Black Keys: "El Camino" ya está aquí!!!

KIM_BACALAO escribió:up!

gofio77 escribió:bueno siento subir el tema sin que se haya filtrado el disco, pero mi primer mensaje tenia que ser aqui. JODER NO AGUANTO MAS NECESITO ESTE DISCO!!. Para hacerlo algo mas llevadero les pongo la cancioncita EVIL (cancion extra del Thickfreakness edicion japonesa)


v=Bc2PGUFgoqQ

joder ojala TBK volvieran a aquel sonido.

PD: no me deja pegar el video por llevar menos de 7 dias registrado

gofio77 escribió:gracias por la bienvenida!

Se como poner videos de youtube, fotos y demas, solo que me dice que los usuarios con menos de 7 dias de antiguedad no pueden añadir enlaces externos, no lo habia visto nunca en ningun foro, pero creo q podre sobrevivir con ello

Kei escribió:Aunque hagan un truño y lo escucheis con prisas lo vais a votar como lo mejor del año, verdad??

Kei escribió:Aunque hagan un truño y lo escucheis con prisas lo vais a votar como lo mejor del año, verdad??

gofio77 escribió:

Kei escribió:Aunque hagan un truño y lo escucheis con prisas lo vais a votar como lo mejor del año, verdad??

y sin escucharlo tambien

The vehicle on the cover of The Black Keys' follow-up to Brothers is not, as you might think, a Chevrolet El Camino.

The album title (Spanish for "the road" or "the way") refers instead to the notion of pilgrimage: the humble minivan shown is the one in which the band spent the first two years of its existence, criss-crossing America on an endless string of shows, slowly building up the fanbase – and the expertise – which led them to the Grammy-winning success of Brothers and further still, to the 11 tracks which make up this tremendous, hook-laden, all-killer-no-filler collection, by some distance the most powerful, compelling rock album of the year.

The involvement of producer Brian "Danger Mouse" Burton from the start as an integral part of the writing and arrangement process has resulted not just in stronger, more pop-conscious hooks, but also in a more muscular interplay of bass and guitar lines than on previous Black Keys albums. On several tracks, the bass is prominently upfront in New Order manner, with guitar and organ bedded in behind, while Pat Carney's drums punch things along with aggressive panache, often at tempos well in excess of anything the duo have done before. There's an urgency and drive about these tracks that's simply exhilarating, right from the weirdly engaging de-tuned guitar figure that heralds the irresistible "Lonely Boy". Coming soon to a chart near you, this is a slice of superior, intelligent pop-rock that plays artfully with influences, without once seeming academic, the T Rex-style offbeat guitar twitch riding a propulsive drum shuffle, and the song exploding exultantly into massed vocal choruses of almost gospel splendour.

If you can stop yourself putting "Lonely Boy" on repeat, the glories pile up ever higher, with a pronounced 1970s flavour permeating many tracks. With its lolloping blues groove punctuated by squalls of piercing lead guitar, "Gold on the Ceiling" sounds like the GlitterBand backing Johnny Winter; the epic "Little Black Submarines" transforms mid-song from moody acoustic reflection to full-blown Led Zep blues-rock barrage; and there's even a voice-bag guitar solo on "Money Maker", summoning echoes of Jeff Beck. Burton, meanwhile, laces threads of celeste, little glockenspiel details and subtle organ washes throughout the album, deftly occupying the empty spaces once present on The Black Keys' more spartan recordings: at a guess, I'd imagine the evocative melody of "Dead and Gone" derives from his interest in Italian film music, harnessed here to another declamatory funk-stomp groove.

Dan Auerbach's lyrics are fairly perfunctory – he'll go anywhere she goes, money is filthy, a broken heart is blind, she's the worst thing he's been addicted to, and so on – but their very lack of reflection just adds to the sense of momentum barreling El Camino along at a furious pace, as if there's no time to get too deeply into things; and his frequent touches of falsetto ultimately convey much more, in terms of soulful engagement with his subject, than mere words. Here, the voice is just another instrument, primed to help the music punch its way more efficiently into your heart.

Txomin escribió:

gofio77 escribió:gracias por la bienvenida!

Se como poner videos de youtube, fotos y demas, solo que me dice que los usuarios con menos de 7 dias de antiguedad no pueden añadir enlaces externos, no lo habia visto nunca en ningun foro, pero creo q podre sobrevivir con ello

freakedu escribió:

Txomin escribió:

gofio77 escribió:gracias por la bienvenida!

