[Translated] Review Lagu-Lagu di Album Neighborhoods (NME Magazine)
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[Translated] Review Lagu-Lagu di Album Neighborhoods (NME Magazine)
Jadi hari ini (Jumat 9/9), diadain semacam 'listening party' oleh Island Record (UK) di Inggris yg dihadiri sama jurnalis-jurnalis media di Inggris, nah salah satunya majalah NME ini.
Ini dia artikel aslinya ---> http://www.nme.com/blog/index.php?blog=140&p=11092&title=first_listen_blink_182_neighbourhoods&more=1&c=1
Langsung aja ini dia translate nya...
NB:
1. Sepertinya album yang diperdengarkan ini adalah versi standar, bukan yg deluxe. Hanya 11 lagu saja yang di-review.
2. Katanya NME ini termasuk salah satu majalah yang pelit ngasih nilai bagus pada suatu review. Setelah melihat review di atas, saya sih cukup optimis kalo album Neighborhoods ini memang benar-benar bagus, bukan hanya untuk fans blink kayak kita, tapi juga untuk orang awam. Semoga
Ini dia artikel aslinya ---> http://www.nme.com/blog/index.php?blog=140&p=11092&title=first_listen_blink_182_neighbourhoods&more=1&c=1
Langsung aja ini dia translate nya...
Untuk album ini, orang-orang yang mengharapkan mereka (blink-182) akan kembali ke masa-masa 'punk-dengan-durasi-lagu-2-menit' pasti akan kecewa, sama seperti orang-orang yang mengharapkan tentang joke-joke tentang menghina ibu mereka satu sama lain dan joke tentang berbagai macam hewan akan kembali. Mereka tidak (melakukan itu semua), walaupun ada lirik yang kerena tentang helikopter. Blink-182 sendiri menyebut album ini sebagai album dengan gabungan dari semua masa lalu dan album-album lama mereka. Dan kau tahu... Mereka mungkin memang benar. Ini dia lagu-lagunya (sesuai urutan)
Ghost on the Dance Floor
Tidak bisa diterima bagi band seperti blink-182 untuk kembali dengan rengekan, jadi untuk pembuka ini kita disambut dengan suara hentakan drum Travis Barker yang bernuansa tribal sebelum riff gitar yang megah masuk dan bisa membuat kita bergoyang. Tom DeLonge tetap menjaga sound megah yang telah menjadi ciri khas AVA dan menggabungkannya ke dalam lagu ini dengan lirik "My wounds will start to heal". Mengetahui bahwa ini album pertama sejak mereka reuni, bisa dikatakan (lagu) ini adalah sebuah pembentukan image.
Natives
Lagu yang satu ini sangat cepat terdengar di speaker, dengan gitar bernuansa punk digabung dengan vokal yang sedikit berdistorsi pada kecepatan yang brutal. Tidak berbeda dengan lagu 'Always' dari album self-titled, lirik di lagu ini bernuansa gelap, dengan lirik "We're having the time of our lives, even though we're dying inside".
Up All Night
Kalian semua pasti sudah mendengar lagu ini, yang megah, riff gitar bernuansa luar angkasa membuatnya menjadi menggelegar. Lagu ini diletakkan setelah lagu 'Natives' dan menjaga album ini tetap brutal untuk didengar. Semua yang berkomentar saat ini bahwa lagu ini akan memberikan 'rasa baru' bagi album baru ini memanglah benar. Pilihan yang aneh untuk single album comeback, tapi tetap ini adalah lagu yang keren.
After Midnight
Lagu yang dirilis awal minggu ini merupakan sorotan untuk album baru ini. Lagu cinta yang lembut dan lagu yang paling ringan di album ini. Lagu ini cocok untuk adengan ciuman di sebuah film.
Interlude (Heart's All Gone)
Tidak berbeda dengan 'The Fallen Interlude' di album self-titled mereka yaitu lagu ini juga merupakan lagu instrumental di tengah album. Lagu ini diawali dengan suara piano dan riff gitar yang anehnya mengingatkan pada 30 Seconds To Mars...
Heart's All Gone
Kalian juga sudah mendengar lagu ini. Raungan setelah lagu instrumental, lagu ini mengingatkan pada masa album 'Dude Ranch' dan 'Cheshire Cat'. Pengerjaan yang minimalis, suara drum yang luar biasa cepat dan melodi digabungkan. Merasa sedikit aneh untuk sebuah album dengan layer (lapisan) yang banyak, tapi lagu ini sangat cocok untuk fans-fans lama mereka.
