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Post by Deleted on Aug 28, 2019 18:00:24 GMT -5
Damn shame the page i'm writing the review for will not get an early copy.
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Post by yeayeayeah on Sept 3, 2019 0:16:35 GMT -5
So when are the reviews going to come out?
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Post by rnrs001 on Sept 3, 2019 7:03:49 GMT -5
I think the author discredits himself a bit by saying Liam has never sung better when it's clear most if not all vocals have been run through autotune to sort out all the bum notes.
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Post by thomaslivesforever on Sept 3, 2019 7:55:50 GMT -5
I think the author discredits himself a bit by saying Liam has never sung better when it's clear most if not all vocals have been run through autotune to sort out all the bum notes. Have you got the record? The piano version of Once shows to me in any case that while they no doubt tinker with his vocals his singing is at a very decent level at the moment.
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Post by oneofus on Sept 3, 2019 9:08:43 GMT -5
Simon Aldred co-wrote Now that I found you. Excited for that one!
Surprised we havent gotten another review yet being that it is almost September 4th
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Post by doctorwho on Sept 3, 2019 9:31:42 GMT -5
I think the author discredits himself a bit by saying Liam has never sung better when it's clear most if not all vocals have been run through autotune to sort out all the bum notes. No bum notes. Wash your ears
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Post by captaincrankshaft on Sept 3, 2019 11:11:22 GMT -5
Pitchfork review: “Too much melody. Not enough boops, beeps, and random noises. 0/5” I say they will give it between a 5 and 6. Pitchfork are twats. They gave Oracular Spectacular a 6 so yeah I think they’ll give WMWN no higher than a 5.
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Post by rnrs001 on Sept 3, 2019 13:28:57 GMT -5
I think the author discredits himself a bit by saying Liam has never sung better when it's clear most if not all vocals have been run through autotune to sort out all the bum notes. Have you got the record? The piano version of Once shows to me in any case that while they no doubt tinker with his vocals his singing is at a very decent level at the moment. I've heard the same 4 songs everyone else's heard. I'm not saying his vocals aren't at a decent level right now and the Piano version of Once was nice indeed, but these studio versions are really doctored. There's so much added reverb because he's not holding the notes long enough in combination with autotune and other mastering tricks to make up for the shortcomings in his studio vocals. Everyone with a bit of a trained ear can hear it and so should a music reviewer. To come up with "he's rarely sung better" when he so very obviously needs studio trickery to sound the way he does on record makes me wonder what other things are made up by the same reporter to come up with a final verdict like the one posted in the Q review. No bum notes. Wash your ears Yeah, because they're tinkered with. Learn to read.
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Post by Beady’s Here Now on Sept 3, 2019 18:59:42 GMT -5
Looking like a very good 4/5 album if the reviews remain consistent.
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Post by leron on Sept 5, 2019 15:27:55 GMT -5
can't wait to read new reviews!
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Post by Lennon2217 on Sept 5, 2019 16:04:33 GMT -5
Looking like a very good 4/5 album if the reviews remain consistent. You are a 2.5 out of 5.
