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| | Collection of "Handwritten" Reviews | |
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JJW319 I'da called you Woody
Posts : 677 Join date : 2010-09-26 Location : Pittsburgh/State College
| Subject: Collection of "Handwritten" Reviews Mon Jun 25, 2012 10:12 pm | |
| Now that at least two are out there, I thought it would be nice to have a place where all the reviews could be viewed for ease, rather than getting lost in the official thread. For the next month or so a great deal of press and reviews will be online, I'll be sure to update this accordingly. Feel free to post one if found. Link takes you to the actual review, spoiler tag has the review copy and pasted. Alternative Music Hub - 10/10- Spoiler:
The Gaslight Anthem have blazed their way across the world on the back of three of the best punk rock albums of the past decade, drawing strong comparisons with artists such as Bruce Springsteen, Lucero and Social Distortion (not a bad combination, hey?).
Handwritten – the band’s fourth full length - had to be the album where Brian Fallon and Co shook the Bruce Springsteen tag that has dogged the band for the past six or so years – a comparison that seemed positive at first, but over time has begun to take away from the band’s own creative merits and the brilliant albums they’ve delivered. Handwritten is a battle cry spread across eleven songs – “We are The Gaslight Anthem and this is our sound” – a battle cry they’ve done perfectly.
45 is the first track on Handwritten which was released just over five weeks ago to rave reviews. With guitar shredding that sends shivers down your spine, the song maintains the spirit of The Gaslight Anthem that fans have grown to know and love, easily comparable to the fan favourite track Great Expectations from their 2008 album The 59 Sound.
The title track Handwritten cuts deep with pleading lyrics that will connect with you on many levels. Vocalist Brian Fallon has poured his heart out during Handwritten, a song that I had to replay five times during the first spin just to grasp the enormity of it. Summed up perfectly with the lyrics ‘every word handwritten’ repeating towards the end of the song.
Here Comes My Man is written from a female perspective, a lyrical approach Fallon has not done previously however it has been nailed perfectly. In a recent interview, Fallon spoke of the potential backlash the song may have with male fans due to the risk of writing from the perspective of the opposite gender, however the song has been executed so perfectly that any concerns are immediately forgotten about.
Mullholland Drive is an upbeat track with lyrics that are delivered much cleaner and more polished than past albums, with Fallon taking his pronunciation to new levels, dropping the Jersey slang that he has become famous for. It’s a classic rock and roll song with a punk spin. The following track, Keepsake, has been described by Brian Fallon as a ‘gift’, perhaps because once you reach this point in the album you will come to the realization that The Gaslight Anthem has truly discovered their sound, and boy, what a huge sound it is. The production is flawless, without sounding too refined.
Too Much Blood contains some huge blues riffs layered with lyrics such as ‘If I put too much blood on the page’ which tie in perfectly with the overall theme of the record, which is much more personal than previous records. It is tracks such as this, which display the levels that Fallon has dug down into in order to shift away from their more classic American anthems which rival songs such as Springsteen’s Born To Run. Whilst writing Handwritten, Fallon certainly didn’t leave any ink in his pen. The emotion in Too Much Blood is engrossing and will leave you happily exhausted.
While the tempo of the album dropped over the past two songs it certainly didn’t lose its flow. Howl picks the tempo back up with what is one of the fastest songs that The Gaslight Anthem has ever recorded. A live version of track eight, Biloxi Parish, has been doing the rounds online for sixteen or so months; however the lyrical masterpiece is better appreciated in its full studio quality.
Desire and Mae are two songs that solidify the ‘huge’ feeling that Handwritten has about it, with Mae taking on its own majestic feel. If this song doesn’t get snapped up as a major blockbuster soundtrack then something is surely wrong because this song deserves worldwide recognition. The track makes you feel like you’re walking through a jungle; it’s a journey within the journey that Handwritten takes you on.
The final track on the album, National Anthem is a slow, yet elegant song, showcasing similarities to The Gaslight Anthem’s past works – it’s almost the Here’s Looking At You, Kid of Handwritten, a perfect way to end such a flawless album.
Brian Fallon has long been heralded the hero of The Gaslight Anthem, but his underrated warriors Alex Rosamilia, Alex Levine and Benny Horowitz need to take a bow because musically they have delivered a modern day masterpiece. If American Slang was the album of 2010 then Handwritten may be the album of the decade.
10/10
Glenn Johnston – @johnoAMH Alt Press - 4.5/5- Spoiler:
- DeathoftheCool wrote:
- Alternative Press
Handwritten – The Gaslight Anthem 4.5/5 Stars Rocks Like: The Horrible Crowes’ Elsie, Bruce Springsteen’s Magic, Pearl Jam’s Backspacer Go Download: “Too Much Blood”
Rock ‘n’ Roll Thank goodness for the Horrible Crowes. The side project of the Gaslight Anthem’s Brian Fallon and his erstwhile guitar tech Ian Perkins created one of 2011’s best albums in Elsie, giving Fallon an outlet for his darker, moody side. It was this subdued side that made 2010’s American Slang just good instead of great – there was a sense of precision that overrode the energy of the band’s earlier albums, making for an excitement-free listen (cf. Against Me!’s White Crosses).
Fortunately, Handwritten eschews that formality and gets back to the grittiness of Gaslight’s debut album, Sink Or Swim, as well as the powerful lyrics of 2008’s breakthrough, The ’59 Sound. Plus, thanks to the expert production of Brendan O’Brien (Bruce Springsteen, Pearl Jam – y’know, Brian Fallon’s favorite artists of all time), the record sounds goddamn phenomenal. When auxiliary instruments such as harmonica (“Keepsake”) or mandolin (“Here Comes My Man”) pop up, they’re blended into the mix perfectly, doing what they’re supposed to do – accent the song.
The songs themselves sound thicker, too, thanks to the addition of Perkins on third guitar (he’s technically the band’s touring guitarist, but he did play on Handwritten, as well). The first single, “45,” is a bona fide ripper, possessing a chours so instantly memorable (and a guitar tone so revved up), it will surely get crowds moving. Its deep-cut sequel, “Howl,” is even faster, a two-minute stomper with a chorus comprised solely of “Ay-ay-aaaay!” Shakespeare it’s not, but it demonstrates Fallon’s knack for quality hooks.
But the truly exciting stuff comes when the band step outside their comfort zone but keep up the intensity (“Keepsake,” “Biloxi Parish,” and the absolutely incredible “Too Much Blood”). All these tracks tap into more of a Southern rock/gospel vibe, allowing lead guitarist Alex Rosamilia to show off a little bit. The riff the band deliver on “Too Much Blood” is downright sinister, and coupled with Fallon’s Tom-Waits-as-soul-singer vocals (“I ain’t no angel, but I got nothin’ to hiiiide”), it will send chills down your spine in the best possible way.
