Post by duranfan09 on Dec 9, 2010 20:19:01 GMT -5
As promised, here's my review of the album, track-by-track. This took me a long time to write so I hope people appreciate it!
I heard the album in full at 5am yesterday morning, although I'm not saying how or where because I'll get a certain person in deep trouble. I'm quite pleased with the review, it's rather professional because that's how I like to do them and it's something I always enjoy writing. I do have a blog which it will appear on soon.
It's not biased and I've not rewarded every track with universal acclaim or anything. It's a fair and (hopefully) well-balanced review. Comments would be appreciated and I hope you all enjoy reading...
Album Review - Duran Duran: All You Need Is Now
Thirty years after the band's inception, Duran Duran are back with their stunning new album "All You Need Is Now". They were the pinnacle of 80s new wave & pop music and have sold more than 80 million records, but now the band have returned to their roots, reviving their most celebrated musical artform.
The album kicks off with titular track "All You Need Is Now". Over a whirring, alien synth Simon Le Bon declares "It's all up to you now, find yourself in the moment". And we do so quite comfortably, because it's a defining moment and there's a feeling that we've been here before. Then from nowhere, a crashing chorus enters the fray, as Nick Rhode's glittering synths (which could easily have been borrowed from 1984's "New Moon On Monday") slide across Le Bon's harmonic vocals, Roger Taylor's booming drums and John Taylor's evocative disco bass like a match made in heaven. "And we will sway in the moon the way we did when we were younger, when we told everybody - all you need is now". With this in mind, it's time to see what else "now" has to offer...
Second track "Blame The Machines" was inspired by a man from Germany who, at the command of his satellite navigation system, drove his car against oncoming traffic along the wrong lane of the autobahn. In what is perhaps a criticism of how reliant the world has become on technology, Le Bon sings "I blame myself and I blame the machines" over Dom Brown's roaring guitars and an addictive Nick Rhodes arpeggiator synth. This is truly where the influence of the Rio album begins to shine through.
Third offering is "Being Followed", a track which draws from the paranoia of living in a world where every person, every place and every movement is recorded on CCTV and companies such as Google are deploying cars to photograph our own neighbourhoods. Like "Blame The Machines" the song is driven by one of Nick's arpeggiator synths and features a pulsating bassline over a classic Roger Taylor drum beat. "I'm not alone, being followed. Someone always watching what we do" sings a paranoid Le Bon in the chorus. The lyrics are quite dark and are very similar to the lyrics of Duran Duran's early songs, especially in the second verse: "Fog is lifting, a sillouette begins to show and the moment is stolen". As the track approaches it's climax, it takes on a somewhat Western theme, which sounds slightly out of place and almost ruins what is otherwise a standout track. One hopes that if this track is released as a single, that the end of the song is altered to something more pleasing to the ear.
Next up, the album takes a breather for "Leave A Light On", a low-tempo ballad with acoustic guitars and a smooth low-energy synth. However, this track is more "Astronaut" than "Rio" and at 4 minutes 38 seconds it's a chance to allow yourself to slow down before the second half of the album arrives. A good enough song but perhaps lacking the "wow factor" that most of the other tracks have.
Track five is "Safe (In the heat of the moment)" which features Ana-Matronic of The Scissor Sisters, who delivers the raunchy intro "People say that you've been around, how about you and me get down?". With John Taylor firmly taking charge, the track is funky and harks back to the band's "Notorious" sound. It was conceived during the very first recording sessions with Mark Ronson back in February 2009 and is a song about the insecurity of sharing a relationship with a woman of certain beauty, who uses that beauty to every devious advantage.
Moving beyond the half-way point we reach the sixth song "Girl Panic", another track born of the early recording sessions with Mark Ronson who previewed it on his radio show in 2009, from a point where it has noticeably evolved into something truly brilliant. With a vibrant, intergalactic synth lead and some classic JT bass playing, it is yet another track which digs deeply into the "Rio" foundations to produce something quite memorable. As Le Bon screams "In a girl panic, this drop is naked through romance / It's a crush panic, she's got me atomised" one could easily call this the sequel to "Girls On Film". Dom Brown on guitar does a fine impersonation of Andy Taylor again, as he does so well at many other points on the album. Another standout track.
Seventh in line is "The Man Who Stole A Leopard" featuring R&B singer Kelis, although you wouldn't have guessed as she's certainly out of her comfort zone here, but still does a fantastic job. Like a phantom in the background of the mix, she echoes Le Bon's each and every word, playing the role of the leopard itself. A dark song which harks back to the sound of Duran Duran's self-titled first album, the opening plays like a chopped-up version of "To The Shore" before evolving into "The Chauffeur" and then "Tel Aviv". Owen Pallett (of "Arcade Fire" fame) provides the strings here. A brooding song with more than a few nods to the band's past and really quite beautiful.
