Word: albumã
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Dates: during 2001-2001
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Their stage show was most impressive in that their sound was not muddled and bland—too often metal acts cannot bring the crispness of a album??s track to their live performance. Their lyrical activism was matched at one point by a personal act of activism by Malakin on behalf of women’s rights. Before their final song, Malakin addressed a large male fan in the front of the mosh pit (who was being escorted out of the area for punching a girl in view of security) saying, “I wish...
...former Smashing Pumpkins frontman) Billy Corgan are forthright rock songs with snarling basslines from Hook, quixotic and affected lyrics from Sumner and even a guitar solo thrown in. Of course the synthesizers and synthetic drum beats haven’t been abandoned, but they aren’t the album??s showpiece. Instead, these elements become integrated parts of the whole sound as illustrated on “Vicious Streak” and “Close Range...
...reached the pinnacles of commerical success but remain unsatisfied, making a second attempt at conquering the pop landscape two decades later. And with almost every song single-worthy, don’t expect them to disappear too quickly, especially considering the frail competition that fills the airwaves. On the album??s final track, an acoustic ballad with country influences markedly uncharacteristic of New Order, Sumner sings, “I’m going live till I die, I’m going to live to get high.” At first, it may sound corny from...
...Walkin’”display Connick’s smooth vocalizing backed solely by his own adroit self-accompaniment. As usual, the singer-pianist invites several guests to perform with him, and 30 is no exception; one of the album??s highlights is trumpeter Wynton Marsalis’ tasty solo and obligato on “I’ll Only Miss Her (When I Think of Her”). With his characteristic second-line rhythms and playful melodies adding a little vibe on the classics, Connick is in full swing with both 30 and Songs...
...perfectly the faux seductive swagger of Garbage’s Shirley Manson. Even when Bis try for vintage synth-pop revival, as on “Robotic,” their approach is heavy-handed, unremarkable and obsolete—newcomers Ladytron have already perfected the sound. Still, the album??s final track, “A Portrait From Space,” offers hope with an utterly original mesh of strings, Nintendo bleeps and epic guitar work. Transcendent work such as this leaves the door wide open for a follow-up, hopefully more consistent than this...