Fallon still finds time to slow things down at the end of Handwritten. “Mae” is reminiscent of American Slang’s closer, “We Did It When We Were Young,” just at a slightly faster clip, and the final song, “National Anthem,” is a gorgeous acoustic ballad, reminiscing on life, love and God. “So take what you need now, honey/And do what you like/Don’t worry about me, mama, I’m all right,” he croons over a soft string section, and you can’t help but believe him. Fallon has said in the buildup to Handwritten’s release that he wasn’t sure if he would ever be able to write another Gaslight Anthem song after American Slang again. Well, here are 11 shining examples that prove him wrong. (Mercury) Scott Heisel The AU Review - 9.2/10 - Spoiler:
Listening to this record is like a visit from an old friend. It leaves you thinking of great memories and puts a smile not only on your face but also in your heart. The Gaslight Anthem is a band that my love and admiration will not be dented. Perhaps I shouldn’t be reviewing this record because of my blatant bias, but at the same moment, a chance to be the saviour for this record was an opportunity I could not pass up.
Never has a band captured the hearts of a scene as much as The Gaslight Anthem. The '59 Sound is considered a classic record and the album that shot them to fame, and will be their legacy. American Slang was a great follow up record, and this will be the icing on the cake. The record captures the sound of The '59 Sound and the spirit of the American Slang and even leans towards Brian Fallon’s side project The Horrible Crowes at certain moments. The press release says this will be the record to shoot them into the stratosphere of commercial success... They may not be far wrong with that statement. Opening with the first single, and instantly catchy, "45". Its hook is addictive, and the song is fitting to their sound. "Handwritten" will draw those same Springsteen comparisons that are now almost a plague to the band. "Here Comes My Man" has that jazz inspired sound that featured heavily on the American Slang album. "Mulholland Drive" features some of Alex’s brilliant interweaving guitar lines that flow in and out of Fallon’s verses as they do in every song. "Keepsake" has a dusty raggedness to it with a harmonica throughout the track. "Too Much Blood" is the first time we get something new from Gaslight. A heavy staccato intro that carries a real swagger about it, and Fallon questioning if he sometimes gets too personal with his lyrics and songs. "Howl" has a great live vibe to it, and is destined to be a popular track at shows with its gang backing vocals. "Biloxi Parish" is an upbeat, jazzy rock track which Australian fans got to hear when they toured last year for Soundwave 12.
"Desire" has the sound to be a hit single. Catchy, easy to sing along to, and is tailor made for radio. "Mae" is a slower, sombre track that would’ve fitted onto The '59 Sound. It has its Hollywood references that feature in Fallon’s lyrics; “she has her Bette Davis eyes”. This is followed by the beautiful track, "National Anthem", a haunting acoustic track that is starting to become a regular on Gaslight albums. It has an almost gospel feel to the track, and is heartfelt and honest.
The end result is another great record by a band who can seemingly do no wrong. Many will try to compare this to The '59 Sound, and it doesn’t stack up to that album, but it doesn’t attempt to. This record just solidifies the amazing talent held within these four men. Wiser than their age, and destined to inspire a generation of bands to come.
Rating 9.2/10 Q Music - 3/5- Spoiler:
Jersey? Sure! Stadium-happy major debut from New Jersey's Springsteen acolytes.
Two things have changed since The Gaslight Anthem's last album, 2010's American Slang. First Brian Fallon, the group's singer and guitarist, formed The Horrible Crowes with friend Ian Perkins to siphon off his most left-field impulses - and since The Gaslight Anthem count early Clash, Springsteen and The Replacements as prime influences, you'll appreciate "left-field" is a relative term. Then, after three albums on independant labels, they signed to Mercury.
Handwritten takes them further from their punk roots and almost all influences have been expunged, bar one. This is an album where you're never far from the next gas station, salvation comes in the form of a 45 single and God is spelt B.R.U.C.E. The group's current trajectory owes much to summer '09, when they swapped guest appearances with Springsteen at Glastonbury and Hard Rock Calling. They may have recorded it in Nashville with Pearl Jam producer Brendon O'Brien, but Handwritten is pure New Jersey rock, dripping urban romanticism, albeit with extra oomph on the power chords. Fallon's voice, always somewhere near the whiskey barrel, is that bit more scorched and on Too Much Blood ("If I just tell the truth/Now there's only lies left for you") he bares his figurative scars for the audience to ogle. But for all that this major label debut makes an accomplished job of going louder and harder, it's also a good deal safer." - Steve Yates Common Revolt - highly positive (no rating)
- Spoiler:
"Brian Fallon said that after writing The Gaslight Anthem’s third LP, American Slang, he wasn’t sure if he would ever write another Gaslight Anthem song. If he honestly believed that, Handwritten, the New Jersey band’s fourth studio album and first with Mercury Records, is filled with eleven tracks that prove just how wrong he was. The tracks are perhaps the band’s very best, combining heavier guitars that many remember (and possibly miss) from Sink or Swim with the cleanness of The ’59 Sound. Produced by Brendan O’Brien (who’s worked with the likes of Bruce Springsteen and Pearl Jam) the album is relentlessly strong from beginning to end.
The album opens up with the first single, “45.” Drawing again from their old school music references, Fallon sings, “And all my friends say / Hey, turn the record over / Hey, I’ll see you on the flip side / There you go, turn the key and engine over / Let her go, let somebody else lay at her feet.” If you loved this track and the record references, just wait for the music video; it’s going to be about the life of a record as it changes hands throughout decades.
Next comes the title track, “Handwritten.” This song is among my favorites from the album. It was one of those songs that just hit me. The first verse contains what I might consider some of Fallon’s best writing, ““Put it on, turn it up, it’s your favorite song / That’s mine I’ve been crying to it since I was young / I know there’s someone out there feeling just like I feel / I know they’re waiting up, I know they’re waiting to heal / And I been holding my breath, are you holding your breath / For too many years to count…” After writing a piece on the impact of music for a magazine, I heard this song, and I felt like Brian Fallon put everything I wrote about into a single verse. If that’s not proof of how talented he is, I don’t know what is.
Tracks like “Mulholland Drive” (a favorite of mine) and “Too Much Blood” showcase the heavier guitars alongside Fallon’s ever so strong and poetic lyrics. In the former, Fallon sings, “I’d just die if you ever took your love away” intertwined with Alex Rosamilia’s brilliant guitar. “Keepsake” can definitely be put among these, too. The song includes some harmonica, so surely it’ll garner some Springsteen references from some critics there. “Biloxi Parish,” a song many Gaslight fans will recognize from live shows in the past year, shows off a more bluesy, Southern rock side of the band. Memorable lyrics: “Try it on for size, my darlin’ / See what a man you can make of me / I will eventually haunt you / You’ll eventually be my queen,” but the lyrics and song are a little different than what fans might be familiar with.
“Mae” is Fallon’s bittersweet hopeless romantic track. It has one of the record’s best lines, “And we wait for kingdom come with the radio on.” The band hasn’t quite let go of their references to other people when he croons about Betty Davis eyes. That track is a close comparison to Slang’s “We Did It When We Were Young” or The 59 Sound’s “Here’s Looking At You, Kid.” “Here Comes My Man” has the jazzier side that the band found and flourished with on Slang, too. “Howl” will surely be one that everyone sings along to at shows (just like “45”) with Fallon, Alex Rosamilia, and Alex Levine all joining in with a hook on the vocals, as they do in many other tracks. “Desire” includes some of those vocals, as well as Fallon saying “What does it feel like inside? / Does it hurt you at night? / Or does it keep you alive, set you on fire/ I would give anything for the touch of your skin / Yes, I would burn here for years up in desire.” “National Anthem,” the record’s acoustic ballad and closer, is the most Springsteen reminiscent (think his album “Nebraska”). He sings, “I never will forget you, my American love / And I always will remember you, wild as they come / And though if I saw you, I’d pretend not to know / The place where you were in my heart is now closed” perhaps recalling “The Navesink Banks” from Sink or Swim where he sang, “My first sin was a young American girl.” Obviously not afraid of closing on a softer note, the song is probably the band’s best ballad next to “Blue Jeans & White T-Shirts.”