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Post by vespa on Sept 5, 2019 17:45:33 GMT -5
His vocals will have been tuned up throughout his career like most singers but his voice is in good form he tends to just double track alot with reverb
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Post by chamu on Sept 6, 2019 5:59:20 GMT -5
www.clashmusic.com/reviews/liam-gallagher-why-me-why-not“I know my strengths and I know my limitations. I’m an OK songwriter but I’m a great singer and frontman”, said Liam Gallagher when he spoke about the ambition for his second album, safe in the knowledge that he wanted to take things further this time. His debut album ‘As You Were’ from 2017 arrived with an Oasis tag attached. It was polished but the recognisable punk spirit and attitude was there. It was raw but popular, but for the majority of the follow-up things have somewhat shifted: it is a big, bombastic rock sound with a few less refined, more spontaneous moments. It is infectiously catchy from beginning to end. The objective to deliver songwriting excellence means that everything has been brought a level up and traditional writing structures and arrangements take centre stage. But no two tracks sound the same, and navigation around this album is a smooth experience. A flawless running order means that from the opening track - the stomping glam-rock whirlwind of ‘Shockwave’ and the final atmospheric ‘Gone’ – plenty of ground is covered. All influences on ‘Why Me? Why Not’ represent a clean slate. Playing with a wider palette of inspiration than previously, the many facets are hard to detect. It is the idea of Anglo-American sound forces coming together, as they meld, the 60s, 70s and 90s sonics come together and transform into a current, relevant sound. Stylistically, everything is captured in recognisable ways. David Bowie is a vocal influence on the subtle, more understated and laid-back ‘Meadow’ where reflective lyrics show an alteration in mood, “It’s a long lonely life. Sometimes you’ve gotta hold your head up high”. Tracks such as ‘Be Still’ and ‘Halo’ represent affectionate nods to iconic bands like The Stooges, The Kinks and The Who. The urge to address biographically significant matters is a recurring feature. Lyrically and personally this album takes a closer look at family relationships - and his brother Noel Gallagher in particular - references to their estranged relationship appear throughout. The stunning ‘One of Us’ is an example. Similarly, ‘Once’ is a song led by rich John Lennon inspired vocals, “It was easier to have fun back then when we had nothing”, and on ‘Gone’ a lyric compares changing times, “I used to go away and come back, back another day but now I don’t know how long I’m gonna be gone”. Other themes tackled include his daughter Molly Moorish, who is in his life now. The two connected, and the optimistic, feel-good vibe of ‘Now That I’ve Found You’ is about the relationship. A disapproval of celebrity culture is expressed on the softer glam-rock vibes of ‘The River’. Gallagher remains an excellent interpreter of others’ lyrics, but he takes the skill further here and it results in a collection of classic songs drenched in melody, accompanied by clearly expressed, noticeable lyrics. There is no shame in co-writing, it is fine to reach out and work with others. Who knows, maybe he will choose to lead the writing of his third album. He is famously known as someone who follows his instincts, and is at his best when he does that. As one of the greatest frontmen in rock he shouldn’t have to change, even when the ambition to channel a greater, more ambitious outcome is there, and achieving a better, more ambitious record is the aim of Liam Gallagher and his cohorts on ‘Why Me? Why Not?’ 8/10 Words: Susan Hansen
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Post by leron on Sept 6, 2019 6:05:14 GMT -5
www.clashmusic.com/reviews/liam-gallagher-why-me-why-not“I know my strengths and I know my limitations. I’m an OK songwriter but I’m a great singer and frontman”, said Liam Gallagher when he spoke about the ambition for his second album, safe in the knowledge that he wanted to take things further this time. His debut album ‘As You Were’ from 2017 arrived with an Oasis tag attached. It was polished but the recognisable punk spirit and attitude was there. It was raw but popular, but for the majority of the follow-up things have somewhat shifted: it is a big, bombastic rock sound with a few less refined, more spontaneous moments. It is infectiously catchy from beginning to end. The objective to deliver songwriting excellence means that everything has been brought a level up and traditional writing structures and arrangements take centre stage. But no two tracks sound the same, and navigation around this album is a smooth experience. A flawless running order means that from the opening track - the stomping glam-rock whirlwind of ‘Shockwave’ and the final atmospheric ‘Gone’ – plenty of ground is covered. All influences on ‘Why Me? Why Not’ represent a clean slate. Playing with a wider palette of inspiration than previously, the many facets are hard to detect. It is the idea of Anglo-American sound forces coming together, as they meld, the 60s, 70s and 90s sonics come together and transform into a current, relevant sound. Stylistically, everything is captured in recognisable ways. David Bowie is a vocal influence on the subtle, more understated and laid-back ‘Meadow’ where reflective lyrics show an alteration in mood, “It’s a long lonely life. Sometimes you’ve gotta hold your head up high”. Tracks such as ‘Be Still’ and ‘Halo’ represent affectionate nods to iconic bands like The Stooges, The Kinks and The Who. The urge to address biographically significant matters is a recurring feature. Lyrically and personally this album takes a closer look at family relationships - and his brother Noel Gallagher in particular - references to their estranged relationship appear throughout. The stunning ‘One of Us’ is an example. Similarly, ‘Once’ is a song led by rich John Lennon inspired vocals, “It was easier to have fun back then when we had nothing”, and on ‘Gone’ a lyric compares changing times, “I used to go away and come back, back another day but now I don’t know how long I’m gonna be gone”. Other themes tackled include his daughter Molly Moorish, who is in his life now. The two connected, and the optimistic, feel-good vibe of ‘Now That I’ve Found You’ is about the relationship. A disapproval of celebrity culture is expressed on the softer glam-rock vibes of ‘The River’. Gallagher remains an excellent interpreter of others’ lyrics, but he takes the skill further here and it results in a collection of classic songs drenched in melody, accompanied by clearly expressed, noticeable lyrics. There is no shame in co-writing, it is fine to reach out and work with others. Who knows, maybe he will choose to lead the writing of his third album. He is famously known as someone who follows his instincts, and is at his best when he does that. As one of the greatest frontmen in rock he shouldn’t have to change, even when the ambition to channel a greater, more ambitious outcome is there, and achieving a better, more ambitious record is the aim of Liam Gallagher and his cohorts on ‘Why Me? Why Not?’ 8/10 Words: Susan Hansen They gave ayw 5/10
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Post by norkbauer on Sept 6, 2019 7:36:59 GMT -5
Great review from Clash Music.