Wishing Well
Lagu 'bernuansa llama' lainnya, tapi kali ini lebih condong ke masa album 'Enema of the State'. Gitar yang sangat bernuansa pop dengan nuansa klasik Blink, yaitu lirik "Da da da" di tengah chorus. Kesempurnaan Pop Punk.
Kaleidoscope
Kita kembali ke lagu yang bernuansa gelap seperti lagu di awal-awal album ini, dengan suara Tom DeLonge yang menyanyikan "It's the first time that I'm worried" yang diiringi dengan beat drum yang tidak beraturan.
This Is Home
Ini dia lagu yang membuat kita tidak khawatir dengan ketakutan dan kecemasan akan lagu 'Kaleidoscope'. Riff gitar yang ceria dan berwarna dan bernuansa ceria selama tiga setengah menit, dengan Tom DeLonge yang memberi tahu kita bahwa dia ingin 'berdansa dengan hewan'. Juga ada keanehan dengan dipakainya suara synth yang bernuansa pop di lagu ini.
MH 4.18.2011
Lebih kepada usaha berterus terang, seperti sesuatu dari album 'Take Off Your Pants And Jacket', dengan banyak nuansa pop yang berisi. Lagu ini juga mengandung lirik terbaik di album - "Stop living in the shadow of a helicopter". Sangat jenius.
Love Is Dangerous
Akhir dari album 'Neighborhoods', mungkin memang pantas, dengan nada bernuansa gloomy, dan dengan synth yang berlapis serta crescendo gitar yang mengesankan. Bagian terakhir lagu ini adalah pukulan roll Travis Barker, yang perlahan-lahan menghilang setelah bagian instrumen di bridge.
Keputusan
Band ini telah mengatakan bahwa album baru ini adalah yang terbaik dari semua yang telah mereka lakukan dan mereka memang benar. Sangat jelas album ini adalah yang bernuansa paling gelap yang pernah mereka buat, baik dari lirik maupun musikalitas, tapi mereka telah mengekang elemen-elemen eksperimental di album terakhir mereka dan menunjukan bahwa adalah aman untuk menggunakan materi-materi lama mereka pada beberapa lagu. Album ini adalah album progresif yang kuat dan sangat bagus.
NB:
1. Sepertinya album yang diperdengarkan ini adalah versi standar, bukan yg deluxe. Hanya 11 lagu saja yang di-review.
2. Katanya NME ini termasuk salah satu majalah yang pelit ngasih nilai bagus pada suatu review. Setelah melihat review di atas, saya sih cukup optimis kalo album Neighborhoods ini memang benar-benar bagus, bukan hanya untuk fans blink kayak kita, tapi juga untuk orang awam. Semoga
Re: [Translated] Review Lagu-Lagu di Album Neighborhoods (NME Magazine)
Review lain oleh Punktastic (tapi yg ini belum sempat saya translate )
http://www.punktastic.com/columns/18/Blink-182---Neighborhoods-Track-By-Track/
http://www.punktastic.com/columns/18/Blink-182---Neighborhoods-Track-By-Track/
- Spoiler:
- In a way, the long and winding tale that is Blink-182 is Shakespearean. It's a tragedy, and it's one of their own making. We'd like to make it clear from the outset, immaturity is right up Punktastic's street. Early Tom, Mark and Travis delivered cocky, balls out pop punk on record that served our teenage years well. Live, their ferocity and toilet humour made for a euphoric show that made up for the occasional poor playing by being just about as much fun you can have at a gig. It was puerile, and it worked.
Their 2003 self titled release demonstrated a significant shift from their pop-punk roots and took many fans by surprise. It did however deliver, thanks not least to two excellent singles, a platform by which the band could grow. Slowly attempting to shake their dick-joke reputation, it was a more mature and focused band that had emerged. They didn't lose all of the quirks of course, but unfortunately, and this is of course where the really tragedy kicks in - we all have to grow up sometime.
We dare say we're not the only ones alarmed that it's been eight swift years since the last record - a lot has changed. Undoubtedly as the band grew, and indeed as the band initially parted ways, each member began to take themselves a lot more seriously. Considering how unseriously they took themselves at first, a small change on their part delivered a significant suckerpunch to those who expected more of the same from their relevant side projects - especially of course when it came to Tom Delonge. Angels and Airwaves was bold, brave, and yet ultimately came across as arrogant. No-one, however can really blame Tom for this - Blink-182 were at the top, and there's a fine line between arrogance and self-belief, and he just about trod it well. A return to Blink-182 however was always going to come with baggage, and though it's a shame that it took a literal tragedy to bring the band back together, it's indicative of where the band currently reside: putting their differences aside, appreciating their friendship and really making music that they want to make, which is the true aim of any band. Unfortunately in this case, the music they want to make isn't quite what the diehard fans will be after.