The album speeds up again for the glorious "Runway Runaway", a short but sweet love letter to the "Rio" album with it's Girls On Film-esque guitars, classic Roger Taylor drum beat and third helping of Nick Rhode's arpeggiator synths. A sweet, playful track which talks about fleeing away with the girl you love, just to be with her. "Wave goodbye... Runway runaway, just runaway". A definite favourite which you'll probably want to play twice over on each listen, as it's (unfortunately) only 3 minutes & 5 seconds in length.
And so we reach the end, almost. Track nine - much like the album closer on "Rio", is another dark affair. What could only be described as the sequel to "The Chauffeur" (which just happens to be the final track on "Rio", a coincidence?) this track begins with weeping strings and grows into a march, as military drums hammer away in the background. Simon's lyrics almost take on the form of a prophecy, as he laments "A stormy summer is rolling closer, lighting up this holy smoker. And if this drinking could ease the thinking, I'd toss out my whole truth with this glass". It's a truly encapsulating and epic song, with thought-provoking lyrics and much like it's cousin "The Chauffeur" it makes for a perfect closing track.
But before ending this chapter, one needs to mention the track "Mediterranea". The song is expected to appear in the February 2011 physical CD release of the album (along with two other as yet unheard songs) and also on the album's forthcoming EP - and quite rightfully so. "Mediterranea" is without doubt *THE* highlight of the new Duran Duran material. A laid-back groove which sounds like it was recorded as a B-Side for the "Rio" album, it features some frightfully good guitar work from Dom Brown and some of Simon's finest lyrics in a long long time, not to mention a stunning John Taylor bassline and yet more classic drumming from Roger. It borrows the quirky guitars from 1981 B-Side "Like An Angel" (the B-Side to their hit single "My Own Way") and will no doubt give chills to hardcore Duran fans. Where ever "Mediterranea" might be, it must be somewhere close to "Rio", because it will certainly take you there.
So, the verdict. This is, without a shadow of a doubt, the band's best album since "The Wedding Album" or perhaps even "Seven And The Ragged Tiger". Everything from the way Roger tickles the hi-hats to the way Dom channels the early guitar sounds of Andy Taylor, the spirit of the band is very much back where it belongs. You can hear all the instruments - a testament to Mark Ronson's fantastic production and also to the mixing done by "Spike" Stent. They have, as promised, delivered an album which takes all the best elements from their early albums (especially "Rio" as is probably obvious) and puts them into a slightly more contemporary body, without surrendering the quality that made this band so iconic in the first place.
They keep telling us, all you need is now - and if this is where Duran Duran feel most comfortable, then they've certainly earned their place.
Recommended tracks:
Blame The Machines
Being Followed
Girl Panic
The Man Who Stole A Leopard
Runway Runaway
Mediterranea
I heard the album in full at 5am yesterday morning, although I'm not saying how or where because I'll get a certain person in deep trouble. I'm quite pleased with the review, it's rather professional because that's how I like to do them and it's something I always enjoy writing. I do have a blog which it will appear on soon.
It's not biased and I've not rewarded every track with universal acclaim or anything. It's a fair and (hopefully) well-balanced review. Comments would be appreciated and I hope you all enjoy reading...
Album Review - Duran Duran: All You Need Is Now
Thirty years after the band's inception, Duran Duran are back with their stunning new album "All You Need Is Now". They were the pinnacle of 80s new wave & pop music and have sold more than 80 million records, but now the band have returned to their roots, reviving their most celebrated musical artform.
The album kicks off with titular track "All You Need Is Now". Over a whirring, alien synth Simon Le Bon declares "It's all up to you now, find yourself in the moment". And we do so quite comfortably, because it's a defining moment and there's a feeling that we've been here before. Then from nowhere, a crashing chorus enters the fray, as Nick Rhode's glittering synths (which could easily have been borrowed from 1984's "New Moon On Monday") slide across Le Bon's harmonic vocals, Roger Taylor's booming drums and John Taylor's evocative disco bass like a match made in heaven. "And we will sway in the moon the way we did when we were younger, when we told everybody - all you need is now". With this in mind, it's time to see what else "now" has to offer...
Second track "Blame The Machines" was inspired by a man from Germany who, at the command of his satellite navigation system, drove his car against oncoming traffic along the wrong lane of the autobahn. In what is perhaps a criticism of how reliant the world has become on technology, Le Bon sings "I blame myself and I blame the machines" over Dom Brown's roaring guitars and an addictive Nick Rhodes arpeggiator synth. This is truly where the influence of the Rio album begins to shine through.
Third offering is "Being Followed", a track which draws from the paranoia of living in a world where every person, every place and every movement is recorded on CCTV and companies such as Google are deploying cars to photograph our own neighbourhoods. Like "Blame The Machines" the song is driven by one of Nick's arpeggiator synths and features a pulsating bassline over a classic Roger Taylor drum beat. "I'm not alone, being followed. Someone always watching what we do" sings a paranoid Le Bon in the chorus. The lyrics are quite dark and are very similar to the lyrics of Duran Duran's early songs, especially in the second verse: "Fog is lifting, a sillouette begins to show and the moment is stolen". As the track approaches it's climax, it takes on a somewhat Western theme, which sounds slightly out of place and almost ruins what is otherwise a standout track. One hopes that if this track is released as a single, that the end of the song is altered to something more pleasing to the ear.
