Finally after sixteen years of silence in terms of new material in form of an album, the first single song from the upcoming LP saw the light of the world of music. Again, the English survivors and the solid component of music milieu, widely speaking, The Cure band led of course by no one else but Robert Smith are coming back really strong and with no wane in the atmosphere which they created from the beginning of their career. Slowly but surely they evolved throughout the years, and they still do.
The composition starts from a dreamy drums and the familiar, for The Cure, kind of a wall of sound, but very refreshing and with a zero repeating pattern from the past. Perpetual and long sonic loop is builded by the bass guitar and electronic piano with a curtain of the electronic samples which beautifully covers everything in the background as a soft and endless wave.
The song is progressing and almost in the middle part Robert's vocals starts to appear. The lyrical side of this amazing band was always with a pinch of something indescribable and surely the listener can feel this in “Alone”. My first impression was really strange. As a huge fan of the band, loving the lyrical content of every song they’ve released, I felt strange simultaneously because before I dove deeper into the meaning I assumed that this is a very sad tune. The interpretation is always hard to establish in one way and say that is final, especially if it’s about bands like The Cure. It’s not about praising anyone, it’s just a fact. Every attempt to try to understand thoughts of an artist of any kind should be individual and in my short attempt of interpretation right here this song treats about the old ways of us all, how we actually live. We evolving as a habitants on our Gaia, lovely planet and we should process our existence, shed the proverbial old skin and discover a new and great things because in fact, as stated in the lyrics “Where did it go?”..
I think it’s also about the confusion, what is going on, on the planet right now, that we don’t even really know where we are heading to. Reflection must come to every soul naturally, but surely must occur somehow…
Deepness of the song is just setting the mind of a listener I think for the hunger to digest more what will gonna come in the whole content of the upcoming album. This is a beautiful representative of what we can expect in the next month and in my opinion the expectations can be set high because, as Robert Smith said in an interview few years ago that he’ll not gonna release anything (musically of course) until he will “feel this from the inside” and will be sure that it’s natural and obviously worth to put out for the world’s ears”.
Heading forward in this lifetime every day in every way as much as I can best, that's why I can’t wait to write you review of the whole album ASAP just when the LP will see a daylight :)
A brand new singiel by the band Tremonti was dropped to the world just a few weeks ago on the breakthrough time of the year. This is a pre-album release, which in full length form with the name of “The End Will Show Us How”is expected to be available in the early part of 2o25.
Title of the song is “Just Too Much” and it begins from a slow motioned riff, unlike they're promoting singles in the previous albums were usually exploding with the speed of the rhythmic wave of notes, which secretes from their instruments. It’s not that they completely changed approach to the process of creating music or style, it’s just a fresh view on the old things in my opinion, and adding new elements to a well established way of expressing creativity throughout this powerful medium which music is.
The song is unfolding not particularly rapid but the choruses are the extension of the existing melody although turning into a massive wall of sound with as always strong Mark’s vocals.
Lyrically the song is in my opinion a kind of a manifest to raise from the “fairy dust of life” when literally sometimes everything is just overwhelmed in our existence, then the only thing is to find a paths to love and pain, taking the self to the edges and letting go the worries, automatism in life and just doing the best to fix the right puzzles in whole.. Then the road will show itself, the solutions solve itself, the truth will be clearly visible to every one of us.
Very solid song, "in style" of Tremonti band like I mentioned before. It’s uplifting in a way - like any piece of art from these guys - and it’s hearable that Mark and the rest of the crew are not a retro-type band and not laying their weapons down. The music is very mature and compositionally intelligent. I think we can expect a very good production filling our ears soon.. but we have to wait a little bit B)
Stay tuned, full review of the album when will gonna come out next year..another reviews coming soon of course (!)
Hey all of you lovely gothic and not only souls B) .. it's been a while . . .
The newest production of the "industrial metal" protoplasts and survivors Ministry is called “HOPIUMFORTHEMASSES” and unquestionably, this is a fantastic and surprisingly for many people (jealous ones enough just to behave like that - fact) solid and fresh album with a strong message - as always - from Al Jourgensen included in lyrics.
The opening act and the first song on the album is titled “B.D.E.”. Mysterious name as always when artists using the shortcut which creates curiosity to figure out ‘what’s in the kitchen’. The words in the beginning are deeply placing the listener on the journey throughout this album. Basically the composition is about quite surreal turnings in the world because young people, especially big part of males are treating woman in a weird way seeing the increasing power of females in many fields of life. They’re simply angry and trying to impress doing stupid things like metaphorically ‘getting bigger penis’ or similar silly things like that. The suburbs of some social media and some mainstream fields which were not that important, are becoming now the top ones, something what in the past was treated like unacceptable or insane now is on the first place (18o degrees turnaround)… The instrumental part (as always) is produced on the sumptuous level by Al and heavy but more mature album by album sound in my opinion, listener can easily spot from the first notes of the song.
Next song called “Goddamn White Trash” is propelling the album in a well known Ministry’s flow but as always in a newer and progressive way. The massive riff after guitar intro with narration in the background, shows that Al has still something to give to the music world but not only... His way of perceiving the reality is very distinctive and lyrics shows his intellectual level of seeing the stupidity in some individuals everyday life. This song is about the lack of wisdom in the sphere of people who steers the governments, it's literally expressed in the choruses and the title of the song, everything is just about power and money. Presidents and the rest of figures on the high positions are masked and greedy ones with no values who have a really old software in their psychics which unfortunately is not promising anything good..we have to be vigilant as citizens everywhere and do something actually, vote properly, not just being reactive but primarly being proactive. Strong composition instrumentally in a rhythm almost like from the warfield.
Third song on the list is “Just Stop Oil” which is quite fast and aggressive manifest about misinforming people about what’s going on around in the world. Exploitation of the oil is so bizarre because it’s happening for years and everybody is aware of the business around this ‘big machinery’ and bad effects on the environment but nobody is doing anything about that. In the lyrics: “The documentation of facts that are given, are constantly met with a dose of derision..”, Al as always is wearing shoes of the person who’s firing up the awareness about governments and big companies tricks and he’s doing this constantly since 8o’s. This song has a very interesting construction and changes of the rhythm are just a masterful work of Jourgensen's circa forty years of experience as a producer. Some people are judging too early the work of many artists who are in the music industry long time. These people have a romantic view of the early “the best” art, but in my opinion, they missing the evolution and mentioned before experience of an artist. Very strong both instrumentaly and lyrically song, well picked as one of the representatives long before the premiere of the album.
“Aryan Embarrassment” begins with a very controversial for many people words about Jews and nazis. For some people it can be strange kind of manifestation but if the listener will dive deeper and understand the massage, everything begins to make sense, it’s kind of a farce but also a hidden message. I think that if we’ll continue to go in many weird directions as a humanity, we can evoke the past and bring evil concept of nazism and proverbial ‘replacement by the nazis instead of Jews’ is painting bad future of the leading entities who supposedly can sort out the present problems and fix at least a little bit the system which is providing quality of life for all of us. The great Jello Biafra from the band Dead Kennedys is again a guest in Ministry’s camp and as always adding intellectual spice to already intellectually established Al’s lyrics. Strong messages are always coming when these two gentlemen are collaborating. The Aryan concept is mentioned which according to the artists here, is already spreading in the high units of power and most of the people could be so blind and doesn't see that this is happening already. There’s even the word “stupid” used for describing the masses and again, nothing is in the work to prevent it by us. Music is very distinctive in this song. It begins from a kind of a slow motioned guitars and progressing with a beautiful quite static and pompatic wall of instruments.
