Dimmu Borgir & The Norwegian Radio Orchestra & Choir / Forces Of The Northern Night

Forces of the Northern Night

Dimmu Borgir (/ˌdɪm ˈbɔːrɡɪər/ or Norwegian: [dɪmmʏ bɔɾgiɾ] or Norwegian pronunciation: [dɪmmʏ bɔʁgiʁ]) is a Norwegian symphonic black metal band from Oslo, Norway, formed in 1993. The name is derived from Dimmuborgir, a volcanic formation in Iceland, the name of which means “dark cities” or “dark castles/fortresses” in Icelandic, Faroese and Old Norse. The band has been through numerous lineup changes over the years; guitarist Silenoz and vocalist Shagrath are the only original members who still remain with guitarist Galder being a longstanding member.

The Analysis—-

Xibir [Orchestra Only]—-If you are a fan of Dimmu, or even slightly acquainted, this recording seems only natural in the grand scheme of things. What an experience it must be as an Orchestra member to play with such a dark and epic band. This track is lush and full of orchestrated moods and energy. Combining the choir of voices with the overblown music comes together to create something damn magical.

Born Treacherous—-The opening strains of the band are greeted by a huge swell of excitement. The music played by the band is bolstered and made so much larger by the Orchestra. Shagrath and his growl seems to wrap itself around the magnificent strings. This only makes the band seem even larger. I love this recording. When the choir joins in on the chorus it is an incredible journey in itself.

Gateways—-With a huge swell full of strings and those magnificent drums and bass line. this song becomes literally huge. Like an epic journey through guttural vocals accompanied by a beautifully landscaped Orchestra, the dichotomy is incredible. Shaw makes an appearance here….I never cared for her very much.  She nor a full choir can even come close to the incredible vocal style from ICS Vortex…..a huge mistake for the band to lose him.

Dimmu Borgir  [Orchestra Only]—-Serving as almost an introduction to the proper song, the choir soars with a huge anthem style delivery that just sounds beautiful. The swells of voices, strings and movements are like a huge movie come to life. Magnificent.

Dimmu Borgir—-Perhaps one of my favorite tracks from the band as of late, this is delivered with a huge and intense grandiosity. As Shagrath takes his proper place at the microphone and urges the crowd toward mania, the Orchestra and choir keep pace with the venom remarkably well. This is even better than the original version of the song. I am enthralled and in love. The swells and huge string delivery with the backing choir all come together to create a perfect magnificent storm.

Chess With The Abyss—-This seems a bit more straight forward in delivery…the orchestration is there…but not overly pronounced. The vocal here is the powerful force….along with the lead guitar that is blistering fast. The choir does an incredible job with the backing vocal, but Shagrath is the star here…sounding driven and demonic.

Ritualist—-With sound effects and an almost gentle acoustic intro, the sound falls away to invite the mayhem to the center stage. The vocal from Shagrath just seems so comfortable with all the members of the choir and orchestra. This is an amazing endeavor and recording.

A Jewel Traced Through Coal—-Delivering an incredibly huge sound, the energy of the recording threatens my ears and speakers. The strings swell to an almost bursting apex. The vocal from Shagrath always front and center and never drowned by the band or all the other musicians on stage. The choir adds a back swell that makes the song so huge. Just incredible.

Eradication Instincts Defined [Orchestra Only]—-Jaunty and overblown, this is delivered with a lot of flourish and grand choir overtones. I like it….but I can take or leave this…it all has a same like quality to it.

Vredesbyrd—-Stepping out of the depths of hell with a vocal that that belies and grandiosity, this track is pure and simple classic Dimmu. You almost miss the overblown backdrop of the orchestra simply because the vocal is so aggressive. This is fantastic….the crowd seems literally out of their minds…and the participation in fantastic. A stand out track…I have not heard this song in a long time.

Progenies Of The Great Apocalypse—-Perhaps the most well known track from the band, I love the backdrop of the swells of music, but the choir can not even come close to replacing the soaring vocal of former member Vortex. This is a bit of a disappointment for me…..I just miss that classic clean vocal line.

