You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an alternative browser.
You should upgrade or use an alternative browser.
The Album Review Club - Week #139 - (page 1815) - Jeff Wayne's Musical Version of The War Of The Worlds
- Thread starter RobMCFC
- Start date
mrbelfry
Well-Known Member
I understood the word camel. Little else after thatLol I couldn't cope with anything that hard core.
The straw that broke the camels back was when I asked the CIO of a large multi-national whether his lack of empathy towards the people he was unnecessarily laying off was because he was neuro diverse or because he was simply a sociopath; I suggested it would be helpful to know as we could use the answer as input into how we designed his new target operating model.
threespires
Well-Known Member
- Joined
- 7 Aug 2019
- Messages
- 5,689
- Team supported
- City
threespires
Well-Known Member
- Joined
- 7 Aug 2019
- Messages
- 5,689
- Team supported
- City
I understood the word camel. Little else after that
Something for which you should be eternally grateful.
Black&White&BlueMoon Town
Well-Known Member
Crawler – IDLES
Kudos to @Coatigan for this week’s bold pick. As many would guess, this was not a band I’d heard before (Surprise!), so this was right up my clean slate alley. After a few failed attempts at listening while multitasking, I decided to dedicate a bike ride to fully focus on this. And somewhere along the way, in listening to this completely from start to finish, during the second listen, it hit me: musically, I like this. Maybe even a lot.
The music reminded me of early Arcade Fire if they had gone louder and darker after their first album, or Smashing Pumpkins in places, and yes, even Radiohead.
I like the first song “MTT 420 RR” as a slow build-up to what’s to come, and the vocals there are at the best low-key, not too over the top or shouting.
“The Wheel” was the perfect song to ride along to, pedaling even faster up a hill, feeling the burn, rolling along in sync to the music.
“When the Lights Come On” has that distinctive shredding guitar riff in the background that helps make the song. “It’s 3 a.m., I wanna dance "til the sun comes” sounds like it was calling BimboBob to pour one more too. The kids are not alright to answer the Who, this song has it all.
The drumming and bass carry “Car Crash”, as the guitar rings out like a siren throughout. Thankfully, I stick to the side roads on my bike so I’m not involved in the title of this song, as I know the laws of physics as I pedal along, earbuds keeping me in another world of sound.
By the time we hit “New Sensation”, we know this is definitely not an INXS album, this is IDLES (sorry Rob, I had to say it). This song hit so many right notes going down a hill, and what was on fire like Richard Pryor wasn’t lost on me either. Am I struggling with the vocal delivery? Yes, a bit, but the music has me moving and grooving and what else could my lungs be for as I pedal on?
Wait, “Stockholm Syndrome”, now we’re on a Muse song title? Nope, just taking the music up a level with the guitar coming in nicely when talking about enough rope.
I think Joe Talbot’s vocals work best in the quieter parts of “The Beachland Ballroom”, that take things down tempo-wise.
Everything comes together musically again with “Crawl”, but the lyrics and vocals here are a bit much for me. “Meds” is a bass extravaganza with some nice guitar riffs thrown in, but the lyrics left me a bit flat.
Then comes the crowning gem after the “Kelechi” interlude in “Progress”, which is by far my favourite track of the album. This song really works all around, with the nice sounding vocals really complimenting the low key music to start off. This song reminded me in parts of Radiohead’s fantastic slow-builder “Identikit” off of A Moon Shaped Pool, especially in the guitar as it got further along 2 minutes in. I think this song alone is my big takeaway from the album as it sounded like an instant classic, and worked well both musically and vocally.
“King Snake” and “The End” musically were both good, but lyrically and vocally, they just didn’t do it for me to close things out. In spite of it all, life is beautiful, but I’m not sure I felt the same way about how this one ended.
Overall, musically this is a band that is on the harder edge of what I’d be listening to, as “Progress” is the track that worked best with me. I’m at an 8.5 musically and 6.5 vocally, so I’ll split the difference at 7.5/10.
Kudos to @Coatigan for this week’s bold pick. As many would guess, this was not a band I’d heard before (Surprise!), so this was right up my clean slate alley. After a few failed attempts at listening while multitasking, I decided to dedicate a bike ride to fully focus on this. And somewhere along the way, in listening to this completely from start to finish, during the second listen, it hit me: musically, I like this. Maybe even a lot.
The music reminded me of early Arcade Fire if they had gone louder and darker after their first album, or Smashing Pumpkins in places, and yes, even Radiohead.
I like the first song “MTT 420 RR” as a slow build-up to what’s to come, and the vocals there are at the best low-key, not too over the top or shouting.
“The Wheel” was the perfect song to ride along to, pedaling even faster up a hill, feeling the burn, rolling along in sync to the music.
“When the Lights Come On” has that distinctive shredding guitar riff in the background that helps make the song. “It’s 3 a.m., I wanna dance "til the sun comes” sounds like it was calling BimboBob to pour one more too. The kids are not alright to answer the Who, this song has it all.
The drumming and bass carry “Car Crash”, as the guitar rings out like a siren throughout. Thankfully, I stick to the side roads on my bike so I’m not involved in the title of this song, as I know the laws of physics as I pedal along, earbuds keeping me in another world of sound.