Another version of the 'TV Song' concept, which Al continues since the “Psalm 69 (The Way to Succeed and the Way to Suck Eggs)” - album from 1992. It’s a very fast paced composition with a repeating sentences which have straight forward information in Ministry's style. This is the sixth one in their discography and it’s called “TV Song 1/6 Edition”. As usually attacked and criticized by the singer - system and government’s figures - here as well from the beginning (original voice fragments of important persons like vice president) in lyrics a reminder that we still live in a similar rhythm of life being manipulated by the authority. But we have a choice: “You can be a hero or you can be a zero..”. Personally I think this is a message to a young generation, the thing is, we have to finally notice that and choose between free decisive world or being controlled as always and having no voice at all. The strength is in understanding and fighting in a smart way because we live in more open minded world, with more resources and mass surveillance but on some level - and abstractively - friendly for every mediocre person. The song, like I mentioned earlier is quite heavy and very rapid, kinda rhythm in a punk style, and thrashy riffs propelling the whole machinery in connection with lyrics, making the whole experience from listening very intense but in the same time fresh.
“New Religion” is in my opinion one of the best songs on the album. Heavy and regular strong riff with drums, like a tank opens the composition. Vocals and the way of Al’s expression is so energetic and fresh that listener can easily forget about how many albums Ministry had released and how much time passed in their career because sonically this song is very good. We can hear the band in this track with the straight forward message with the background music on the heavy and massive level. The words in this song are clearly pointing to the chaotic confusion which is like a malady everywhere now, but very dangerous. People are trapped in this new world where places like everyday jobs and any forms of bigger gatherings are treated as religious concepts. It’s paradoxically harder now when somebody’s world is falling apart and good life is turning with a blink of an eye into ruin because the choices then which has to be made by the person are complicated in terms of the type of people, corporation or institution whom will trust in eventually. We does not have easier life without the group of people we can operate with and which is supporting us on a daily basis or we are going against the grain and we can live but much harder although the benefits could be also valuable.
The song no. 7 is called “It’s Not Pretty” and is starting very interesting because of the acoustic guitar which is not something new for Ministry but rather rare. The lyrical content in this kind of apocalyptic sound which strings are emanating is, I have to say, continuation of the topic which seems to be refreshed here and put in a different perspective. The doom and gloom provided by the people who’s directing the governments and the biggest institutions is known for years but as technology progressing and we’re becoming smarter, in the same time we can with a blink of an eye destroy ourselves. The unpredictability of people on the highest levels is scary but, the very truth is that we are on the edge on some level and the proverbial Mad Max actually begun on the economical side and who gets more control from the big monarchies like China or the US in less developed countries. We live in a beautiful time but everyday we are progressing so much that our brains very often are not keeping the pace. On the musical side, like I mentioned before, after quite long but great acoustic entrance, composition is speeding up with a very pompous and rhythmic drums and solid but energetic guitars. Additional female secondary vocals in the end, nicely coronating the whole concept. In my opinion this is one of the best songs on the album. Production is so good and the twist from quite dark and slow beginning to a heavier part is very optimistic, even despite the message included.
“Cult of Suffering” is one before the last song on the LP and differentiates from the rest of the content. Beginning is very “sunny” because it starts from a nice and pleasant riff with a softer drums. It takes lyrically from the ideology of suffering, how we as a mankind still, despite progressing on so many fields, gripping to things which causing us pain and sadness, like for instance wars, present conflict on Ukraine etc. In choruses words “This is no happy place for me” speaks for itself. Despite the words, instrumentally is a very positive song, motivating in my opinion to act against evil dwelling and lurking in every corner, just waiting to unleash bad energy and create another reason for agony and malevolence. Also choral elements means - using multiply voices in refrains - employing more people to sing those parts in the song. That gives a new, fresh and splendid effect and overall result for the listener. Fairly, as a fan of Al Jourgensen’s work over the years, this is nice anthem for everyone who has any notion to change anything on this beautiful planet “Gaia” which we live on.
Closing composition on the album is a cover song by Fad Gadget from the year 198o titled “Ricky’s Hand” and it’s basically kind of way to express the concept of driving after drinking. There are many inclinations in the lyrics like “Six pints later he waved goodbye.. Slamming the door, he grasped the wheel” which pointing out what author was trying to portray through a metaphorical picture. Instrumental side is very interesting and interpreted as always by Al Jourgensen and the crew in a specific and individual way. It has a lot of 8o’s vibe because of the samples used and industrial atmosphere obviously. We can also hear very different singer’s voice but reminding of the tone of singing he had in early albums which 'die hard fans' will recognise in a second in my opinion. It’s very interesting, through all that Jourgenson have been through, drugs and other tribulations of life, on his 66 years old, he is still performing great and seems like he’s not even showing any signs to stop. I think this is a fantastic take on the song from 4o years back and amazing closing gate for this LP.
Overall experience from listening of the album, as a fan of the band, in as much as possible neutral way I would rate positively. Even for the one who is not into the “heavier” acts in music world I think will gonna find something fun for thyself. Like I mentioned before, years of recording and sacrifice of Al Jourgensen to the art of music is paying off in the big spectrum and painting great landscape, assuring enjoyable time spend exploring this LP by the listener.
Worth to try - for long term fans, but also for the beginners. Kids and adults, grab it, listen, enjoy!
Stay tuned for another review .. B) Peace and love!
Hi everyone after some time but.. "guns blazing" right now and next review will be posted faster then this one for sure 馃槑
Another album after not that long break, taking into consideration for instance vocalist Corey Taylor with his side projects, massively and constantly conveyed for the world, Slipknot came back with “The End, So Far".
With the consequence throughout their career, every album is better like good red wine - the older the better.
Album is opened by very innovative “Adderall” and the song is for sure surprisingly different in terms of the sound in the band’s discography and for some rabid fans which are somehow conservative and value the crew from Iowa for their roots and dirty/violent and heavy sound.
The music is very electronic in the beginning and progressively other instruments are joining samplers and Corey’s lyrics filling the whole landscape. First verse, author begins in a very nihilistic way about shallowness in life and about kind of fear of the shadow of life.
Is anyone really live now without fear? Are we alienated that much? Singer as always touching really important aspects of our existence. And medicines, like Adderall, helps..but not for long, unfortunately leading after a while to the rabbit hole … Brilliant song for the opening.
“… The Dying Song (Time To Sing)” is a powerful shift from the first song and straight away listener is diving into Slipknot’s well known sound atmosphere. Vocalist is claiming from the first sentences of the composition about some form of rebirth as a person, letting the old cast of persona to die metaphorically and welcome the new, stronger one. The concept it’s in the frame of not being afraid of the people who’s in charge of the world, who’s governing and telling us what to do. Chorus is very pompatic with a heavy riffs and lyrics which giving faith in order to cure the heart.
“The Chapeltown Rag” is a third song and so transparent lyrically about our present state of humanity. We are in some kind of ‘coma state of being’ existing mostly online in the world where we're soften ourselves and becoming really miserable and unsecured not even challenging these things and fixing them. The composition is very heavy and the culminating point of heaviness is in the bridge/ending of the song but also in the beginning of the second verse where Corey’s voice is exploding along with Mick’s and Jim’s guitar riffs. Choruses are melodic but in the same time heavy what’s making the whole experience from listening very interesting and ‘in their style’.
“Yen” begins very lightly with Corey’s vocals and the musical background kind of nostalgic. Lyrics starts from something that author was waiting long time, some metaphorical “sin” but more as an event which is probably holding him back from something. His clearly confused and powerless on some level as it shows in the second verse. The chorus is heavier and musically is lifting up the whole composition to another level along with melodic vocal lines presented by the singer. There’s a big suffering in the lyrics and the question to someone - whether author is suffering for nothing (?) he seems to manifest the feeling. In instrumentally “softer” bridge in the song, is some kind of form of letting go emphasized in lyrics and the suffering and death looks like to be one of the ways out …
“Hive Mind” is a very heavy act on this album. It starts with strong entrance by the guitars and Corey’s vocals. The lyrics treats about the man who’s trapped in surrounded reality. It’s almost like encouragement for the action - believe in thyself and mind which is like the titled hive where are all answers for the deepest and most troubled things in our lives. Great drumming by Weinberg filled with raw instrumental landscape by the rest of the crew making this song one of the heaviest on the album and in the same time impactful on listener’s perception.