The Serpentine Offering—-Perhaps my favorite track from In Sorte Diaboli, the orchestration here makes the sound and the energy seem even larger than could be imagined. The orchestration was always here on this song from the original…but here it becomes even larger. What surprises me is how Shagrath never loses the power of his vocal despite all that is going on. Just remarkable.

Fear And Wonder [Orchestra Only]—-Overblown and moody, this serves as a slight transition I suppose….but to me….it would be a lot to sit through…..

Kings Of The Carnival Creation—-Jetting into the back catalog for another fan favorite track, Shagrath sounds just as evil as he ever did….despite the delivery of the song. The buildup is maddening before the band truly kicks in….and for me, the song loses some of its venom in his setting. I like it….but I will take the original any day…..

Puritania—-Huge and incredible drums introduce this track…the distortion on the vocal adds to the credibility of the band. The sharp and quick bursts of music takes me back to the days when the Black Metal sound of Dimmu was more pure if you will. This is delivered with a nice energy…it is easy to remember the old days.

Mourning Place—-True in sound and delivered with just the right attitude and tone of venom this is just magnificent. I love the snarl that Shagrath delivers….backed by the higher tones of the choir…..it all comes together to create an incredible sound and energy.

Perfection Or Vanity [Orchestra Only]—-Ending what must have been a very long evening, this is delivered with the same beauty and intricacy as the opening track. This is certainly a journey all of it’s own. Now….it’s time for Dimmu to return to what they do best…….recording….please?

**** out of 5

 

Jasta / The Lost Chapters

 

The Lost Chapters [Explicit]

Jamey Jasta (born James Vincent Shanahan; August 7, 1977)[1] is an American musician from New Haven, Connecticut, best known as the lead vocalist of the metalcore band Hatebreed and sludge metal band Kingdom of Sorrow. Jasta also fronts metalcore band Icepick.

Jasta owns Stillborn Records, a hardcore and metal-based record label from West Haven, and “rock themed apparel” line called Hatewear.

In 2011, Jasta released a solo album entitled Jasta, collaborating with Randy Blythe and Mark Morton (Lamb of God), Zakk Wylde, Philip Labonte (All That Remains), and Tim Lambesis (As I Lay Dying).

Jasta was the host for MTV‘s Headbanger’s Ball from 2003–2007.

Jasta created the music for “Stat of the Day” for the nationally syndicated radio and TV talk show, The Dan Patrick Show. Jasta appeared on air with Dan Patrick on January 25, 2013 discussing the making of the song.

He follows a straight edge lifestyle but does not identify with its subculture.

The Lost Chapters is the second solo effort from Jasta.

The Analysis—-

This Is Your Life—-Chugging out of your speakers from the first second, there is just the right amount of sludge and Hatebreed style vocals to appeal to everyone. Delivering the classic positive lyrical message that belies the intensity of the music, the intermittent clean vocals on the chorus are really nice. This is a huge song.

Parasitic—-Deep and dense in sound, Jasta actually sings a bit here rather than the usual constant screaming. the chorus is damn contagious and serves as a nice hold over until the next proper Hatebreed release. The clean melodic vocal on the chorus is actually damn pleasant. I love when Jasta actually sings. This is great!

The Same Flame—-Coming out f the speakers with sharp and aggressive bursts of energy, the vocal is classic. The ‘chorus’ seems to be an over layed band effort…words and melody coming from all directions but the heavy bass guitar and drums are never diminished throughout. Fantastic!

Back To What Matters—-Slower in tempo with a more present higher tuned lead guitar, Jasta enters with his maniacal vocal delivering line after line of life affirming messages. Again, the strong part of the song lies in the melodic clean styled chorus….this has that magic ability to stick in your head for quite sometime. Really nice….a favorite track of mine.

Until We Bleed Again—-Returning to a more aggressive sound…peppered with blistering machine gun styled bass and drums, the chorus is a big sing along affair that is going to play live very well. I still find it amazing that Jamey can scream and holler like this endlessly without hurting his voice. This is another extraordinary track…..even if just for the chorus.

Chasing Demons featuring Howard Jones—-Melodic and toned down a bit on the aggressive scale right at the onset, Jasta’s vocal always take a song to that other level though. The guest vocal from Jones is intense…the clean style melodic chorus’s on this release are unforgettable and makes every song threaten to live in your head for a time. Another standout track!

