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Showing posts from April 8, 2018

AMERICA- Thirty Seconds To Mars Review

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Thirty Seconds To Mars has certainly been changing. They started off as a very heavy band, full of guitar riffs and muscle, and know they make songs that sometimes have almost no instruments in them, purely synths and loops and drums. They started off this album quite awhile ago, with the singles Walk On Water and Dangerous Night, which both became medium sized hits but didn't go a tremendous distance. Like always, this album is characterized by grandiose hard hitting tracks of a medium speed with all the trappings of 2010s arena rock, but this time without as much pure heavy guitar and more modern electronic drums and keyboards. It's interesting to see a classic 30 STM chorus break down to the frantic off kilter sampling of modern dance pop, and the stripping down of their sound works well sometimes. keyword sometimes- in some cases they just turn it back to their old style, putting so many tracks in your head hurts and you feel like the song's closing in on you, and somet...

Playlist 3/26+4/2

King Charles- YUNGBLUD Shotgun- George Ezra Get Away- George Ezra Buster Cannon- AJ Tracey Champions League- AJ Tracey Caveman- The Burgeoning Rain- The Burgeoning

Staying At Tamara's- George Ezra Review

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George Ezra exploded into the world's musical consciousness in 2014 with an international platinum hit in Budapest, a second top ten hit in the UK and a number one album across the world. He came back sometime last year with Don't Matter Now, a flop compared to the number two UK hit in the second single, Paradise, and the the number one UK album that I'm about to review. The album starts with a duo of familiar singles, showcasing the gently catchy style George Ezra is famous for. Pretty Shining People is a bit of a standout, talking about George Ezra's anxiety about the future, and being stuck in the past, which is mirrored in his music. It seems that throughout the album his lyrics could be from any time since 1930, with very little hint of the 21st century. The instrumentals also all seem like pop instrumentals from the postwar era, but with the occasional electronic beat and frill added in by the producer to try to turn George Ezra into more of a modern Chainsmokers ...