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Track List
01) We Share the Same Sun
02) Graffiti on the Train
03) Indian Summer
04) Take Me
05) Catacomb
06) Roll the Dice
07) Violins and Tambourines
08) Been Caught Cheating
09) In a Moment
10) No-one's Perfect
01) We Share the Same Sun
02) Graffiti on the Train
03) Indian Summer
04) Take Me
05) Catacomb
06) Roll the Dice
07) Violins and Tambourines
08) Been Caught Cheating
09) In a Moment
10) No-one's Perfect
3:44
5:03
4:27
3:50
3:14
4:04
4:59
4:20
5:25
3:59
Data Complete 80%
Total Rating
Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2013
Pop-Rock
Reflective
Rock/Pop
---
Medium
Album
0 copies
Album Description
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Graffiti on the Train es el octavo álbum de la banda, Publicado el 4 de marzo de 2013, grabado en los propios estudios de Kelly Jones. Tras un parón y la salida de Javier Weyler, el grupo volvió con un nuevo impulso. Fue un proyecto más conceptual, originalmente, Kelly planeaba una trilogía acompañada de guiones cinematográficos. Al final, quedó en un solo disco, pero la intención narrativa se percibe.
El sonido era más atmosférico y cinematográfico, con cuerdas, arreglos orquestales y un aire melancólico. “Indian Summer” fue el gran éxito, recordando que la banda aún podía colarse en las radios, mientras que la canción titular “Graffiti on the Train” mostraba su cara más ambiciosa y madura.
El disco revitalizó a la banda, fue bien recibido y abrió una nueva etapa en la que Stereophonics dejaron atrás la etiqueta britpop para abrazar una identidad más amplia.
User Album Review
The eighth studio album from Stereophonics finds Kelly Jones at a crossroads.
Post-greatest hits, Graffiti on the Train comes out on the band's own label Stylus Records and presumably affords Jones the time and space to carve a new niche.
And somehow, just about, he does. This is, inevitably, a more grown-up record than we've heard from him before.
Not that Jones has ever been anything less than serious. But Graffiti on the Train feels relaxed, at terms with its place in the world – and if that risks longueurs of steadfastly ordinary rock, then them's the breaks.
Its opening is typical, with We Share the Same Sun turning a bluesy guitar over and over against sinister keys – no quick rewards here.
Later, the album broods, as on the semi-gothic Take Me, or the doo-wopping trad-rock Been Caught Cheating – the latter eventually erupting into a more familiar, anthemic chorus. Not exactly deft melodically, it nevertheless rouses like all the chunkiest Stereophonics favourites.
Some tracks display greater focus, with Catacomb in particular trying to find some common ground between Led Zeppelin, Black Sabbath and Radiohead's Electioneering, and achieving something close.
It's followed by Roll the Dice where a Supergrass-y vamp morphs into the kind of quasi-operatic shapes Muse might reach for, and both songs border on the exciting. Similar is the motorik last minute of Violins and Tambourines.
More representative though is the Traveling Wilburys chug-along of Indian Summer, with its vague, unobtrusive appeal and sense of weathered comfort. It feels as if it should come from a band a generation older, but Stereophonics are heading in that direction.
For all the occasional pyrotechnics, Graffiti on the Train is clearly the work of a man and an outfit that's done the rock'n'roll thing and is now easing into the next step. This is a solid enough start.
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User Comments
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Graffiti on the Train es el octavo álbum de la banda, Publicado el 4 de marzo de 2013, grabado en los propios estudios de Kelly Jones. Tras un parón y la salida de Javier Weyler, el grupo volvió con un nuevo impulso. Fue un proyecto más conceptual, originalmente, Kelly planeaba una trilogía acompañada de guiones cinematográficos. Al final, quedó en un solo disco, pero la intención narrativa se percibe.
El sonido era más atmosférico y cinematográfico, con cuerdas, arreglos orquestales y un aire melancólico. “Indian Summer” fue el gran éxito, recordando que la banda aún podía colarse en las radios, mientras que la canción titular “Graffiti on the Train” mostraba su cara más ambiciosa y madura.
El disco revitalizó a la banda, fue bien recibido y abrió una nueva etapa en la que Stereophonics dejaron atrás la etiqueta britpop para abrazar una identidad más amplia.
User Album Review
The eighth studio album from Stereophonics finds Kelly Jones at a crossroads.
Post-greatest hits, Graffiti on the Train comes out on the band's own label Stylus Records and presumably affords Jones the time and space to carve a new niche.
And somehow, just about, he does. This is, inevitably, a more grown-up record than we've heard from him before.
Not that Jones has ever been anything less than serious. But Graffiti on the Train feels relaxed, at terms with its place in the world – and if that risks longueurs of steadfastly ordinary rock, then them's the breaks.
Its opening is typical, with We Share the Same Sun turning a bluesy guitar over and over against sinister keys – no quick rewards here.
Later, the album broods, as on the semi-gothic Take Me, or the doo-wopping trad-rock Been Caught Cheating – the latter eventually erupting into a more familiar, anthemic chorus. Not exactly deft melodically, it nevertheless rouses like all the chunkiest Stereophonics favourites.
Some tracks display greater focus, with Catacomb in particular trying to find some common ground between Led Zeppelin, Black Sabbath and Radiohead's Electioneering, and achieving something close.
It's followed by Roll the Dice where a Supergrass-y vamp morphs into the kind of quasi-operatic shapes Muse might reach for, and both songs border on the exciting. Similar is the motorik last minute of Violins and Tambourines.
More representative though is the Traveling Wilburys chug-along of Indian Summer, with its vague, unobtrusive appeal and sense of weathered comfort. It feels as if it should come from a band a generation older, but Stereophonics are heading in that direction.
For all the occasional pyrotechnics, Graffiti on the Train is clearly the work of a man and an outfit that's done the rock'n'roll thing and is now easing into the next step. This is a solid enough start.
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