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Post by monkian on Nov 22, 2017 7:16:07 GMT -5
They're definitely real. Shows how much the reveiewers actually listen that none of them have picked up on the Liam reference, although the lyrics are quite "buried". In fairness though, Noel used the "Monkey Man" lyrics in 'Bag It Up' But he doesn't mentioning battering out a song on an old guitar or said monkey man's lack of soul does he? It's clear as day that it's about Liam, or at least the type of music that Liam's peddling and that Noel's trying to get away from.
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Post by bt95 on Nov 22, 2017 7:19:52 GMT -5
In fairness though, Noel used the "Monkey Man" lyrics in 'Bag It Up' But he doesn't mentioning battering out a song on an old guitar or said monkey man's lack of soul does he? It's clear as day that it's about Liam, or at least the type of music that Liam's peddling and that Noel's trying to get away from. But when this song was written and recorded, Liam was almost certainly not in the limelight. This album wasn't done this summer, it was probably all finished by, at the latest, February this year. People delve too much into the lyrics. Noel has always written about 'he' or 'she' - it doesn't mean they're about anybody in particular. I'm not saying it isn't definitely about Liam, and that line you quote certainly stirs up that cartoon image of Noel on guitar and Liam singing, but I doubt there was much real thought behind it other than it sounds good.
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lau
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Post by lau on Nov 22, 2017 7:38:17 GMT -5
clashmusic.com/reviews/noel-gallaghers-high-flying-birds-who-built-the-moon'Who Built The Moon?' The early days of Noel Gallagher’s solo career felt a little stilted, with a palpable reluctance to stray too far from what legions of Oasis fans might expect. As a consequence, the self-titled debut possessed very few songs that weren’t descended from the works of his former band. ‘Stop The Clocks’ was famously one of their songs that never quite worked out and ‘Soldier Boys And Jesus Freaks’ paid affection homage to ‘The Importance Of Being Idle’. At some point during the promotion of that record, Gallagher appeared to remember that he actually quite likes the musician lark and 2015’s ‘Chasing Yesterday’ was a little more playful in its nature. For all the headline-grabbing talk of saxophone usage, the key difference was the return of a deftness of touch that had deserted him some time around the turn of the millennium. ‘Riverman’ and ‘The Right Stuff’ revealed an artist in fine voice, quite willing to embrace an elder statesman role instead of attempting to prolong past glories. Curiously, Gallagher had initially tried to recruit the producer of this third solo album to perform those duties on that promising predecessor, but David Holmes had no desire to do some limited polishing of already finished songs, instead insisting that any work they would do together would be built up from scratch. ‘Who Built The Moon?’ is the result of several years of on-off efforts that prioritised up-tempo inclinations and the pursuit of fun. While it might not represent a dramatic reinvention, you’re more likely to want to dance to its highlights than point aggressively and bellow along. Take lead track and Ricky Martin-does-Slade delight, ‘Holy Mountain’. The horns are gloriously unrelenting, the vocal playfully distorted and the repetition euphorically shameless. However long the listener might spend trying to decide whether or not it is shit, it’s difficult not to be simultaneously swept along by its sense of abandon. It’s the tin whistle that does it, an instrument that is very much Noel 2.0 only. And the big choruses abound: ‘She Taught Me How To Fly’ and ‘If Love Is The Law’ are both joyous jangle-fests, the former all turbo-charged hi-hats and bold riffs, while the latter has a festive Spector-esque sleigh bell sheen. Opener ‘Fort Knox’ will no doubt draw comparisons with Oasis’ ‘Fuckin’ In The Bushes’ from 2000 album ‘Standing On The Shoulder Of Giants’, but beyond