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Post by andypandy on Nov 15, 2017 15:28:14 GMT -5
UNCUT 7/10 (one more than Noel first two albums got I think);
Not for the first time, Liam Gallagher recently stunned a fairly large number of people with something he said.
At a show in front of a record industry-crowd, he attempted to justify his new album being written with collaborators. "It ain't all about the music," he said in an audible intake of breath. "It's also about being a cool vagina like me"."
Oasis or no Oasis, if you needed a precise articulation of the difference between Liam and Noel Gallagher, that would probably do it. One is still justifying himself, while the other has comfortably made it. One knows there's more to the magic of rock 'n' roll than just the music; there's attitude and charisma. And, actually, the other knows that too, but prefers to push his own party line. Namely that its all about the songs.
Interestingly, for so irreconcilable a pair, right now, Liam and Noel actually have quite a lot in common. Not that for a second Big Brother would see it this way, but he - in his way - is also using guest writers, looking for a way forward. Rather than present another album of great rockers and midtempo ballads, here he has enlisted the help of producer/remixer/movie soundtracker David Holmes to reimagine his meat and potatoes as a rather more exciting plate of food.
Early remarks about the record were of it's purported "psychedelic" sound. This might perhaps make long long-service Noelers cast their minds back to the tracks he cut about three years ago with the psychotropic Amorphous Androgynous crew, or further, to 1996's "Setting Sun", which cast him as the monk on the mountain top in the Chemical Brothers' own "Tomorrow Never Knows".
The Amorphous collaboration ended badly, with Noel apparently junking their proposed LP and Garry Cobain from AA describing Noel as "too afraid to be weird".
Nonetheless, two tracks "The Mexican" and "The Right Stuff", offered a pleasant space/time slippage and made it onto the last Noel album 2015's "Chasing Yesterday".
Apart from the possibly "It's A Beautiful World", which has an agreeably droney vibe before mutating into a Coldplay-style anthem, this album will not fry your brain, though that's not to say that a substantial change has not been attempted.
Encouraged by Holmes to collaborate, Noel has pushed as far out of his comfort zone as a person can while still having Paul Weller and Johnny Marr guest. Rather than presenting completed songs to his producer, the pair -working together on and off since 2013, apparently - have jammed, and listened, then revisited the material to turn into something more like a song.
It has yielded some interesting moments. Lead-off single "Holy Mountain" imagines 'The Sweet' covering "Diamond Dogs", or a Phil Spector production of Ricky Martin's "She Bangs". It is, as Noel has said, a lot of fun. "If Love Is The Law" continues the mood, this time channelling the spirit of A Christmas Gift To You From Philles Records, with some appealing sleigh bells and a flavour of "That's Entertainment" by The Jam.
"The Man Who Built The Moon?" near the end of the album, takes the tune and and rhythm of "Wonderwall", and puts it in the epic setting of a Bond Theme. Additional nods to a more widescreen production come with "interlude: Wednesday PT1" and the closing "End Credits".
Best by some distance though is "Black And White Sunshine". It's not unfamiliar territory by any means (Except for mention of "thanks and praise", which gives it a flavour of Sunday School we probably never expected from him), and it is very good indeed. And entirely unfamiliar guitar rift opens proceedings with a Johnny Marr level of freshness and virtuosity. the chorus, with reference to ships coming in, is jubilant in the pure Knebworth fashion. The descent back to the verse is done with some tastefully basic guitar playing.
If this excellent rocker were surrounded by a family bearing some strong genetic resemblances to it, "Who Built The Moon?" would be a superior album. That's not quite the case, sadly. "Keep On Reaching" find Holmes pushing some Curtis Mayfield presets. "She Taught Me How To Fly" is a fusion of Pulp's "Common People" with Blondie's "Heart Of Glass". And even if Noel doesn't like to talk about The Beatles any more, there's no hiding that "Be Careful What You Wish For" sounds rather like the riff from "Come Together".
Which is a strange thing about the album. As the album's bonus track (a live-in-the-studio version of "Dead In The Water") makes plain, Noel has broadened his horizons beyond the plaintive acoustic ballad. But to still be making records that sound a bit like other records after all this experimentation suggests he's gone an awfully long way round the houses simply to end up exactly where he started.
