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Track List
01) (shiva)
02) bumblebee
03) stevie 
04) (mortis)
05) doomsday
06) treat
07) glass
08) explodes
09) (levitation)
10) clouds
11) eez-eh
12) bow
13) s.p.s
01) (shiva)
02) bumblebee
03) stevie
04) (mortis)
05) doomsday
06) treat
07) glass
08) explodes
09) (levitation)
10) clouds
11) eez-eh
12) bow
13) s.p.s
1:07
4:01
4:45
0:48
3:40
6:53
4:48
4:17
1:19
4:45
3:00
4:27
4:22
Data Complete 80%
Total Rating
Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2014
Alternative Rock
Excitable
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
48:13 es el quinto álbum de la banda, lanzado por Columbia Records y grabado en los Sergio’s Studio de Leicester en 2014.
Minimalista y directo, su título hace referencia a la duración total del disco. Aquí Pizzorno se atreve con la producción completa, reduciendo todo a ritmo, bajo y groove. “Eez-eh” y “bumblebeee” son golpes de adrenalina pura, diseñados para la comunión festivalera.
Fue un álbum divisivo: para algunos, una obra de riesgo; para otros, un exceso de sintetizador. Pero nadie dudó de su audacia.
User Album Review
Approaching Kasabian’s fifth album, songwriter/producer Sergio Pizzorno opted for a more slimmed-down sound, stripping away layers of sound to allow the ideas to speak more clearly. The attitude extends to the album title (the aggregate time of the tracks), and to the individual track titles themselves, which are lower-case, single-word tags rather than verbose statements of intent.
It’s a brave but largely successful move, as is the shift from mainly guitar-riff-based songs to ones predominantly fuelled by synthesisers: the ghost of Kraftwerk hovers over the elegant industry of “explodes”, while the cycling sequenced electronics of “glass” could find a welcome on the dancefloor, were it not for the contrasting passages of acoustic guitar (not to mention the concluding rap referencing Moses and Rosa Parks in its encouragement of maverick endurance).
There are still, of course, remnants of their stadium-sized UK Sixties psych-rock influences, most notably the euphoric “clouds”, while the concluding “s.p.s” (scissors, paper, stone) allows the album to glide away in a haze of quiet rhythm guitar and lap steel. But the obvious festival anthems here are mainly electro-rockers, like the single “eez-eh” – where Tom Meighan threatens to keep us up all night: “no rhyme or reason, I’m just trying to set the world to rights” – and the lolloping opener “bumblebee”, whose pogoing chorus pulse emphasises the theme of togetherness in the sunshine and under the moonlight.
An extensive synth coda of loping electro-symphonic funk extends the nervy “treat” to almost seven minutes, but elsewhere things are kept tighter and shorter and punchier. The main exception comes with “stevie”, the electro pulse of which is tempered with a rising cello figure and brooding horns, as Meighan urges an excitable youth to “calm down, take your medication... live to fight another day”. But it’s a rarity on an album mostly stuffed with the kind of calls to arms designed to get festivals jumping.
SOURCE: https://www.independent.co.uk/arts-entertainment/music/reviews/album-reviews-kasabian-parquet-courts-martin-eliza-carthy-holland-dozier-holland-ethan-johns-james-9454520.html
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User Comments
Available in:
48:13 es el quinto álbum de la banda, lanzado por Columbia Records y grabado en los Sergio’s Studio de Leicester en 2014.
Minimalista y directo, su título hace referencia a la duración total del disco. Aquí Pizzorno se atreve con la producción completa, reduciendo todo a ritmo, bajo y groove. “Eez-eh” y “bumblebeee” son golpes de adrenalina pura, diseñados para la comunión festivalera.
Fue un álbum divisivo: para algunos, una obra de riesgo; para otros, un exceso de sintetizador. Pero nadie dudó de su audacia.
User Album Review
Approaching Kasabian’s fifth album, songwriter/producer Sergio Pizzorno opted for a more slimmed-down sound, stripping away layers of sound to allow the ideas to speak more clearly. The attitude extends to the album title (the aggregate time of the tracks), and to the individual track titles themselves, which are lower-case, single-word tags rather than verbose statements of intent.
It’s a brave but largely successful move, as is the shift from mainly guitar-riff-based songs to ones predominantly fuelled by synthesisers: the ghost of Kraftwerk hovers over the elegant industry of “explodes”, while the cycling sequenced electronics of “glass” could find a welcome on the dancefloor, were it not for the contrasting passages of acoustic guitar (not to mention the concluding rap referencing Moses and Rosa Parks in its encouragement of maverick endurance).
There are still, of course, remnants of their stadium-sized UK Sixties psych-rock influences, most notably the euphoric “clouds”, while the concluding “s.p.s” (scissors, paper, stone) allows the album to glide away in a haze of quiet rhythm guitar and lap steel. But the obvious festival anthems here are mainly electro-rockers, like the single “eez-eh” – where Tom Meighan threatens to keep us up all night: “no rhyme or reason, I’m just trying to set the world to rights” – and the lolloping opener “bumblebee”, whose pogoing chorus pulse emphasises the theme of togetherness in the sunshine and under the moonlight.
An extensive synth coda of loping electro-symphonic funk extends the nervy “treat” to almost seven minutes, but elsewhere things are kept tighter and shorter and punchier. The main exception comes with “stevie”, the electro pulse of which is tempered with a rising cello figure and brooding horns, as Meighan urges an excitable youth to “calm down, take your medication... live to fight another day”. But it’s a rarity on an album mostly stuffed with the kind of calls to arms designed to get festivals jumping.
SOURCE: https://www.independent.co.uk/arts-entertainment/music/reviews/album-reviews-kasabian-parquet-courts-martin-eliza-carthy-holland-dozier-holland-ethan-johns-james-9454520.html
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