The album is brilliant, beautiful, and haunting for all forty one and a half minutes. It’s brutally honest and still poetic, just as fans would expect from the Jersey natives. I might be getting ahead of myself, but I’m calling this as my album of the year (and yes, I realize the year is only half way over). Basically, if you love The Gaslight Anthem, you will probably love this album. And by probably, I mean you’re crazy if you don’t. If you don’t love The Gaslight Anthem, I suggest you start. This band will grab you by the hand, steal your heart, and make you feel with every word Handwritten." Mojo - 2/5 (scan from magazine)
- Spoiler:
Stack Magazine - 4.5/5- Spoiler:
In a world where bands are all too quickly ushered through the most integral parts of their development by over-eager labels hungry to squeeze profits from their young bones, The Gaslight Anthem rose from modest beginnings in the most organic way possible.
Having done their time (and last three studio albums) with punk rock label Side One Dummy, Handwritten marks an inevitable shift into major label territory.
Usually – in addition to suffocating skepticism from their fan base – it results in a slightly more strained release, but thankfully The Gaslight Anthem have continued their carefully calculated journey in a subtle and admirable manner in keeping with previous progressions.
Handwritten so convincingly cements the band as leaders in the American rock revival, that you can just smell the leagues of imitators approaching.
Lead single 45 is a solid standout, though there’s no shortage of other potential singles here.
Utterly heartfelt, honest and instantly memorable, it’s one of the year’s best thus far.
- Emily Kelly
• Brought to you by: Mercury Records / Universal • STACK Genre: Punk
Absolutepunk.net - 10/10 (My personal recommendation)- Spoiler:
For the first time, I'm not scared that people aren't going to like this record. I don't care what Bruce or Eddie Vedder or any of my friends think of it. I don't care. If you want to hang with us, you've got to grow with us. That's the deal. –Brian Fallon, in Rolling Stone
Well, damn. Who knows what exactly went down in Brian Fallon’s universe after the release of American Slang and then The Horrible Crowes’ Elsie, but whatever happened, we should be thankful for it. We should be thankful for Fallon’s new state of mind, this outlook that he finally no longer has to top himself – top The ’59 Sound, that is – and that he can just pour everything out into his music.
The '59 Sound is one of those things I’m always chasing to make something as good as [again]. I’m also chasing to leave it alone because it’s perfect the way it is. It’s hard for a musician to realize that that was done already: You don’t need to write '59 Sound because you already did. Now you have to find something that’s equally as good, but different. – Brian Fallon, source
It’s pretty scary to think that albums as good as American Slang and Elsie might have been written while something held Fallon back in some intangible way; it’s spine-tingling to think of what could happen if that mental block was suddenly removed. Fallon poured himself out into a notebook, scribbling new lyrics, writing new melodies…and what do you know – Handwritten is spine-tingling, indeed.
The reason The Gaslight Anthem was able to write the best record of its career-so-far, and the frontrunner for 2012’s album of the year, is probably more a result of The Horrible Crowes than most of us really know. “I was bored,” Fallon said. “After the last record for Gaslight Anthem, I was just bored. I still had the desire to write, but I didn’t want to write any more rock and roll songs. I was in this weird mood.” So he wrote Elsie with Ian Perkins, a darker, slower, brooding cauldron of an album that was nearly perfect – for what it was. Elsie somehow set off a switch, and returning with guitarist Alex Rosamilia, bassist Alex Levine and drummer Benny Horowitz enabled The Gaslight Anthem to write more freely than ever. Handwritten is just the latest record from this band that I’ll dub its best work – but it seems I do that every time they release something. It’s not my fault they keep besting themselves.
Handwritten is the The Gaslight Anthem’s most versatile work. It combines the raw rock and roll sound of The ’59 Sound with the best soulful parts from American Slang and Elsie. Fallon’s voice is absolutely in its best shape, as the croon we heard with The Horrible Crowes strongly complements his rougher vocal parts. Most interestingly, we find a lighthearted and jovial vibe to the album at times, harkening to the Senor and The Queen EP more than anything else. But Handwritten still brings something new to the table, and what else should we expect?
Lead single “45” is a torridly paced number, immediately snapping its fingers to bring you to attention. This is a wake-up, a call to action: You’re very clearly listening to a Gaslight Anthem record here, and they want you to know that from the first note. The guitar shreds in the bridge are dark and intense, but Fallon wastes no time giving us a chorus to shout out loud: “Hey, turn the record over / Hey, I'll see you on the flip side / There you go, turn the key and engine over / Let her go, let somebody else lay at her feet.” It’s an ideal opener and an ideal first single. But “45” has a sister track on the album, “Howl,” which we won’t get to until the middle of the track listing, but which is as interesting as any song the band has written. “Howl” is even faster and more aggressive than the album opener, and if you stop paying for attention, you’ll miss it – literally. Only two minutes long, Fallon and Co. demonstrate with full force that they can still write a hell of a hook and have some fun. More than anything since “Say I Won’t (Recognize),” this track brings out the energy and exhilaration of a live Gaslight Anthem show. Fallon has more fun on stage than most anyone you’ve ever seen perform, and he sounds like he’s having an exceptionally good time throughout the entirety of “Howl.” It’s hard not to let go and sing along with the track (the chorus just goes “Aye, aye, ayeeeeeee, aye, yay!”), but as Fallon always does, he leaves a token to keep you on your toes: “Radio, oh radio, do you believe there's still some magic left somewhere inside our souls?”
As good as those two tracks are, the best part about them is that their high energy is not an exception to the rule. Handwritten is an uptempo record, something that shouldn’t be surprising to Gaslight fans, but something that listeners might not initially expect because of the styles of American Slang and Elsie. But is it a joy to just hear this band jam! Fallon, Rosamilia and Perkins throw a guitar clinic on Handwritten, and it’s in tracks like “Mulholland Drive” and “Too Much Blood” where we realize why Brenden O’Brien was a good choice not just for this album – but the man who should be behind the boards for probably this band’s entire career. “Too Much Blood” plays out at a slower tempo than most of the album, built around a punishing guitar riff – O’Brien produced plenty of riffs with Pearl Jam and Rage Against the Machine, and you can tell he knows a thing or two. The riff here dominates the song with just enough precision for the dreamy choruses and Fallon’s bluesy verses to still shine. In “Mulholland Drive,” one of the album’s greatest standouts, we get a ripping, wailing 35-second guitar solo…a piece of musicianship that is begging for Rosamilia to play it in front of thousands of people. The soloing comes back in the outro of the song and it’s one of those moments that few bands can provide – a moment where you take a step back and ask, “Shit, what am I listening to here?” It sounds silly to say because The Gaslight Anthem has a catalog of great songs, but this is the type of track that bands spend entire careers waiting to stumble upon.
