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Lexicon wrote:

How Gorillaz Ruined The xx's ‘Crystalised’By Rhys CaterPosted on 12/10/10 at 05:52:11 pm
Damon Albarn has killed ‘Crystalised’. It was death by over-thought, trying-too-hard experimental self indulgence - a fate that I would wish on no music. You wouldn't expect this from the likes of Gorillaz, whose Britpop pedigree is unquestionable and whose latest release Plastic Beach nailed experimental on the head in all the right ways. Less still would you think it was possible to cock up the perfectly measured composition boiled up by The xx. Yet in BBC Radio 1’s Live Lounge something went horribly wrong last month.
Weirdly, it was the perfect crime. Instead of politely ignoring it, fans and critics everywhere from Twitter to the Hype Machine are worshipping the marriage of two of Britain’s favourite artists and I can’t help thinking the shiny veneer of some big names is obscuring the true merits of the track. Give it another listen, and you'll notice that everything that gave the original recording its tension, intrigue, and sex appeal is missing in this lacklustre cover.

First, what was going through Damon Albarn’s mind when he decided to strip the song of its signature bass line? The syncopation is the heart and soul of ‘Crystalised’ and gives it the magnetism that makes it a standout track. With it missing, Albarn’s cover drags like Big Brother at 3am. Almost equally tedious is the brow-furrowed, pining rendition of the vocals which saps the punch from the song’s other central feature: the glorious ‘Ayeeayeeah’ chant. Where are the vocal sensibilities we’ve heard so many times in Blur and Gorillaz? We know Albarn has it in him. The only attempt at originality here is the use of glockenspiels in place of guitars – but even the gentle twinkling of glocks can’t save this cover.

The xx crafted ‘Crystalised’ out of sex-fuelled, angst-ridden urgency, striking the tricky balance between sentimental introspection and dynamic musicianship. Gorillaz have, for once, missed the mark and twisted it into a tune that is as adolescent as The xx’s dress sense and hairstyles might suggest it should be. They had the potential to follow the example set by bands who’ve impressed in the live lounge with imaginative and exciting covers: The Arctic Monkeys turned trashy chart hit by Girls Aloud into a hilariously catchy rocker, and Duffy showed us a subtler side to Hot Chip’s massive ‘Ready For The Floor’. Sure, the odd fatally misjudged cover is inevitably going to make it through (remember Avril Lavigne’s ‘The Scientist’?), but WHY GORILLAZ WHY? The worst thing is the glowing praise it’s received – if one more person asks me if I’ve heard that great cover, retaliation will be swift and brutal: death by glockenspiel.

Fonte: http://www.nme.com/blog/index.php?blog= ... more=1&c=1

AFX wrote: grandi gorillaz invece, aspettiamo l+album fatto con l+ipad (se e´ vero)

In an interview on Australia's Triple J radio, Damon Albarn confirmed that the forthcoming Gorillaz iPad album is called The Fall and is indeed due out for free on Christmas Day. (Via Some Kind of Awesome.)

Lexicon wrote:

How Gorillaz Ruined The xx's ‘Crystalised’By Rhys CaterPosted on 12/10/10 at 05:52:11 pm
Damon Albarn has killed ‘Crystalised’. It was death by over-thought, trying-too-hard experimental self indulgence - a fate that I would wish on no music. You wouldn't expect this from the likes of Gorillaz, whose Britpop pedigree is unquestionable and whose latest release Plastic Beach nailed experimental on the head in all the right ways. Less still would you think it was possible to cock up the perfectly measured composition boiled up by The xx. Yet in BBC Radio 1’s Live Lounge something went horribly wrong last month.
Weirdly, it was the perfect crime. Instead of politely ignoring it, fans and critics everywhere from Twitter to the Hype Machine are worshipping the marriage of two of Britain’s favourite artists and I can’t help thinking the shiny veneer of some big names is obscuring the true merits of the track. Give it another listen, and you'll notice that everything that gave the original recording its tension, intrigue, and sex appeal is missing in this lacklustre cover.

First, what was going through Damon Albarn’s mind when he decided to strip the song of its signature bass line? The syncopation is the heart and soul of ‘Crystalised’ and gives it the magnetism that makes it a standout track. With it missing, Albarn’s cover drags like Big Brother at 3am. Almost equally tedious is the brow-furrowed, pining rendition of the vocals which saps the punch from the song’s other central feature: the glorious ‘Ayeeayeeah’ chant. Where are the vocal sensibilities we’ve heard so many times in Blur and Gorillaz? We know Albarn has it in him. The only attempt at originality here is the use of glockenspiels in place of guitars – but even the gentle twinkling of glocks can’t save this cover.

The xx crafted ‘Crystalised’ out of sex-fuelled, angst-ridden urgency, striking the tricky balance between sentimental introspection and dynamic musicianship. Gorillaz have, for once, missed the mark and twisted it into a tune that is as adolescent as The xx’s dress sense and hairstyles might suggest it should be. They had the potential to follow the example set by bands who’ve impressed in the live lounge with imaginative and exciting covers: The Arctic Monkeys turned trashy chart hit by Girls Aloud into a hilariously catchy rocker, and Duffy showed us a subtler side to Hot Chip’s massive ‘Ready For The Floor’. Sure, the odd fatally misjudged cover is inevitably going to make it through (remember Avril Lavigne’s ‘The Scientist’?), but WHY GORILLAZ WHY? The worst thing is the glowing praise it’s received – if one more person asks me if I’ve heard that great cover, retaliation will be swift and brutal: death by glockenspiel.

Fonte: http://www.nme.com/blog/index.php?blog= ... more=1&c=1

La gente sta male. Tutte 'ste parole per una canzone. Manco io quando ero un fondamentalista di downward spiral e non mi era piaciuta la versione di Hurt fatta da Cash