being largely free of voices and having a pugnacious strut, the similarities are limited. The alarm bell that emerges around the halfway mark makes for something of a feat of endurance, but it’s an amusingly cacophonous way to signify a change of focus. Both ‘Interlude’ and ‘End Credits’, subtitled ‘Wednesday’ parts 1 and 2 respectively, offer more delicate, almost pastoral instrumental breaks. Gallagher may not have leapt to entirely fresh terrain with this album, but it’s considerably more ambitious than anything else he’s put out in the last 20 years. ‘Black And White Sunshine’ is more traditional fare that appears to have been filtered through Holmes’ box of tricks, swirling around a psychedelic soundstage, while ‘It’s A Beautiful World’ evokes Noel’s previous forays into electronic music. His treated, distant vocal on the chorus is a joy, even if the lyrics are dependably platitudinous: “it’s a beautiful dream, a beautiful night, a beautiful world when we dance in the light” and so on. ‘Keep On Reaching’ is a bombastic soul blast with a soaring chorus, but Gallagher’s own comparisons with Sly Stone and Marvin Gaye are comically far-fetched. It is perhaps fitting that even its creator is unhelpfully setting the bar too high for ‘Who Built The Moon?’ as so many listeners will come to this with expectations of what he should be doing right now and be disappointed as a consequence. It’s not an Oasis record and it’s not a wholly experimental album either. However, it is his best work in an age and an interesting marker for a Weller-esque creative purple patch from an artist rediscovering their sense of purpose. As winter descends, these songs offer up an enveloping array of melody and an endearingly gleeful playfulness that is hard to resist. 8/10 Words: Gareth James
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Post by aloneontherope on Nov 22, 2017 8:19:25 GMT -5
www.soundsandbooks.com/2017/11/22/noel-gallaghers-high-flying-birds-who-built-the-moon-album-review/Translated into English: Diverse and powerful His brother Liam, with his solo debut album As You Were, is circling skillfully in the Brit pop realms, while Noel Gallagher and his High Flying Birds have long since left the genre boundaries behind. Was Chasing Yesterday two years ago already the right step from the Oasis thicket, so Noel Gallagher emancipated with Who Built The Moon? even clearer from his past. The third Noel Gallagher album opens with "Fort Knox" and like an impregnable fortress, this Monolith of Song features bold beats, choruses, layered synth pads and the mantra-like line "You gotta get yourself together". Even more powerful he hits (with Paul Weller on the organ) at the subsequent "Holy Mountain" on the timpani. An utterly unleashed, pounding, brass-euphoric, bombast-glam-rock, just crazy, as this piece puffs its ears. Lots of groove, lots of fun and a lot of soul, the 50-year-old puts in "Keep On Reaching", everything again very opulent processed and with great impact. It also rattles on "It's A Beautiful World", but more moderate, almost in the club sound with a voice alienated in the chorus. Has that certain something. Like no doubt, "She Taught Me How To Fly," the hymnic, catchy tune, stirring and glorious. The first five songs are a major attack on world musical rule, as if Noel Gallagher had to prove his class with all his might. He does not have to, but this is the start of Who Built The Moon? so inspiring and euphoric that you first have to take a breather. Noel Gallagher indulges us with the folk noir blues of "Be Careful What You Wish For", before returning to the hymnic Brit pop in "Black & White Sunshine". In Sixties Psychedelic Pop, "If Love Is The Law", along with overwhelming chorus and Johnny Marr, indulges in guitar and harmonica, while "The Man Who Built The Moon" rises straight out of the ground. The two spacey instrumentals "Interlude (Wednesday Part 1)" and "End Credits (Wednesday Part 2)" as well as the acoustic, live recorded in the studio "Dead In The Water" complete the album. Who Built The Moon? is the most diverse and powerful work that Noel Gallagher has ever recorded with the High Flying Birds.
