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Post by bt95 on Nov 23, 2017 5:47:23 GMT -5
Love the desperate backtracking on here. Last year, the charts meant nothing and were a load of shite. Now, with good reviews for Noel, they’re ever so important as a sign of quality. You must all dig the likes Chainsmokers or Rita Ora! I think its cool to knock the charts because none of our favourite artists get in them. But lets face it we will all be spending the next week checking sales figures each day in the hope it gets no.1 Album charts certainly count. It will be great for Noel to get to no.1 for the 10th consecutive time. Some feat by anybody's reckoning. Singles - unfortunately, the art of the single has died away. All of the music in the singles charts sounds the same, mostly because it's all the same bloody songwriters (people like Greg Kurstin, though of course that's just an example) who pop up with different 'artists' all the time.
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Post by aloneontherope on Nov 23, 2017 9:47:49 GMT -5
www.rollingstone.de/reviews/noel-gallaghers-high-flying-birds-who-built-the-moon/Rolling Stone Germany (translated to English): 4 out of 5 stars David Holmes takes the pop of the ex-oasis head to a new level It is no coincidence that the third album of Noel Gallagher 's High Flying Birds opens with a psychedelic, Far Eastern colored quasi-instrumental called "Fort Knox", named after the place in Kentucky that was the gold reserve of the United States applies. In other words, the precious metal detector will turn out to be as heavy as these eleven songs plus bonus track, as Noel has previously rejected any offer for an Oasis reunion. It seems he has just properly configured his solo-songwriter identity with the help of Irish DJ and producer David Holmes, whose remixes already feature pieces by U2, Manic Street Preachers and Primal Screamto a new level, but also known for his film scores. On the one hand, this cineastic flair and a degree in sound landscape architecture make "Who Built The Moon?" A bold, fast-moving expedition in the widescreen format that keeps the most important in focus: the melodies. "She Taught Me How To Fly" does not have any stanzas at all, but two different choruses, picks up the "Put your money where your mouth is" slogan sung on "Standing On The Shoulder Of Giants" and donates another New Order -Guitar. There's Mad Chan's rave reminiscences ("It's A Beautiful World"), "The Man Who Built The Moon" orchestra, and just one ballad: the deadly acoustic bonus track "Dead," unlike the eleven regular tracks In The Water ". Paul Weller plays organ on "Holy Mountain", which reminds a bit of "Ça plane pour moi"; Johnny Marr contributes guitar and harmonica to Phil Spector's memory production "If Love Is The Law". While "Chasing Yesterday" only occasionally ventured new impulses, "Who Built The Moon?" Brings the musical broadening of horizons that Noel Gallagher has long been able to do. He just has the master plan.
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lau
Madferrit Fan
Posts: 99
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Post by lau on Nov 23, 2017 10:14:18 GMT -5
drownedinsound.com/releases/20151/reviews/4151508“They’ll let you sing your songs, son, but they’ll never hear you scream” offers Noel Gallagher on ‘Be Careful What You Wish For’, a strange, soulful tune from this here new record Who Built The Moon? that veers between a shuddering, low-key guitar riff, Ray Manzarek-like organ splashes and layer upon layer of choral backing vocal, all held up by a strict, shuddering electronic beat. Yes, that’s correct. Noel Gallagher’s High Flying Birds have made a record unlike any they or Gallagher have made before. We really do hear him scream - on tracks like ‘Keep On Reaching’ (don’t worry, Oasis fans - the titles are all as comfortingly banal as one might expect) where huge banks of horns collide with Spector wall of sound drums and shouted, snarled vocals from the 50-year old dad-rocker. His voice apes that of The Vaccines’ Justin Hayward-Young on single ‘Holy Mountain’. His garage rock wail crashes over a glam rock stomp leading to a chorus that’s irresistibly similar to disco hit ‘Ca Plane Pour Moi’. This is not usual. This is not the middle-of-the-road rock n’ roll we’ve come to expect and, quietly, accept from Noey-Gs. This must be, in large part, due to the guiding hand of producer David Holmes. Perhaps in a partial attempt to reignite his creativity in the way Paul Weller (who guests briefly on the aforementioned ‘Holy Mountain’) has in recent years, or even in a grandiose gesture mirroring Primal Scream’s recreation at the hands of Andrew Weatherall on Screamadelica, Gallagher has allowed his steady, formulaic musical foundations to be torn away and has been led to higher ground by Holmes’ guiding hand. The results are outlandish and peculiar. On ‘It’s A Beautiful World’, which briefly recalls his big-beat collaboration with Chemical Brothers on ‘Setting Sun’, we get a star-speckled chorus with a muted, loudhailer vocal effect augmented by the rich voice of Le Volume Curbe singer Charlotte Marionneau. “Do it like a dance” Gallagher demands…sexily? The