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Post by I Built The Moon on Nov 15, 2017 15:41:21 GMT -5
UNCUT 7/10 (one more than Noel first two albums got I think); Not for the first time, Liam Gallagher recently stunned a fairly large number of people with something he said. At a show in front of a record industry-crowd, he attempted to justify his new album being written with collaborators. "It ain't all about the music," he said in an audible intake of breath. "It's also about being a cool vagina like me"." Oasis or no Oasis, if you needed a precise articulation of the difference between Liam and Noel Gallagher, that would probably do it. One is still justifying himself, while the other has comfortably made it. One knows there's more to the magic of rock 'n' roll than just the music; there's attitude and charisma. And, actually, the other knows that too, but prefers to push his own party line. Namely that its all about the songs. Interestingly, for so irreconcilable a pair, right now, Liam and Noel actually have quite a lot in common. Not that for a second Big Brother would see it this way, but he - in his way - is also using guest writers, looking for a way forward. Rather than present another album of great rockers and midtempo ballads, here he has enlisted the help of producer/remixer/movie soundtracker David Holmes to reimagine his meat and potatoes as a rather more exciting plate of food. Early remarks about the record were of it's purported "psychedelic" sound. This might perhaps make long long-service Noelers cast their minds back to the tracks he cut about three years ago with the psychotropic Amorphous Androgynous crew, or further, to 1996's "Setting Sun", which cast him as the monk on the mountain top in the Chemical Brothers' own "Tomorrow Never Knows". The Amorphous collaboration ended badly, with Noel apparently junking their proposed LP and Garry Cobain from AA describing Noel as "too afraid to be weird". Nonetheless, two tracks "The Mexican" and "The Right Stuff", offered a pleasant space/time slippage and made it onto the last Noel album 2015's "Chasing Yesterday". Apart from the possibly "It's A Beautiful World", which has an agreeably droney vibe before mutating into a Coldplay-style anthem, this album will not fry your brain, though that's not to say that a substantial change has not been attempted. Encouraged by Holmes to collaborate, Noel has pushed as far out of his comfort zone as a person can while still having Paul Weller and Johnny Marr guest. Rather than presenting completed songs to his producer, the pair -working together on and off since 2013, apparently - have jammed, and listened, then revisited the material to turn into something more like a song. It has yielded some interesting moments. Lead-off single "Holy Mountain" imagines 'The Sweet' covering "Diamond Dogs", or a Phil Spector production of Ricky Martin's "She Bangs". It is, as Noel has said, a lot of fun. "If Love Is The Law" continues the mood, this time channelling the spirit of A Christmas Gift To You From Philles Records, with some appealing sleigh bells and a flavour of "That's Entertainment" by The Jam. "The Man Who Built The Moon?" near the end of the album, takes the tune and and rhythm of "Wonderwall", and puts it in the epic setting of a Bond Theme. Additional nods to a more widescreen production come with "interlude: Wednesday PT1" and the closing "End Credits". Best by some distance though is "Black And White Sunshine". It's not unfamiliar territory by any means (Except for mention of "thanks and praise", which gives it a flavour of Sunday School we probably never expected from him), and it is very good indeed. And entirely unfamiliar guitar rift opens proceedings with a Johnny Marr level of freshness and virtuosity. the chorus, with reference to ships coming in, is jubilant in the pure Knebworth fashion. The descent back to the verse is done with some tastefully basic guitar playing. If this excellent rocker were surrounded by a family bearing some strong genetic resemblances to it, "Who Built The Moon?" would be a superior album. That's not quite the case, sadly. "Keep On Reaching" find Holmes pushing some Curtis Mayfield presets. "She Taught Me How To Fly" is a fusion of Pulp's "Common People" with Blondie's "Heart Of Glass". And even if Noel doesn't like to talk about The Beatles any more, there's no hiding that "Be Careful What You Wish For" sounds rather like the riff from "Come Together". Which is a strange thing about the album. As the album's bonus track (a live-in-the-studio version of "Dead In The Water") makes plain, Noel has broadened his horizons beyond the plaintive acoustic ballad. But to still be making records that sound a bit like other records after all this experimentation suggests he's gone an awfully long way round the houses simply to end up exactly where he started. Decent review, and nice info about many songs. Seems to confirm that this album may not be quite as 'out there' as some (maybe even Noel himself) thought. Probably not a bad thing, judging how a lot of people on this forum react to change. I think many of the songs we haven't heard yet will be loved deeply, like so many NG songs before.
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Post by stinenat on Nov 15, 2017 15:41:21 GMT -5
UNCUT 7/10 (one more than Noel first two albums got I think); Not for the first time, Liam Gallagher recently stunned a fairly large number of people with something he said. At a show in front of a record industry-crowd, he attempted to justify his new album being written with collaborators. "It ain't all about the music," he said in an audible intake of breath. "It's also about being a cool vagina like me"." Oasis or no Oasis, if you needed a precise articulation of the difference between Liam and Noel Gallagher, that would probably do it. One is still justifying himself, while the other has comfortably made it. One knows there's more to the magic of rock 'n' roll than just the music; there's attitude and charisma. And, actually, the other knows that too, but prefers to push his own party line. Namely that its all about the songs. Interestingly, for so irreconcilable a pair, right now, Liam and Noel actually have quite a lot in common. Not that for a second Big Brother would see it this way, but he - in his way - is also using guest writers, looking for a way forward. Rather than present another album of great rockers and midtempo ballads, here he has enlisted the help of producer/remixer/movie soundtracker David Holmes to reimagine his meat and potatoes as a rather more exciting plate of food. Early remarks about the record were of it's purported "psychedelic" sound. This might perhaps make long long-service Noelers cast their minds back to the tracks he cut about three years ago with the psychotropic Amorphous Androgynous crew, or further, to 1996's "Setting Sun", which cast him as the monk on the mountain top in the Chemical Brothers' own "Tomorrow Never Knows". The Amorphous collaboration ended badly, with Noel apparently junking their proposed LP and Garry Cobain from AA describing Noel as "too afraid to be weird". Nonetheless, two tracks "The Mexican" and "The Right Stuff", offered a pleasant space/time slippage and made it onto the last Noel album 2015's "Chasing Yesterday". Apart from the possibly "It's A Beautiful World", which has an agreeably droney vibe before mutating into a Coldplay-style anthem, this album will not fry your brain, though that's not to say that a substantial change has not