Tonight, with all sold, the new group of Liam Gallagher arrives in Spain to pass the smell test in La Riviera (Madrid) for their debut album, Different Gear, Still Speeding. And as you continue this tour, go releasing the weight is falling on his back to goal on the first disk after removal of Oasis, with the inevitable comparison with the band feeding.
I am convinced that this album aims to release, break the chains that are doomed to live in the shadow of the talent of Noel Gallagher, and what he meant in Oasis. They have therefore decided to dispense with the epic or the sophisticated consistency of those records, to deliver a disk clean, lightweight, and lack of pretension that reduces its importance, but much more pleasant to listen to 13 tracks that make up a decent album, which was not so clear they could get.
The first thing that surprised, positively, is the confidence with which face this new stage, which generally maintain the level of the songs that Liam, Gem and Andy contributed to Oasis, and sometimes, the better. This is facilitated by an intelligent production of Steve Lillywhite, capable of enriching the songs without cluttering while maintaining a lightness of gratitude, perhaps lubricating a sound like the album lies in a common point between the Stereophonics music (mostly), and Charlatans more pop albums by Manic Street Preachers (minor).
What is most grateful for the album is, above all, in charge of security throughout the album show Liam Gallagher, in a voice which, though it is their high levels of 90, it sounds aggressive, ambitious and challenging, leaving magnetic frontman flashes fascinated us with his rough pronunciation of the 'rock & roll star' of his generation, which makes 'Four letter word' in a tremendous demonstration of instinct, guts and energy.
And it continues not bad, a 'Millionaire' with a fantastic melody built on acoustic and slide guitar, and vocal melody that conveys a carefree joviality did not listen much to Liam. As if in a good mood and your day consisted in letting us know, especially now that does not match with Noel.
And after the first two contributions, 'The Roller', composed by Gem, and despite the plagiarism / tribute / nod to 'Instant Karma', resulting in a solid ballad with a hook, with a chorus that you are not out of my head . Then, despite having the title of 'Beatles and Stones "and his swagger (I'm gonna stand the test of time / like Beatles and Stones), transmitting all the energy gives the heyday of the Who and all rage of any punk band and is, in my opinion, the best song Liam signed to date.
Unfortunately, this breaks full of hits with 'Wind up dream', a song with a riff and a chorus as predictable as many of the songs on Be Here Now, which, for normalillo that is, annoying to be located between two highlights of the album, the prelude to the first song I knew of them, in essence glam, and drinking both T-Rex as Jerry Lee Lewis, with its insistent piano and some female vocals that strengthen a great song that ends a outstanding first half of the album.
Since then, a distribution in which cross the mid-tempo and ballads, but it is more irregular in terms of results. For example, shines the simple, bright and songbirdiana 'For anyone's, and include both friendly beatliana piano ballad' The Beat Goes On ', and' Kill for a Dream ', which recalls, more flavor than texture to 'Keep the dream alive' (from Do not Believe the Truth).
This group could join a 'Wigwam' if it were not for the final 3 minutes of song, an unnecessary loop, practically a reprise, which does not contribute, unless it was the last song, but strain it as track 10 of 13 , decentralization, taking into account that follows from 'Three ring circus', a series of riffs surly breaking dynamics calmer second half of this album.
It's simply a good song, but out of place. It all ends with the final 'The morning is' buscadamente acoustics and evocative, with a chorus envelopes, which endorses that although beautifully produced, in the half-times diluted part of the personality of the group, which convinces most expensive dog, smiling in complicity.
Considering the past of the musicians remain disappointed that their influences rather than trying to move forward, and that the album is a worthy album from a veteran band with a new name. If we interpret the album as a debut, we could say that would be another promising bet the 2011 British attempt to recover some of the aura of Britpop that track even though it would be a revival of what sounded less than 20 years.
Decontextualizing, despite the desire that many people had that fails, the result is a remarkable album, which rejuvenates their forties members who recovers forgotten some qualities that we thought (the defiant voice of Liam, a good catalog of riffs on batteries forceful expression of arrogance and enthusiasm, a wild spirit) and that makes us to hope for the future of the group.