The group’s influences are still abundant on the record – there’s some Bob Dylan in the harmonica on the rhythmic “Keepsake,” there’s some heavy Tom Petty on the phenomenal closer “National Anthem,” and some The Rising or Magic-era Bruce Springsteen on another highlight in “Here Comes My Man.” The latter of those three has a killer bassline and “ooh-sha-la-la” bits that would catch the attention of even the E Street Band’s backup vocalists. But we know better than to overplay the talk of influences at this point in Gaslight’s career – this is a group that has reinvented itself twice now, a group with much more than a modicum of pressure accompanying its major label debut, a group that can change faces with its versatility while remaining very much itself. We see this in “Desire,” a lusty song where Fallon draws us in with the chorus: “I would give anything for the touch of your skin / Yes, I would burn here for years / Up in desire, desire,” but still leaves us with a bigger picture to ponder on: “What makes a woman believe in a man such as me? / Unworthy to sit at your foot or your crown / I can only let you down.”
Handwritten comes full circle, in a way, on its title track. Although it comes at you early on, the second song in the sequence, it proves itself to be the song most accurately representing what this record is all about. Somewhere in between the fire of “45” and “Howl” and the mellow mood of “Mae” and “National Anthem,” the title track contains the singular best piece of music on the album. In fact, it’s the exact same feeling I got when I described the bridge of The Horrible Crowes’ “Black Betty and the Moon.” During the bridge of “Handwritten,” the band quiets down into a beautiful setting, with piercing piano strikes playing alongside Fallon’s humming background vocals, an instrument in their own right. He lays it on thick, too: “Here in the dark I cherish the moonlight / I’m in love with the way you’re in love with the night / And it travels from heart, to limb, to pen.” Then the group launches into a final chorus, the best one on the track, as Fallon croons, “We waited for sirens that never come / And we only write by the moon / Every word handwritten.”
Every word handwritten. A phrase that will mean a great many things to a great many different listeners, but then again, that’s always been a strength of Fallon’s. This record will mean something different to everyone.
It’s hard for a musician to realize that that was done already: You don’t need to write '59 Sound because you already did. Now you have to find something that’s equally as good, but different. Guys like Bruce Springsteen, and Neil Young, and Bob Dylan, they’ve done something great, and then done something great again that was different. But then you find guys that have not … they’re chasing something that they once were great at. I’m not sure whether we’re on the former or the latter. Our fate has not been told yet. Brian Fallon, source
The ’59 Sound. American Slang. Handwritten. The Gaslight Anthem presents its case-so-far. As listeners, as fans of music, we’ve already hit the lottery here. Let’s evaluate: These three albums, plus Elsie, means that we’ve already gotten four of the best records of the last half-decade, all from one band. What this also means is that no matter what The Gaslight Anthem does in the future, they are already entrenched. These albums will last forever. These albums will accompany me throughout my adult life; wherever I go, I will take these with me. I don’t think this is a band that’s going to rest on its laurels or bask in the glow of its current success, so I’m sure that they’ll continue to improve – although it’s hard to better a masterpiece like this. The Gaslight Anthem is the best band of this generation.
Mark Knopfler, David Gilmour, Bob Dylan, Don Henley, Tom Sholz, Lindsey Buckingham, Neil Young, Mick Jagger, Roger Daltry, Bruce Springsteen, Eddie Vedder. These are the musicians our mothers and fathers listened to when they were growing up, when they procrastinated throughout college, when they bought their first cars, when they danced their first dance at their weddings, when they played music for their young children to grow up on. It’s impossible to predict what path a band will take in the future, but those names are no longer untouchable. Nothing is untouchable for Fallon and The Gaslight Anthem. And I’m perfectly content knowing I have this band’s music during this point in my life, because you know what? The Gaslight Anthem holds its own in a discussion like this. Now I’m done talking about it – I’m going to shut up and keep on listening, because if we’re really lucky, we’re only listening to the middle of an all-time great rock and roll career here. While it’s tiresome to call each new Gaslight Anthem release the best Gaslight Anthem release, I’ll have to keep doing so as long as they keep putting out records like Handwritten.
10/10
Notes 01. 45 02. Handwritten 03. Here Comes My Man 04. Mulholland Drive 05. Keepsake 06. Too Much Blood 07. Howl 08. Biloxi Parish 09. Desire 10. Mae 11. National Anthem
The Gaslight Anthem is: Brian Fallon Alex Rosamilia Alex Levine Benny Horowitz Alter The Press - 5/5- Spoiler:
For several years now, The Gaslight Anthem have been touted as the next big rock band; the heirs apparent to Springsteen’s crown, destined to fill stadiums and headline festivals the world over. Sophomore album "The 59 Sound” was universally praised, it's predecessor “American Slang” received similar treatment from fans and critics alike, but it is their fourth effort, “Handwritten”, which will kick-start their ascent from young pretenders to genuine staples in the rock canon.
Frontman Brian Fallon announces the bands’ intentions as soon as the chorus of opening song ‘45’ kicks in as he sings “turn the record over/I’ll see you on the flipside”. Fallon spoke before the release of the record about saying goodbye to their old material and starting afresh, and “Handwritten” sees the band break loose of the shackles of the punk scene that birthed them and fully embrace their hard rock influences. ‘45’ may not be the biggest departure from their previous work, but as a statement of intent it acts as a life-affirming, exciting introduction to The Gaslight Anthem Mark II.
Thankfully for existing Gaslight fans, “Handwritten” does not bring with it a fully-fledged change of sound or direction for the band. Instead, this is an impressive body of work which encompasses the many styles which they have showcased to great success in the past, whilst pushing further into hard rock territory than ever before. The aforementioned ‘45’ and ‘Howl’ show that Gaslight can still write bouncy, energetic punk songs with the best of them, whilst fans of the more expansive sound on “American Slang” will be happy with the inclusion of cuts such as ‘Handwritten’ and ‘Desire’.
It is the album’s mid-section that represents the band’s stepping into previously unknown territories. Mid-album trio ‘Keepsake’, ‘Too Much Blood’ and ‘Biloxi Parish’ are straight-up rock songs - the heaviest that Gaslight have released to date and the biggest reflection of the hard rock influences that the band members have always cited. The band’s blues influences are also worn wholeheartedly on their sleeves, the instrumentation stripped back and the pace slowed down. As a result, the tracks are allowed space to breathe, carried by Fallon’s powerful voice and the ever-impressive lead guitar from Alex Rosamilia. The lead guitar line on ‘Keepsake’ was made for stadiums and the riffs contained on these three songs in particular, but also elsewhere on the album, should see the band appeal to a new audience of rock fans who may have been discouraged by the punkier leanings of the band’s earlier material.