The Immortal—-From the very first strains of this track, I knew it was going to become another favorite. Opening up with the clean, melodic style chorus instead of the death yells, this gives a whole fresh dimension to the recipe of the band. The breaks in the song allow for a soaring higher tuned lead guitar that gives the song huge body and likability. I really like this release!

Deadly Business—-Back to aggression with a vengeance, the vocal right from the very beginning reminds me so much of Slayer I look to see what is playing! This is a track that is actually sung most of the time….with gigantic crushing bass lines and crazy drums….all accompanied by the sing song vocal that sucks you in.

Buried Alive—-Again, this closing track open up with a surprisingly accessible vocal that is more melody than screaming and thrashing about. With a nod to pure Sabbath style vocal delivery, I am again amazed and incredibly disappointed that this release is so short. This is a must have if you are a Hatebreed fan! They do this cover justice…..I love the cover version.

****3/4 out of 5

 

 

 

Jean-Michel Jarre / Electronica 2: The Heart Of Noise

Electronica 2: The Heart of Noise

Jean-Michel André Jarre (pronounced: [ʒɑ̃ miʃɛl ɑ̃dʁe ʒaʁ], born 24 August 1948) is a French composer, performer, and record producer. He is a pioneer in the electronic, ambient, and new-age genres, and known as an organiser of outdoor spectacles of his music featuring lights, laser displays, and fireworks.

Jarre was raised in Lyon by his mother and grandparents, and trained on the piano. From an early age, he was introduced to a variety of art forms, including those of street performers, jazz musicians, and the artist Pierre Soulages. He played guitar in a band, but his musical style was perhaps most heavily influenced by Pierre Schaeffer, a pioneer of musique concrète at the Groupe de Recherches Musicales.

His first mainstream success was the 1976 album Oxygène. Recorded in a makeshift studio at his home, the album sold an estimated 12 million copies. Oxygène was followed in 1978 by Équinoxe, and in 1979, Jarre performed to a record-breaking audience of more than a million people at the Place de la Concorde, a record he has since broken three times. More albums were to follow, but his 1979 concert served as a blueprint for his future performances around the world. Several of his albums have been released to coincide with large-scale outdoor events, and he is now perhaps as well known as a performer as he is as a musician.

As of 2004, Jarre had sold an estimated 80 million albums. He was the first Western musician officially invited to perform in the People’s Republic of China, and holds the world record for the largest-ever audience at an outdoor event.

Electronica 2: The Heart of Noise is the eighteenth studio album of French electronic musician and composer Jean Michel Jarre, released on 6 May 2016 by Columbia Records. It is the second of a two-part album (the first being Electronica 1: The Time Machine) that is based around collaborations with other electronic musicians from a wide range of decades and styles.

Electronica 1 included artists such as Vince Clarke, Gesaffelstein, M83, Armin van Buuren, John Carpenter, 3D (of Massive Attack), Pete Townshend, Tangerine Dream, and others, while Electronica 2 includes collaborations with Pet Shop Boys, Rone, Julia Holter, Primal Scream, Gary Numan, Hans Zimmer, Edward Snowden, Peaches, Sébastien Tellier, The Orb, Siriusmo, Yello, Jeff Mills, Cyndi Lauper and Christophe. In all, the two-album collaboration has some 30 collaborators, and Jarre has described it as his “most ambitious project.”

The Analysis—-

The Heart Of Noise Pt. 1 featuring Rone—-At the onset, the sound of this recording is lush and deep. The synth lines literally wrap themselves around your body…often reminding me of later enigma recordings. The beautiful and unadorned synth line creates an almost visual landscape in your brain as you listen to the progression of the song…..beautifully constructed and delivered.

The Heart Of Noise Pt. 2 featuring Rone—-Continuing in the same vein, Pt. 2 delivers a bit more of a space filled experimentation that magically lulls you into your own thoughts and allows your brain to magically wander. There is a nice break when the rhythmic bass lines enters the song and allows it to become much bigger and ambient. This is truly brilliant!

