In a good way, writing a review requires the author of complete depersonalization and renunciation of personal preferences for the sake of objectivity. But I’m not sure that it makes sense to talk about music in such a context – therefore, I take a fundamentally personal position. Now those who do not agree, must say: “Well, yes, this dude has the right to their own opinion” and not put any minuses in karma. (place for evil laughter)
Then there will be Over9000 mentions of songs and albums of the group, so normal people, probably, will not understand.
Vasiliev rolled into sophisticated self -digging, and the musicians, meanwhile, created just the impossible.
The earliest songs of Sasha Vasiliev’s songs dates back to the 1989th year, which means that a person has been engaged in poem already 20 years old. Almost 24. 24. Lord, he writes longer than the thick part of his fans lives. And at the same time – the poet never received a reproach that he “rolled up” or “no longer a cake”. For this you need to not just bow, but the honor to give. And mind. And conscience. And the heart. And hand. And money, of course. Tickets are almost like Muse. > _>
The interesting thing is that the group that creates for so long has two ways. The first is to start experimenting with sound and texts, invent something new and generally grow in every sense. Second – slide into dull self -digging. In the “Signal from Cosmos”, Spleen, obviously, chose the first way, hitting electronics and relying on an uncharacteristic sound. Therefore, the "fraud of vision" was a serious intrigue.
The main solo girl of the album is a “terrible secret”, which immediately hints at loyalty to traditions. Here is the usual general meaninglessness, and the acoustic guitar, and the keys, and in general everything is wonderful. It only remained download wait for the release and buy – questions were disappeared even before the exit.
Only after the first listening, a strange feeling of deceit appears: no one revealed a terrible secret. Yes, indeed, the company’s corporate identity is absolutely designed: if you love the “25th frame” or “new people”, then you will not be disappointed for a gram. Vasiliev retained his usual game of words, and the level of abstractions, and unexpected images. Hurray, it would seem. But where does the feeling of incomplete and hack? Everything that has been done looks more likely familiar craftsmen than virtuoso skill.
And so, after a dozen auditions, the "key" to the album is still. And in the material it was already mentioned – self -digging.
Vasiliev, like any leader of the cult group, is smart and extraordinary, and therefore attributed to him a creative stagnation and an increased level of stupidity is terribly not. The syndrome of searching for deep meaning is turned on, and even the “secondary” of the new album finds an excuse. What is characteristic of deep meaning – the excuse is very logical and explaining everything. “Treatment of vision” is that there is not a single new song on the album. Yes, just like that, in the forehead.
Despite the fact that the https://evolve888casino.co.uk/games/ record contains 14 compositions, all of them are variations of old hits, but in a different mood and a little other accents. The Black Volga, for example, talks about a car with a subtle mental organization, which by the end of the song is dumped into the water. Watch the song "Stone" from the "Signal from the Cosmos". Or "St. Petersburg wedding" – a rewriting of Vasiliev of another’s ingenious poem. It is like a "lighthouse", yes. “Eccentric” – “a man did not sleep”, “in a world of illusions” – “you dream”, “the daughter of a samurai” so matured a girl from “orbit without sugar”, and there is also a “gift” with the subtitle “another point of view”.
Such correspondence with proper zeal and knowledge can be selected for each song on the album, and there is something in this. The poet is tired and it is felt. But the poet, after all, did not hell with the mountain, and got out quite elegantly: he went into sophisticated self-digging and rethinking. Instead of creating a new album, he created something “in old-like traditions”, understandable and familiar from the first chords, but, at the same time, strongly altered. (In the "stone", for example, the last line was "wait for the tsunami", and in the "Black Volga" – "none of the people noticed how the car disappeared").
Or maybe I’m looking for subtexts where it is not necessary, and in general I am a fool.
