Review: The 1975 – The 1975

You know I am a little bit crazy and I obsess a little bit too much, but I guess that’s sort of endearing, because you keep coming back, right? Riiiight?!

You already know I love The 1975 (and they love me back, cause I posted a picture on Instagram which featured one of their songs), so I guess a review of their self-titled debut album is needed.

The 1975 is an ethereal piece, filled with synth sounds from the future of 1985 ( 1975 plus a decade), weird, but very familiar. (8.5/10)

The City is angst-y and angry and I love it! It’s my first contact with the band, but it won’t get old too soon. It gives me hope and makes me want to run away, it makes me wanna get drunk and make mistakes. I just love the rock sound of this piece. (10/10)

M.O.N.E.Y. is, of course, weird, because The 1975, people, The 1975! I’m not sure if I like it, because I think it’s a bit too electronica for me, but I must agree that the sound is very mature for the band. I guess that lyrically it does nothing for me, so maybe that’s why I’m not a big fan of this song. Also, very nice the thing with the sax! (7/10)

Chocolate is a very happy song, with a perfect combo of rock, electronica, great lyrics and a beautiful English accent. The guitars are awesome, also the drums, and the rhythm of the overall song. (9/10)

Sex starts out so very powerful, I find it a great song to roam freely on the highway. And, sometimes, this is all I need from my music. All that rhythm, all those issues from the lyrics… Awesome product! (8/10)

Talk! seems, at least after the first few lines, like it doesn’t belong on the album. But musically speaking, it blends in perfectly and builds on the core that is The City. (7.5/10)

An Encounter… with an alien! This is how this song sounds like. It’s an instrumental piece, but I don’t think I drank enough to like this one. (5/10)

Heart Out… Well, in 2008 I had those electronica bands that popped out from everywhere. Heart Out sounds so 2008, but it’s so much better than that. It’s youthful and danceable, so I like it, thankyouverymuch! (9/10)

Settle Down sounds a bit like The City, but with a little more spunk. It is still awesome, but I have to say I was a little bit let down by the perpetual lack of inspiration from the band. (9/10)

Robbers is one of my favorite songs off the album. It sounds so serious, and Matthew Healy‘s vocals are so airy and dreamy. The sound of the drum is a growing obsession in my heart. The whole song is a plea, it’s so filled with love… I can’t even start to… (10/10)

Girls. Another favorite of mine, but this time with a little more joy and happiness. The video is so funny (and it’s directed at Robert Palmer‘s Addicted To Love, so kudos for that!), and the whole song is so fastforwardonlove, gotta love it! It just makes me happy. (10/10)

12 is another instrumental piece that, as usual with me and instrumental pieces, it speaks nothing to yours truly. (?/10)

She Way Out and the guitars. Lovely. Sad. Young. Filled with mistakes and filled with regrets. (8/10)

Menswear is from outer space. I think I’m feeling some Kraftwerk in that, or at least something along those lines. Still, nice to meditate on that. (8/10)

Pressure gives me the feeling I’m back in the 90s. And I wonder where Kenny G is? (9/10)

Is There Somebody Who Can Watch You is, basically, the perfect ending to this perfect album. It’s so peaceful and quiet and makes me love you so much right now! (10/10)

The album is cohesive and the songs blend very well, regardless of the sound they have. The whole aspect is somewhat ethereal and alien, with future sounds combined with ’70s synths, the ’80s sax and ’90s energy. Some of the songs make me want to dance, and some of them make me want to cry, but most of them manage to do make dance while crying. This is what makes The 1975 – the album – so addictive.

Track list: 01. The 1975 00:00 / 02. The City 1:20 / 03. M.O.N.E.Y. 5:07 / 04. Chocolate 8:43 / 05. Sex 12:31 / 06. Talk! 15:58 / 07. An Encounter 18:45 / 08. Heart Out 19:57 / 09. Settle Down 23:22 / 10. Robbers 27:22 / 11. Girls 31:38 / 12. 12 36:00 / 13. She Way Out 37:14 / 14. Menswear 41:13 / 15. Pressure 44:39 / 16. Is There Somebody Who Can Watch You 48:20

Review: Music from Baz Luhrmann’s Film The Great Gatsby

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,, 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 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

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.

Review: Fall Out Boy – Save Rock and Roll

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.

In the meantime, I entertained myself with Patrick Stump’s new EP (Truant Wave in 2011) and his new solo album (Soul Punk, 2011), my idea of a redheaded white Michael Jackson on eurodanced LSD.

Save-Rock-And-Roll 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!

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
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!


HURTS + IAMX – Album Review

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.


Pic here.

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!

Review: The Killers – Runaways

Am tot incercat sa scriu un review pentru albumul lunii iunie, care ar fi trebuit sa fie Maroon 5 – Overexposed. Somehow, n-am reusit sa ma adun sa scriu cuvinte despre el. L-am ascultat, mi-a placut, dar nu am putut vorbi despre el.

The Killers au lansat o piesa noua, alta decat traditionalul cantecel de Craciun, o piesa care va fi pe urmatorul album.

Piesa „Runaways„, ce va fi inclusa si pe „Battle Born” (fraza apare pe steagul statului Nevada) nu e noua, nu e inedita, nu e wow. E doar Brandon Flowers, plain and simple. O fi fost vreo piesa ce n-a mai avut loc pe „Flamingo” (albumul sau solo lansat in 2010), pentru ca mi se pare acelasi sunet usor ratacit si confuz, de copil care nu stie incotro s-o apuce.

Povestea e clasica. Am vazut-o si in „When You Were Young”, si in „A Dustland Fairytale”, poate chiar si in „This Is Your Life” sau in „Jilted Lovers & Broken Hearts”.

Chitara imi aduce aminte de „Crossfire”. Bass-ul de piesele vechi de la The Killers. Imi place ca-mi da senzatia de hotarare, „all is settled”, „I know what I want now”.

Pe scurt, nu e nimic out of the ordinary de la Mr. Flowers & The Killers. Pe de alta parte, nici nu-mi doream. Mi-e dor de povesti despre Las Vegas, sins & sinners, oameni pentru care dumnezeu e aproape dupa o gura de alcool, mi-e dor de povestile lor care miros a iarba si tigara si a trailer park or smth.

Nimic nou, dar totusi perfect personal. Imi aduc aminte de 2009. 1 iulie 2009. Ploaie si The Killers.

PS: haven’t seen the video. Yet.