Brick England featuring The Pet Shop Boys—-Fantastic…..that about sums this track up from the very first note. This is brilliant. Tenant delivers his distinctive trademark vocal and the synth line is right out of the Lowe playbook. The arrangement is lush and filled with that underlying sad hum found in most of The Boys recordings. This is classic electronica with a brilliant atmospheric twist I can’t seem to walk away from.

These Creatures featuring Julia Holter—-Wonderfully full of computerized synth bleeps and bursts of beautiful sounds, the vocal enters with a ghostly beautiful delivery that literally transports me somewhere else as I listen. Never overdone or overblown, this has the magical element of everything needed to create a masterpiece of a song. I love this vocal!!!

As One featuring Primal Scream—-Coming out of the calm like the opening credits to a masterful movie, this song is layered and textured with an ambiance that almost lulls you into a beautiful nothing. Then the strains from Primal Scream steer the song into an almost joyous romp that encourages you to shed inhibitions and dance like no one is looking. This is fantastic…..a step right back into 90’s Dance Floor masterpieces…..I’m in love!!!

Here For You featuring Gary Numan—-It is impossible for me to find the correct words for this track. How could it possibly go wrong….combing contemporary synth lines and the current direction of the Numan sound, this is a journey that encompasses everything wonderful and right in the world of music. This is simply brilliant….Numan sounds driven and haunted…..the music fits him perfectly. Just incredible! Numan sounds literally driven with emotion and the need to be there for someone……I love this!!!

Electrees featuring Hans Zimmer—-How could this brilliant pairing of two incredible talents possibly go wrong. This has wonderful stamped on it from the very first notes. Atmospheric and laden with dense beautiful sound effects, this takes me out of my very body every time I listen to it. Lush and wonderfully constructed…..this can make you happy as fuck or sleepy as hell…..wonderful!

Exit featuring Edward Snowden—-Perhaps the most interesting collaboration on this release, the music that is delivered here has the urgency that you would expect….making you lean forward on your chair as you are driven into the spy like element of the music. The Snowden vocal overlays are incredibly fascinating and a fantastic concept. This is yet another standout track…..I have to think Jarre is a pure genius.

What You Want featuring Peaches—- Combining a bass heavy sexy synth with the vocal of one of the ‘queens or sleaze’ is a magnificent journey though a trail of seductive vocals and electronics that seem to add to the sexy nature of the track….another brilliant collaboration…in both content and delivery.

Gisele featuring Sebastien Tellier—-Moving at an incredibly nice pace, the song has a Kraftwerk element for me….the feel of the mainstream type electronics are interspersed with a blip filled fun turn. The vocal enters and you are right back in the beginning era of electronica……filled with the best elements of Kraftwerk….with a modern contagious twist.

Switch On Leon featuring The Orb—-Bright and poppy with just the right elements of ambiance and experimentation, you would expect nothing less from this pairing. The effects and the heavy laden synth lines that combine background vocal effects and noises from all directions make you a little crazy……but it is incredible none the less.

Circus featuring Siriusmo—-Dense and epic in sound right from the onset, the music builds and builds and becomes a surprising romp through dance-land. This is full of jaunty dance synths and breaks in the music that keep you guessing where everything is going. Then a magical synth line enters and makes the track even larger….just fantastic.

Why This Why That And Why featuring Yello—-Beautifully constructed and filled with atmosphere, the vocal on this track reminds me so much of Leonard Cohen…..it just all comes together like a magnificent musical poem. I am in heaven with this experience…..I really need to investigate more of this man’s music…I am stunned by the beauty and genius of it all.

The Architect featuring Jeff Mills—-A bit eccentric and muted in delivery, it takes a bit for this song to take any shape or form. The bass keeps creeping on you…promising to explode but leaves me exhausted with the anticipation of joyous abandon. A weak track for me….but still nice.

Swipe To The Right featuring Cyndi Lauper —-Wonderfully full and energy filled from the first strains of the song, Lauper delivers a vocal that belies age and allows you to climb right back into the 80’s heyday. This is energy filled and upbeat with huge crashing synths and crashing timbres. Just fantastic….I am in love with this man. This is the best I have heard Cyndi sound since Bring Me To The Brink release.