“Warranty” starts with kind of a question in the lyrics and unrolling to a quite black theme along with the music in the background which could be described as a wall, heavy and progressing to even heavier choruses. It is about us, the people, how we are treated by those who’s establishing the rules in this world and we believe in some kind of assurance from them, aiming ourselves also with the material goods and similar aspects which is worthless. The bridge is really interesting and the melodic line is contrasting with the rest of the song. Massive Jay Weinberg’s drums throughout the whole song and great work of the rest instruments by other guys makes the composition really dark …
Another song is a “Medicine for the Dead” and again begins from darker side of life. We are sometimes cornered by the restrictions and boundaries from the systemic approach but we don’t see the reason and so called 'lords'. Corey literally screams about the medicine in my opinion, which lies in strength from the right people surrounding us in life, we have to drink it and be healed to be conscious what’s wrong around. Instrumentally is a very melodic song as for this album with quite pompous chorus. The bridge in the composition is progressively arising and exploding in the end with another chorus closing the whole in a very heavy way.
The song “Acidic” have a slightly different approach then the rest compositions on the album. It starts with almost like an orchestral intro and the vocals are a bit angry with first phrases and then going really melodic and showing singer’s skills. It’s an interesting position on the album to interpret. In my vision this song treating about us, how we could be literally dead inside living this materialistic life, steered by the authority, then realising that most of the things surrounding us are meaningless and then we're loosing the ability to be happy and to see the sense in anything. Very innovative sonically song, with brilliant guitars and amazing Jim Root’s solo.
“Heirloom” fantastically begins from amazing drumming and the ‘wall’ of guitars with great scratching by Sid Wilson which reminds me straight away the spirit of the very first Slipknot's album but in a really matured way. The meaning of lyrical content is very interesting because in my opinion it’s about the beginning of our pure life from the very first moments before we’re caught by everything around and programmed to feel sorry for ourselves and to feel guilty in the end having the burden on our shoulders from the past events which basically is illusory and shouldn’t have place in our existence … Fantastic double solo by both guitarists Mick and Jim is maxing out the song to the orbit.
Tenth song is titled “H377” and the beginning is a very raw kind of a statement from the voices coming out almost like from the underground. It sounds like a discovery manifest of the thing or a person who sew the hate and distrust and the realisation of this fact is a further frustration and anger in the singer’s voice and lyrics that he knows the true reaper now… Another brilliant Root’s guitar solo and probably the heaviest track on the album in my view.
Listener can easily feel the atmosphere and the wave of “Iowa” album flow right from the beginning where the weird and specific sounds are in place …
“De Sade” is starting with a very monumental instrumental line where the Alessandro Venturella’s bass and smooth guitars with percussions in the background filling the landscape of the composition. The author of the lyrics is in the point where he’s assured of the fact that only wrong people can make you feel stupid.. no one else. And knowing that, it’s a very powerful thing which makes this tricky aspect of life easier to cope with, because honest and good persons are tend to forget that on a daily basis. Very interesting and massive crossed solo by Jim Root and Mick Jones again taking the composition to another dimension of the sound.
Last song on the album “Finale” begins by Venturella’s bass line, and piano, then progressively is filled with cellos and Taylor’s vocals. From the very first words sang out and then phrases which turning later to be choruses and the peak of the composition, the listener can feel sadness and stagnation. It’s so not good that many of us on this planet say ‘okay’ to life, agreeing to the conditions not necessarily good for us and living everyday the same kind of life and often even worse - in the past. The turn around in the song is in the bridge where lyrics are filling the listener with faith that the strength is inside of any of us and the solution is in trust in the self and finding light through doing steps resulting beating the darkness everywhere on the way to happiness and meaning of the whole concept of existence …
This album in my opinion as a long term fan of this band is their masterpiece and very matured structurally production. Every song is on the highest possible level, there’s a feeling of hard work in this and there’s no fillers at all on the list of twelve songs on “The End, So Far”.
I am highly recommending of course this Slipknot’s piece of art equally to - older and in the same time newer fans of the band, also those who doesn’t know them yet - because it’s ‘a must hear’ position for sure in the music world, and every person who appreciate the mastery and sophistication from any great artists, could easily try this album with no fear.
Enjoy reading .. another review coming sooner than this one ;]]] .. love and peace (!) 馃馃従馃馃徑
POLISH TRANSLATION
Cze艣膰 wszystkim po pewnym czasie, ale… „pistolety p艂on膮” w tej chwili i nast臋pna recenzja zostanie opublikowana szybciej ni偶 ta na pewno 馃槑
Kolejny album po nie tak d艂ugiej przerwie, bior膮c pod uwag臋 na przyk艂ad wokalist臋 Corey'a Taylor'a z jego pobocznymi projektami, masowo i stale przekazywanymi dla 艣wiata, Slipknot wr贸ci艂 z „The End, So Far”.
Z konsekwencj膮 w ca艂ej swojej karierze, ka偶dy album jest lepszy jak dobre czerwone wino - im starsze, tym lepiej.
Album jest otwarty przez bardzo innowacyjny "Adderall”, a utw贸r jest z pewno艣ci膮 zaskakuj膮co inny pod wzgl臋dem d藕wi臋ku w dyskografii zespo艂u oraz dla niekt贸rych w艣ciek艂ych fan贸w, kt贸rzy s膮 w jaki艣 spos贸b konserwatywni i ceni膮 za艂og臋 z Iowa za ich korzenie i brudne/brutalne i ci臋偶kie d藕wi臋ki.
Muzyka jest na pocz膮tku bardzo elektroniczna, a stopniowo inne instrumenty do艂膮czaj膮 do sampler贸w, a teksty Corey'a wype艂niaj膮 ca艂y krajobraz. Pierwsz膮 zwrotk臋, autor zaczyna w bardzo nihilistyczny spos贸b o p艂ytko艣ci w 偶yciu i o rodzaju strachu przed cieniem 偶ycia.
Czy kto艣 naprawd臋 偶yje teraz bez strachu? Czy jeste艣my tak bardzo wyobcowani? Piosenkarz jak zawsze dotyka naprawd臋 wa偶nych aspekt贸w naszego istnienia. A leki, takie jak Adderall, pomagaj膮… ale nie na d艂ugo, niestety prowadz膮c po chwili do kr贸liczej nory… genialna piosenka na otwarcie.
"… The Dying Song (Time To Sing)” stanowi pot臋偶n膮 zmian臋 w stosunku do pierwszego utworu i od razu s艂uchacz zanurza si臋 w dobrze znan膮 atmosfer臋 d藕wi臋kow膮 Slipknot. Wokalista ju偶 od pierwszych zda艅 utworu wnioskuje o jakiej艣 formie odrodzenia si臋 jako osoby, pozwalaj膮c w metaforyczny spos贸b starej obsadzie persony umrze膰 i powita膰 now膮, silniejsz膮. Koncepcja opiera si臋 na tym, aby nie ba膰 si臋 ludzi, kt贸rzy rz膮dz膮 艣wiatem, kt贸rzy rz膮dz膮 i m贸wi膮 nam, co mamy robi膰. Refren jest bardzo pompatyczny, z ci臋偶kimi riffami i tekstami, kt贸re dodaj膮 wiary i lecz膮 serce.