melancholic, drawling guitar line courtesy of ex-Beady Eye fella Gem Archer is beguiling; the song as a whole a profoundly unexpected but not unpleasant experience. ‘She Taught Me How To Fly’ hints at Gallagher’s straight-ahead rock past before squirling off into space with a multi-tracked, almost ethereal vocal line set against New Order drum machinery and a Peter Hook-y bassline that carries the rest of the song along on its broad shoulders. Lyrically of course there’s nothing much to be gained here. “So put your money where your mouth is / If you know where to draw the line” is about the standard of couplet we’re given along with throwaway nonsense like “No need to shout / What you bitchin’ about?” (‘Holy Mountain’). Yet that’s to be expected. There’s at least one interesting line in the shape of “I’ll sing a song of love and you can teach me what you know of death” (‘It’s A Beautiful World’) but it stands out like a clown at a funeral. Or, you know, whatever the opposite of that is. Words ain’t the thing here, that’s for sure. It’s this big, bold, brash production and this array of sonic left turns that are capable of leaving the listener reeling. ‘The Man Who Built The Moon’ begins as an epic, space-rock stormer that would appear to defy description. But let’s try, eh? An off-kilter, Queen-penned video game soundtrack song? A power-prog explosion fed through an off-kilter Nineties dance mincer? It backs off into a trad rock corner before bursting out of the blocks again, horrifically melodramatic and in sharp contrast to Gallagher’s “We never should have left town in the first place” platitudes. It is, quite frankly, fucking nuts. But is it any good? IS IT? Well, the Roddy Frame-sounding, Johnny Marr-guesting ‘If Love Is The Law’ holds the record’s most melancholic and masterful melody - in fact, it’s bloody lovely; ‘Black And White Sunshine’ soars and swoops just where it needs to with a Smithsy guitar chime and further lyrical banality (“the weight of the world is dragging me down, down, down.”). So there are moments when simple sense can be made and one can ascribe straightforward terms like ‘decent song’ and ‘not a bad track, that’ to them. Yet they are few and far between. Instrumental interludes like, er, ‘Interlude’ and ‘End Credits’ (that one’s at the end, folks) stir the pot further - pastoral, proggy and somehow serene they contrast almost comically with the frantic world-building of the rest of the record. Gallagher has, for the most part, shed his retro skin and Oasis go-to moments here - often at the expense of things people really like such as recognisable melodies, big tunes and predictable chord changes performed by predictable band blokes. The moments of recognisably female voice contributions provided by the aforementioned Marionneau and session singers (deep breath) Michelle John, Janet Ramos, Una McGeough, Georgina McGeough, Audrey Gbaguidi, Beverley Skeete, Sara-Jane Skeete, Mary Pearce and Adelaide McKenzie are a welcome respite from that approach. Also to be praised is Emre Ramazanoglu for the programming and percussion skills that help lift this record out of the ordinary. Though of course it has Gallagher’s name on it and he’s the guy with the songs, this feels like Holmes’ record - a studio-created melting pot of awkward approaches, inspired instrumentation, the occasional colossal flop and a few genuinely unique moments. More power to Gallagher for giving him the reigns here and allowing himself to be guided into territory that’s often fresh, sometimes really interesting but, above all, utterly atypical and bizarre. It’s worth a listen. 6
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Post by spaneli on Nov 23, 2017 10:21:38 GMT -5
As You Were got a 4/10 from Drowned in Sound. So, a 6 is really good for Noel. I love reading when a reviewer wants to hate something so badly, but can't.
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Post by aloneontherope on Nov 23, 2017 10:31:31 GMT -5
Am really liking the range of receptions. Still no outright bad review yet. Even the review from DiS reads like a reviewer having to think hard on what he says. Love the 'is it any good? IS It?' He questions himself and eventually concludes that it's worth a listen. Nice one.
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Post by thenoller on Nov 23, 2017 10:34:26 GMT -5
Hi guys in Melbourne Australia Just got it on Spotify Listening now
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Post by Mean Mrs. Mustard on Nov 23, 2017 11:10:00 GMT -5
OOR's review wasn't very positive... It was actually quite weird. It said Liam's album was better for the vocals and instant catchiness, but Noel's is more intelligent and layered. He also said Liam's song are shorter and with a short expiration date.
IABW, If Love Is The Law and The Man Who Built The Moon are described as highlights. He goes into detail about Fort Knox and Holy Mountain, but the rest is more of a summary, because the album isn't very "telling" (comes across as if he didn't actually listen, but whatever) He also says the fact Noel knows how to write a decent popsong means this ambitious record has been saved by that, but barely.
They don't work with grades or stars.