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Post by CFC2013 on Nov 22, 2017 8:42:21 GMT -5
clashmusic.com/reviews/noel-gallaghers-high-flying-birds-who-built-the-moon'Who Built The Moon?' The early days of Noel Gallagher’s solo career felt a little stilted, with a palpable reluctance to stray too far from what legions of Oasis fans might expect. As a consequence, the self-titled debut possessed very few songs that weren’t descended from the works of his former band. ‘Stop The Clocks’ was famously one of their songs that never quite worked out and ‘Soldier Boys And Jesus Freaks’ paid affection homage to ‘The Importance Of Being Idle’. At some point during the promotion of that record, Gallagher appeared to remember that he actually quite likes the musician lark and 2015’s ‘Chasing Yesterday’ was a little more playful in its nature. For all the headline-grabbing talk of saxophone usage, the key difference was the return of a deftness of touch that had deserted him some time around the turn of the millennium. ‘Riverman’ and ‘The Right Stuff’ revealed an artist in fine voice, quite willing to embrace an elder statesman role instead of attempting to prolong past glories. Curiously, Gallagher had initially tried to recruit the producer of this third solo album to perform those duties on that promising predecessor, but David Holmes had no desire to do some limited polishing of already finished songs, instead insisting that any work they would do together would be built up from scratch. ‘Who Built The Moon?’ is the result of several years of on-off efforts that prioritised up-tempo inclinations and the pursuit of fun. While it might not represent a dramatic reinvention, you’re more likely to want to dance to its highlights than point aggressively and bellow along. Take lead track and Ricky Martin-does-Slade delight, ‘Holy Mountain’. The horns are gloriously unrelenting, the vocal playfully distorted and the repetition euphorically shameless. However long the listener might spend trying to decide whether or not it is shit, it’s difficult not to be simultaneously swept along by its sense of abandon. It’s the tin whistle that does it, an instrument that is very much Noel 2.0 only. And the big choruses abound: ‘She Taught Me How To Fly’ and ‘If Love Is The Law’ are both joyous jangle-fests, the former all turbo-charged hi-hats and bold riffs, while the latter has a festive Spector-esque sleigh bell sheen. Opener ‘Fort Knox’ will no doubt draw comparisons with Oasis’ ‘Fuckin’ In The Bushes’ from 2000 album ‘Standing On The Shoulder Of Giants’, but beyond being largely free of voices and having a pugnacious strut, the similarities are limited. The alarm bell that emerges around the halfway mark makes for something of a feat of endurance, but it’s an amusingly cacophonous way to signify a change of focus. Both ‘Interlude’ and ‘End Credits’, subtitled ‘Wednesday’ parts 1 and 2 respectively, offer more delicate, almost pastoral instrumental breaks. Gallagher may not have leapt to entirely fresh terrain with this album, but it’s considerably more ambitious than anything else he’s put out in the last 20 years. ‘Black And White Sunshine’ is more traditional fare that appears to have been filtered through Holmes’ box of tricks, swirling around a psychedelic soundstage, while ‘It’s A Beautiful World’ evokes Noel’s previous forays into electronic music. His treated, distant vocal on the chorus is a joy, even if the lyrics are dependably platitudinous: “it’s a beautiful dream, a beautiful night, a beautiful world when we dance in the light” and so on. ‘Keep On Reaching’ is a bombastic soul blast with a soaring chorus, but Gallagher’s own comparisons with Sly Stone and Marvin Gaye are comically far-fetched. It is perhaps fitting that even its creator is unhelpfully setting the bar too high for ‘Who Built The Moon?’ as so many listeners will come to this with expectations of what he should be doing right now and be disappointed as a consequence. It’s not an Oasis record and it’s not a wholly experimental album either. However, it is his best work in an age and an interesting marker for a Weller-esque creative purple patch from an artist rediscovering their sense of purpose. As winter descends, these songs offer up an enveloping array of melody and an endearingly gleeful playfulness that is hard to resist. 8/10 Words: Gareth James Higher score than Swift's new album. Also a higher score than Oil Pipeline's "As You Were"
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Post by AubreyOasis on Nov 22, 2017 10:50:26 GMT -5
Yet another one (also positive) from The Washington Post: www.washingtonpost.com/entertainment/music/review-noel-gallagher-widens-sound-on-who-built-the-moon/2017/11/22/25134f48-cf95-11e7-a87b-47f14b73162a_story.html?utm_term=.cade2eba7487Review: Noel Gallagher widens sound on ‘Who Built the Moon?’ By Pablo Gorondi Noel Gallagher’s High Flying Birds, “Who Built the Moon?” (Sour Mash Records) His younger brother Liam’s new album has been heaped with praise, he turned 50 in May and a recent TV appearance featured a French bandmate playing scissors, earning Liam’s ridicule. Who said Noel Gallagher has it easy? Not that he’s had it too bad lately, either. The birthday bash had a mariachi band, Bono and Madonna; his previous HFB album — “Chasing Yesterday” from early 2015 — was very well received; and his Oasis hits like “Champagne Supernova,” ‘’Wonderwall” and “Don’t Look Back In Anger” are unforgettable classics. Gallagher’s third album with the High Flying Birds stretches some boundaries, digs a few new grooves, darkens the atmospheres and adds an extra degree of psychedelia to the rhythms. Produced by David Holmes, perhaps best known for his soundtracks like “Out of Sight” and George Clooney’s “Ocean’s” films, “Who Built the Moon?” is an unforced progression that sounds fab. Opener “Fort Knox” has few lyrics but heaps of chanting, plenty of percussion, irritating alarm clocks, and energy to spare. It’s a fearless start to the album but probably better experienced live. “Holy Mountain” keeps up the vitality with a touch of Beach Boys backing vocals and some Bowie/T. Rex glam traits built on a Phil Spectorish wall of sound. “Be Careful What You Wish For” has a persistent, funky riff akin to the Beatles’ ”Come Together”; “It’s a Beautiful World” has an early 1990s indie feel like Jesus Jones; and the chiming guitars on “Black & White Sunshine” would make it work equally well as a James Bond theme or an Austin Powers one. There a couple of spooky instrumentals and guest spots by Paul Weller and Johnny Marr, but “Who Built the Moon?” is definitely Noel Gallagher’s show, no maybe about it.