"The Chapeltown Rag” to trzeci utw贸r, kt贸ry pod wzgl臋dem tekstowym jest niezwykle przejrzysty i opowiada o naszym obecnym stanie ludzko艣ci. Jeste艣my w pewnego rodzaju „stanie 艣pi膮czki”, egzystuj膮c g艂贸wnie w internecie, w 艣wiecie, w kt贸rym mi臋kniemy i stajemy si臋 naprawd臋 nieszcz臋艣liwi i niepewni, nawet nie rzucaj膮c wyzwania tym rzeczom i nie naprawiaj膮c ich. Kompozycja jest bardzo ci臋偶ka, a kulminacyjny punkt ci臋偶ko艣ci wyst臋puje w przej艣ciu/ko艅cu utworu, ale tak偶e na pocz膮tku drugiej zwrotki, gdzie g艂os Corey'a eksploduje wraz z gitarowymi riffami Mick'a i Jim'a. Refreny s膮 melodyjne, ale jednocze艣nie ci臋偶kie, co sprawia, 偶e ca艂e do艣wiadczenie s艂uchania jest bardzo ciekawe i „w ich stylu”.
"Yen” zaczyna si臋 bardzo lekko wokalem Corey’a, a muzyczne t艂o ma nostalgiczny charakter. Tekst zaczyna si臋 od czego艣, na co autor czeka艂 od dawna, metaforycznego „grzechu”, ale raczej wydarzenia, kt贸re prawdopodobnie przed czym艣 go powstrzymuje. Jest wyra藕nie zdezorientowany i bezsilny na pewnym poziomie, jak wida膰 w drugiej zwrotce. Refren jest ci臋偶szy i muzycznie podnosi ca艂膮 kompozycj臋 na wy偶szy poziom wraz z melodyjnymi liniami wokalnymi prezentowanymi przez wokalist臋. W tek艣cie jest wielkie cierpienie i pytanie do kogo艣 - czy autor cierpi bez powodu (?) ..zdaje si臋 to uczucie manifestowa膰. W instrumentalnie „bardziej mi臋kkim” przej艣ciu utworu w tek艣cie podkre艣lona jest pewna forma odpuszczenia, a cierpienie i 艣mier膰 wydaj膮 si臋 by膰 jednym z wyj艣膰…
"Hive Mind” to bardzo ci臋偶ki utw贸r na tym albumie. Rozpoczyna si臋 mocnym wej艣ciem gitar i wokalem Corey’a. Tekst traktuje o cz艂owieku uwi臋zionym w otaczaj膮cej rzeczywisto艣ci. To prawie jak zach臋ta do dzia艂ania – uwierz w siebie i umys艂, kt贸ry jest jak tytu艂owy ul, w kt贸rym znajduj膮 si臋 odpowiedzi na najg艂臋bsze i najbardziej k艂opotliwe sprawy w naszym 偶yciu. 艢wietna gra na perkusji Weinberg’a wype艂niona surowym, instrumentalnym krajobrazem reszty ekipy, co czyni ten utw贸r jednym z najci臋偶szych na albumie, a jednocze艣nie wywieraj膮cym wp艂yw na percepcj臋 s艂uchacza.
"Warranty” zaczyna si臋 od pytania w tek艣cie i rozwija do do艣膰 czarnego tematu wraz z muzyk膮 w tle, kt贸r膮 mo偶na okre艣li膰 jako 艣cian臋, ci臋偶k膮 i przechodz膮c膮 w jeszcze ci臋偶sze refreny. Chodzi o nas, ludzi, o to, jak jeste艣my traktowani przez tych, kt贸rzy ustanawiaj膮 zasady na tym 艣wiecie i wierzymy w jak膮艣 pewno艣膰 z ich strony, celuj膮c tak偶e w dobra materialne i tym podobne aspekty, co jest bezwarto艣ciowe. Przej艣cie jest naprawd臋 ciekawe, a linia melodyczna kontrastuje z reszt膮 utworu. Pot臋偶na perkusja Jay'a Weinberg'a przez ca艂y utw贸r i 艣wietna praca pozosta艂ych instrument贸w reszty ch艂opak贸w sprawiaj膮, 偶e kompozycja jest naprawd臋 mroczna…
Kolejny utw贸r to "Medicine for the Dead” i ponownie rozpoczyna si臋 od ciemniejszej strony 偶ycia. Czasami jeste艣my osaczeni przez ograniczenia oraz granice wynikaj膮ce z podej艣cia systemowego, ale nie widzimy powodu i tak zwanych „pan贸w”. Corey dos艂ownie wykrzyczkuje na temat leku, moim zdaniem, kt贸rego si艂a tkwi we w艂a艣ciwych ludziach, kt贸rzy nas otaczaj膮. Musimy go pi膰 i zosta膰 uzdrowieni, aby mie膰 艣wiadomo艣膰, co jest wok贸艂 nas nie tak. Instrumentalnie jest to bardzo melodyjny utw贸r jak na t臋 p艂yt臋 z do艣膰 pompatycznym refrenem. Przej艣cie w kompozycji stopniowo narasta i eksploduje w ko艅cu, a kolejny refren zamyka ca艂o艣膰 w bardzo ci臋偶ki spos贸b.
Utw贸r "Acidic” ma nieco inne podej艣cie ni偶 pozosta艂e kompozycje na p艂ycie. Zaczyna si臋 niemal jak orkiestrowe intro, a wokale s膮 nieco w艣ciek艂e w pierwszych frazach i potem staj膮 si臋 naprawd臋 melodyjne i pokazuj膮 umiej臋tno艣ci wokalisty. To ciekawa pozycja na albumie, kt贸r膮 warto zinterpretowa膰. W mojej wizji ta piosenka opowiada o nas, o tym, jak mo偶emy by膰 dos艂ownie martwi w 艣rodku, 偶yj膮c materialistycznym 偶yciem, kierowani przez autorytet, a potem zdaj膮c sobie spraw臋, 偶e wi臋kszo艣膰 otaczaj膮cych nas rzeczy jest bez znaczenia, a nast臋pnie tracimy zdolno艣膰 do bycia szcz臋艣liwymi i dostrzegania sensu we wszystkim. Bardzo innowacyjny d藕wi臋kowo utw贸r, z genialnymi gitarami i niesamowit膮 sol贸wk膮 Jima Roota.
"Heirloom” fantastycznie zaczyna si臋 od niesamowitej gry na perkusji i „艣ciany” gitar ze 艣wietnymi skreczami Sida Wilsona, co od razu przypomina mi ducha pierwszego albumu Slipknot, tyle 偶e w naprawd臋 dojrza艂y spos贸b. Znaczenie tre艣ci lirycznych jest bardzo ciekawe, bo moim zdaniem chodzi o pocz膮tek naszego czystego 偶ycia ju偶 od pierwszych chwil, zanim zostaniemy z艂apani przez wszystko wok贸艂 i zaprogramowani, aby艣my u偶alali si臋 nad sob膮 i w ko艅cu poczuli si臋 winni, maj膮c ci臋偶ar na naszych ramionach z powodu wydarze艅 z przesz艂o艣ci, co w zasadzie jest iluzoryczne i nie powinno mie膰 miejsca w naszym istnieniu… Fantastyczne podw贸jne solo w wykonaniu gitarzyst贸w Mick'a i Jim'a wystrzeliwuje utw贸r na orbit臋.
Dziesi膮ty utw贸r nosi tytu艂 "H377” i jego pocz膮tek to bardzo surowy rodzaj wypowiedzi g艂os贸w wydobywaj膮cych si臋 niemal jak z podziemia. Brzmi to jak manifest odkrycia rzeczy lub osoby, kt贸ra sieje nienawi艣膰 i nieufno艣膰, a u艣wiadomienie sobie tego faktu to kolejna frustracja i z艂o艣膰 w g艂osie i tek艣cie piosenkarza, kt贸ry zna teraz prawdziwego 偶niwiarza… Kolejne genialne gitarowe solo Root'a i moim zdaniem prawdopodobnie najci臋偶szy utw贸r na p艂ycie.