been attempted. Encouraged by Holmes to collaborate, Noel has pushed as far out of his comfort zone as a person can while still having Paul Weller and Johnny Marr guest. Rather than presenting completed songs to his producer, the pair -working together on and off since 2013, apparently - have jammed, and listened, then revisited the material to turn into something more like a song. It has yielded some interesting moments. Lead-off single "Holy Mountain" imagines 'The Sweet' covering "Diamond Dogs", or a Phil Spector production of Ricky Martin's "She Bangs". It is, as Noel has said, a lot of fun. "If Love Is The Law" continues the mood, this time channelling the spirit of A Christmas Gift To You From Philles Records, with some appealing sleigh bells and a flavour of "That's Entertainment" by The Jam. "The Man Who Built The Moon?" near the end of the album, takes the tune and and rhythm of "Wonderwall", and puts it in the epic setting of a Bond Theme. Additional nods to a more widescreen production come with "interlude: Wednesday PT1" and the closing "End Credits". Best by some distance though is "Black And White Sunshine". It's not unfamiliar territory by any means (Except for mention of "thanks and praise", which gives it a flavour of Sunday School we probably never expected from him), and it is very good indeed. And entirely unfamiliar guitar rift opens proceedings with a Johnny Marr level of freshness and virtuosity. the chorus, with reference to ships coming in, is jubilant in the pure Knebworth fashion. The descent back to the verse is done with some tastefully basic guitar playing. If this excellent rocker were surrounded by a family bearing some strong genetic resemblances to it, "Who Built The Moon?" would be a superior album. That's not quite the case, sadly. "Keep On Reaching" find Holmes pushing some Curtis Mayfield presets. "She Taught Me How To Fly" is a fusion of Pulp's "Common People" with Blondie's "Heart Of Glass". And even if Noel doesn't like to talk about The Beatles any more, there's no hiding that "Be Careful What You Wish For" sounds rather like the riff from "Come Together". Which is a strange thing about the album. As the album's bonus track (a live-in-the-studio version of "Dead In The Water") makes plain, Noel has broadened his horizons beyond the plaintive acoustic ballad. But to still be making records that sound a bit like other records after all this experimentation suggests he's gone an awfully long way round the houses simply to end up exactly where he started. This reads like much worse than a 7/10 review. I think I'm going to love this album.
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Post by Lennon2217 on Nov 15, 2017 15:59:33 GMT -5
UNCUT 7/10 (one more than Noel first two albums got I think); Not for the first time, Liam Gallagher recently stunned a fairly large number of people with something he said. At a show in front of a record industry-crowd, he attempted to justify his new album being written with collaborators. "It ain't all about the music," he said in an audible intake of breath. "It's also about being a cool vagina like me"." Oasis or no Oasis, if you needed a precise articulation of the difference between Liam and Noel Gallagher, that would probably do it. One is still justifying himself, while the other has comfortably made it. One knows there's more to the magic of rock 'n' roll than just the music; there's attitude and charisma. And, actually, the other knows that too, but prefers to push his own party line. Namely that its all about the songs. Interestingly, for so irreconcilable a pair, right now, Liam and Noel actually have quite a lot in common. Not that for a second Big Brother would see it this way, but he - in his way - is also using guest writers, looking for a way forward. Rather than present another album of great rockers and midtempo ballads, here he has enlisted the help of producer/remixer/movie soundtracker David Holmes to reimagine his meat and potatoes as a rather more exciting plate of food. Early remarks about the record were of it's purported "psychedelic" sound. This might perhaps make long long-service Noelers cast their minds back to the tracks he cut about three years ago with the psychotropic Amorphous Androgynous crew, or further, to 1996's "Setting Sun", which cast him as the monk on the mountain top in the Chemical Brothers' own "Tomorrow Never Knows". The Amorphous collaboration ended badly, with Noel apparently junking their proposed LP and Garry Cobain from AA describing Noel as "too afraid to be weird". Nonetheless, two tracks "The Mexican" and "The Right Stuff", offered a pleasant space/time slippage and made it onto the last Noel album 2015's "Chasing Yesterday". Apart from the possibly "It's A Beautiful World", which has an agreeably droney vibe before mutating into a Coldplay-style anthem, this album will not fry your brain, though that's not to say that a substantial change has not been attempted. Encouraged by Holmes to collaborate, Noel has pushed as far out of his comfort zone as a person can while still having Paul Weller and Johnny Marr guest. Rather than presenting completed songs to his producer, the pair -working together on and off since 2013, apparently - have jammed, and listened, then revisited the material to turn into something more like a song. It has yielded some interesting moments. Lead-off single "Holy Mountain" imagines 'The Sweet' covering "Diamond Dogs", or a Phil Spector production of Ricky Martin's "She Bangs". It is, as Noel has said, a lot of fun. "If Love Is The Law" continues the mood, this time channelling the spirit of A Christmas Gift To You From Philles Records, with some appealing sleigh bells and a flavour of "That's Entertainment" by The Jam. "The Man Who Built The Moon?" near the end of the album, takes the tune and and rhythm of "Wonderwall", and puts it in the epic setting of a Bond Theme. Additional nods to a more widescreen production come with "interlude: Wednesday PT1" and the closing "End Credits". Best by some distance though is "Black And White Sunshine". It's not unfamiliar territory by any means (Except for mention of "thanks and praise", which gives it a flavour of Sunday School we probably never expected from him), and it is very good indeed. And entirely unfamiliar guitar rift opens proceedings with a Johnny Marr level of freshness and virtuosity. the chorus, with reference to ships coming in, is jubilant in the pure Knebworth fashion. The descent back to the verse is done with some tastefully basic guitar playing. If this excellent rocker were surrounded by a family bearing some strong genetic resemblances to it, "Who Built The Moon?" would be a superior album. That's not quite the case, sadly. "Keep On Reaching" find Holmes pushing some Curtis Mayfield presets. "She Taught Me How To Fly" is a fusion of Pulp's "Common People" with Blondie's "Heart Of Glass". And even if Noel doesn't like to talk about The Beatles any more, there's no hiding that "Be Careful What You Wish For" sounds rather like the riff from "Come Together". Which is a strange thing about the album. As the album's bonus track (a live-in-the-studio version of "Dead In The Water") makes plain, Noel has broadened his horizons beyond the plaintive acoustic ballad. But to still be making records that sound a bit like other records after all this experimentation suggests he's gone an awfully long way round the houses simply to end up exactly where he started. Finally an in-depth review covering the back end of the album. Bring it.