Fallon's vocals on “Handwritten” are arguably the best they have ever sounded. Perhaps encouraged by his work in The Horrible Crowes – whose influence can be heard clearest on the cinematic ‘Mae’ - perhaps by the familiarity of the new direction that Gaslight have taken, Fallon sounds more confident in his abilities than ever before. Whereas in the past he may have been pushing his vocals to uncomfortable levels, he has now found his range and sounds stronger for it. ‘Biloxi Parish’ in particular is a track that, were it not for the power exhibited by Fallon throughout, could fall flat. Instead, the frontman carries the song, allowing Rosamilia the freedom to roam his own fretboard and create the swinging, blues-inspired track present on “Handwritten”. As well as noticeable improvement on Fallon’s behalf, lead guitarist Rosamilia has also taken the opportunity to spread his wings and show everyone just what he can do. “Handwritten” contains several guitar solos, and the lead lines are more meandering and expansive than on previous releases, without losing any of their urgency. The distinction between Rosamilia as lead and Fallon as rhythm guitar has never been clearer, and the songs are more intricate and sprawling for it.
“Handwritten” does not just bring with it a change of style for The Gaslight Anthem, but also a change in approach. Fallon spoke before the album’s release of abandoning the characters and Americana-influenced stories which have dominated his songwriting in the past, instead focusing on his stories, his experiences. The more personal nature of the lyric writing led Fallon to hand write all of his words, a fact reflected in the album’s title and in numerous songs over its course. It seems to be an effective approach as it has produced the most honest Gaslight record yet. The title track revolves around the lyric “every word handwritten” and ends with the refrain “with this pen I thee wed from my heart to your distress”, Fallon highlighting its handwritten nature and intrinsic honesty. Such heartfelt sentiments litter each track, before coming full circle in reflective style on the closing duo of ‘Mae’ and the plaintive, acoustic ‘National Anthem’.
Various references to spilling blood emphasize the honest nature of the lyricism, so much so that on ‘Too Much Blood’ Fallon worries that “if I only tell the truth/are there only lies left for you?” The more personal nature of the songs’ content is obvious in Fallon’s voice – here is a man who is enjoying his music, singing with a smile on his face, and if this is the sound of the true Brian Fallon, it ought to be welcomed with open arms.
The band still have a firm grasp of the Americana they have always portrayed so brilliantly, and Fallon has lost none of his penchant for painting a vivid mental image in the mind of his listener - a feat particularly prevalent on album highlight ‘Mae’. The recognizable Gaslight tropes of fast cars and the radio remain, but Fallon now recognizes the redeeming capabilities provided by music. References to listening to the radio – often whilst driving – resonate with Fallon’s new-found honesty to suggest that he has discovered the healing quality of having his real voice heard, and is embracing it.
So much talk concerning The Gaslight Anthem revolves around how they sound reminiscent of Tom Petty, Bruce Springsteen or The Clash, but with “Handwritten” they have produced a rock album capable of placing them firmly on a level playing field with their heroes. If it is not yet enough of a compliment to say that a release sounds like the Gaslight Anthem, then “Handwritten” is the album which will show the true nature of the band to the world - taking them one step closer to being the band to which new groups are compared and held to in the future.
5/5 BBC Review- Spoiler:
New Jersey quartet continues to impress with their self-styled ‘soul punk’. Alistair Lawrence 2012-07-09
The times have certainly changed for The Gaslight Anthem. Four years and two silver-certified albums since their leap over the top in this country, they’ve established themselves with an evocative brand of wistful, blue-collar rock. Hearteningly for their old-school fans, it never seems to forget the rites of passage that brought them here.
Handwritten is the band’s fourth album and represents an attempt to avoid repeating themselves. The main upshot of this decisive step out of their comfort zone is the warm embrace of big, bold anthems. It’s a natural but impressive transition that takes to another level the intravenous hooks present since their comparatively raw Sink or Swim debut of 2007.
These room-filling rock songs are still guided by frontman Brian Fallon’s husky croon. It’s emboldened by the fact that Benny Horowitz is still one of the most underrated drummers around, while bassist Alex Levine and guitarist Alex Rosamilia continue to be fine foils for Fallon’s bewitching turns of phrase.
Frequently, things that turn existence ugly – change, doubt, love – are gutted and filled with life-affirming vitality. It must be enough to make some of their peers, whose material merely wallows in comparison, sink even further into the dumps.
“I can’t move on and I can’t stay the same,” Fallon cries on “45”, before neatly turning it into a jubilant rallying cry. It’s a lead-off single so bright it deserves to rule the radio this summer. On the title track, the observation that “there’s nothing like another soul that’s been cut up the same” is made to sound like something to cherish.
Keepsake and Too Much Blood are two nods to the grunge era, the latter a bristling journey through the problems of confiding in both a loved one and a lyrics sheet. The almost choral climax of Biloxi Parish just might be the shimmering highlight of the whole shebang.
The criticisms are minor – a couple of tracks slide back into familiar Americana, but even then there’s no sense of the band coasting. Instead they’ve come of age by striving for brilliance. Enthralling stuff. The Music AU- Spoiler:
Reports of rock’n’roll’s demise have been circling the music biz for years but instead of listening to all the speculation and throwing in the towel, bands like The Gaslight Anthem just keep making good music. And the slow and steady build of a fanbase around the world for these New Jersey working class heroes, suggests that Handwritten might just be the album to catapult them into the big league.
With frontman Brian Fallon leading the charge with his heart-on-sleeve industrial town poetry, this band have spun a pretty simple rock’n’roll formula into music gold; soaring guitars, an anthemic build to songs and the kind of steady slow-dance beat that’s occupied jukeboxes for nearly 70 years. At this point in their career (with three previous albums and an EP behind them), it’s no longer a question of whether this album is any good. That’s a given. It’s a matter of how good.
The Gaslight Anthem have never been particularly subtle but the first track on this album, the thrilling first single 45, closely followed by the opening lines of second track, “Pull it out, turn it up, what’s your favourite song?/That’s mine. I’ve been crying to it since I was young,” make it clear that this album isn’t just a love letter to the people that populate all Gaslight Anthem’s albums, the hard-working romantics falling in and out of love at the diner at 3am, but also the music that gets them through.
With acclaimed rock producer Brendan O’Brien at the helm, Gaslight Anthem have made the kind of album that got them through the shitty jobs in their younger days – they were the hard working romantics. Now they’re the jukebox heroes.
Danielle O'Donohue Rolling Stone AU - 4/5- Spoiler:
Mojo France - 2/5
[spoiler]First album of the guys from New Jersey after their transfer to Mercury. What to do after three albums for the Gaslight Anthem is clearly, air going around the question? Do as the Kings of Leon, the onslaught of stages! Production level is much more airy: the tension of the songs of American Slang disappears, the voice of Fallon is exposed/lacking. Do you remember the echo on his voice that was literally The 59 Sound? Suddenly, he spends his time bellowing. Like that is breathing, difficult to remain hanging from the songs that do more than depend on the performance of Fallon songwriting level. This side of it, not good or bad surprises. If we often read that Gaslight Anthem = Springsteen + Strummer, the balance shifts more and more on the side of the Boss. "45" is the job of the single, the lustful and blues crooner voice of Fallon on "Too Much Blood" marks probably the best track on the disc. After the great success of his side project The Horrible Crowes, you think perhaps that Fallon has actually been around the question with The Gaslight Anthem. Allschools.de- Spoiler:
‚I never will forget you my American love. I will always remember you wild as they do come‘ ...these are the final lyrics of the last song on Handwritten. Everybody who listened properly until that point, will begin to recognize: The Gaslight Anthem have started to write songs for eternity, not for the past.
