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Post by Minka on May 20, 2015 15:27:07 GMT -5
aaahhh all the downlaoding jsut to listen to an album haha but it's SOOOOOOOOOOO worth it, I just adore it!!!!
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Post by RunningAway on May 20, 2015 16:53:18 GMT -5
First time through...I really like it. Lyrics, melodies, vocals...so much better. But nothing comes close to NNF and SCF in my book. Those albums are in a league of their own. But I agree that this is back to the quality I knew they were capable of producing.
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Post by LHfanMI on May 20, 2015 17:58:35 GMT -5
First time through...I really like it. Lyrics, melodies, vocals...so much better. But nothing comes close to NNF and SCF in my book. Those albums are in a league of their own. But I agree that this is back to the quality I knew they were capable of producing. Couldn't agree more. I like a lot of things about this new album, but it's just not fair or relevant to compare a 2015 LH album against NNF or SCF.
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Post by Yuliya on May 20, 2015 19:16:50 GMT -5
I feel like it may have been announced, but I missed it. Does anyone know who provides the female vocals on Hourglass?
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Post by Robert on May 20, 2015 20:41:27 GMT -5
I feel like it may have been announced, but I missed it. Does anyone know who provides the female vocals on Hourglass? It hasn't been announced, I'm guessing Kendall but I haven't heard her recent stuff so not sure.
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Post by Minka on May 21, 2015 16:05:24 GMT -5
I feel like it may have been announced, but I missed it. Does anyone know who provides the female vocals on Hourglass? It hasn't been announced, I'm guessing Kendall but I haven't heard her recent stuff so not sure. I was curious about that too and asked them on Twitter, sounds familiar, but I don't think that it is Kendall. It reminds me a little of Colbie, but I also doubt it's her.
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Post by kmom on May 21, 2015 20:28:18 GMT -5
I was wondering the same thing and might have awakened a certain European friends with that question 4 hours ago I have no clue, just know it's too girly sounding to be Bryce lol
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Post by Robert on May 22, 2015 13:29:11 GMT -5
I've listened to the album a dozen times or so, and have a slightly better vantage point with which to write my thoughts. Alas, here's my (lengthy, I admit it) iTunes review:
The term ‘selling out’ is typically used when exchanging integrity and quality for personal gain, but for Lifehouse in 2010 it was slightly more complicated than that. With Geffen/Interscope Records tightening their greedy grip on lead singer and songwriter Jason Wade, the band was more or less subservient to the label’s demands for mainstream success and financial boosts, throttling Wade’s creativity to comply with the sea of mediocrity found on the radio. After two studio albums worth of the sales/singles mentality in the back of their minds, Lifehouse wisely parted ways with Geffen, took a two year breather, and are back with an album that not only proves they still have their signature spark, but that the flame is hotter and stronger than ever.
First single “Hurricane” leads with a forceful hook, and while not musically anything new or particularly special, it lyrically encapsulates the reasoning and idea of the record as a whole – “the hurricane couldn’t take you from me / I’m holding on tight and still believe that it just gets better” proclaims a renewed feeling of purpose, setting the mood for what’s to come. And what’s to come is nothing short of spectacular.
We begin with “One for the Pain”, which both sonically and lyrically blends the more passionate moments of 2002’s ‘Stanley Climbfall' with the stronger parts of 2007’s ‘Who We Are’. Immediately exploding with bassist Bryce Soderberg’s catchy backing vocals and among the most unique alternative rock songs in the Lifehouse catalogue, the piece holds the listener closely and reveals more with each subsequent listen. It could easily serve as a second single, being immediately accessible yet truly fascinating in its production.
“Flight” is the first of this set to wholeheartedly demonstrate Wade’s vocal chops; reaching for notes and melodies he previously shied away from, the track’s cinematic and etherial production, haunting piano melody and smashingly inspirational ending that borders on spiritual, all make this track a worthy addition to the band’s best-of catalogue. Without a question, this one is a highlight.
