expected
– Carol seems to carry her weight pretty good (unlike her comic book counterpart)
– yay Daryl!, everyone’s new god, with his emo haircut and his weird poncho
– Glenn’s heart’s not in it (I’m guessing an impending doom is quite near)
– Maggie seems to be the only likeable female, but her accent really slips and the sexual assault scene was so bad, it makes me cringe, even now
– oh, we also have Hershel and his other daughter and some prisoners; but after a while, the prisoners are dead, the other Hershel daughter likes to sing songs by the fire and Hershel is the ever-present conscience, since we don’t have Dale anymore
– what can I say about Lori? Mostly nothing, she’s dead, a bad dead wife.
– enter Michonne, who spent half the season grunting, and the rest of it chasing wild dreams of killing the Governor
– enter Merle, who looks like a dead beat alcoholic and has a nifty blade instead of his right hand; I felt like his death did the character some justice, after being antagonistic for such a long time
– enter the Governor, a raging asshole sociopath with a knick for stupid women (mostly Andrea)
– enter Andrea, who’s willing to sleep her way through for a warm bed and a roof over her head; also, she „wanted to save everyone”. Yeah, right!
– also, stupid people from Woodbury (Milton, Martinez, all others) and also Tyrese and his confused group.
If I would have to grade this season, I would say a 6. I don’t remember particular scenes or episodes, it wasn’t memorable at all.
If I would have to grade this season finale, I would say a 7. There were some unexpected things that raised this grade, but not that many. What I enjoyed the most was:
– Michonne letting Rick know she found out about his (short) betrayal
– Carl doing what he had to do (I’m guessing he likes to start shooting people now, and this excuse is so good in that day and age; also, if he would to become some kind of a Governor with the same thirst for blood, wouldn’t that be awesome?!)
– The Governor turning his gun on his people
– Andrea getting bit by Milton, none the less.
Let’s see where did the Governor ran and how will it be the next time he clashes with Rick.