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Post by aloneontherope on Nov 23, 2017 11:19:58 GMT -5
OOR's review wasn't very positive... It was actually quite weird. It said Liam's album was better for the vocals and instant catchiness, but Noel's is more intelligent and layered. He also said Liam's song are shorter and with a short expiration date. IABW, If Love Is The Law and The Man Who Built The Moon are described as highlights. He goes into detail about Fort Knox and Holy Mountain, but the rest is more of a summary, because the album isn't very "telling" (comes across as if he didn't actually listen, but whatever) He also says the fact Noel knows how to write a decent popsong means this ambitious record has been saved by that, but barely. They don't work with grades or stars. I think either Gallagher will gladly accept something along the lines of 'an ambitious record saved'. It's a minor win for them.
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Post by andymorris on Nov 23, 2017 12:29:21 GMT -5
I really dont want to like it but i love it - kind of review. vagina.
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Post by CFC2013 on Nov 23, 2017 13:00:15 GMT -5
Who's OOR again? I forgot.
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Post by SheSaidHerNameWasDot on Nov 23, 2017 14:01:56 GMT -5
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Post by tatomoon on Nov 23, 2017 14:11:12 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. something tells me it might drop a bit
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Post by deadman on Nov 23, 2017 14:17:05 GMT -5
drownedinsound.com/releases/20151/reviews/4151508“They’ll let you sing your songs, son, but they’ll never hear you scream” offers Noel Gallagher on ‘Be Careful What You Wish For’, a strange, soulful tune from this here new record Who Built The Moon? that veers between a shuddering, low-key guitar riff, Ray Manzarek-like organ splashes and layer upon layer of choral backing vocal, all held up by a strict, shuddering electronic beat. Yes, that’s correct. Noel Gallagher’s High Flying Birds have made a record unlike any they or Gallagher have made before. We really do hear him scream - on tracks like ‘Keep On Reaching’ (don’t worry, Oasis fans - the titles are all as comfortingly banal as one might expect) where huge banks of horns collide with Spector wall of sound drums and shouted, snarled vocals from the 50-year old dad-rocker. His voice apes that of The Vaccines’ Justin Hayward-Young on single ‘Holy Mountain’. His garage rock wail crashes over a glam rock stomp leading to a chorus that’s irresistibly similar to disco hit ‘Ca Plane Pour Moi’. This is not usual. This is not the middle-of-the-road rock n’ roll we’ve come to expect and, quietly, accept from Noey-Gs. This must be, in large part, due to the guiding hand of producer David Holmes. Perhaps in a partial attempt to reignite his creativity in the way Paul Weller (who guests briefly on the aforementioned ‘Holy Mountain’) has in recent years, or even in a grandiose gesture mirroring Primal Scream’s recreation at the hands of Andrew Weatherall on Screamadelica, Gallagher has allowed his steady, formulaic musical foundations to be torn away and has been led to higher ground by Holmes’ guiding hand. The results are outlandish and peculiar. On ‘It’s A Beautiful World’, which briefly recalls his big-beat collaboration with Chemical Brothers on ‘Setting Sun’, we get a star-speckled chorus with a muted, loudhailer vocal effect augmented by the rich voice of Le Volume Curbe singer Charlotte Marionneau. “Do it like a dance” Gallagher demands…sexily? The melancholic, drawling guitar line courtesy of ex-Beady Eye fella Gem Archer is beguiling; the song as a whole a profoundly unexpected but not unpleasant experience. ‘She Taught Me How To Fly’ hints at Gallagher’s straight-ahead rock past before squirling off into space with a multi-tracked, almost ethereal vocal line set against New Order drum machinery and a Peter Hook-y bassline that carries the rest of the song along on its broad shoulders. Lyrically of course there’s nothing much to be gained here. “So put your money where your mouth is / If you know where to draw the line” is about the standard of couplet we’re given along with throwaway nonsense like “No need to shout / What you bitchin’ about?” (‘Holy Mountain’). Yet that’s to be expected. There’s at least one interesting line in the shape of “I’ll sing a song of love and you can teach me what you know of death” (‘It’s A Beautiful World’) but it stands out like a clown at a funeral. Or, you know, whatever the opposite of that is. Words ain’t the thing here, that’s for sure. It’s this big, bold, brash production and this array of sonic left turns that are capable of leaving the listener reeling. ‘The Man Who Built The Moon’ begins as an epic, space-rock stormer that would appear to defy description. But let’s try, eh? An off-kilter, Queen-penned video game soundtrack song? A power-prog explosion fed through an off-kilter Nineties dance mincer? It backs off into a trad rock corner before bursting out of the blocks again, horrifically melodramatic and in sharp contrast to Gallagher’s “We never should have left town in the first place” platitudes. It is, quite frankly, fucking nuts. But is it any good? IS IT? Well, the Roddy Frame-sounding, Johnny Marr-guesting ‘If Love Is The Law’ holds the record’s most melancholic and masterful melody - in fact, it’s bloody lovely; ‘Black And White Sunshine’ soars and swoops just