Walking The Mile featuring Christope—-A bi dense and dark, the vocal enters and sounds muted and in a tunnel. The delivery is odd….trying to sound psychedelic over a rather bright synth line. Not a favorite…..but it seems to fit in the entire picture well.

Falling Down—-Filled with an undeniable melody line that runs underneath the synth line, the song is so well constructed and is contagious as hell. This has every right element included in it…you can’t escape the tune…it will live in your head…with a bit of throw back to the 80’s fun sound….but still modern, this is fantastic.

The Heart Of Noise [The Origin]—-A bit mundane and filled with much of the sound and melody we have heard thus far, it is a throwback to the opening strains of this release. I would have preferred another collab rather than a redux of something heard before. This is pleasant but tried.

Conquistador [JMJ RMX] featuring Gesaffelstein—-Nicely delivered with an urgent synth line, this song has a pace to it that begs you to pay attention. I like the higer pitched synth lines and the split second breaks that keep everything incredibly interesting before it all dives back into a bass heavy sea, Magnificent!

***** out of 5

 

 

Erasure / World Be Gone

World Be Gone

Erasure (/ˈrʒər/) are an English synthpop duo, consisting of singer and songwriter Andy Bell and songwriter and keyboardist Vince Clarke. They formed in London, and entered the music scene in 1985 with their debut single “Who Needs Love Like That“. Following the release of their fourth single “Sometimes“, the duo established itself on the UK Singles Chart and became one of the most successful artists of the late 1980s to mid-1990s.

From 1986 to 2007, Erasure achieved 24 consecutive Top 40 hits in the UK, while having three Top 20 hits in the US (on the Billboard Hot 100): “A Little Respect“, “Chains of Love“, and “Always“. By 2009, 34 of their 45 singles and EPs (of which 8 out of the 45 were not chart eligible in the UK) had made the UK Top 40, with 17 climbing into the Top 10. At the 1989 Brit Awards, Erasure won the Brit Award for Best British Group.

The duo are most popular in their native UK and mainland Europe (especially Germany, Denmark and Sweden) and also in South America (especially Argentina, Chile, Brazil and Peru). The band is also popular within the LGBT community, for whom the openly gay Bell has become a gay icon. To date, they have penned over 200 songs and have sold over 25 million albums worldwide.

World Be Gone is the seventeenth studio album by English synthpop duo Erasure. The album was released through Mute Records on 19 May 2017 in the UK, and 20 May 2017 in North America.

The Analysis—-

Love You To The Sky—-With a nice pulsating bass synth line to introduce the track, Bell enters with his vocal…finely tuned and filled with wonderful emotion. This is nice and upbeat…even though the lyrics and the constant repetition seem a bit tired. I love the wizardry of Clarke and his synth….a well practiced delivery here. I love the familiar sounds of Clarke and his machines.

Be Careful What You Wish For!—- With a slower introduction, swirling slow synth lines and a melancholy vocal, I am transported back to the Erasure CD. This is sedate….the vocal layered in delivery and stacked on top of a sedate slow tempo ed synth that makes the track dark and powerful. This is brilliant….the slight echoes….the in control vocal…..the instrumentation…..come together to create a perfect storm.

World Be Gone—-Continuing in the sedate synth delivery and heavy laden lyrics, the band seems very reflective and slightly melancholy on this release. Perhaps they also feel the weight of the world we live in these days. Andy Bell has not delivered such controlled and beautifully structured vocals on an Erasure release in quite sometime. This is brilliant!

A Bitter Parting—-Opening with a rather familiar Clarke synth line, the jaunty and speedy musical delivery is almost void on this release. This continues in the same sedate and reflective vein…wondering what each of these songs mean to the duo. The vocal is very upfront in the mix…the synth taking a back seat as the spotlight shines on the crafted and damn near perfect vocal of Bell.

Still It’s Not Over—-Deep an morose at the onset, the reverb from the dense sound in overwhelming. Bell delivers tales of lost lives and loves….making you wonder what has brought about all this introspection. He references Harvey Milk….The Castro…..the years of the plague. This is a brilliant track….sad and haunting. Just incredible. The melody line of this track is wonderful…..rather addictive despite the heaviness of the song.