We then take a turn down the alternative pop road with “Runaways”. Unexpected vocal effects and an anthemic chorus recall the best of Imagine Dragons, while the cryptic and magical lyrics blend the band’s first two albums to create a powerhouse of a song. Similar to the empowering Flight, this one is quite a tune, and something that may take time for Lifehouse fans of old to fully comprehend.
Simultaneously fresh and familiar, “Firing Squad”’s wonderfully poetic lyrics are held to highest honour by Wade’s breathtaking vocal flourishes. This piece could easily be the best vocal track he’s ever recorded, instantly switching from sincere to vulnerable to accusing to powerful with utmost honesty and truthfulness. The song is a sonic breath of fresh air, and the brilliant lyrical visualizations add to the magic of the piece. The best pop song the band has ever recorded? Probably.
“Wish” winds down the first half of the album with an introspective and hopeful tone. While the song’s 2002 demo was more melancholic, the final recording’s higher key and Jim Cox string section transform the piece into something far more lush and multi-faceted. Wade’s vocals are slightly more forced here and lack the tenderness that the original had, but what we do get is a classic Lifehouse sound and story backed by gorgeous acoustic guitar.
Entering the second half of the album, Soderberg’s 2013 song “Stardust” launches with a powerful and galactic charm. The first song in Lifehouse history to not be written by Wade, it nevertheless has an energy all its own that maintains the fresh and new outlook for the band. The KOMOX influences are clear as a bell, but he also demonstrates a respect for Jason’s songwriting. Bryce’s natural knack for clever hooks makes this one among the most fun to hear on the album.
“Alien” is a bubbly pop track in the same vein as “Easier to Be” and “Falling In”, with easily relatable lyrics and a catchy tune. Though it’s probably the most cookie-cutter and middling song here, it nevertheless delights with unique instrumentation and backing vocals on the final chorus reminiscent of Rob Thomas’ solo albums.
No Lifehouse record would be complete without a moody, contemplative ballad full of haunting melodies, and “Central Park” fits the bill. Though it may take several listens to fully appreciate its complexity, this 2007 track originally slated for Wade’s solo album recalls the old song “Come Back Down” in its comforting acoustics and melodic pacing. Lyrically, Jason explores new territory, verging on Vertical Horizon-style phrasing and word choices.
“Hurt This Way” could not be a better song to follow the former; a folky beat, backing horn section and first-rate storytelling shows the maturation of Jason’s songwriting skills over the past few years. An upbeat and optimistic tune retelling his tumultuous childhood (“open the screen door, the transistor plays/an old Springsteen song from my father's glory days/Mom’s in the kitchen, trying to hide her swollen face”), this song is unlike anything the band has ever created yet it feels very natural among this diverse group of songs. The nearly Americana feel recalls some of the better moments of the band’s past two albums, and is a real highlight among the new stuff.
Beginning with a nostalgic and cinematic piano interlude, “Yesterday’s Son” then switches to an a capella first verse before growing slowly but surely into a strong statement of identity. The piece is as close as any they’ve ever done to the early days of Lifehouse (under the name Blyss), and mates soft yet inspiring words with horns to make for yet another truly profound entry into the Lifehouse catalogue. Among the few missteps of the record are this song’s vocals, which are simply over-produced and over-edited; they contradict the sincerity and honesty of the rest of the piece.
We close with “Hourglass”, which holds its ground second only to Everything as perhaps the most incredible song the band has ever recorded. James Newton Howard began this song nearly two decades ago, and it sounds as if it was meant for Jason’s pen and voice. Powerful in its restraint, this is a cinematic movie score-turned-song, and Howard’s string section with a clarinet solo is one of my favourite moments on the whole album. Wade’s lyrics are at an all-time high, his piano playing has greatly matured, and his untouched vocals are the best they’ve ever been. Never has a band so perfectly closed an album.