Meanwhile, the first single of the album, 45, has catched the attention of nearly everyone. It is one of those songs, that reminds you of such as Wooderson off their first album "Sink or Swim". Certainly 45, Handwriten or Mulholland Drive belong to the songs, that were made to be played on stage. In general The Gaslight Anthem's new record Handwritten is full of songs that need to be performed on stage - maybe the band hasn't even been obvious of that aspect when they wrote the songs. None of the older songs will ever be able to transport the same passion as the titles on Handwritten in a live show. There are also some of those riffs, that drag you through the 70's (Mae), the 80's (Mulholland Drive), down to the the stadiums's rock and the grunge of the 90's ( Too Much Blood) without bearing any traces of artificiaily.
Handwritten is harsh and direct at the same time. Especially Howl fits to that description, lyrically and musical, in an excellent way. In general you have to mention that the lyrics are full of Blues and really direct... they take your breath. Big and near.
Here Comes My Man is a song, which Brian Fallon tells out of a women's perspective. The song makes me instantly want to cast a women for duet in my mind.
It is easy to notice how much Brian Fallon turned back to e-guitars and dirty rock music after the sonic Horrible Crowes' project and it's album Elsie. That is at least what lead him to a musical restart and a shift in direction.
The songs feel big and near, maybe because of the fact that the "storyteller" Brian Fallon has really written all of the lyrics in a notebook, or just the fact that all the stories being told in this album have a personal background instead of being fairy tailes about women and cadillacs.
People are whispering that the bonus songs on the Deluxe Album are two other Gaslight Anthem tracks, as well as a TOM PETTY cover (You Got Lucky) and a NIRVANA cover. The last one makes me feel very excited, because it shows a connection I'd never have drawn. That shows the way The Gaslight Anthem are dissolving from old bonds while keeping themselves. I am grateful that this band is not trying to do the same album every time, but is creating newly, honest music.
The last song National Anthem is in my opinion the best sad, but beautiful song of the last decade. Slow guitars and strings begin, while Fallon sings: ‚Whatever gets you through the night‘ ...this one just did. Punktastic- Spoiler:
As most people reading this will know, The Gaslight Anthem are one of those bands.
Swiftly idolised in the punk scene for their XOXO Records debut ‘Sink Or Swim’, Fallon and co. then learned to live with the constant (and sometimes fair) comparisons to a certain famous American rock star and carried on to wider acclaim with follow up ‘The ’59 Sound’. Following a fine mainstream reception to third album ‘American Slang’, the band now find themselves looking for way to cement one of the biggest success stories to emerge from the punk scene in the past five or so years.
In terms of style, ‘Handwritten’ isn’t leaps and bounds for the band. It’s The Gaslight Anthem being the The Gaslight Anthem. People with no interest in the band’s last album will not re-find their feet here – the Americana is strong (‘Too Much Blood’ and ‘Keepsake’) and the band certainly have the big stages in mind – but the key is whether the song have the quality to compare to the bands they find themselves sharing bills with these days.
In some cases, this is absolutely true (‘Mulholland Drive’ and opener ’45′ in particular shine through) and others not so much (‘Here Comes My Man’ and ‘Howl’), but all things considered, ‘Handwritten’ is a towering rock record that has the right producer doing the right thing with the band.
Each song stomps its feet and demands that you understand both where the band come from, but also that they want to be up there with the true giants of rock. It’s entirely possible that The Gaslight Anthem could go on to be just that with a few more consistent albums, and there’s certainly enough biting riffs and big choruses here to keep them heading on that path. Fallon’s vocals are refined and impressive, and you have confidence that every part of the band’s sound could be played live as they’ve imagined the performance part of their music here.
Make no mistake, this is a “go big or go home” record from The Gaslight Anthem, and though you know what you’re getting from the themes and song structures throughout, the songwriting does have something special about it. It takes one listen to grab you where ‘American Slang’ took two or three, and ‘National Anthem’ delivers a delicate closer to an accomplished and confident record.
Whether ‘Handwritten’ sinks its hooks in deeper and deeper or falls back to an occasional listen will depend on personal taste, but if you’ve got the time for a balls out rock record from a band that has found a sound they love and run with it – look no further. Ground Control- Spoiler:
Everyone who has been following Gaslight Anthem over the last few years has been waiting for the band to make Handwritten. Fans knew they had it in them, they just had to wait for the band to realize it too; after getting their shit together in the underground (the band's XOXO album, Sink Or Swim, was well met, in spite of having no attention from big-name publications), The '59 Sound introduced Gaslight Anthem to a large audience as the working class group from suburbia armed to the teeth with great guitar-driven songs, fine pop vocal hooks and a lyrical sense which seemed to be universally accessible because it was romantic, bombastic, rocky and sweet – all at the same time. The '59 Sound recalled memories of The Replacements and Bruce Springsteen as they were when they were just getting started, and caused those who heard it to remember the excitement they felt back then, when it was the newest thing. That breakthrough was great, but the band topped it with American Slang in 2010 and proved they could step up and do better (as good as that first break was), rock harder, sing sweeter and right a record that every fan could agree is essential listening from top to bottom.
The sorts of moves that Gaslight Anthem had made to date were great, of course, but fans knew what they were seeing – they were watching history repeat. Whether by accident or design, Gaslight Anthem's growth mimicked the growth and development of The Replacements; how that band had gone from good to better to great, record-by-record. No one wanted to say it out loud because they didn't want to jinx it, but fans kept hoping they'd get another great big and legendary little rock band and now, with Handwritten, they've gotten their wish; after reaching critical mass in the underground (just like The 'Mats had done between Stink, Hootenanny and Let It Be), Gaslight Anthem has emerged in the finest imaginable form with Hardwritten – their major label debut, their moment, their Tim.
From the moment “45” unloads to open the album, fans will know exactly what they're hearing as guitarist Alex Rosamilia, bassist Alex Levine and drummer Benny Horowitz lock into a perfect wall of sound behind singer Brian Fallon – they're hearing the presence of timeless rock n' roll grandeur reassert itself in the mainstream pop paradigm for the first time in years, and listeners will realize how much they missed it right then. In this beginning, the band holds audiences entranced immediately; the sounds of great, ragged rock are recognizable right away as the guitars and bass straddle the lines between heartfelt and raucous, and the drums drive the whole thing straight into the pleasure center of the brain. That starts the love affair right there, but listeners will find they really feel it and will know there's no going back when Brian Fallon steps to the mic an laments, “I can't move on and I can't stay the same” before he gets every listener singing along with “There you go – turn the key and engine over/ Let her go – let somebody else lay at her feet.”
That moment is perfect, but it is not the kind which comes readymade, the band had to take a few albums to build to it. That's why the fact that it comes now is so gratifying; after three records and a couple of EPs, Gaslight Anthem is able to start Handwritten with a show-stopper as they do but, even better, it isn't even the greatest song on the album; this show-stopper is only the beginning.