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Post by supernovastar94 on Nov 22, 2017 11:22:07 GMT -5
Seems positive reviews are flooding in?
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Post by CFC2013 on Nov 22, 2017 11:34:00 GMT -5
Seems positive reviews are flooding in? I'm looking forward to Pitchfork's rating now.
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Post by shinpad on Nov 22, 2017 11:35:12 GMT -5
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Post by aloneontherope on Nov 22, 2017 11:44:44 GMT -5
www.nme.com/reviews/album/noel-gallagher-who-built-the-moon-review4 out of 5 stars Noely G's best work since '(What's The Story) Morning Glory' What a difference two decades make. In the 90s we nailed our colours to Blur or Oasis; now we’re forced to choose between Oasis Oasis and Blur Oasis. Team Liam prefer things as they were – one massive, lairy love-in. Team Noel, meanwhile, are embracing a more experimental mindset and thereby, by some immense twist of cosmic irony, finally starting to live up to all those frigging Beatles comparisons at last. It’s hardly Oneohtrix Point Never but, for Noel, NGHFB’s third album ‘Who Built The Moon?’ marks a grand sonic expansion. First single ‘Holy Mountain’ set the retro-revisionist tone – the sound of glam-era Bowie, The Vaccines, Showaddywaddy and Ricky Martin all marching to Jona Lewie’s tin whistle – and its excitable, life-loving spirit infects Noel’s best album since ‘…Morning Glory’. Enshrouded in a kind of sepia rock dream-haze and one big lyrical air-punch, ‘…Moon’ beams with surprises. Opener ‘Fort Knox’ is a far more exotic ‘Fucking In The Bushes’ full of afrobeat choirs, a fire alarm and backing vocals like Florence Welsh atop a minaret. ‘Keep On Reaching’ is pounding space gospel while ‘It’s A Beautiful World’ could be early Spiritualized or Elbow remixed by Underworld, and includes a middle-eight in French that surprisingly reveals a greater grasp of the Gallic tongue than “je m’appelle Noël, cinq bières s’il vous plaît.” Producer David Holmes comes into his own in constructing the galloping orchestral western ‘If Love Is The Law’, a couple of instrumental interludes that could soundtrack a French arthouse movie and a bombastic finale in ‘The Man Who Built The Moon’ that practically demands they write a Bond film to go with it. But, bar the turgid swamp blues of ‘Be Careful What You Wish For’, it’s Noel’s freewheeling solo freedom and return-to-mega-form song-writing that makes this amongst the albums of the year. Noel shoots for ‘…The Moon’, and strikes bullseye.
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Post by CFC2013 on Nov 22, 2017 11:46:32 GMT -5
I think Noel's fears about this album being poorly received by the critics have been proven to be unfounded.