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Post by AubreyOasis on Nov 15, 2017 16:09:39 GMT -5
UNCUT 7/10 (one more than Noel first two albums got I think); Not for the first time, Liam Gallagher recently stunned a fairly large number of people with something he said. At a show in front of a record industry-crowd, he attempted to justify his new album being written with collaborators. "It ain't all about the music," he said in an audible intake of breath. "It's also about being a cool vagina like me"." Oasis or no Oasis, if you needed a precise articulation of the difference between Liam and Noel Gallagher, that would probably do it. One is still justifying himself, while the other has comfortably made it. One knows there's more to the magic of rock 'n' roll than just the music; there's attitude and charisma. And, actually, the other knows that too, but prefers to push his own party line. Namely that its all about the songs. Interestingly, for so irreconcilable a pair, right now, Liam and Noel actually have quite a lot in common. Not that for a second Big Brother would see it this way, but he - in his way - is also using guest writers, looking for a way forward. Rather than present another album of great rockers and midtempo ballads, here he has enlisted the help of producer/remixer/movie soundtracker David Holmes to reimagine his meat and potatoes as a rather more exciting plate of food. Early remarks about the record were of it's purported "psychedelic" sound. This might perhaps make long long-service Noelers cast their minds back to the tracks he cut about three years ago with the psychotropic Amorphous Androgynous crew, or further, to 1996's "Setting Sun", which cast him as the monk on the mountain top in the Chemical Brothers' own "Tomorrow Never Knows". The Amorphous collaboration ended badly, with Noel apparently junking their proposed LP and Garry Cobain from AA describing Noel as "too afraid to be weird". Nonetheless, two tracks "The Mexican" and "The Right Stuff", offered a pleasant space/time slippage and made it onto the last Noel album 2015's "Chasing Yesterday". Apart from the possibly "It's A Beautiful World", which has an agreeably droney vibe before mutating into a Coldplay-style anthem, this album will not fry your brain, though that's not to say that a substantial change has not been attempted. Encouraged by Holmes to collaborate, Noel has pushed as far out of his comfort zone as a person can while still having Paul Weller and Johnny Marr guest. Rather than presenting completed songs to his producer, the pair -working together on and off since 2013, apparently - have jammed, and listened, then revisited the material to turn into something more like a song. It has yielded some interesting moments. Lead-off single "Holy Mountain" imagines 'The Sweet' covering "Diamond Dogs", or a Phil Spector production of Ricky Martin's "She Bangs". It is, as Noel has said, a lot of fun. "If Love Is The Law" continues the mood, this time channelling the spirit of A Christmas Gift To You From Philles Records, with some appealing sleigh bells and a flavour of "That's Entertainment" by The Jam. "The Man Who Built The Moon?" near the end of the album, takes the tune and and rhythm of "Wonderwall", and puts it in the epic setting of a Bond Theme. Additional nods to a more widescreen production come with "interlude: Wednesday PT1" and the closing "End Credits". Best by some distance though is "Black And White Sunshine". It's not unfamiliar territory by any means (Except for mention of "thanks and praise", which gives it a flavour of Sunday School we probably never expected from him), and it is very good indeed. And entirely unfamiliar guitar rift opens proceedings with a Johnny Marr level of freshness and virtuosity. the chorus, with reference to ships coming in, is jubilant in the pure Knebworth fashion. The descent back to the verse is done with some tastefully basic guitar playing. If this excellent rocker were surrounded by a family bearing some strong genetic resemblances to it, "Who Built The Moon?" would be a superior album. That's not quite the case, sadly. "Keep On Reaching" find Holmes pushing some Curtis Mayfield presets. "She Taught Me How To Fly" is a fusion of Pulp's "Common People" with Blondie's "Heart Of Glass". And even if Noel doesn't like to talk about The Beatles any more, there's no hiding that "Be Careful What You Wish For" sounds rather like the riff from "Come Together". Which is a strange thing about the album. As the album's bonus track (a live-in-the-studio version of "Dead In The Water") makes plain, Noel has broadened his horizons beyond the plaintive acoustic ballad. But to still be making records that sound a bit like other records after all this experimentation suggests he's gone an awfully long way round the houses simply to end up exactly where he started. Actually, HFB got a 2/5 in Uncut, and that was probably the worse review it had (even the Pitchfork review was better). CY got 6/10 and I remember the review was very short. About this one, at least it gives some info about the songs. As usual, each reviewer cites different songs as highlights/low points
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Post by seanrulesrh on Nov 15, 2017 16:10:54 GMT -5