Se como poner videos de youtube, fotos y demas, solo que me dice que los usuarios con menos de 7 dias de antiguedad no pueden añadir enlaces externos, no lo habia visto nunca en ningun foro, pero creo q podre sobrevivir con ello

Es una medida anti-spam nueva de foroactivo.

Y de paso aprovecho para subir el tópic y tocar un poco las narices.

Miss Brownstone escribió:Necesito escuchar este disco de una p**a vez!

New Black Keys release El Camino: 5 out of 5 stars in The Independent.

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guede escribió:

Miss Brownstone escribió:Necesito escuchar este disco de una p**a vez!

New Black Keys release El Camino: 5 out of 5 stars in The Independent.

.

si es de fiar musicalmente este diario disco del año, ahí, in extremis, jejejee. Por cierto, digo yo que entre lunes y martes se filtrará ya, no?? una semanita de antelación de rigor es lo que se va estilando últimamente...

Nashville, Tennessee, is renowned as the home of country music. And yet this very traditional town has become home to a number of noisy, un-house-trained rock bands of late. Jack White moved his family from Detroit to Nashville some years ago to run Third Man Records; Nashville is where the troubled Kings of Leon call home. More recently, blues-rock duo the Black Keys left their native Ohio to take the waters and record their seventh album there.

Perhaps not coincidentally, El Camino finds the Black Keys moving into a space sited halfway between Jack's place and Leon mansions. Ever since the Black Keys' visceral second album, 2003's garage-blues romp Thickfreakness hoiked its riffs over the parapet, guitarist Dan Auerbach and drummer Patrick Carney have been dogged by unfavourable comparisons with the White Stripes, a similarly underpopulated, bass-less and raucous two piece with a colour in their name.

The Keys finally shrugged off those comparisons with the release of their last album, 2010's Brothers, a Billboard No 2 album that catapulted the pair out of renown and into contention. It has sold around 1 million copies worldwide and bagged the band three Grammys, thanks in part to its louche subtlety, groove content and the nimble Danger Mouse production flourishes on its hit single, "Tighten Up". At the time of writing, the Black Keys have just sold out two nights at London's 10,000-capacity Alexandra Palace next February, laying bare the exaggeration in industry assumptions that rock acts are a spent force.

El Camino, though, sounds nothing like Brothers. Brian "Danger Mouse" Burton is back on board for the whole album this time and he seems to have tightened up the Black Keys' act rather than loosened it. Sidelong, cross-genre winks at R&B are conspicuous by their absence. The album's Nashville genesis is pretty much irrelevant – the creative flags here all point to rock'n'roll and 60s garage. The Keys have also name-dropped the Clash and the Cramps as influences this time around, but neither really stands proud, unless you count the surprise reggae slouch that creeps up on "Hell of a Season".

Sometimes, the gnarl here is superlative. "Little Black Submarines" begins as an unremarkable acoustic ballad, but halfway through, Auerbach's guitar and Carney's drums erupt triumphantly in full lairy Zeppelin mode. It's hard to resist the taut and catchy single, "Lonely Boy" – an opener that lays bare this album's prerogatives. As El Camino wends on, tracks such as "Stop Stop" reinforce the impression of a punchy, danceable record built for good times.

This increased vigour comes at a small price. El Camino may be fast and fun, but it is also somewhat undemanding. It lacks the eclectic savvy of Brothers and other Keys' works, notably 2009's Blakroc collaborations with a host of hip-hop names. Songs such as "Sister" manage to fuse a kind of 70s smugness with an 80s pop-rock sensibility.

You could categorise El Camino – an album named for a car that is not the car on its cover – as a great leap backwards, full of the spirit of the band's early period, but retooled and souped-up with an ear for the bigger spaces. In revving so hard, though, the Black Keys have perhaps left behind in the dust the subtleties that made Brothers such an intriguing ride.

Spoiler:

Spoiler:

Floyd Cadet escribió:

albichuela escribió:Aquí está en primicia mundial

Spoiler:

Se aceptan chupaditas jeje

Rebellion escribió:

albichuela escribió:Aquí está en primicia mundial

Spoiler:

Se aceptan chupaditas jeje

Txomin escribió:Habrá que darle las escuchas necesarias para que cumpla con las expectativas.

KIM_BACALAO escribió:disco del año!

KIM_BACALAO escribió:disco del año!

albichuela escribió:

KIM_BACALAO escribió:disco del año!

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