
The second RHCP album without guitarist John Frushant, from which it follows that the once great group is most interesting, most likely, will no longer write down anymore. The producer of Danger Mouse, whom the group hired to record The Getaway, picked up a new sound for RHCP, but could not force Anthony Kidis to learn how to write songs differently. In the compositions with The Getaway, the group repeats all the same techniques of the middle of the zero, which managed to get bored with both Stadium Arcadium (2006), and on Iʼm with You (2011).
Fresh arrangements, disco elements and the fact that the new guitarist Josh Klinghofer does not try to pretend that he is Frushant, they save the situation a little - but they do not fundamentally change it. The Getaway is a good background music; However, from the Red Hot Chili Peppers level team you still expect a little different. Apparently, it's time to come to terms with the fact that RHCP is an exclusively concert group.
At the beginning of the zero, Metallica, personifying heavy music in mass culture, allowed itself to be a nu-metal experiment-album St. Anger, which almost no one liked, although he was outstanding in his own way. After that, Metallica returned to the basics, that is, to the music that reminds of the 1980s. Hardwird ... to Self-Destruct is exactly about that. Yes, it turned out better than Death Magnetic; Yes, the musicians clearly liked to write an album - but they have nothing to say. Not a single memorable song, not a single serious hook, no understanding of what has happened in a metal over the past 30 years. Therefore, instead of listening to the album, it is better to see how the group performs the old hit Enter Sandman away with Jimmy Fallon - on children's instruments.
Perfectly rebuilt sound, scattering of musical finds for authorship of Johnny Greenwood, epic and monumentality - and finally recorded after 20 years, the song True Love Waits: it seems that the ninth album Radiohead should have been perfect. In reality, True Love Waits is the only whole whole song of the record (well, even Burn the Witch), and Greenwood orchestral finds cannot save flat and as if unfinished compositions.
There are no good super groups; The first mini-album of the Prophets of Rage supergroups confirms this fact. The musicians of Rage Against the Machine, the main protest group of the 1990s, instead of the former Emsi-de La Rochi, united with rappers Chuck Dee and Bi-Rille (Cypress Hill), because, according to the guitarist of the Tom Morello team, you need to somehow resist the "mountainous mountain mountains".
“We are an elite detachment of revolutionaries,” says Morello, but the recording of Prophets of Rage sounds in 2016 as a shameful greetings from the 1990s. The group recorded for the mini-album two new songs and three casters-on Ratm, Public Enemy and Beastie Boys. It is not clear what is worse: the new material that sounds just like the old (only more meaningless), or the old, performed by the cover group of middle-aged men.
If you choose the most terrible record of 2016, then this is Prophets of Rage. To assemble the team in order to go on a tour and earn on old songs of good groups is a matter of understandable and, in general, normal. But to arrange a game from this in the “Revolution” under the anti -maping slogan of Make America Rage Again is simply ridiculous.
Pavel Borisov