UNCUT 7/10 (one more than Noel first two albums got I think); Not for the first time, Liam Gallagher recently stunned a fairly large number of people with something he said. At a show in front of a record industry-crowd, he attempted to justify his new album being written with collaborators. "It ain't all about the music," he said in an audible intake of breath. "It's also about being a cool vagina like me"." Oasis or no Oasis, if you needed a precise articulation of the difference between Liam and Noel Gallagher, that would probably do it. One is still justifying himself, while the other has comfortably made it. One knows there's more to the magic of rock 'n' roll than just the music; there's attitude and charisma. And, actually, the other knows that too, but prefers to push his own party line. Namely that its all about the songs. Interestingly, for so irreconcilable a pair, right now, Liam and Noel actually have quite a lot in common. Not that for a second Big Brother would see it this way, but he - in his way - is also using guest writers, looking for a way forward. Rather than present another album of great rockers and midtempo ballads, here he has enlisted the help of producer/remixer/movie soundtracker David Holmes to reimagine his meat and potatoes as a rather more exciting plate of food. Early remarks about the record were of it's purported "psychedelic" sound. This might perhaps make long long-service Noelers cast their minds back to the tracks he cut about three years ago with the psychotropic Amorphous Androgynous crew, or further, to 1996's "Setting Sun", which cast him as the monk on the mountain top in the Chemical Brothers' own "Tomorrow Never Knows". The Amorphous collaboration ended badly, with Noel apparently junking their proposed LP and Garry Cobain from AA describing Noel as "too afraid to be weird". Nonetheless, two tracks "The Mexican" and "The Right Stuff", offered a pleasant space/time slippage and made it onto the last Noel album 2015's "Chasing Yesterday". Apart from the possibly "It's A Beautiful World", which has an agreeably droney vibe before mutating into a Coldplay-style anthem, this album will not fry your brain, though that's not to say that a substantial change has not been attempted. Encouraged by Holmes to collaborate, Noel has pushed as far out of his comfort zone as a person can while still having Paul Weller and Johnny Marr guest. Rather than presenting completed songs to his producer, the pair -working together on and off since 2013, apparently - have jammed, and listened, then revisited the material to turn into something more like a song. It has yielded some interesting moments. Lead-off single "Holy Mountain" imagines 'The Sweet' covering "Diamond Dogs", or a Phil Spector production of Ricky Martin's "She Bangs". It is, as Noel has said, a lot of fun. "If Love Is The Law" continues the mood, this time channelling the spirit of A Christmas Gift To You From Philles Records, with some appealing sleigh bells and a flavour of "That's Entertainment" by The Jam. "The Man Who Built The Moon?" near the end of the album, takes the tune and and rhythm of "Wonderwall", and puts it in the epic setting of a Bond Theme. Additional nods to a more widescreen production come with "interlude: Wednesday PT1" and the closing "End Credits". Best by some distance though is "Black And White Sunshine". It's not unfamiliar territory by any means (Except for mention of "thanks and praise", which gives it a flavour of Sunday School we probably never expected from him), and it is very good indeed. And entirely unfamiliar guitar rift opens proceedings with a Johnny Marr level of freshness and virtuosity. the chorus, with reference to ships coming in, is jubilant in the pure Knebworth fashion. The descent back to the verse is done with some tastefully basic guitar playing. If this excellent rocker were surrounded by a family bearing some strong genetic resemblances to it, "Who Built The Moon?" would be a superior album. That's not quite the case, sadly. "Keep On Reaching" find Holmes pushing some Curtis Mayfield presets. "She Taught Me How To Fly" is a fusion of Pulp's "Common People" with Blondie's "Heart Of Glass". And even if Noel doesn't like to talk about The Beatles any more, there's no hiding that "Be Careful What You Wish For" sounds rather like the riff from "Come Together". Which is a strange thing about the album. As the album's bonus track (a live-in-the-studio version of "Dead In The Water") makes plain, Noel has broadened his horizons beyond the plaintive acoustic ballad. But to still be making records that sound a bit like other records after all this experimentation suggests he's gone an awfully long way round the houses simply to end up exactly where he started. Finally an in-depth review covering the back end of the album. Bring it. Thanks mate,really really interesting. So The Man Who Built The Moon sounds like James Bond and then Wednesday sounds like the end of the film. That sounds absolutely great. I imagine it like the guitar riffs out of 'Risk' by Alexandra Savior. With the lyrics for Keep On Reaching out and that review I don't really know what to think. The lyrics are great though. And such a dissapointment about If Love Is The Law. Someone should have a couple of words with the fucker that said on twitter that the second half of the album would be calm and dark. Lyer little shit.