where it needs to with a Smithsy guitar chime and further lyrical banality (“the weight of the world is dragging me down, down, down.”). So there are moments when simple sense can be made and one can ascribe straightforward terms like ‘decent song’ and ‘not a bad track, that’ to them. Yet they are few and far between. Instrumental interludes like, er, ‘Interlude’ and ‘End Credits’ (that one’s at the end, folks) stir the pot further - pastoral, proggy and somehow serene they contrast almost comically with the frantic world-building of the rest of the record. Gallagher has, for the most part, shed his retro skin and Oasis go-to moments here - often at the expense of things people really like such as recognisable melodies, big tunes and predictable chord changes performed by predictable band blokes. The moments of recognisably female voice contributions provided by the aforementioned Marionneau and session singers (deep breath) Michelle John, Janet Ramos, Una McGeough, Georgina McGeough, Audrey Gbaguidi, Beverley Skeete, Sara-Jane Skeete, Mary Pearce and Adelaide McKenzie are a welcome respite from that approach. Also to be praised is Emre Ramazanoglu for the programming and percussion skills that help lift this record out of the ordinary. Though of course it has Gallagher’s name on it and he’s the guy with the songs, this feels like Holmes’ record - a studio-created melting pot of awkward approaches, inspired instrumentation, the occasional colossal flop and a few genuinely unique moments. More power to Gallagher for giving him the reigns here and allowing himself to be guided into territory that’s often fresh, sometimes really interesting but, above all, utterly atypical and bizarre. It’s worth a listen. 6 "I like it, I like it, I like it, I like it. Noel Gallagher? Shit, better give it a 6, then."
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Post by theyknowwhatimean on Nov 23, 2017 15:01:11 GMT -5
I'm pretty sure it wasn't here.
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Post by SheSaidHerNameWasDot on Nov 23, 2017 15:06:32 GMT -5
I'm pretty sure it wasn't here. Tough.
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lau
Madferrit Fan
Posts: 99
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Post by lau on Nov 23, 2017 15:09:32 GMT -5
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Post by spaneli on Nov 23, 2017 15:17:31 GMT -5
The guardian as I understand it usually releases 2 reviews. Which one actually counts toward the Metacritic score? Edit: Never mind, both count. 4/5 is fantastic.
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Post by AubreyOasis on Nov 23, 2017 15:27:24 GMT -5
The guardian as I understand it usually releases 2 reviews. Which one actually counts toward the Metacritic score? Edit: Never mind, both count. 4/5 is fantastic. Great score and great review The other one from The Guardian appears typically as "The Observer". I think it is out only on sunday Edit: great review except for the mention to IABW. How can someone compare it to Elbow is beyond me
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Post by AubreyOasis on Nov 23, 2017 15:49:22 GMT -5
I really dont want to like it but i love it - kind of review. vagina. Actually, DiS made a surprisingly good review of CY: the score was 7/10 and the guy almost apologised for it, saying in twitter that he was eager to write a bad review for Noel, but that the album was actually good. But they got a lot of negative feedback in comments and social networks anyway. That's the problem with this type of sites: their readers want them to slag off "uncool" acts like Noel and Liam. So even if they like the album, it's difficult for them to go beyond 6-7
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Post by matt on Nov 23, 2017 16:14:26 GMT -5
Love the desperate backtracking on here. Last year, the charts meant nothing and were a load of shite. Now, with good reviews for Noel, they’re ever so important as a sign of quality. You must all dig the likes Chainsmokers or Rita Ora! I think its cool to knock the charts because none of our favourite artists get in them. But lets face it we will all be spending the next week checking sales figures each day in the hope it gets no.1 I won't because I couldn't care less. Doesn't take the shine off the albums at all - 2017 will always be the year Noel and Liam both released excellent albums, and that's all that matters.
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Post by liamgallagher1992 on Nov 23, 2017 16:45:40 GMT -5
I think its cool to knock the charts because none of our favourite artists get in them. But lets face it we will all be spending the next week checking sales figures each day in the hope it gets no.1 I won't because I couldn't care less. Doesn't take the shine off the albums at all - 2017 will always be the year Noel and Liam both released excellent albums, and that's all that matters. It'd still be a nice trivia question in 30 years sat round the boxing day table.
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Post by Beady’s Here Now on Nov 23, 2017 22:20:20 GMT -5
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Post by Beady’s Here Now on Nov 23, 2017 22:22:32 GMT -5
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Post by Mean Mrs. Mustard on Nov 24, 2017 2:07:22 GMT -5
Who's OOR again? I forgot. A Dutch music magazine.
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Post by AubreyOasis on Nov 24, 2017 2:26:43 GMT -5
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