“Treatment of vision”, however, does not apply to the musical component of the album. Even taking into account all this far -fetched pseudo -philosophical background, the author of this material was not imbued with any text from the album (except that Bashlachev’s brilliant poem learned by heart). But the musical component was just beyond praise. The first, probably once in the history of the group, the musicians intercepted the initiative from a meager leader, and literally every song was raised at two or three qualitative levels thanks to the perfectly selected sound. Thanks to the notes of British Pop, the "sun will rise" directly sparkles with happiness; Thanks to the violin and the shock second syllable, the “overture” really conveys the mood “we are calling us Nord-west, then there will be only miracles”. The main thing is not to delve into the text too much, otherwise the impression will be lubricated. Well, whatever one may say, you like/do not like it, but always objectively worse than these "originals".
In total, the album is quite suitable. Not to say that the best and not to say that “cheers, excellent”, but simply quite integral. The text with music is complemented and compensated by each other, creating finished compositions holding a bar of quality and perfectly preserving the group’s corporate identity. What else is needed? The 13th album is no longer looking for new fans, the priorities are completely different.
And if someone is terribly needed by numbers, let it be 4/5.
The best comments
In a good way, writing a review requires the author of complete depersonalization and renunciation of personal preferences for the sake of objectivity. But I’m not sure what to talk about music in such a context makes sense.
I know one elite dude who would tell you that “objectively” – music is divided into a good, retrograde and govnraskoye. I wonder if he will come here to write it or not?
It’s hard to perceive the album musically, they rather tried to weave music there into the absolutely obscure approach of Vasiliev to write the material. This, in principle, is rather some kind of reflection, the author’s song complicated by the presence of a whole group of musicians, instead of one guy with a guitar, which would be more correct. Nothing to do with the former hits, when they experimented even with some kind of psychedelia, and when you write “drug addict” texts with a backwater for psychodel in music, it does not look so sad. You can listen to the "Petersburg wedding" – probably the most powerful composition on the album due to a well -twisted Sumbur in the text. And I will probably go to play the guitar Back in Black.
In a good way, writing a review requires the author of complete depersonalization and renunciation of personal preferences for the sake of objectivity.
I never thought so, for example. A certain degree of objectivity is needed as much as a certain degree of subjectivity is needed, supported by at least some argumentation.
And when it comes to music, then what objectivity we are talking about when someone calls Spleen “a pretentious Russian group, which supposedly the spiritualized plays with Dofig,” and someone simply listens in silence and drags.
If the analogy between the "stone" and the "black Volga" still understand, then with the rest – I do not really agree. And indeed, the sensations of secondaryness and “it already” personally did not have. More precisely, I did not think about it, because the album has a powerful expressive series, in my opinion. The couple of last albums Vasiliev in this regard hacks and there were a lot of neutral songs that you can’t call frankly, nor sadly ground. From the same “signal from the cosmos” as a result, three moved into a constant playlist: “stone”, “a man did not sleep” and “letter”. And from "Deception of vision" – six.
That’s why I wrote that "bias". Each in their own way perceives, it still needs to try, people with the same opinions find. 🙂
That’s why I wrote the material – to find out if anyone does not think the same. Does not think – it means that such a comparison of songs really does not make sense, I do stupid things and generally stubbornly. I will willingly believe, in fact.
As for the writing of reviews, everything is more difficult, if you pick it up. Personal opinion should appear when the author for the reader becomes a person. Now, if your name is Ivan Loev, you drive retrozers, indicators and streams, then the audience knows you and your individual opinion becomes important – you can not dodge in MGS and do not look for objective minuses, everyone will understand. 🙂 And, on the contrary, Maria Naroditskaya writes objectively and abstractly, because she does not fall out of special possibilities. She is absolutely right and absolutely smart ^_ ^
Now, if your name is Ivan Loev, you steer retrozers, indicators and streams, then the audience knows you and your individual opinion becomes important.
Well, I try to somehow argue this opinion, so that it is clear where his legs grow from. And did it regardless of where and for whom I am writing.
Also with a comb. A certain Messe in the direction of fans. So, I think, for some it was quite expected to hear old tracks with a new interpretation of the song text. It seems he said everything correctly.