To see if the separation will be beneficial to both parties ... 
I am convinced that this album aims to release, break the chains that are doomed to live in the shadow of the talent of Noel Gallagher, and what he meant in Oasis. They have therefore decided to dispense with the epic or the sophisticated consistency of those records, to deliver a disk clean, lightweight, and lack of pretension that reduces its importance, but much more pleasant to listen to 13 tracks that make up a decent album, which was not so clear they could get.
The first thing that surprised, positively, is the confidence with which face this new stage, which generally maintain the level of the songs that Liam, Gem and Andy contributed to Oasis, and sometimes, the better. This is facilitated by an intelligent production of Steve Lillywhite, capable of enriching the songs without cluttering while maintaining a lightness of gratitude, perhaps lubricating a sound like the album lies in a common point between the Stereophonics music (mostly), and Charlatans more pop albums by Manic Street Preachers (minor).
What is most grateful for the album is, above all, in charge of security throughout the album show Liam Gallagher, in a voice which, though it is their high levels of 90, it sounds aggressive, ambitious and challenging, leaving magnetic frontman flashes fascinated us with his rough pronunciation of the 'rock & roll star' of his generation, which makes 'Four letter word' in a tremendous demonstration of instinct, guts and energy.
And it continues not bad, a 'Millionaire' with a fantastic melody built on acoustic and slide guitar, and vocal melody that conveys a carefree joviality did not listen much to Liam. As if in a good mood and your day consisted in letting us know, especially now that does not match with Noel.
And after the first two contributions, 'The Roller', composed by Gem, and despite the plagiarism / tribute / nod to 'Instant Karma', resulting in a solid ballad with a hook, with a chorus that you are not out of my head . Then, despite having the title of 'Beatles and Stones "and his swagger (I'm gonna stand the test of time / like Beatles and Stones), transmitting all the energy gives the heyday of the Who and all rage of any punk band and is, in my opinion, the best song Liam signed to date.
Unfortunately, this breaks full of hits with 'Wind up dream', a song with a riff and a chorus as predictable as many of the songs on Be Here Now, which, for normalillo that is, annoying to be located between two highlights of the album, the prelude to the first song I knew of them, in essence glam, and drinking both T-Rex as Jerry Lee Lewis, with its insistent piano and some female vocals that strengthen a great song that ends a outstanding first half of the album.
Since then, a distribution in which cross the mid-tempo and ballads, but it is more irregular in terms of results. For example, shines the simple, bright and songbirdiana 'For anyone's, and include both friendly beatliana piano ballad' The Beat Goes On ', and' Kill for a Dream ', which recalls, more flavor than texture to 'Keep the dream alive' (from Do not Believe the Truth).
This group could join a 'Wigwam' if it were not for the final 3 minutes of song, an unnecessary loop, practically a reprise, which does not contribute, unless it was the last song, but strain it as track 10 of 13 , decentralization, taking into account that follows from 'Three ring circus', a series of riffs surly breaking dynamics calmer second half of this album.
It's simply a good song, but out of place. It all ends with the final 'The morning is' buscadamente acoustics and evocative, with a chorus envelopes, which endorses that although beautifully produced, in the half-times diluted part of the personality of the group, which convinces most expensive dog, smiling in complicity.
Considering the past of the musicians remain disappointed that their influences rather than trying to move forward, and that the album is a worthy album from a veteran band with a new name. If we interpret the album as a debut, we could say that would be another promising bet the 2011 British attempt to recover some of the aura of Britpop that track even though it would be a revival of what sounded less than 20 years.
Decontextualizing, despite the desire that many people had that fails, the result is a remarkable album, which rejuvenates their forties members who recovers forgotten some qualities that we thought (the defiant voice of Liam, a good catalog of riffs on batteries forceful expression of arrogance and enthusiasm, a wild spirit) and that makes us to hope for the future of the group.
To see if the separation will be beneficial to both parties ...
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