Where once the sharp and punchy reined, "micro-prog" is the order of the day on 'Neighborhoods'. Extended intros, elongated outros and the occasional synth are all puddles the band dipped their toes in on their self titled release, and they've picked up where they left off and gone forward in that respect. Beefier delivery and pumped level of drums in the mix mean the record is very much Blink-182 2.0, and make no mistake, we are about as far away from 'Enema Of The State' as you can get.
Opening track 'Ghost On The Dancefloor' sets a driving tone as Travis builds gradually into a frenzied assault before the distinctive sound of synth soon worms its way in. As an opener goes it's a bit of a beast, and though there's a concern of heavy crossover into AvA territory, in reality this is Blink-182 through and through.
'Natives' is a strong reminder of Hoppus' vocal ability, and as is expected, his delivery is grounding and warm compared to the shrill tonality of Delonge. Undoubtedly a pop punk song at heart, it is more of a reminder of what the band have achieved in the past without directly referencing it.
Comeback single 'Up All Night' follows suit and harks back in many ways to 'Feeling This' from the band's previous efforts, and is undoubtedly a grower. The track's chunky breakdown and slightly unexpected approach has had some beatings online, but slots into the album well.
'After Midnight' is where 'Neighborhoods' crosses into dangerous territory for Blink. Their slow tracks have always been destined to divide, but even though it's no Adam's song, it probably wasn't ever going to be.
Track five and six constitute the top and tail of a mightily six-odd minute beast. 'Hearts All Gone (Interlude)' is the fairly spurious starter to the main course of 'Hearts All Gone'. Although initial reactions will likely to be to contemplate whether or not this album, and indeed this band, really need to worry about interludes, there's a certain element of propping up needed - not because it's bad, but because it's a hundred mile an hour assault on the senses. The track tends to meander until Delonge's guitar becomes distinctly present, and then a frenzy propagated by Barker starts things proper. If there's a song that requires the word "epic" applied on the record, it would be here.
Once again with track seven 'Wishing Well', the band find themselves balanced precariously on the edge of Angels and Airwaves territory. Before too long though, pop-punk virility forges through and it swiftly becomes a possible highlight of the album. For all those who heard a Blink-182 song at college and connected, this song is for you. The band prove they still have the ability to capture that sense of adolescent insecurity; even if the choir they now preach to are pushing 30.
As the Hoppus vocal driven track 8 'Kaleidoscope' unfolds the leaps and bounds Blink-182 have made in songwriting are laid out bare. The fretwork is noticeable, and for the first time a real sense of what the band are about shines through. You can feel the emotion through the music let alone the lyrics, and as Delonge states here, "It's Been A Long Road".
Track nine 'This Is Home' opens with an intro not a million miles away from the bands arguably true breakthrough single 'All The Small Things', and though the synth has returned, it's to the track's advantage, and it holds its own overall.
Track ten 'MH 4.18.2011' delivers what is probably the most classic sounding Blink song of the album. It's somewhat understated being wedged towards the tail end of the album, and it's simplicity isn't necessarily its redeeming feature, but it resolves towards as it closes with a trailing outro that serves it well.
Track eleven, 'Love Is Dangerous' closes and suitibly sums up the album. What Blink have done here is close with a good track, but not a banger. It's not a track to leave people wanting more, and if anything it feels a little confused. It delivers a sense of grounding for a band that never were happy being stood on the right foot, and that kinda just feels a bit wrong.
Blink-182 have had hiatus, tragedy and a good old fashioned barney and transformed into energy and inspiration for this album - energy abound it most certainly is, and 'Neighborhoods' is without a doubt the most stocky Blink record to date, but it's also the first record where appreciating each band member for their musical ability is a natural process. Even Delonge's lyrics have upped the ante... Inspired, however, is not quite what it will feel like to many - especially for those that didn't get along overly well with the self titled record and it'll largely leave those hoping for "old Blink" with the same lack of connect. For many fans this will simply be the next step in the growth of Blink-182, but for many, taking themselves too seriously is at a serious cost to their shelf life. Ultimately, we guess this is growing up.
Re: [Translated] Review Lagu-Lagu di Album Neighborhoods (NME Magazine)
jadi semakin ga sabar dengan album baru mereka
Re: [Translated] Review Lagu-Lagu di Album Neighborhoods (NME Magazine)
Review nya bikin cenat cenut...
Btw untung udah order yang Deluxe nya, tapi kalo ada imporan yang edisi standard beli juga deh )
Btw untung udah order yang Deluxe nya, tapi kalo ada imporan yang edisi standard beli juga deh )
Pram_182- blinkholic
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