S艂uchacz mo偶e 艂atwo wyczu膰 atmosfer臋 i fal臋 albumu „Iowa” p艂yn膮c膮 ju偶 od samego pocz膮tku, gdzie pojawiaj膮 si臋 dziwne i specyficzne d藕wi臋ki…
“De Sade” rozpoczyna si臋 bardzo monumentaln膮 lini膮 instrumentaln膮, w kt贸rej g艂adkie gitary oraz bas Alessandro Venturell’i z perkusj膮 w tle wype艂niaj膮 krajobraz kompozycji. Autor tekstu jest w punkcie, w kt贸rym jest pewien, 偶e tylko niew艂a艣ciwi ludzie mog膮 sprawi膰, 偶e poczujesz si臋 g艂upio.. nikt inny. A wiedz膮c o tym, jest to bardzo pot臋偶na rzecz, kt贸ra sprawia, 偶e 艂atwiej jest sobie poradzi膰 z tym trudnym aspektem 偶ycia, poniewa偶 uczciwi i dobrzy ludzie maj膮 tendencj臋 do zapominania o tym na co dzie艅. Bardzo ciekawe i masywne skrzy偶owane solo Jim'a Root'a i Mick'a Jones'a ponownie przenosz膮ce kompozycj臋 w inny wymiar brzmienia.
Ostatni utw贸r na albumie “Finale” rozpoczyna si臋 lini膮 basu Venturell’i i fortepianem, a nast臋pnie stopniowo wype艂nia si臋 wiolonczelami i wokalem Taylor'a. Ju偶 od pierwszych wy艣piewanych s艂贸w, a potem fraz, kt贸re p贸藕niej przeradzaj膮 si臋 w refreny i szczyt kompozycji, s艂uchacz mo偶e odczuwa膰 smutek i stagnacj臋. To niedobrze, 偶e wielu z nas na tej planecie m贸wi „ok” 偶yciu, godz膮c si臋 na warunki niekoniecznie dla nas dobre i 偶yj膮c na co dzie艅 takim samym, a cz臋sto nawet gorszym 偶yciem – w przesz艂o艣ci. Zwrot w piosence nast臋puje w przej艣ciu, gdzie teksty nape艂niaj膮 s艂uchacza wiar膮, 偶e si艂a jest w ka偶dym z nas, a rozwi膮zaniem jest zaufanie do siebie i odnalezienie 艣wiat艂a poprzez wykonywanie krok贸w, kt贸re pokonuj膮 ciemno艣膰 wsz臋dzie po drodze do szcz臋艣cia i sensu ca艂ej koncepcji istnienia…
Ten album moim zdaniem, jako wieloletniego fana tego zespo艂u, jest ich arcydzie艂em i bardzo dojrza艂膮 strukturalnie produkcj膮. Ka偶dy utw贸r stoi na najwy偶szym mo偶liwym poziomie, czu膰 w nim ci臋偶k膮 prac臋 i na li艣cie dwunastu utwor贸w na "The End, So Far” nie ma 偶adnego wype艂niacza.
Gor膮co polecam oczywi艣cie to dzie艂o Slipknot w r贸wnym stopniu – starszym jak i m艂odszym fanom zespo艂u, a tak偶e tym, kt贸rzy ich jeszcze nie znaj膮 – bo to pozycja, kt贸r膮 z pewno艣ci膮 trzeba us艂ysze膰 w muzycznym 艣wiecie, a ka偶dy, kto ceni mistrzostwo i wyrafinowanie wielkich artyst贸w, mo偶e z 艂atwo艣ci膮 i bez obaw wypr贸bowa膰 ten album.
Mi艂ej lektury.. kolejna recenzja pojawi si臋 szybciej ni偶 ta ;]]] .. mi艂o艣膰 i pok贸j (!) 馃馃従馃馃徑
Wednesday, June 14, 2023
Finally, the long-awaited after seven years (2o16 "The Stage") Avenged Sevenfold album entitled "Life Is But A Dream", which I can now boldly call - another step forward in their performance and certainly opening another hidden door in the dimension called evolution - specifically musical although in this case the development went at least a few steps further…
The fantastic opening "Game Over" - with calm guitars, introduces the atmosphere. Sudden transition and M.Shadows - like a storm breaks in with vocals. Powerful riffs and perfection of Synyster Gates solos with Zack providing the background guitar, mixed with Johnny's throbbing bass and flawlessly, as in a metronome speeding like pershing Brooks on drums, give such a cosmic start to the album that you want to listen further, with the curiosity of a small child who is just getting to know the world. The title and the entire lyrical layer says - according to the words of the author of the text - about the end of a colorless stage in life (free interpretation), even broadly understood death and understanding of certain life issues, and thus - the beginning of this "new".
“Mattel” instrumentally begins a real journey. At the beginning, the riff transitions into an industrial sound, slowing down in the verse along with Matt's vocals, and intensifying in the chorus. The later transition, with synthesized piano sounds and vocals, evokes the vibe that Sevenfold has always had, but like on proverbial steroids. Lyrically, the author continues the theme from the beginning of the album, talks about the sadness of a man who literally starts to smell plastic / artificial flowers along with the disappearance of naturalness that should guide us-humanity.
Single “Nobody” is a very unusual composition, from the beginning led by a tedious riff, and after a while the entrance of M.Shadows with vocals like a call from the great mountains, somewhere on the edge of reality. The text begins with words that give the image of ourselves flying like feathers in space, not knowing where we are going and what we really encounter every day. Throughout the song, the author guides us with metaphors practically in this "rhythm", where Brooks' drums and Johnny's bass provide the rhythm and background for Zack's guitar, who leads the line brilliantly. Breaking through the entire composition with the solo, Synyster (with his perfectionism in the virtuosity he serves us) crowns "Nobody" in a masterly way.
“We Love You” is an innovative approach to composition on many levels with changing rhythm and style. The variability of the riffs and the tempo of the drums are accompanied by the vocals, which are both aggressive and calm. Lyrically, it's a song that relates to our expansion as humanity. We have that proverbial "sun" that is enough to exist, and yet we build more, we want more, probably at the expense of ourselves - shorter life and destruction of the planet …
“Cosmic” establishes a new trend in the genre that the band has been associated with from the beginning. Slowly starting with samples, the song progressively moves on to energetic drums and once again perfect Synyster on the guitar. In my opinion, the text speaks of man's faith that despite all the twists of fate, you can always close this proverbial door and open another one with new power. The second part of the song is an instrumental, colorful and beautiful instrumental cocktail decorated with M.Shadows' vocals - a feast for a seasoned listener...
"Beautiful Morning" in the message flowing from the text is a search and further journey through life in search of meaning. The chaos around certainly doesn't help. He turns to a higher power for support for his penance. In the prelude in the middle of the track, which is beautiful instrumentally, there is a chance to find ourselves again in this mess of life - the heroes are ourselves. Musically, the song is composed very carefully, changes of intensity, rhythms and pompous choruses that stretch the song like an unknown ocean in its grandeur and magnificence.
“Easier” begins with Matt's synthesized voice reminiscent of the 80s vibe. The verse, however, is turned upside down with a powerful riff and a complete change of vibe - I would even say a bit towards "fresh grunge". Lyrically, the issue of leaving someone (probably a loved one) is touched upon, but at the same time wishing and believing that this person will find those better days. The transition in the middle of the song with acoustic guitars once again transports the listener into a different but positive world, as if a light at the end of the tunnel on the journey ahead.
"G" begins a series of three consecutive tracks whose first letters form the word 'God'. In the first one, the author boldly approaches the subject of the creation of the world, which is contained in the Bible. The vision that the team presents to us revolves around the seven days in which God created the world. Matt sings that those six days were the creation of a sort of entertainment and theater for God, in which we humans are the actors. On the seventh day, there was supposed to be peace, but the almighty decided otherwise. Instrumentally, the composition is very innovative with many transitions and a great complement to Matt's vocals with female voices that are in the choruses - inspiration from Pink Floyd, I think interesting ...