Take Me Out Of Myself—-  With a slight higher synth tone, the pace of the song remains much as the majority of this release….dark and plodding. Bell delivers line after line of desperate words that make me inwardly sad. The control in his voice is amazing on this record…..you actually feel every word he sings…the voice overlays gives a nice texture to the song. Brilliant!

Sweet Summer Loving—-Brighter Yaz styled synth introduces the track….nice blips and beeps are dancing around on the song. the track is still slow and mellow…but the feel and the melody line gives me a happier feel….I can almost hear Alison sing this track. This is really nice…beautiful in construction and sentiment…a brighter spot to break things up a bit.

Oh What A World—-A huge hum through my headphones usher in this track…the deep bass is amazing. The vocal enters and for the first time in a long time I am very disappointed with the band. This is mundane and monotonous…..insane in lyrics and lacking a true energy.

Lousy Sum Of Nothing—-With a sight funeral introduction, the synth in more of a hum rather than fully constructed notes. Bell delivers line after line bemoaning the lack of humanity in the world today. The lack of optimism is rather wearing at this point…but it is Erasure…and it is new material. As a life long fan I appreciate the new direction and welcome the ensuing explanation that I am sure is to come.

Just A Little Love—-Ending the release on a refreshing bright and poppy note, the synth lines is faster and the vocal is delivered in a higher more jaunty style. The positive message of the track almost wipes away the dense feel of previous tracks. Bell sounds energized and happy hear and the synth line wraps right around his vocal. A nice ending.

**** out of 5

 

The Jesus And Mary Chain / Damage And Joy

Damage And Joy

The Jesus and Mary Chain are a Scottish alternative rock band formed in East Kilbride in 1983. The band revolves around the songwriting partnership of brothers Jim and William Reid. After signing to independent label Creation Records, they released their first single “Upside Down” in 1984. Their debut album Psychocandy was released to critical acclaim in 1985 on major label WEA. The band went on to release five more studio albums before disbanding in 1999.

Damage and Joy is the seventh studio album by Scottish alternative rock band The Jesus and Mary Chain. It was released on 24 March 2017 by ADA and Warner Music Group. It is the group’s first album in 19 years, and marks their first collaboration with producer Youth.

Some of the songs had appeared previously in a different form – “Song For A Secret” and “Amputation” had been released by Jim Reid – the latter as a solo single in 2007 under the title “Dead End Kids”, “Can’t Stop The Rock” was previously released by Jim and William Reid’s sister Linda under the stage name Sister Vanilla, and “The Two Of Us”, “Get On Home” and “Facing Up To The Facts” were previously released in a different form by Freeheat, a band which Jim Reid formed during the band’s hiatus, following the split after the release of the album Munki in 1998.

The Analysis—-

Amputation—-It seems almost impossible that at this point in my life I am privileged to be awarded the release of one more JAMC release. How wonderful to hear the conjoined sounds of the Reid Brothers coming together again…like they had never left me. This is not aggressive as many previous tracks…but the familiarity of it all is remarkable and distinctive. This is brilliant!

War On Peace—-Wonderfully brilliant from the very first strains of the song. This would have fir perfectly on the Stoned And Dethroned release…..you can almost hear Mazzy singing in the backdrop. This has an underlying fuzziness that is so comforting…and over the top the ageless Reid vocal. This is stark and quite simply beautiful. The end of the song is a triumph as the mayhem threatens you with sounds of days past….but remains remarkably in control.

All Things Pass—-Fuzzy and filled with a nice sense of static, the deep bass line sounds right off of an early New Order release. The melody line enters….masterful drums and that incredible voice follows. The pace of the song is so 80’s inspired and pleasant….I just want to wring my hands with sheer joy. This is a huge, addictive track…..I love this.

Always Sad—-Jingly and remarkable in the ability to sound both new and throwback at the same time. this is so addictive….it will urge you to replay over and over….the female vocal that joins in incredible…..and you will have this is your head for a long time after just one listen. This is straight out of the 90’s Lollapalooza era…….just fuckin; brilliant!!!!