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Post by aloneontherope on Nov 22, 2017 11:52:04 GMT -5
www.independent.co.uk/arts-entertainment/music/reviews/album-reviews-noel-gallaghers-high-flying-birds-bjork-and-more-a8070121.html4 out of 5 stars Download this: Holy Mountain; It’s A Beautiful World; She Taught Me How To Fly; Be Careful What You Wish For Seven tracks into Who Built The Moon?, and the jangly guitar arpeggios heralding “Black & White Sunshine” remind you of what’s been missing so far – or to put it another way, of how far Noel Gallagher has come since Oasis. As it happens, with references to “glory days for the waifs and strays” and “you got the nerve, I got the brains”, it’s easy to read that song as being about that gilded past, recalled with wistful euphoria; but that was then, and this is now, and Noel has other fish to fry. And tasty fish they are, too. As might be expected from such an inveterate musical magpie, there are plenty of moments here that summon memories from pop history. But encouraged by the eclectic ears of producer David Holmes, these aren’t the kind of classic-rock influences that once routinely featured on Oasis albums, but more rarefied stitches from rock’s rich tapestry, referencing everything from Krautrock to soundtracks, voodoo to Velvets, world music to Wall of Sound. It’s a riot of musical colour, ingeniously marshalled by Holmes into a series of infectious, punchy pop cuts that allow Noel’s melodic instincts to cut through more clearly than in some while. The siren-like guitar sounds of “Fort Knox” offer a suitable hint of his ambitions, with jet planes swooping by, and drums battering in: it’s like a fanfare overture to the album, promising drama and panache. The single “Holy Mountain” is the first instalment of that drama, a chugging stomp with keening backing vocals, horns and a ticklish tin-whistle hook behind Gallagher’s monotone machine-gun vocal, rather like a fatter “Ca Plane Pour Moi” crossed with “She Bangs”. The pulsing electric piano groove of “Keep On Reaching”, again punctuated with funky horn stabs, sustains the energy into the itchily insistent shuffle of “It’s A Beautiful World”, which with its grinding guitar groove and quixotic association of sex and death recalls The Velvet Underground: “I sing a song of love, and you can teach me what you know of death”. I love “She Taught Me How To Fly”, featuring Noel’s treated vocal floating above a juddering Neu!-beat motorik; and the brief instrumental “Interlude (Wednesday Pt. 1)”, which extends the European flavour by adorning a cyclical acoustic guitar figure with organ, chimes and lead guitar, to create a kind of Euro-thriller character. Of course, there have to be a few Beatles references, but this time they’re blended into the one song, “Be Careful What You Wish For”, which sounds like “Come Together” done in the production style of “Instant Karma”, a loping, reverberant groove which carries his vocal like a camel crossing the desert. But the key to its success may be the backing vocals, which evoke both Dr John’s witchy Gris-Gris and the Trio Bulgarka’s polyphony. The result is moody, cool and mysterious, and quite magnificent. Of course, it’s not a perfect album. Sleigh bells and sonic opacity give “If Love Is The Law” a Spector-esque feel, but it’s the kind of yearning romance Noel could write in his sleep, and maybe did; and while the widescreen production of “The Man Who Built The Moon” strives to deliver the drama promised by “Fort Knox”, it doesn’t quite succeed. But it’s still by far his best post-Oasis work, an album which doesn’t try to challenge that heritage, but strikes out to explore new territory.
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Post by Manualex on Nov 22, 2017 11:54:33 GMT -5
Stephen Thomas Erlewine is the man for Oasis related reviews. shinpad what were his key tracks?
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Post by shinpad on Nov 22, 2017 12:00:05 GMT -5
Stephen Thomas Erlewine is the man for Oasis related reviews. shinpad what were his key tracks? Not sure - for whatever reason the tracklisting is not there when I go to the site but the review is. Maybe that will be fixed come release date.
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Post by theyknowwhatimean on Nov 22, 2017 12:16:15 GMT -5
This is promising. Erlewine doesn't give marks like that out willy-nilly (not for new releases, anyway).
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Post by liamgallagher1992 on Nov 22, 2017 12:43:11 GMT -5
Was always going to be an album praised by the "critics" for me. Not shocked at all.
Honestly, if this album contained Shock Of The Lightning, Falling Down, Riverman, Death Of You And Me and What A Life in one, youd be looking at 5/10 average.
Give them brass, flutes, french speaking and their ever so sophisticated pallets will be wet enough and theyll not feel dirty for mixing with the parka monkey anthems.
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Post by queenblougaredoc on Nov 22, 2017 13:01:57 GMT -5
Wow men, it's gettin great reviews from the major media,!!