Next up, the album takes a breather for "Leave A Light On", a low-tempo ballad with acoustic guitars and a smooth low-energy synth. However, this track is more "Astronaut" than "Rio" and at 4 minutes 38 seconds it's a chance to allow yourself to slow down before the second half of the album arrives. A good enough song but perhaps lacking the "wow factor" that most of the other tracks have.
Track five is "Safe (In the heat of the moment)" which features Ana-Matronic of The Scissor Sisters, who delivers the raunchy intro "People say that you've been around, how about you and me get down?". With John Taylor firmly taking charge, the track is funky and harks back to the band's "Notorious" sound. It was conceived during the very first recording sessions with Mark Ronson back in February 2009 and is a song about the insecurity of sharing a relationship with a woman of certain beauty, who uses that beauty to every devious advantage.
Moving beyond the half-way point we reach the sixth song "Girl Panic", another track born of the early recording sessions with Mark Ronson who previewed it on his radio show in 2009, from a point where it has noticeably evolved into something truly brilliant. With a vibrant, intergalactic synth lead and some classic JT bass playing, it is yet another track which digs deeply into the "Rio" foundations to produce something quite memorable. As Le Bon screams "In a girl panic, this drop is naked through romance / It's a crush panic, she's got me atomised" one could easily call this the sequel to "Girls On Film". Dom Brown on guitar does a fine impersonation of Andy Taylor again, as he does so well at many other points on the album. Another standout track.
Seventh in line is "The Man Who Stole A Leopard" featuring R&B singer Kelis, although you wouldn't have guessed as she's certainly out of her comfort zone here, but still does a fantastic job. Like a phantom in the background of the mix, she echoes Le Bon's each and every word, playing the role of the leopard itself. A dark song which harks back to the sound of Duran Duran's self-titled first album, the opening plays like a chopped-up version of "To The Shore" before evolving into "The Chauffeur" and then "Tel Aviv". Owen Pallett (of "Arcade Fire" fame) provides the strings here. A brooding song with more than a few nods to the band's past and really quite beautiful.
The album speeds up again for the glorious "Runway Runaway", a short but sweet love letter to the "Rio" album with it's Girls On Film-esque guitars, classic Roger Taylor drum beat and third helping of Nick Rhode's arpeggiator synths. A sweet, playful track which talks about fleeing away with the girl you love, just to be with her. "Wave goodbye... Runway runaway, just runaway". A definite favourite which you'll probably want to play twice over on each listen, as it's (unfortunately) only 3 minutes & 5 seconds in length.
And so we reach the end, almost. Track nine - much like the album closer on "Rio", is another dark affair. What could only be described as the sequel to "The Chauffeur" (which just happens to be the final track on "Rio", a coincidence?) this track begins with weeping strings and grows into a march, as military drums hammer away in the background. Simon's lyrics almost take on the form of a prophecy, as he laments "A stormy summer is rolling closer, lighting up this holy smoker. And if this drinking could ease the thinking, I'd toss out my whole truth with this glass". It's a truly encapsulating and epic song, with thought-provoking lyrics and much like it's cousin "The Chauffeur" it makes for a perfect closing track.
But before ending this chapter, one needs to mention the track "Mediterranea". The song is expected to appear in the February 2011 physical CD release of the album (along with two other as yet unheard songs) and also on the album's forthcoming EP - and quite rightfully so. "Mediterranea" is without doubt *THE* highlight of the new Duran Duran material. A laid-back groove which sounds like it was recorded as a B-Side for the "Rio" album, it features some frightfully good guitar work from Dom Brown and some of Simon's finest lyrics in a long long time, not to mention a stunning John Taylor bassline and yet more classic drumming from Roger. It borrows the quirky guitars from 1981 B-Side "Like An Angel" (the B-Side to their hit single "My Own Way") and will no doubt give chills to hardcore Duran fans. Where ever "Mediterranea" might be, it must be somewhere close to "Rio", because it will certainly take you there.
So, the verdict. This is, without a shadow of a doubt, the band's best album since "The Wedding Album" or perhaps even "Seven And The Ragged Tiger". Everything from the way Roger tickles the hi-hats to the way Dom channels the early guitar sounds of Andy Taylor, the spirit of the band is very much back where it belongs. You can hear all the instruments - a testament to Mark Ronson's fantastic production and also to the mixing done by "Spike" Stent. They have, as promised, delivered an album which takes all the best elements from their early albums (especially "Rio" as is probably obvious) and puts them into a slightly more contemporary body, without surrendering the quality that made this band so iconic in the first place.
They keep telling us, all you need is now - and if this is where Duran Duran feel most comfortable, then they've certainly earned their place.
Recommended tracks:
Blame The Machines
Being Followed
Girl Panic
The Man Who Stole A Leopard
Runway Runaway
Mediterranea