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Post by Lennon2217 on Nov 15, 2017 16:12:50 GMT -5
Finally an in-depth review covering the back end of the album. Bring it. Thanks mate,really really interesting. So The Man Who Built The Moon sounds like James Bond and then Wednesday sounds like the end of the film. That sounds absolutely great. I imagine it like the guitar riffs out of 'Risk' by Alexandra Savior. With the lyrics for Keep On Reaching out and that review I don't really know what to think. The lyrics are great though. And such a dissapointment about If Love Is The Law. Someone should have a couple of words with the fucker that said on twitter that the second half of the album would be calm and dark. Lyer little shit. The lyrics are out? I must have missed that.
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Post by seanrulesrh on Nov 15, 2017 16:16:11 GMT -5
Thanks mate,really really interesting. So The Man Who Built The Moon sounds like James Bond and then Wednesday sounds like the end of the film. That sounds absolutely great. I imagine it like the guitar riffs out of 'Risk' by Alexandra Savior. With the lyrics for Keep On Reaching out and that review I don't really know what to think. The lyrics are great though. And such a dissapointment about If Love Is The Law. Someone should have a couple of words with the fucker that said on twitter that the second half of the album would be calm and dark. Lyer little shit. The lyrics are out? I must have missed that. Oasis Daily posted them on twitter mate. Don't want to sound like an idiot but I think they're clearly talking about Liam this time
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Post by CFC2013 on Nov 15, 2017 16:19:04 GMT -5
The lyrics are out? I must have missed that. Oasis Daily posted them on twitter mate. Don't want to sound like an idiot but I think they're clearly talking about Liam this time Do you have a link?
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Post by seanrulesrh on Nov 15, 2017 16:21:43 GMT -5
Oasis Daily posted them on twitter mate. Don't want to sound like an idiot but I think they're clearly talking about Liam this time Do you have a link? It wasn't Oasis Daily,meant Oasis Mania. My fault. There you go mate
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Post by The Escapist on Nov 15, 2017 16:23:25 GMT -5
That can't be real, surely? Every review and interview from now 'till the end of time would talk about nothing else.
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Post by CFC2013 on Nov 15, 2017 16:23:46 GMT -5
Seems a bit too direct for Noel. Fake news?
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Post by seanrulesrh on Nov 15, 2017 16:29:25 GMT -5
Seems a bit too direct for Noel. Fake news? I trust that fan page. So lets wait to see,but I guess that its real
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Post by batfink30 on Nov 15, 2017 16:51:09 GMT -5
Amazing lyrics on Keep On Reaching. Liam put in his place.
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Post by Mean Mrs. Mustard on Nov 15, 2017 17:33:18 GMT -5
Those lyrics are obviously fake. Media would totally milk that, as the Escapist said.
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Post by durk on Nov 15, 2017 19:58:23 GMT -5
i really like It's a Beautiful World and She Taught Me How to Fly. So hearing about these other tracks feels like a win-win for me. Even more excited for this album now. Finally a review that goes more in depth on the other songs. Not bad at all.
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Post by andypandy on Nov 16, 2017 2:56:56 GMT -5
Galway Advertiser;
IF LIAM'S As You Were was about getting back to basics, Noel's album - arriving only weeks after Our Kid's - is all for defying expectations and pushing into previously unexplored territories.
Opener 'Fort Knox' is a sonic assault of programmed drumbeats, wordless singing, soul/rave chants, siren like ambient wails, and ringing alarms, with scarcely a guitar nor a Beatles inspired chord in earshot. This is the Chief declaring all bets are off.
It is also one of four instrumentals on the album, each designed as 'soundtracks for imaginary movies' (hence such titles as 'Interlude' and 'End Credits' ), and revealing the unexpected influence of David Alxelrod. More surprises are in store with the dark urban soul of 'Keep On Reaching' and the gritty, atmospheric, funk of 'Be Careful What You Wish You' - possibly the coolest guitar riff Noel's ever written.
Slightly more familiar territory is 'Holy Mountain' with its huge chorus, glam rock stomp, and nod to David Bowie's 'Diamond Dogs', but again, guitars are relegated to the sidelines as the frantic beat is driven by the drums, fizzing keyboards, and wind instruments. Guitar does predominate on the chiming riff for the psychedelic indie of 'Black & White Sunshine' - another highlight - and watch here for a nod to the Stones' 'Start Me Up'.
What is distinctly Noel is the larger than life, massive wall of sound permeating the album, but really, this is Gallagher snr as we have never heard him before.