(O)rdinary continues the theme from the previous track. In my opinion, this is a call to God. The man presented in the song asks if the Creator will give him control over life, soul, and even tell him how to feel, how to dream. He would like to know and learn all the secrets of the creator, and finally asks God to tell him when this man will really live- whether he feels the human love that he sends to him every day through actions, meditation or prayers. A strongly philosophical track for sure, which again has a change of climate musically, sometimes even approaching funk.
"(D)eath" the third installment of the series "God" is interesting. Can be interpreted differently. Personally, I think it's the 'death' of a character that runs through the whole album (a lost man), who leaves that proverbial letter for loved ones, sees life in perspective and dies, but only to be reborn in a better world . Is it physical death or just figuratively? It's hard to say. Right here it can be interpreted in two ways ... although I think it's about this spiritual death after all. The musical background is again cosmically different, soul-jazz and calm, but it still maintains the mood of the album ...
“Life Is But A Dream…” instrumental 'show' by Brian Elwin Haner Jr. that is simply the guitarist Synyster Gates on the piano, which beautifully crowns the whole album ... just listen ...
There is no need to write more, because I have already written a lot. Opinions will be divided for sure, because Avenged Sevenfold has evolved once again. How? As for me, they have developed incredibly and beautifully. I consider this album a breakthrough in music, which once again breaks down the barriers put up by people that limit the beauty of creativity and development in every sense of the word.
It will definitely take some time for people to understand the craftsmanship of this record, but I believe it won't be that long to reach a higher level of artistry in the broad sense. For sure, with “Life Is But A Dream…” we are entering a new era of music.. in my opinion, it is fucking exciting ;]]]
Enjoy listening, and opinions and thoughts are welcome in the comments ... Another review coming soon, peace!
POLISH TRANSLATION
Wreszcie d艂ugo wyczekiwana po siedmiu latach (2o16 “The Stage”) p艂yta Avenged Sevenfold zatytu艂owana “Life Is But A Dream”, kt贸r膮 teraz 艣mia艂o mog臋 nazwa膰 - kolejny krok naprz贸d w ich wykonaniu i z pewno艣ci膮 otwarcie kolejnych ukrytych drzwi w wymiarze zwanym ewolucj膮 - konkretnie muzyczn膮, cho膰 w tym przypadku, rozw贸j poszed艂 przynajmniej o kilka krok贸w dalej …
Fantastyczny otwieraj膮cy “Game Over” - ze spokojnymi gitarami, wprowadza klimat. Nag艂e przej艣cie i M.Shadows - jak burza wdziera si臋 wokalami. Pot臋偶ne riffy i perfekcja Synyster’a Gatesa w sol贸wkach z Zack’ym nadaj膮cym t艂o gitarowe, przemieszane z pulsuj膮cym basem Johny’ego i bezb艂臋dnie, jak w metronomie p臋dz膮cym niczym pershing Brooks’em na b臋bnach, daj膮 tak kosmiczny pocz膮tek albumu, 偶e chce si臋 s艂ucha膰 dalej, z ciekawo艣ci膮 ma艂ego dziecka, kt贸re dopiero poznaje 艣wiat. Tytu艂 i ca艂a liryczna warstwa, m贸wi - wedle s艂贸w samego autora tekstu - o zako艅czeniu jakiego艣 bezbarwnego etapu w 偶yciu (wolna interpretacja), wr臋cz szeroko rozumianej 艣mierci i zrozumieniu pewnych 偶yciowych kwestii, a co za tym idzie - pocz膮tku tego “nowego”.
“Mattel” instrumentalnie rozpoczyna prawdziw膮 podr贸偶. Na pocz膮tku, riff przechodzi w industrialne brzmienie, zwalniaj膮c w zwrotce wraz z wokalem Matt'a, i intensyfikuje si臋 w refrenie. P贸藕niejsze przej艣cie, z syntezowanymi d藕wi臋kami pianina i wokalem, przywo艂uje klimat, kt贸ry zawsze mia艂 Sevenfold, ale jak na przys艂owiowych sterydach. Lirycznie, autor kontynuuje temat z pocz膮tku p艂yty, opowiada o smutku cz艂owieka, kt贸ry dos艂ownie zaczyna w膮cha膰 plastikowe/sztuczne kwiaty wraz z zanikiem naturalno艣ci, kt贸ra powinna kierowa膰 nami-ludzko艣ci膮.
Singiel “Nobody” jest bardzo nietypow膮 kompozycj膮, od pocz膮tku prowadzon膮 przez 偶mudny riff, a po chwili wej艣cie M.Shadows z wokalem niczym zew z wielkich g贸r, gdzie艣 na skraju rzeczywisto艣ci. Tekst zaczyna si臋 od s艂贸w, kt贸re daj膮 obraz nas samych lataj膮cych jak pi贸rka w kosmosie, nie wiedz膮c dok膮d zmierzamy i co tak naprawd臋 spotykamy si臋 ka偶dego dnia. Przez ca艂y utw贸r autor prowadzi nas metaforami praktycznie w tym “rytmie”, gdzie perkusja Brooksa i bas Johnny’ego zapewniaj膮 rytm i t艂o dla gitary Zack’a, kt贸ry genialnie prowadzi lini臋. Przedzieraj膮c si臋 z sol贸wk膮 przez ca艂膮 kompozycj臋 Synyster (swoim perfekcjonizmem w wirtuozerii jak膮 nam serwuje) koronuje “Nobody” w mistrzowski spos贸b.
“We Love You” to nowatorskie podej艣cie do kompozycji na wielu p艂aszczyznach ze zmiennym rytmem i stylem. Zmienno艣ci riff贸w i tempa perkusji towarzyszy wokal, kt贸ry te偶 jest zar贸wno agresywny jak i spokojny. Tekstowo jest to piosenka odnosz膮ca si臋 do naszej ekspansji jako ludzko艣ci. Mamy to przys艂owiowe "s艂o艅ce", kt贸re wystarczy by istnie膰, a mimo to budujemy wi臋cej, chcemy wi臋cej, prawdopodobnie kosztem nas samych - kr贸tsze 偶ycie i niszczenie planety ...
“Cosmic” ustanawia nowy trend w gatunku, z kt贸rym zesp贸艂 zwi膮zany jest od pocz膮tku. Powoli zaczynaj膮cy si臋 samplami utw贸r, progresywnie przechodzi do energicznej perkusji i po raz kolejny perfekcyjnego Synyster’a na gitarze. Moim zdaniem tekst m贸wi o wierze cz艂owieka, 偶e mimo wszystkich zrz膮dze艅 losu, zawsze mo偶na zamkn膮膰 te przys艂owiowe drzwi i z now膮 moc膮 otworzy膰 kolejne. Druga cz臋艣膰 utworu to instrumentalny, barwny i pi臋kny koktajl instrumentalny udekorowany wokalem M.Shadows’a - uczta dla wytrawnego s艂uchacza …
“Beautiful Morning” w przes艂aniu p艂yn膮cym z tekstu to poszukiwanie i dalsza podr贸偶 przez 偶ycie w poszukiwaniu sensu. Chaos wok贸艂 z pewno艣ci膮 nie pomaga. Zwraca si臋 do wy偶szej si艂y o wsparcie dla swojej pokuty. W preludium w 艣rodku utworu, kt贸ry jest pi臋kny instrumentalnie, jest szansa 偶eby zn贸w odnale藕膰 siebie w tym ba艂aganie 偶ycia-bohaterami jeste艣my my sami. Muzycznie utw贸r skomponowany jest bardzo starannie, zmiany nat臋偶enia, rytm贸w i pompatyczne refreny, kt贸re rozci膮gaj膮 piosenk臋 jak niepoznany ocean w swej wielko艣ci i wspania艂o艣ci.