Song For A Secret—-Again…..stepping right off the mood of Stoned And Dethroned, the female vocal sounds just like Mazzy…..making me want to dig that release from the crates for another grand listen. This is so fresh…..yet so retro and familiar…so new….but incredibly comfortable. This is just a truly fantastic record!!!

The Two Of Us—-With a nice feedback filled intro like the old days, the song erupts into an almost sunny feeling track that makes you smile inwardly with the sheer pleasure and pleasantness of the whole damn thing. the constant female vocal that runs through the songs adds so much more depth to the feel of the record. I love this as much as Stoned And Dethroned…this is a brilliant return.

Los Feliz [Blues And Greens]—-Lush and melancholy right from the onset, this track is stripped and bare. Reid enters with his vocal….sounding like a ghost whispering from the dark of feelings never expressed before. The slight jaunt to the guitar gives the song just the right needed touch of life……even riding over the sometimes sarcastic nature of the chorus……just fantastic…….like they were never gone.

Mood Rider—-Dense and layered with a sense of darkness at the onset, the guitar truly enters into the fray and lightens the track a bit. Reid slowly sings with a sadness and the fuzz in the underbelly gives this an almost staid funeral feel to the march of the music. This is just brilliant….my God I love this record!

Presidici [Et Chapaquiditch]—-Addictive and filled with a guitar jangle at the onset, the sunny feel of the song belies the rather dark lyrics that form the track. This is a petty ironic American story from a bunch of Scots….but it is filled with irony and almost gets a grin out of me. The music is so addictive and pleasant…this is so wonderful…..I freak in feel like I’m in heaven!!!

Get On Home—-Again, filled with a sound that is very 90’s Alternative music, you can tell that this has been kicked around for a time. The Reid Brothers seem to have found a sense of humor and a talent for irony….but this is still a great song…..stacks up perfectly with the catalog. Without a doubt……musically the noisiest song on the release thus far.

Facing Up To The Facts—-Magnificent in construction and delivery, the lyrics are fantastic……”I hate my brother and he hates me……that’s the way it’s supposed to be.” Just brilliant…..the Reid Brothers facing up to the facts!!!!

Simian Split—-The oddest musical introduction and the most disturbing lyrics of the record. I understand this is all about irony and sarcasm…..but some things you leave alone. This is my least favorite track on the record….but musically one of the most diverse and experimental.

Black And Blues—-Acoustic in nature and accompanied by a damn pleasant vocal…..again with the female vocal that adds and rounds out the sound so incredibly well. I am hopelessly in love with this record…I can’t describe the joy…elation and pleasure at hearing this……I will return easily over and over and over.

Can’t Stop The Rock—-Rounding out the release without ever losing integrity or grit, this will be a release I re-visit on a regular basis…..filled with memories…a fresh perspective and a vigor that sounds like it was never displaced by anger, I truly hope there is more still to come. A Brilliant Release!!!!

***** out of 5

 

 

 

Ryan Adams / Prisoner

Prisoner [Explicit]

Ryan Adams (born David Ryan Adams; November 5, 1974) is an American singer-songwriter, musician, record producer, and poet. He is best known for his prolific solo career, during which he has released fifteen albums, and as a former member of alternative country band Whiskeytown, with whom he recorded three studio albums.

In 2000, Adams left Whiskeytown and released his debut solo album, Heartbreaker, to critical acclaim. The album was nominated for the Shortlist Music Prize. The following year, his profile increased with the release of the UK certified-gold Gold, which included the hit single, “New York, New York“. During this time, Adams worked on several unreleased albums, which were consolidated into a third solo release, Demolition (2002). Working at a prolific rate, Adams released the classic rock-influenced Rock N Roll (2003), after a planned album, Love Is Hell, was rejected by his label Lost Highway. As a compromise, Love Is Hell was released as two EPs and eventually released in its full-length state in 2004.

After breaking his wrist during a live performance, Adams took a short-lived break, and formed The Cardinals, a backing band that would accompany him on four of his next studio albums. In 2009, following the release of Cardinology (2009), Adams disbanded The Cardinals and announced an extended break from music due to complications from Ménière’s disease. The following year, however, Adams resumed performing and released his Glyn Johns-produced thirteenth studio album, Ashes & Fire, in 2011. The album peaked at No. 7 on the Billboard 200. In September 2014, Adams released his fourteenth album, Ryan Adams, on his own PAX AM label, and formed a new backing band, The Shining, to support the release.