Listeners will sit wide-eyed as a procession of sure hits including the title track, “Here Comes My Man,” “Too Much Blood” “Biloxi Parish” and “Mulholland Drive” (which is my choice for the single best song Gaslight Anthem has written to date) play their way through and prove the heights Gaslight Anthem is capable of reaching. The performances are rock solid and producer Brendan O'Brien's treatment of them puts added focus and attention on the dichotomy of fantastic (and occasionally gut-rending) melody as well as instrumentation which is hard but doesn't seem treated or inflated by post-production – it just feels both natural and powerful. It's awesome, and even the most dogged of detractors will find themselves unable to find any fault with a single, solitary microtone in this run-time; it is Gaslight Anthem's best album and, because it showcases nothing but the logical extension of their best work, it is also their first truly classic album and an achievement which deserves recognition
Last edited by JJW319 on Tue Jul 17, 2012 3:01 pm; edited 14 times in total | |
| | | DeathoftheCool The Navesink Banks
Posts : 1953 Join date : 2010-07-26 Age : 29 Location : The Dreaded Barbary Coast
| Subject: Re: Collection of "Handwritten" Reviews Mon Jun 25, 2012 10:17 pm | |
| ah! i messed up, it was actually 4.5 from AP | |
| | | saltandburn1967 The Navesink Banks
Posts : 2891 Join date : 2012-05-21 Age : 34 Location : Overland Park, Kansas
| Subject: Re: Collection of "Handwritten" Reviews Mon Jun 25, 2012 10:19 pm | |
| - DeathoftheCool wrote:
- ah! i messed up, it was actually 4.5 from AP
Woo. thank goodness. 90 percent is better than 80 percent | |
| | | JJW319 I'da called you Woody
Posts : 677 Join date : 2010-09-26 Location : Pittsburgh/State College
| Subject: Re: Collection of "Handwritten" Reviews Mon Jun 25, 2012 10:41 pm | |
| | |
| | | DeathoftheCool The Navesink Banks
Posts : 1953 Join date : 2010-07-26 Age : 29 Location : The Dreaded Barbary Coast
| Subject: Re: Collection of "Handwritten" Reviews Mon Jun 25, 2012 10:45 pm | |
| thanks blood | |
| | | gtalbott Red In The Morning
Posts : 74 Join date : 2012-06-20
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 12:25 am | |
| That review from Alt Hub says it "may be the album of the decade"...I'm almost afraid it can't live up to my Great Expectations (eh? eh?) now. ALMOST. But I'm sure it'll surpass them once we all hit Play | |
| | | Bea The Navesink Banks
Posts : 1578 Join date : 2010-05-26 Age : 31 Location : Luxembourg / Spain
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 8:50 am | |
| @JJW319: i updated your original post a bit, hope you don't mind | |
| | | rumham Wooderson
Posts : 347 Join date : 2011-08-18
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 9:24 am | |
| - gtalbott wrote:
- That review from Alt Hub says it "may be the album of the decade"...I'm almost afraid it can't live up to my Great Expectations (eh? eh?) now. ALMOST. But I'm sure it'll surpass them once we all hit Play
Hmmm I kind of get the vibe this person may actually just be a huge Gaslight fan. I love American Slang, but calling it the album of the year in 2010 is a bit of stretch. | |
| | | jdc A Contender
Posts : 184 Join date : 2012-05-25
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 9:30 am | |
| I think this thread just made me pee a little. | |
| | | scally Red In The Morning
Posts : 1 Join date : 2010-04-19
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 10:28 am | |
| Here's another one: 9.2 http://www.theaureview.com/albums/the-gaslight-anthem-handwritten-lp-2012 | |
| | | JJW319 I'da called you Woody
Posts : 677 Join date : 2010-09-26 Location : Pittsburgh/State College
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 12:02 pm | |
| Thanks Scally. And welcome! - Bea wrote:
- @JJW319: i updated your original post a bit, hope you don't mind
great idea Bea! I'll follow suit! | |
| | | njguy99 I'da called you Woody
Posts : 950 Join date : 2012-02-28 Age : 44 Location : Union, NJ
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 1:28 pm | |
| I just got my Alternative Press in the mail and was amazed at how effusive the review was. Regardless of whether it was written by a fan or not (or the fact AP tends to only review albums it likes) it still says a lot about the quality of this record. | |
| | | jonnyz83 A Contender
Posts : 208 Join date : 2011-12-09 Location : Down the shore
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 1:44 pm | |
| Tweet just minutes ago from TGA: - Quote :
- God bless rolling stone magazine! @RollingStone
Might we see a glowing review of Handwritten in Rolling Stone soon? | |
| | | JJW319 I'da called you Woody
Posts : 677 Join date : 2010-09-26 Location : Pittsburgh/State College
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 1:47 pm | |
| - jonnyz83 wrote:
- Tweet just minutes ago from TGA:
- Quote :
- God bless rolling stone magazine! @RollingStone
Might we see a glowing review of Handwritten in Rolling Stone soon? giddy. just giddy. | |
| | | ghosttocoast Red In The Morning
Posts : 80 Join date : 2012-04-25 Age : 29 Location : Southampton, UK
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 2:02 pm | |
| This thread is causing me to salivate in excitement. I don't know how I'm going to make it through these next 27 days. | |
| | | saltandburn1967 The Navesink Banks
Posts : 2891 Join date : 2012-05-21 Age : 34 Location : Overland Park, Kansas
| Subject: Re: Collection of "Handwritten" Reviews Tue Jun 26, 2012 2:02 pm | |
| - JJW319 wrote:
- jonnyz83 wrote:
- Tweet just minutes ago from TGA:
- Quote :
- God bless rolling stone magazine! @RollingStone
Might we see a glowing review of Handwritten in Rolling Stone soon?
giddy. just giddy. I am excited! Do you think they might have gotten another perfect? These boys are going to get HUGE from this album. | |
| | | NYYFAN523 A Contender
Posts : 227 Join date : 2011-12-21 Age : 33 Location : Hazlet, NJ
| Subject: Alt Press review of Handwritten Thu Jun 28, 2012 8:23 pm | |
| edit: topics merged.Searched and for some reason couldn't find the topic of the compiled Handwritten reviews. | |
| | | jzancan A Contender
Posts : 197 Join date : 2010-04-19 Location : Crofton, Maryland
| Subject: Re: Collection of "Handwritten" Reviews Thu Jun 28, 2012 8:43 pm | |
| | |
| | | NYYFAN523 A Contender
Posts : 227 Join date : 2011-12-21 Age : 33 Location : Hazlet, NJ
| Subject: Re: Collection of "Handwritten" Reviews Thu Jun 28, 2012 8:45 pm | |
| Thanks. For some reason couldn't find that before I posted this. | |
| | | jdc A Contender
Posts : 184 Join date : 2012-05-25
| Subject: Re: Collection of "Handwritten" Reviews Thu Jun 28, 2012 10:23 pm | |
| - saltandburn1967 wrote:
- JJW319 wrote:
- jonnyz83 wrote:
- Tweet just minutes ago from TGA:
- Quote :
- God bless rolling stone magazine! @RollingStone
Might we see a glowing review of Handwritten in Rolling Stone soon?
giddy. just giddy.