“Easier” zaczyna si臋 syntezowanym g艂osem Matt’a, przypominaj膮cym klimat lat 8o-tych. Zwrotka jest jednak wywr贸cona do g贸ry nogami pot臋偶nym riff'em i kompletn膮 zmian膮 klimatu-powiedzia艂bym nawet troch臋 w stron臋 “艣wie偶ego grunge”. Tekstowo jest poruszona kwestia opuszczenia kogo艣 (prawdopodobnie ukochanej osoby), ale jednocze艣nie 偶yczenie i wiara, 偶e ta osoba znajdzie te lepsze dni. Przej艣cie w trakcie utworu z akustycznymi gitarami jeszcze raz przenosi s艂uchacza w inny, ale pozytywny 艣wiat, jakby 艣wiat艂o w tunelu podczas dalszej podr贸偶y.
“G” zaczyna seri臋 trzech utwor贸w nast臋puj膮cych po sobie, kt贸rych pierwsze litery tworz膮 s艂owo ‘B贸g’. W pierwszym autor odwa偶nie podchodzi do tematu jakim jest stworzenie 艣wiata, kt贸re jest zawarte w Biblii. Wizja jak膮 przedstawia nam zesp贸艂 kr臋ci si臋 wok贸艂 siedmiu dni, w ci膮gu kt贸rych B贸g stworzy艂 艣wiat. Matt 艣piewa, 偶e te sze艣膰 dni by艂y stworzeniem pewnej niejako rozrywki i teatru dla Boga, w kt贸rym my-ludzie jeste艣my aktorami. Si贸dmego dnia, mia艂 by膰 pok贸j, ale jednak wszechmog膮cy zadecydowa艂 inaczej. Instrumentalnie, kompozycja bardzo innowacyjna z wieloma przej艣ciami i 艣wietnym uzupe艂nieniem wokalu Matta o kobiece g艂osy, kt贸re s膮 w refrenach-inspiracja Pink Floyd my艣l臋, 偶e ciekawa …
“(O)rdinary” kontynuuje motyw z poprzedniego kawa艂ka. Moim zdaniem jest to wo艂anie do Boga. Cz艂owiek przedstawiony w utworze pyta czy Stw贸rca da mu kontrol臋 nad 偶yciem, dusz膮, a nawet powie jak czu膰, jak 艣ni膰.. Chcia艂by wiedzie膰 i pozna膰 wszystkie sekrety kreatora, a na ko艅cu prosi, 偶eby powiedzia艂 mu B贸g, kiedy ten cz艂owiek b臋dzie naprawd臋 偶y膰-czy czuje cz艂owiecz膮 mi艂o艣膰, kt贸r膮 na co dzie艅 mu wysy艂a poprzez czyny, medytacj臋 czy modlitwy. Mocno filozoficzny utw贸r na pewno, kt贸ry ma zn贸w zmian臋 klimatu muzycznie, momentami podchodz膮c膮 nawet pod funk.
“(D)eath” trzecia ods艂ona cyklu ‘B贸g’ jest ciekawa. Mo偶na interpretowa膰 r贸偶nie. Osobi艣cie, uwa偶am 偶e jest to ‘艣mier膰’ postaci, kt贸ra przewija si臋 przez ca艂y album (zagubionego cz艂owieka), kt贸ry zostawia ten przys艂owiowy list dla najbli偶szych, widzi 偶ycie z perspektywy i umiera, ale tylko po to, 偶eby narodzi膰 si臋 na nowo w lepszym 艣wiecie. Czy jest to 艣mier膰 fizyczna czy tylko w przeno艣ni? Trudno powiedzie膰. W艂a艣nie tutaj dwojako mo偶na to interpretowa膰.. chocia偶 my艣l臋, 偶e tu chodzi jednak o t膮 duchow膮 艣mier膰 mimo wszystko. Otoczka muzyczna jest zn贸w kosmicznie inna, soulowo-jazzowa i spokojna, ale ca艂y czas trzyma nastr贸j albumu …
“Life Is But A Dream…” instrumentalny 'popis' Briana Elwina Hanera Jr. czyli po prostu gitarzysty Synystera Gatesa na fortepianie, kt贸ry pi臋knie wie艅czy ca艂膮 p艂yt臋.. tylko s艂ucha膰 …
Nie ma co w zasadzie pisa膰 wi臋cej, bo ju偶 du偶o napisa艂em wcze艣niej. Opinie b臋d膮 na pewno podzielone, bo Avenged Sevenfold po raz kolejny ewoluowali. Jak? Jak dla mnie rozwin臋li si臋 niesamowicie i pi臋knie. Uwa偶am ten album za prze艂omowy w muzyce, kt贸ry burzy kolejny raz bariery stawiane przez ludzi, kt贸re ograniczaj膮 pi臋kno tw贸rczo艣ci i rozwoju w ka偶dym tego s艂owa znaczeniu.
Na Pewno zajmie to troch臋 czasu, zanim ludzie zrozumiej膮 kunszt tej p艂yty, ale wierz臋, 偶e b臋dzie to nie tak d艂ugi czas 偶eby osi膮gn膮膰 wy偶szy poziom w szeroko poj臋tym artyzmie. Na pewno wraz z “Life Is But A Dream…” wchodzimy w now膮 er臋 muzyki.. moim zdaniem jest to zajebi艣cie ekscytuj膮ce ;]]]
Mi艂ego s艂uchania, a opinie i przemy艣lenia mile widziane w komentarzach … Wkr贸tce kolejna recenzja, pok贸j!
Saturday, June 3, 2023
“PERMANENT.RADIANT” is the title of the latest EP, in which the Crosses band with Chino Moreno (Deftones) on board returns in a beautiful, practically the same atmosphere to the game.
It sounds like a follow-up to the first album - which I thought was a huge success - but there's a breath of fresh air to it, and you can hear the evolution in every detail.
The first track, "Sensation", slowly opens the whole mini-album. The synthesizer in the background and the imprisoned voice of Chino, who is afraid that he has opened a kind of cage in himself and will never achieve shared affection with the woman he loves, gives him no rest. However, the pompous chorus and the faith that can be heard in his voice that despite the obstacles - he will finally succeed - beautifully arranges the entire sonic and vocal rainbow filling the molecular space around the listener.
My interpretation of "Vivien" goes in a bold direction, because I believe that a very important issue is raised here, namely the disappearance of the physical, even animal aspect of the relationship between a woman and a man. It is a beautiful manifesto in which the author talks about meeting probably his beloved in a place where - literally and metaphorically - there is water. He's dry and she's all wet gives him strength, opens his eyes, and hydrates him in every way, from emotional to physical. Musically, as in the first track, gradually synthesizers and atmosphere-building vocals prepare us for the eruption in the chorus.
“Cadavre Exquis” opens with a beautiful array of synthesizers intertwined in an odd but fluid sequence of sounds. Another poetic argument by Chino, in which she seems to wonder if the attachment of two people who love each other, which is very strong and good overall, is right. However, he comes to the conclusion that he would never have done otherwise…
"Day One" slightly changes the trajectory in which the first three tracks introduce the listener. The Hawaiian rhythm opens the composition, rhythmically and positively tunes us from the very first words sung. The author believes that the worst days are far behind, and now the golden ones and the good ones are coming, and that's all that matters - the strength that can endure everything. He even asks a question to a friend/love? Faith is the driving force behind everything.
“Hollier” is interesting to interpret because, in my opinion, it could be a manifesto to a higher power. The message can be received in many ways, such as the continuation of the theme of the relationship between a woman and a man. Chino sings about a disturbed world where these two people coexist, that we are "machines" that wear out. We should take care of it and build love, not destroy something beautiful between each other. The percussion, like a perfect clock, gives the rhythm to the sounds synthesized in the song.
“Procession” is a bit of longing for a loved one, and the track opens with beautiful synthesized piano and Chino's voice. He travels to her in his mind, assuring her that although they are not together now, they always will be. He wonders if she remembers their best days and assures her that he will stay with her forever even though they cannot be together now. The guitar in progress and the uplift in the choruses masterfully decorates the entire EP...