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Post by ricardogce on Nov 22, 2017 13:04:09 GMT -5
Was always going to be an album praised by the "critics" for me. Not shocked at all. Honestly, if this album contained Shock Of The Lightning, Falling Down, Riverman, Death Of You And Me and What A Life in one, youd be looking at 5/10 average. Give them brass, flutes, french speaking and their ever so sophisticated pallets will be wet enough and theyll not feel dirty for mixing with the parka monkey anthems. As someone who enjoy brass, flutes, and the odd bit of French, I agree. I never expected it to be poorly reviewed. It's week-1 sales I wanna hear about.
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Post by Manualex on Nov 22, 2017 13:14:21 GMT -5
Wow men, it's gettin great reviews from the major media,!! I know that people dont like him but I wonder what Anthony Fantano has to Say about this one...
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Post by The Escapist on Nov 22, 2017 13:15:41 GMT -5
Wow men, it's gettin great reviews from the major media,!! I know that people dont like him but I wonder what Anthony Fantano has to Say about this one... He didn't like Fort Knox, I know that. But then again he gave My Beautiful Dark Twisted Fantasy a six and said Thinking of a Place was the worst track on the new War on Drugs album.
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Post by GreedyTune on Nov 22, 2017 13:37:47 GMT -5
Score ★★★★☆
Noely G's best work since '(What's The Story) Morning Glory'
What a difference two decades make. In the 90s we nailed our colours to Blur or Oasis; now we’re forced to choose between Oasis Oasis and Blur Oasis. Team Liam prefer things as they were – one massive, lairy love-in. Team Noel, meanwhile, are embracing a more experimental mindset and thereby, by some immense twist of cosmic irony, finally starting to live up to all those frigging Beatles comparisons at last.
It’s hardly Oneohtrix Point Never but, for Noel, NGHFB’s third album ‘Who Built The Moon?’ marks a grand sonic expansion. First single ‘Holy Mountain’ set the retro-revisionist tone – the sound of glam-era Bowie, The Vaccines, Showaddywaddy and Ricky Martin all marching to Jona Lewie’s tin whistle – and its excitable, life-loving spirit infects Noel’s best album since ‘…Morning Glory’.
Enshrouded in a kind of sepia rock dream-haze and one big lyrical air-punch, ‘…Moon’ beams with surprises. Opener ‘Fort Knox’ is a far more exotic ‘Fucking In The Bushes’ full of afrobeat choirs, a fire alarm and backing vocals like Florence Welsh atop a minaret. ‘Keep On Reaching’ is pounding space gospel while ‘It’s A Beautiful World’ could be early Spiritualized or Elbow remixed by Underworld, and includes a middle-eight in French that surprisingly reveals a greater grasp of the Gallic tongue than “je m’appelle Noël, cinq bières s’il vous plaît.”
Producer David Holmes comes into his own in constructing the galloping orchestral western ‘If Love Is The Law’, a couple of instrumental interludes that could soundtrack a French arthouse movie and a bombastic finale in ‘The Man Who Built The Moon’ that practically demands they write a Bond film to go with it. But, bar the turgid swamp blues of ‘Be Careful What You Wish For’, it’s Noel’s freewheeling solo freedom and return-to-mega-form song-writing that makes this amongst the albums of the year. Noel shoots for ‘…The Moon’, and strikes bullseye.
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Post by CFC2013 on Nov 22, 2017 14:25:31 GMT -5
Noel's album is up to 78 on Metacritic now.
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Post by The Escapist on Nov 22, 2017 14:28:38 GMT -5
Noel's album is up to 78 on Metacritic now. TWO MORE POINTS! TWO MORE POINTS!
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Post by CFC2013 on Nov 22, 2017 14:29:13 GMT -5
Noel's album is up to 78 on Metacritic now. TWO MORE POINTS! TWO MORE POINTS! Once they add Clash's interview, it should go up a bit.
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Post by spaneli on Nov 22, 2017 14:29:51 GMT -5
Noel's album is up to 78 on Metacritic now. We'll see if that holds. He has a 78 based on 8 reviews. That's about a third of the critics for As You Were. Rolling Stone, The AV Club, Telegraph, Spin, The Guardian, Pitchfork, Drowned in Sound, and Consequence of Sound are all unaccounted for.
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