I am excited! Do you think they might have gotten another perfect? These boys are going to get HUGE from this album. Another option is that the magazine is planning a major major feature on them (cover seems unlikely, but...) and Rolling Stone still has a paid circulation + newstand buyrate of over 1.5 million per issue. Spin is about a third of that. | |
| | | ghosttocoast Red In The Morning
Posts : 80 Join date : 2012-04-25 Age : 29 Location : Southampton, UK
| Subject: Re: Collection of "Handwritten" Reviews Sat Jun 30, 2012 9:42 am | |
| Q seem to be responsible for the first non-positive review. They gave it 3/5 in this month's magazine. Incredibly lazy review, filled with Bruce references and is just downright disrespectful. Here it is for anyone who wants to read. "- Spoiler:
Jersey? Sure! Stadium-happy major debut from New Jersey's Springsteen acolytes.
Two things have changed since The Gaslight Anthem's last album, 2010's American Slang. First Brian Fallon, the group's singer and guitarist, formed The Horrible Crowes with friend Ian Perkins to siphon off his most left-field impulses - and since The Gaslight Anthem count early Clash, Springsteen and The Replacements as prime influences, you'll appreciate "left-field" is a relative term. Then, after three albums on independant labels, they signed to Mercury.
Handwritten takes them further from their punk roots and almost all influences have been expunged, bar one. This is an album where you're never far from the next gas station, salvation comes in the form of a 45 single and God is spelt B.R.U.C.E. The group's current trajectory owes much to summer '09, when they swapped guest appearances with Springsteen at Glastonbury and Hard Rock Calling. They may have recorded it in Nashville with Pearl Jam producer Brendon O'Brien, but Handwritten is pure New Jersey rock, dripping urban romanticism, albeit with extra oomph on the power chords. Fallon's voice, always somewhere near the whiskey barrel, is that bit more scorched and on Too Much Blood ("If I just tell the truth/Now there's only lies left for you") he bares his figurative scars for the audience to ogle. But for all that this major label debut makes an accomplished job of going louder and harder, it's also a good deal safer." - Steve Yates
Last edited by ghosttocoast on Sat Jun 30, 2012 9:53 am; edited 1 time in total | |
| | | Klown The Navesink Banks
Posts : 3526 Join date : 2012-03-11 Age : 45 Location : Portadown, N.Ireland
| Subject: Re: Collection of "Handwritten" Reviews Sat Jun 30, 2012 9:46 am | |
| Mojo give it 2/5, so the negative reviews seem to be out there.
Honestly, like always, I won't pay any attention to them, I'll like what I like, and not let some 'expert' tell me what is good or bad. I also won't get bent up over a bad or 'disrespectful' interview/review. | |
| | | ghosttocoast Red In The Morning
Posts : 80 Join date : 2012-04-25 Age : 29 Location : Southampton, UK
| Subject: Re: Collection of "Handwritten" Reviews Sat Jun 30, 2012 10:00 am | |
| - Klown wrote:
- Mojo give it 2/5, so the negative reviews seem to be out there.
Honestly, like always, I won't pay any attention to them, I'll like what I like, and not let some 'expert' tell me what is good or bad. I also won't get bent up over a bad or 'disrespectful' interview/review. Yeah you're definitely right and it hasn't made me any less excited, I just can't help but be incensed by lazy journalism, especially when he's only referred to one of the songs on the album and clearly hasn't even given it the time of day. But hey, I'll ignore it. If they choose to completely miss the point they're the ones missing out. | |
| | | IrishNameAndAnInjury The Navesink Banks
Posts : 13514 Join date : 2011-09-16 Age : 41 Location : Spokane Valley, WA
| Subject: Re: Collection of "Handwritten" Reviews Sat Jun 30, 2012 10:27 am | |
| - ghosttocoast wrote:
- Klown wrote:
- Mojo give it 2/5, so the negative reviews seem to be out there.
Honestly, like always, I won't pay any attention to them, I'll like what I like, and not let some 'expert' tell me what is good or bad. I also won't get bent up over a bad or 'disrespectful' interview/review. Yeah you're definitely right and it hasn't made me any less excited, I just can't help but be incensed by lazy journalism, especially when he's only referred to one of the songs on the album and clearly hasn't even given it the time of day.
But hey, I'll ignore it. If they choose to completely miss the point they're the ones missing out. I totally agree with what you guys are saying. The Q review made me really mad because the "journalist" sounded so uninformed and only seemed interested in comparing the guys to Bruce. But that doesn't make me any less excited or change the fact that the songs I have heard are beyond amazing and I think this could be the best album ever. Ghosttocoast said it perfectly - if they miss the point, they're the ones missing out. Now I'm really excited to read the RS review though. Even though it won't affect my opinion, it's nice to see the band getting some recognition for how fantastic they are. | |
| | | Guest Guest
| Subject: Re: Collection of "Handwritten" Reviews Sat Jun 30, 2012 11:12 am | |
| - ghosttocoast wrote:
- Q seem to be responsible for the first non-positive review. They gave it 3/5 in this month's magazine. Incredibly lazy review, filled with Bruce references and is just downright disrespectful. Here it is for anyone who wants to read.
"- Spoiler:
Jersey? Sure! Stadium-happy major debut from New Jersey's Springsteen acolytes.
Two things have changed since The Gaslight Anthem's last album, 2010's American Slang. First Brian Fallon, the group's singer and guitarist, formed The Horrible Crowes with friend Ian Perkins to siphon off his most left-field impulses - and since The Gaslight Anthem count early Clash, Springsteen and The Replacements as prime influences, you'll appreciate "left-field" is a relative term. Then, after three albums on independant labels, they signed to Mercury.
Handwritten takes them further from their punk roots and almost all influences have been expunged, bar one. This is an album where you're never far from the next gas station, salvation comes in the form of a 45 single and God is spelt B.R.U.C.E. The group's current trajectory owes much to summer '09, when they swapped guest appearances with Springsteen at Glastonbury and Hard Rock Calling. They may have recorded it in Nashville with Pearl Jam producer Brendon O'Brien, but Handwritten is pure New Jersey rock, dripping urban romanticism, albeit with extra oomph on the power chords. Fallon's voice, always somewhere near the whiskey barrel, is that bit more scorched and on Too Much Blood ("If I just tell the truth/Now there's only lies left for you") he bares his figurative scars for the audience to ogle. But for all that this major label debut makes an accomplished job of going louder and harder, it's also a good deal safer." - Steve Yates
I really dislike this review. It's extremely vague, and doesn't offer any positive or negative opinions. It's pretty much just a description of what's going on in the album. That's not a proper review. A proper review says what's being offered that's good, and what's being offered that's bad. Maybe the Bruce references are meant to be negative, maybe the vague idioms about his voice being near the whiskey barrel are negative too, but there's literally nothing in it that is black or white. The review either stinks of trying very hard to give it a negative review, while not being able to find anything negative about it, or it doesn't seem to realize that a lot of what it said seems positive from my perspective (such as the dripping in urban romanticism, with a little more oomph) should equal a better score than 3/5. EDIT: Just saw that it's a Q review. Q sucks. Bunch of baiters looking to sell magazines. Oh well, even if this negative review had substance behind it, I wouldn't care. Other people's opinions don't matter to me... it's just sad to see the average acclaim of the album be dragged down by negative reviews. This deserves to be album of the year, not "moderately successful".
Last edited by MattL on Sat Jun 30, 2012 11:17 am; edited 1 time in total |
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