By the time we hit “New Sensation”, we know this is definitely not an INXS album, this is IDLES (sorry Rob, I had to say it). This song hit so many right notes going down a hill, and what was on fire like Richard Pryor wasn’t lost on me either. Am I struggling with the vocal delivery? Yes, a bit, but the music has me moving and grooving and what else could my lungs be for as I pedal on?
Wait, “Stockholm Syndrome”, now we’re on a Muse song title? Nope, just taking the music up a level with the guitar coming in nicely when talking about enough rope.
I think Joe Talbot’s vocals work best in the quieter parts of “The Beachland Ballroom”, that take things down tempo-wise.
Everything comes together musically again with “Crawl”, but the lyrics and vocals here are a bit much for me. “Meds” is a bass extravaganza with some nice guitar riffs thrown in, but the lyrics left me a bit flat.
Then comes the crowning gem after the “Kelechi” interlude in “Progress”, which is by far my favourite track of the album. This song really works all around, with the nice sounding vocals really complimenting the low key music to start off. This song reminded me in parts of Radiohead’s fantastic slow-builder “Identikit” off of A Moon Shaped Pool, especially in the guitar as it got further along 2 minutes in. I think this song alone is my big takeaway from the album as it sounded like an instant classic, and worked well both musically and vocally.
“King Snake” and “The End” musically were both good, but lyrically and vocally, they just didn’t do it for me to close things out. In spite of it all, life is beautiful, but I’m not sure I felt the same way about how this one ended.
Overall, musically this is a band that is on the harder edge of what I’d be listening to, as “Progress” is the track that worked best with me. I’m at an 8.5 musically and 6.5 vocally, so I’ll split the difference at 7.5/10.
Last edited:
As with many, totally new for me and at first I was a little apprehensive about what was to come. However, the build up in the end perhaps made this even better.
After 4-5 listens through I think it is the drums and bass that drive this, that do make you want to move along with it and draw you in. But then its not that easy a listen.
My sons one comment on hearing the first 4 tracks before I dropped him off at work, "This is the worst obne that you have had to listen to , it's ass"!
Such eloquence!!!!
I liked the Adverts & I liked The Stranglers and this I also enjoyed and felt it more "punk" than either of those two choices.
MTT420 was the surprise, slow and brooding, the vocals making me expect it all to kick off. "Are you ready for the storm" warning what is coming as Joe pours out his heart and head to us. "The Wheel" marking the start of the storm and I did think that live everyone would be shouting Hallelujah" back at him. The bass and rhythm continue the dark broodiness of this on "When the Lights".
"Car Crash" & "New Sensation" I didnt get into as much although having a go at Rishi was quite amusing before what I thought was the poorest on the album, "Stockholm Syndrome".
"The Beachland Ballroom" then comes as something of a palate cleanser and I thought got back to the quality of the first 3 tracks alogn with actually having a bit of a tune to it.
"Crawl" & "Meds" sort of washed over me until as @Black&White&BlueMoon Town says, the best track on the album kicks in. "Progress" starts slow but then I think really kicks in at that 2 min mark.
"King Snake", I almost felt could have gone down a "rockabilly" route but I found the vocals actually starting to wear me down by now.
Very surprising, very enjoyable and something that I would probably listen to if it pops up in my playlist, but not something I would return to that often, especially not around the house.
It's a 7 from the Derry jury...nice choice @Coatigan and thank you
After 4-5 listens through I think it is the drums and bass that drive this, that do make you want to move along with it and draw you in. But then its not that easy a listen.
My sons one comment on hearing the first 4 tracks before I dropped him off at work, "This is the worst obne that you have had to listen to , it's ass"!
Such eloquence!!!!
I liked the Adverts & I liked The Stranglers and this I also enjoyed and felt it more "punk" than either of those two choices.
MTT420 was the surprise, slow and brooding, the vocals making me expect it all to kick off. "Are you ready for the storm" warning what is coming as Joe pours out his heart and head to us. "The Wheel" marking the start of the storm and I did think that live everyone would be shouting Hallelujah" back at him. The bass and rhythm continue the dark broodiness of this on "When the Lights".
"Car Crash" & "New Sensation" I didnt get into as much although having a go at Rishi was quite amusing before what I thought was the poorest on the album, "Stockholm Syndrome".
"The Beachland Ballroom" then comes as something of a palate cleanser and I thought got back to the quality of the first 3 tracks alogn with actually having a bit of a tune to it.
"Crawl" & "Meds" sort of washed over me until as @Black&White&BlueMoon Town says, the best track on the album kicks in. "Progress" starts slow but then I think really kicks in at that 2 min mark.
"King Snake", I almost felt could have gone down a "rockabilly" route but I found the vocals actually starting to wear me down by now.
Very surprising, very enjoyable and something that I would probably listen to if it pops up in my playlist, but not something I would return to that often, especially not around the house.
