In addition to The Rolling Stones, they premiere the album Blink-182, Jorja Smith, The Death of Robert or Sr. Wilson
It’s been almost twenty years since their satanic majesties gave birth to their last studio album, a revulsive A Bigger Bang, in which they somehow returned to the sonic and stylistic quintessence of their origins. Since then it has rained in all colors and in all ways, starting with the sadly final departure of Charlie Watts. And despite all the imponderables, starting with a biological clock that does not stop, the emblematic band remains in the gap with things to contribute and share. The definitive proof of this is that in the brand new and highly anticipated Hackney diamonds, and there the agreement is practically unanimous, there is much more chicha than simple filling. Even a few gems. Definitely staying in the so-called comfort zone does not fit into the modus operandi of Jagger, Richards and Wood.
Thus, in this dozen pieces that give life to the legendary combo’s first album with new material since 2005, the musical arc sails on the waves of rock and roll and blues, from the opening Angry, in which the angry voice of Jagger is backstitched by some sharp guitar riff, to end in a very symptomatic way with Rolling stone blues, returning in some way to the origin of all this, that is, the almost ancestral blues of Muddy Waters that gave rise to the name of the group back in 1962. . A closing theme made with four wickers, but what wickers: the six electric and naked strings of Keith Richards and a Jagger doubled as a notable harmonica player. The choice of this legendary song to lower the blinds of the comeback album has been interpreted by many as an unequivocal sign of a definitive goodbye, of the closing of the circle remembering and paying homage to Waters and a way of feeling and living music. We will see.
Between one and the other, there is variety like good salads, with ingredients, of course, that are not always to the liking of all diners. Like, for example, the very beginning of the album, that is, the aforementioned Angry, which exudes very pop and light touches and which was one of the two singles that warmed up the arrival of the great. But, after that disturbing start, things return to their place, to the canons that have made the Stones a musical icon as well: in the next installment, Get Close dominates the muscular rock pulse, in which the sometimes excessively impulsive voice by Jagger is accompanied by the piano of Elton John. And, right after, the counterpoint in a rather melodic and balladistic key entitled Depending on you. Here the protagonists are the Hammond and the acoustic instrumentation, either in the form of guitars or with strings at the end of the section, and, of course, a very effective melodious voice.
This variety from the beginning reaches its first climax with Bite my head off, a fourth song where the dense guitars with a garage pulse, the bum bum of Steve Jordan’s drums, as well as Ron Wood’s final solo, rule, and where Paul McCartney signs up with a crazy bass. Tasty and energetic Beatles-Rolling Stones pairing. And, to finish completing this sample of stylistic flavors, nothing better than a Dreamy skies, a little gem in a country-blues key and where a heartfelt steel guitar shines.
On the other hand, the role of producer Andrew Watt is especially relevant in Hackney diamonds in his way of assembling the different and luxurious collaborations that appear. In one of them, Sweet sounds of heaven, it reaches one of the peaks of the album, where Jagger and Lady Gaga give majestic bluesy life with gospel touches, and with Stevie Wonder’s keyboard. Although perhaps the most emotional chapter features the two posthumous interventions of Charlie Watts, in Mess it up and in Live by the sword. This, another of the volume’s peaks, is particularly historic because Bill Wyman also appears (he hasn’t done so since 1989), giving shape to a magnificent rock where the lively keys of Elton John are also added again.
The good news that reached the band’s loyal fans last year, when Tom DeLonge’s return to their home was confirmed – who in 2015 had been the protagonist of a second scare – is confirmed and even magnified by the material result of the new chapter. of the Californian trio. Because, after confirming their good form on stage on their current tour, they now show with One more time… that it is bustling in an outstanding way. DeLonge along with bassist/singer Mark Hoppus and drummer Travis Barker add in this comforting comeback album the confirmation that his existential maturity is magnificently balanced with a reborn energy. There is no nostalgia, much less self-complacency.
To illustrate this, nothing better than the theme with which they open the new installment, Anthem Part 3 (a continuation of Anthem Part Two, from 2001, which in turn followed Anthem, published in 1999), in which based on unstoppable guitars and punk pulse drums speak passionately about challenges, dreams and also death. From there and throughout 16 capsules they sound in a recognizable way, but doing so with more experience and mastery of the raw material. And very well put together thanks to Travis Barker, who also serves as producer. And, although sonically there are no great discoveries – which does not mean that there are no great satisfactions –, yes, on a lyrical level the band opens up more emotionally than ever, as they reveal and narrate in songs like the mid-tempo Childhood.
Very enjoyable work just for the fact that it is one of the most complete voices on the current scene. Furthermore, on this occasion, the British artist goes through various rhythms in search of finding her current sonic DNA without pressure. That is to say, her unmistakable neosoul with aromas of afrobeat, funk, reggae, poprock (Go go go), but also some heavy downtempo.
The Barcelona trio, yet another example of a versatile and often unknown scene, gives shape and, above all, life to a remarkable second album. They began by giving their own personality to numerous influences –Arctic Monkeys or Nick Cave–, hand in hand with an elegance with which they respect and at the same time subvert, where Lara Giardina’s voice has a lot to do with it.
Griffi provides a vehicle and sound context to the words of Vallesano Mr. Wilson in a contemporary way and at the same time faithful to its essence. The one that was the axis of Solo los Solo is a basic piece in a sampler that goes from hip-hop to reggae and dub to delve into electronic beats and reach the rumor of reggaeton (skilfully combined with afrobeat) in the conclusive Mi wave.