When I heard ‘Smoke & Mirrors’, I was concerned that the Lifehouse I knew and loved had lost their touch. When I heard ‘Almería’, I detected semblances of their former magic being smothered by corporate dreams. ‘Out of the Wasteland’ is a completely different experience; what we have here is a group of talented artists breaking free of restraints and crafting a masterpiece that both stands up tall to their former glory and confidently declares that they are back and better than ever. Selling out? While their flame may have temporarily dwindled, they’ve just proved that all it takes to start a blaze is a spark. –Robert
Highlights: Flight Firing Squad Stardust Hurt This Way Yesterday’s Son Hourglass
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Post by ledvedderman on May 22, 2015 14:07:40 GMT -5
Great review Carl
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Post by lh778 on May 22, 2015 20:09:34 GMT -5
Hey guys!! Long time no post lol. I missed everyone in here. Let's celebrate LIFEHOUSE! I am listening to the new album now!
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Post by City on May 23, 2015 3:01:04 GMT -5
why the heck did they use those yucky vocal effects on Yesterday's Son!!! the melody is so pretty.
Favorite songs. Stardust. It's just so fun Hurt This Way. It makes me think/reflect
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Post by gogonutz on May 23, 2015 6:41:10 GMT -5
I've been letting it sink in before I pass judgement. The word that comes to mind is inconsistent. When it comes purely to songwriting I really do rejoice because the songs have depth and lyrical content again and I actually get the feeling these are songs they really do stand behind themselves which makes them so much more believable. I really don't like the production of the record though and the heavy use of weird vocal layers and filters, nah, not my thing. It does sound very current and accessible, which is a good thing, I think, commercially.
Personally, I connect much much more to the second half of the album than I do to the first half (with the exception of Flight, which is one of the best songs on the record, IMHO). I think Hurt This Way or Hourglass eventually ends up being my favorite song on the record, but from a storytelling and songwriting standpoint, Yesterday's Son is so powerful (just imagine the production was much much much more spare) and that really does speak to me immensely.
I'm giving it another day or two before I write my full review for Inner Ear Media and voice all my thoughts and feelings concerning OOTW, but it gives me a hopeful feeling going forward but I also think there is a way to go before Lifehouse really, completely settles in a comfort zone that results in an organic, cohesive album that feels as a whole.
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Post by apres13 on May 23, 2015 17:04:32 GMT -5
Probably with the less popular opinion, OOTW show me the better part of Lifehouse. Mixing the past six albums better things. The original sound of the band's first and second albums can be founded on the first three tracks (Comparing Hurricane with Hanging By A Moment/ One For The Pain a little with Spin/ Flight with Everything) The next two tracks capture and mix the sound of Who We Are and Smoke & Mirrors, but without be forced. Wish, even being part of SCF, can be compared with the sound of the self-titled album. Stardust and Alien really could be part of Smoke & Mirrors, but are so much better than the whole 2010 album. Central Park can be a mix of Come Back Down and Walking away in my thoughts hahah the instrumental and the lyrics really make me back in time for the self-titled. Hurt This Way and Yesterday's Son are the space cowboys of the album the reminds of Almeria style, but this two songs put all the Almeria in the pocket hahah Closing the album with a surprise Hourglass really needs a video and really needs to be part of a movie. Lyrically and sonically this song have something that stucks in my mind. The whole OOTW except the bonus tracks that we don't know yet, is a kind of rebirth for this band that really can be on the tops. The sound is really influenced but without loses its originality. I really hope the band gives it an especial attention on promote it.
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Post by gogonutz on May 24, 2015 6:43:03 GMT -5
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Post by Robert on May 24, 2015 9:02:47 GMT -5
Good read Koen! And I've come around on Central Park, took a bit of time to digest that one but I think it's one of my favourites now. Can't wait for the bonus tracks... tomorrow we'll hear Hindsight and You Are Not Alone, Tuesday we'll probably find out what exclusive track is on the CE, and Wednesday the Target version comes out so we'll hear those songs. Shawn I don't think Exhale is from the Tumnus project, J cowrote it with Jude whereas that group was all done with Ron Aniello. It was from the same time period though
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