It's a 7 from the Derry jury...nice choice @Coatigan and thank you
FogBlueInSanFran
Well-Known Member
You know what this record isn’t? It isn’t shallow, candy-assed, lightweight or chickenshit. It’s like the walking dead — hard to kill, and every time you turn the corner after making it past one song, there’s a slightly different zombie there to take you out that attacks you from a different angle. After to listening to this three times, I found myself drained of energy after each sitting. And, not to put to find a point on it, somewhat exhilarated.
Along with our records by Bad//Dreems, Drive By Truckers and Lucinda Williams (whose album I already knew had received rave reviews from critics at-large), this is the best find on the thread — just a little better than Fatima Mansions (another very good one). The combination of influences from bands I like — Joy Division, Nine Inch Nails, even Gang of Four— and the darkly-drenched atmospherics is novel and intense. It’s as if Joe Talbot is conducting an orchestra in a coffin. And he’s not marshaling dirges. He’s working through pain and despair, but he’s also encouraging us to dance, to get up, to sing.
What makes the sound here is t the atmospherics — is the one-two punch of nearly all music I love: the bass and the drums. The bass is the nail gun and drums are short, but very sharp, tacks. Through nearly every song save the opener, which I still liked, and Beachland Ballroom (the only tune that didn’t appeal to me), they are relentless in structuring the melody and the beat. I guess that means they’re the pallbearers given my metaphor, but I found myself conflicted over and over — do I get up and move, or do I drown myself in a barrel of Night Train?
The contradiction is very, very winning. And I wish I had time to parse the lyrics, which I will, but I expect what I will find is a lot of defiance, a lot of dark observations but tinged with hope (because to move is to defy death, which is hope) and — I think — some constructive social commentary albeit steeped in Britannia (if not Bristolia).
Do I have an issue with the vocals? On The End I do, I guess, but elsewhere they don’t detract, they add pathos. I do wish there was a bit more actual singing — Talbot’s voice when he goes up an octave for a brief moment in the opener is rather winning.
Like one of my favo(u)rite all-time records Husker DU’s New Day Rising, it devolves some toward the end, but Wheel, Lights, Crash, Sensation and Stockholm is a great run of song-sounds. But the one I loved best was Meds — and that because it reminded me so much of the aforementioned Gang of Four, whose sound was truly their own.
I am looking forward to playing this many times more though I’m not sure what my mood should be going in. What kind of day is this music the soundtrack to? I’m not sure — but finding out will be a rich exercise. A solid 8/10 and very well done @Coatigan for taking a chance and pulling it off, at least for me.
Along with our records by Bad//Dreems, Drive By Truckers and Lucinda Williams (whose album I already knew had received rave reviews from critics at-large), this is the best find on the thread — just a little better than Fatima Mansions (another very good one). The combination of influences from bands I like — Joy Division, Nine Inch Nails, even Gang of Four— and the darkly-drenched atmospherics is novel and intense. It’s as if Joe Talbot is conducting an orchestra in a coffin. And he’s not marshaling dirges. He’s working through pain and despair, but he’s also encouraging us to dance, to get up, to sing.
What makes the sound here is t the atmospherics — is the one-two punch of nearly all music I love: the bass and the drums. The bass is the nail gun and drums are short, but very sharp, tacks. Through nearly every song save the opener, which I still liked, and Beachland Ballroom (the only tune that didn’t appeal to me), they are relentless in structuring the melody and the beat. I guess that means they’re the pallbearers given my metaphor, but I found myself conflicted over and over — do I get up and move, or do I drown myself in a barrel of Night Train?
The contradiction is very, very winning. And I wish I had time to parse the lyrics, which I will, but I expect what I will find is a lot of defiance, a lot of dark observations but tinged with hope (because to move is to defy death, which is hope) and — I think — some constructive social commentary albeit steeped in Britannia (if not Bristolia).
Do I have an issue with the vocals? On The End I do, I guess, but elsewhere they don’t detract, they add pathos. I do wish there was a bit more actual singing — Talbot’s voice when he goes up an octave for a brief moment in the opener is rather winning.
Like one of my favo(u)rite all-time records Husker DU’s New Day Rising, it devolves some toward the end, but Wheel, Lights, Crash, Sensation and Stockholm is a great run of song-sounds. But the one I loved best was Meds — and that because it reminded me so much of the aforementioned Gang of Four, whose sound was truly their own.
I am looking forward to playing this many times more though I’m not sure what my mood should be going in. What kind of day is this music the soundtrack to? I’m not sure — but finding out will be a rich exercise. A solid 8/10 and very well done @Coatigan for taking a chance and pulling it off, at least for me.
RobMCFC
Well-Known Member
There is hope for the younger generation after all.My sons one comment on hearing the first 4 tracks before I dropped him off at work, "This is the worst obne that you have had to listen to , it's ass"!
threespires
Well-Known Member
- Joined
- 7 Aug 2019
- Messages
- 5,689
- Team supported
- City
GornikDaze
Well-Known Member
- Joined
- 9 Jul 2012
- Messages
- 9,412
if I was drinking single malt at 2am The Streets may have sounded musical!!@Coatigan you've managed to get an 8 out of bimbo and fog in the same week. if I were you I'd take the plaudits, announce my retirement and move to Costa rica or somewhere nice like that. Your work here is done mate.