Crosses returns in great style and really makes you think. Some people aspire to a lonely life. A terrifying vision of life without a person with whom to build feelings and something greater than alienation and stupid excuse that you can live in isolation. We are made for something greater, and without the warmth of another person, we are unable to achieve such beauty and development as in solitude ...
An indispensable element of shared, warm and productive nights for two and broadly understood rebirth. Happy listening, peace! Another one coming soon :]
POLISH TRANSLATION
“PERMANENT.RADIANT”, to tytu艂 najnowszej EP-ki, w kt贸rej zesp贸艂 Crosses z Chino Moreno (Deftones) na pok艂adzie powraca w pi臋knym, praktycznie tym samym klimacie do gry.
Brzmi jak kontynuacja pierwszego albumu - kt贸ry moim zdaniem by艂 wielkim sukcesem - ale jest w nim powiew 艣wie偶o艣ci i s艂ycha膰 ewolucj臋 w ka偶dym szczeg贸le.
Pierwszy utw贸r “Sensation”, powoli otwiera ca艂y minialbum. Syntezator w tle i uwi臋ziony g艂os Chino, kt贸ry boi si臋, 偶e otworzy艂 w sobie co艣 w rodzaju klatki i nigdy nie osi膮gnie wsp贸lnego uczucia z ukochan膮 kobiet膮, nie daje mu spokoju. Jednak pompatyczny refren i wiara, kt贸r膮 s艂ycha膰 w jego g艂osie, 偶e mimo przeszk贸d - w ko艅cu mu si臋 uda - pi臋knie uk艂ada ca艂膮 d藕wi臋kow膮 i wokaln膮 t臋cz臋 wype艂niaj膮c膮 molekularn膮 przestrze艅 wok贸艂 s艂uchacza.
Moja interpretacja “Vivien” idzie w odwa偶nym kierunku, poniewa偶 uwa偶am, 偶e poruszana jest tu bardzo wa偶na kwestia, a mianowicie zanik fizycznego, wr臋cz zwierz臋cego aspektu relacji mi臋dzy kobiet膮 a m臋偶czyzn膮. To pi臋kny manifest, w kt贸rym autor opowiada o spotkaniu prawdopodobnie swojej ukochanej w miejscu, gdzie - dos艂ownie i metaforycznie jest woda. On jest suchy, a ona ca艂a mokra dodaje mu si艂y, otwiera oczy i “nawadnia” go pod ka偶dym wzgl臋dem, od emocjonalnego po fizyczny. Muzycznie podobnie jak w pierwszym utworze, stopniowo syntezatory i buduj膮cy klimat wokal, przygotowuj膮 nas na erupcj臋 w refrenie.
“Cadavre Exquis” rozpoczyna si臋 pi臋kn膮 gam膮 syntezator贸w splecionych w dziwnej, ale p艂ynnej sekwencji d藕wi臋k贸w. Kolejna poetycki argument Chino, w kt贸rym zdaje si臋 zastanawia膰 czy przywi膮zanie dwojga kochaj膮cych si臋 ludzi, kt贸re jest bardzo silne i dobre w ca艂okszta艂cie, jest w艂a艣ciwe. Dochodzi jednak do wniosku, 偶e nigdy nie post膮pi艂by inaczej …
“Day One” nieco zmienia trajektori臋, w kt贸r膮 wprowadzaj膮 s艂uchacza trzy pierwsze utwory. Hawajski rytm otwiera kompozycj臋, rytmicznie i pozytywnie nastraja nas od pierwszych za艣piewanych s艂贸w. Autor uwa偶a, 偶e najgorsze dni s膮 daleko w tyle, a teraz nadchodz膮 z艂ote i dobre i tylko to si臋 liczy - si艂a, kt贸ra wszystko zniesie. Zadaje on nawet pytanie przyjacielowi/ukochanej (?) Wiara jest si艂膮 nap臋dow膮 wszystkiego.
“Hollier” jest ciekawy do interpretacji, poniewa偶 moim zdaniem, m贸g艂by by膰 manifestem skierowanym do si艂y wy偶szej. Przekaz mo偶na odbiera膰 na wiele sposob贸w jak chocia偶by kontynuacja tematu relacji mi臋dzy kobiet膮 a m臋偶czyzn膮. Chino 艣piewa o zaburzonym 艣wiecie, w kt贸rym te dwie osoby wsp贸艂istniej膮, 偶e jeste艣my “maszynami”, kt贸re si臋 zu偶ywaj膮. Powinni艣my o to dba膰 i budowa膰 mi艂o艣膰, a nie niszczy膰 mi臋dzy sob膮 co艣 pi臋knego. Perkusja niczym perfekcyjny zegar nadaje rytm syntezowanym w utworze d藕wi臋kom.
“Procession” to troch臋 t臋sknota za ukochan膮 osob膮, a utw贸r otwiera pi臋kne syntezowane pianino i g艂os Chino. Podr贸偶uje do niej w my艣lach, zapewniaj膮c j膮, 偶e chocia偶 teraz nie s膮 razem, zawsze b臋d膮. Zastanawia si臋 czy ona pami臋ta ich najlepsze dni i zapewnia j膮, 偶e zostanie z ni膮 na zawsze mimo, 偶e nie mog膮 by膰 teraz razem. Gitara w trakcie i wypi臋trzenie w refrenach, po mistrzowsku dekoruje ca艂膮 EPk臋 …
Crosses powraca w znakomitym stylu i daje naprawd臋 do my艣lenia. Niekt贸rzy ludzie d膮偶膮 do samotnego 偶ycia.. Przera偶aj膮ca wizja 偶ycia bez osoby, z kt贸r膮 mo偶na budowa膰 uczucia i co艣 wi臋kszego ni偶 wyobcowanie i g艂upie t艂umaczenie, 偶e mo偶na 偶y膰 w odosobnieniu. Jeste艣my stworzeni do czego艣 wi臋kszego, a bez ciep艂a drugiej osoby, nie jeste艣my w stanie osi膮gn膮膰 takiego pi臋kna i rozwoju jak w samotno艣ci …
Nieodzowny element wsp贸lnych, ciep艂ych i produktywnych nocy we dwoje oraz szeroko rozumianego odrodzenia. Mi艂ego s艂uchania, pok贸j! NIed艂ugo kolejna :]
Wednesday, May 24, 2023
The second single "We Love You" from the upcoming album Avenged Sevenfold is unlike anything we've heard from the band before.
Innovative approach to composition on many levels with changing rhythm and style. The variability of the riffs and the tempo of the drums are accompanied by the vocals, which are both aggressive and calm.
Lyrically, it's a song that relates to our expansion as humanity. We have that proverbial "sun" that is enough to exist, and yet we build more, we want more, probably at the expense of ourselves - shorter life and destruction of the planet ...
Another interesting preview of the whole album, which will be released soon - June 2nd. Stay tuned, more reviews soon ;] Peace!
POLISH TRANSLATION
Drugi singiel "We Love You" z nadchodz膮cego albumu Avenged Sevenfold nie przypomina niczego, co s艂yszeli艣my wcze艣niej od zespo艂u.
Nowatorskie podej艣cie do kompozycji na wielu p艂aszczyznach ze zmiennym rytmem i stylem. Zmienno艣ci riff贸w i tempa perkusji towarzyszy wokal, kt贸ry te偶 jest zar贸wno agresywny jak i spokojny.
Tekstowo jest to piosenka odnosz膮ca si臋 do naszej ekspansji jako ludzko艣ci. Mamy to przys艂owiowe "s艂o艅ce", kt贸re wystarczy by istnie膰, a mimo to budujemy wi臋cej, chcemy wi臋cej, prawdopodobnie kosztem nas samych - kr贸tsze 偶ycie i niszczenie planety ...