In 2015, Adams released 1989 a song-for-song cover of Taylor Swift‘s album of the same name, and worked on up to eighty songs for an album influenced by his divorce from his wife Mandy Moore. The release, Prisoner, was announced in late 2016.

Prisoner is the sixteenth studio album by American singer-songwriter Ryan Adams. It was released on February 17, 2017. The album is Adams’ first album of original material since his 2014 album, Ryan Adams, and was preceded by the singles “Do You Still Love Me?”, “To Be Without You”, and “Doomsday”.

The Analysis—-

Do You Still Love Me?—-From the very opening strains that greet you with this release, the melancholy almost bristles. Adams enters with a bit of an aggressive vocal that is almost in contrast with the mellow feel of the music underneath the slight bombast of the guitars and drums. The message is clear and fills me with a slight ache….incredible songwriting and delivery. I could totally hear Tom Petty singing this song!

Prisoner—-Jaunty and damn pleasant from the first note….the vocal is so distinctive…welcome and familiar. I smile with the irony of the lyrics and the gentle delivery that is somewhat surrounded by biting words. The Springsteen strains are unmistakable…..a damn good track.

Doomsday—-With the harmonica playing and the lazy guitar strumming, again you can understand the Bruce comparisons. This is a huge song…despite the lack of volume and energy. There is a really nice ghostly edge to the song. I love this….really need to investigate more of the albums he has released…..16 so far…..WOW!!!

Haunted House—-Really conjuring up a nice mix between Petty/Dylan and Springsteen, this has an incredible lonely and ghostly feel to the music and vocal. The overblown music of today should take notice that more is not necessarily better. The chorus of this track tends to live in your brain even after one simple listen. This is remarkable songwriting and musicianship.

Shiver & Shake—-Beautiful and stark…a nice ‘story song’ that sounds right off of Nebraska. The lyrics are so vivid…it is easy to put yourself right inside of the song. Adams delivers his finest vocal on this release so far on this track. Sadness and loneliness are easy to find here. It is impossible not to feel every word.

To Be Without You—-A bit more upbeat and country tinged, the vocal enters and puts you right back in the place Adams must have been when he recorded this set of songs. The track has a welcoming familiar sound to it….it is easy to imagine it playing constantly during the rough days we all have from time to time. This is exquisite music…delivered with mastery and emotion.

Anything I Say To You Now—-A bit more raucous and energetic, the guitar is more electric and filled with a nice energy. I like the melody line that runs through the bottom of the song. The vocal seems a little buried to me….the music …loud over the top of it. But still fantastic and intense.

Breakdown—-Returning to the acoustic feel of much of the record, the vocal is once again back in front of the mix and filled with angst and sadness as Adams almost pleads for help in stifling his overwhelming emotion. This is intensely personal and beautiful….you can’t escape the beautifully personal nature of this release.

Outbound Train—-Returning to full on Springsteen mode, this would fit perfectly on any of his releases. The comparison becomes tiresome…I know…but it is not just the music and/or vocal…it is the exquisite ability to tell a story in just over 3 minutes that is also a common denominator. Just a fantastic release…all the way through.

Broken Anyway—-Slight whispery music plays underneath the simple guitar chords that usher in the vocal. The song opens up wider with the onset of the chorus…leaving you wondering if this is the point when Adams finally accepted the defeat that a divorce brings. We are so much the better that he is willing to share such personal things with us.

Tightrope—-The slight echo that runs with the vocal over the scant and naked musical landscape paints a wintry picture of sadness and loneliness for me. Line after line of pain and angst makes you take pause and try to digest all of the hurt and the disdain for day to day life that you have to face despite whatever personal is happening in your life. This is intense….and damn beautiful.

We Disappear—-Wow……I  almost though I was listening to Petty again as this song opened up….closing out this release with a song that makes you wonder if the bad memories are slowly fading….and the idea of moving on is more possible…..I hope for more optimism in the future…..this will forever live with me as a great journey though. Thanks Ryan!!!

***** out of 5