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Post by bringmethemonkey on Nov 16, 2017 3:20:35 GMT -5
The nod to Diamond Dogs they are referencing...is it these lyrics/this point in the song:
Come out of the garden, baby You'll catch your death in the fog
That sounds like:
Get out of the doldrums, baby, now You lie, I'll set ya on fire
at 1.12
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Post by themanwithnoname on Nov 16, 2017 3:42:46 GMT -5
UNCUT 7/10 (one more than Noel first two albums got I think); Not for the first time, Liam Gallagher recently stunned a fairly large number of people with something he said. At a show in front of a record industry-crowd, he attempted to justify his new album being written with collaborators. "It ain't all about the music," he said in an audible intake of breath. "It's also about being a cool vagina like me"." Oasis or no Oasis, if you needed a precise articulation of the difference between Liam and Noel Gallagher, that would probably do it. One is still justifying himself, while the other has comfortably made it. One knows there's more to the magic of rock 'n' roll than just the music; there's attitude and charisma. And, actually, the other knows that too, but prefers to push his own party line. Namely that its all about the songs. Interestingly, for so irreconcilable a pair, right now, Liam and Noel actually have quite a lot in common. Not that for a second Big Brother would see it this way, but he - in his way - is also using guest writers, looking for a way forward. Rather than present another album of great rockers and midtempo ballads, here he has enlisted the help of producer/remixer/movie soundtracker David Holmes to reimagine his meat and potatoes as a rather more exciting plate of food. Early remarks about the record were of it's purported "psychedelic" sound. This might perhaps make long long-service Noelers cast their minds back to the tracks he cut about three years ago with the psychotropic Amorphous Androgynous crew, or further, to 1996's "Setting Sun", which cast him as the monk on the mountain top in the Chemical Brothers' own "Tomorrow Never Knows". The Amorphous collaboration ended badly, with Noel apparently junking their proposed LP and Garry Cobain from AA describing Noel as "too afraid to be weird". Nonetheless, two tracks "The Mexican" and "The Right Stuff", offered a pleasant space/time slippage and made it onto the last Noel album 2015's "Chasing Yesterday". Apart from the possibly "It's A Beautiful World", which has an agreeably droney vibe before mutating into a Coldplay-style anthem, this album will not fry your brain, though that's not to say that a substantial change has not been attempted. Encouraged by Holmes to collaborate, Noel has pushed as far out of his comfort zone as a person can while still having Paul Weller and Johnny Marr guest. Rather than presenting completed songs to his producer, the pair -working together on and off since 2013, apparently - have jammed, and listened, then revisited the material to turn into something more like a song. It has yielded some interesting moments. Lead-off single "Holy Mountain" imagines 'The Sweet' covering "Diamond Dogs", or a Phil Spector production of Ricky Martin's "She Bangs". It is, as Noel has said, a lot of fun. "If Love Is The Law" continues the mood, this time channelling the spirit of A Christmas Gift To You From Philles Records, with some appealing sleigh bells and a flavour of "That's Entertainment" by The Jam. "The Man Who Built The Moon?" near the end of the album, takes the tune and and rhythm of "Wonderwall", and puts it in the epic setting of a Bond Theme. Additional nods to a more widescreen production come with "interlude: Wednesday PT1" and the closing "End Credits". Best by some distance though is "Black And White Sunshine". It's not unfamiliar territory by any means (Except for mention of "thanks and praise", which gives it a flavour of Sunday School we probably never expected from him), and it is very good indeed. And entirely unfamiliar guitar rift opens proceedings with a Johnny Marr level of freshness and virtuosity. the chorus, with reference to ships coming in, is jubilant in the pure Knebworth fashion. The descent back to the verse is done with some tastefully basic guitar playing. If this excellent rocker were surrounded by a family bearing some strong genetic resemblances to it, "Who Built The Moon?" would be a superior album. That's not quite the case, sadly. "Keep On Reaching" find Holmes pushing some Curtis Mayfield presets. "She Taught Me How To Fly" is a fusion of Pulp's "Common People" with Blondie's "Heart Of Glass". And even if Noel doesn't like to talk about The Beatles any more, there's no hiding that "Be Careful What You Wish For" sounds rather like the riff from "Come Together". Which is a strange thing about the album. As the album's bonus track (a live-in-the-studio version of "Dead In The Water") makes plain, Noel has broadened his horizons beyond the plaintive acoustic ballad. But to still be making records that sound a bit like other records after all this experimentation suggests he's gone an awfully long way round the houses simply to end up exactly where he started. Decent review, and nice info about many songs. Seems to confirm that this album may not be quite as 'out there' as some (maybe even Noel himself) thought. Probably not a bad thing, judging how a lot of people on this forum react to change. I think many of the songs we haven't heard yet will be loved deeply, like so many NG songs before. Think you've got the wrong end of the stick. My view is a lot of people here do want Noel to do something different and original. The issue is exactly the one highlighted by that Uncut reviewer at the end of the review... Noel claims he's going to do something 'out there' and original, then comes out with material That's a hybrid of lots of other stuff. Anyway, looking forward to hearing the album.
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Post by The Escapist on Nov 16, 2017 4:04:34 GMT -5
Decent review, and nice info about many songs. Seems to confirm that this album may not be quite as 'out there' as some (maybe even Noel himself) thought. Probably not a bad thing, judging how a lot of people on this forum react to change. I think many of the songs we haven't heard yet will be loved deeply, like so many NG songs before. Think you've got the wrong end of the stick. My view is a lot of people here do want Noel to do something different and original. The issue is exactly the one highlighted by that Uncut reviewer at the end of the review... Noel claims he's going to do something 'out there' and original, then comes out with material That's a hybrid of lots of other stuff. Anyway, looking forward to hearing the album. Does anyone actually expect Noel to come out with anything truly original? I think mixing up his influences is all anyone was really hoping for.