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Post by GlastoEls on Sept 6, 2019 8:45:01 GMT -5
Cool, so that’s
Q: 4/5 Mojo: 4/5 Clash 8/10
Good start.
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Post by themanwithnoname on Sept 6, 2019 9:20:22 GMT -5
Mojo review in case people missed it:
4 stars out of 5
Buoyant second solo album from Liam 2.0.
Listen up, our kid: 'Project Rebrand Liam' is accelerating in 2019. After his sensitive documentary, As It Was, in the summer, here his second solo album with premier league pop producers Greg Kurstin and Andrew Wyatt (who co-wrote Lady Gaga's Oscar winning smash hit Shallow, no less).
It starts with recent single Shockwave, a sludgy glam cowboy workout which never really lands its lasso.
After that, it skyrockets. Styles far from Liam stomping ground suit him, like the Radio 2 pop of Now that I found You and the orchestral space drama of Gone. His usual references fare better with superior songwriters too. Meadow is prime Beatles-psych, done as well as Oasis ever did, while Alright Now is supreme '70s Macca (with a fantastic piano riff).
There are a few other naff moments, but Gallagher's voice carries everything, sounding fantastic, high and bright in the mix.
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Post by shamumaybard on Sept 6, 2019 18:15:02 GMT -5
inb4 Pitchfork gives it a 1/10
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Post by Beady’s Here Now on Sept 6, 2019 20:59:10 GMT -5
inb4 Pitchfork gives it a 1/10 You got the pitchfork out early. Omg I’m so fucking clever.
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Post by Beady’s Here Now on Sept 6, 2019 21:01:24 GMT -5
Looking like a very good 4/5 album if the reviews remain consistent. You are a 2.5 out of 5. Can I get gentrified, though?
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Post by walrus91 on Sept 8, 2019 14:34:46 GMT -5
Have you got the record? The piano version of Once shows to me in any case that while they no doubt tinker with his vocals his singing is at a very decent level at the moment. I've heard the same 4 songs everyone else's heard. I'm not saying his vocals aren't at a decent level right now and the Piano version of Once was nice indeed, but these studio versions are really doctored. There's so much added reverb because he's not holding the notes long enough in combination with autotune and other mastering tricks to make up for the shortcomings in his studio vocals. Everyone with a bit of a trained ear can hear it and so should a music reviewer. To come up with "he's rarely sung better" when he so very obviously needs studio trickery to sound the way he does on record makes me wonder what other things are made up by the same reporter to come up with a final verdict like the one posted in the Q review. No bum notes. Wash your ears Yeah, because they're tinkered with. Learn to read. You don't have a trained ear. You have no clue what your talking about.
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Post by oneofus on Sept 8, 2019 15:54:28 GMT -5
Looking forward to another review or 2 this week.
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Post by doctorwho on Sept 9, 2019 9:18:51 GMT -5
Pitchfork will detest songs like Shockwave and The River.
And they'll see Once as a Lennon rip. Can't see them liking stuff like Now That I've Found You and Be Still either.
They'll give it 3.8
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Post by dennizz on Sept 9, 2019 16:26:24 GMT -5
dutch record store Plato gives Why Me Why Not 8/10. They said it's an eclectic bunch of well written and well produced songs. Influences from The Beatles, Phill Spector and ELO
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Post by leron on Sept 10, 2019 1:35:39 GMT -5
dutch record store Plato gives Why Me Why Not 8/10. They said it's an eclectic bunch of well written and well produced songs. Influences from The Beatles, Phill Spector and ELO Link?
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