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Post by AubreyOasis on Nov 16, 2017 4:38:03 GMT -5
The Uncut review also includes a short Q&A with David Holmes. I don't have time now to type it, but this is aquick summary:
- He says that when Noel arrived to Belfast, he had created ideas for backing tracks, and then they started to experiment with different sounds and melodies. He says: "He pretty much nailed everything that week. He then took the tracks away and slowly but surely started to write the songs". So it seems Noel finished the songs at home, not everything was done in the studio
- He mentions that he met Noel in a Primal Scream Concert. He says that Noel is obviously a great songwriter but that he was also surprised about how good and creative he is with guitars
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Post by Deleted on Nov 16, 2017 8:23:29 GMT -5
Galway Advertiser; IF LIAM'S As You Were was about getting back to basics, Noel's album - arriving only weeks after Our Kid's - is all for defying expectations and pushing into previously unexplored territories. Opener 'Fort Knox' is a sonic assault of programmed drumbeats, wordless singing, soul/rave chants, siren like ambient wails, and ringing alarms, with scarcely a guitar nor a Beatles inspired chord in earshot. This is the Chief declaring all bets are off. It is also one of four instrumentals on the album, each designed as 'soundtracks for imaginary movies' (hence such titles as 'Interlude' and 'End Credits' ), and revealing the unexpected influence of David Alxelrod. More surprises are in store with the dark urban soul of 'Keep On Reaching' and the gritty, atmospheric, funk of 'Be Careful What You Wish You' - possibly the coolest guitar riff Noel's ever written. Slightly more familiar territory is 'Holy Mountain' with its huge chorus, glam rock stomp, and nod to David Bowie's 'Diamond Dogs', but again, guitars are relegated to the sidelines as the frantic beat is driven by the drums, fizzing keyboards, and wind instruments. Guitar does predominate on the chiming riff for the psychedelic indie of 'Black & White Sunshine' - another highlight - and watch here for a nod to the Stones' 'Start Me Up'. What is distinctly Noel is the larger than life, massive wall of sound permeating the album, but really, this is Gallagher snr as we have never heard him before. FOUR instrumentals??
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Post by discworld on Nov 20, 2017 10:27:17 GMT -5
rock'n'folk 3/5 but they always hated Noel Someone bought it and can scan the review?
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Post by Mean Mrs. Mustard on Nov 20, 2017 10:46:10 GMT -5
Galway Advertiser; IF LIAM'S As You Were was about getting back to basics, Noel's album - arriving only weeks after Our Kid's - is all for defying expectations and pushing into previously unexplored territories. Opener 'Fort Knox' is a sonic assault of programmed drumbeats, wordless singing, soul/rave chants, siren like ambient wails, and ringing alarms, with scarcely a guitar nor a Beatles inspired chord in earshot. This is the Chief declaring all bets are off. It is also one of four instrumentals on the album, each designed as 'soundtracks for imaginary movies' (hence such titles as 'Interlude' and 'End Credits' ), and revealing the unexpected influence of David Alxelrod. More surprises are in store with the dark urban soul of 'Keep On Reaching' and the gritty, atmospheric, funk of 'Be Careful What You Wish You' - possibly the coolest guitar riff Noel's ever written. Slightly more familiar territory is 'Holy Mountain' with its huge chorus, glam rock stomp, and nod to David Bowie's 'Diamond Dogs', but again, guitars are relegated to the sidelines as the frantic beat is driven by the drums, fizzing keyboards, and wind instruments. Guitar does predominate on the chiming riff for the psychedelic indie of 'Black & White Sunshine' - another highlight - and watch here for a nod to the Stones' 'Start Me Up'. What is distinctly Noel is the larger than life, massive wall of sound permeating the album, but really, this is Gallagher snr as we have never heard him before. FOUR instrumentals?? Fort Knox, the two Wednesday tracks and End Credits. We knew this already.
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Post by matt on Nov 20, 2017 10:47:22 GMT -5
Galway Advertiser; IF LIAM'S As You Were was about getting back to basics, Noel's album - arriving only weeks after Our Kid's - is all for defying expectations and pushing into previously unexplored territories. Opener 'Fort Knox' is a sonic assault of programmed drumbeats, wordless singing, soul/rave chants, siren like ambient wails, and ringing alarms, with scarcely a guitar nor a Beatles inspired chord in earshot. This is the Chief declaring all bets are off. It is also one of four instrumentals on the album, each designed as 'soundtracks for imaginary movies' (hence such titles as 'Interlude' and 'End Credits' ), and revealing the unexpected influence of David Alxelrod. More surprises are in store with the dark urban soul of 'Keep On Reaching' and the gritty, atmospheric, funk of 'Be Careful What You Wish You' - possibly the coolest guitar riff Noel's ever written. Slightly more familiar territory is 'Holy Mountain' with its huge chorus, glam rock stomp, and nod to David Bowie's 'Diamond Dogs', but again, guitars are relegated to the sidelines as the frantic beat is driven by the drums, fizzing keyboards, and wind instruments. Guitar does predominate on the chiming riff for the psychedelic indie of 'Black & White Sunshine' - another highlight - and watch here for a nod to the Stones' 'Start Me Up'. What is distinctly Noel is the larger than life, massive wall of sound permeating the album, but really, this is Gallagher snr as we have never heard him before. Influenced by Eno & U2's 'Passengers: Original Soundtracks'?
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