It's Blitz
仕様 | 価格 | 新品 | 中古品 |
CD, CD, インポート, 2009/4/2
"もう一度試してください。" | CD, インポート |
—
| — | ¥1 |
CD, CD, インポート, 2009/6/16
"もう一度試してください。" | CD, インポート |
—
| — | ¥51 |
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曲目リスト
1 | Zero |
2 | Heads Will Roll |
3 | Soft Shock |
4 | Skeletons |
5 | Dull Life |
6 | Shame and Fortune |
7 | Runaway |
8 | Dragon Queen |
9 | Hysteric |
10 | Little Shadow |
商品の説明
内容紹介
At the turn of the twenty-first century, the New York City music scene floated in a surfaceless orbit of samplers, shoegazers, and delay pedals. The city's guitars lay choked by a digital fog, or else they lay dustily forgotten. Then, in 2002, an unbridled five-song EP by an unknown band brought noise, sex, passion, and mayhem back to the stage and to the stereo. The band's name evoked the kid who knows that whoever's in charge is full of s**t -- "yeah, yeah, yeah" -- but it also rang with the affirmation of pure rock and roll: F**k yeah! The Yeah Yeah Yeahs' first full-length album, Fever to Tell, was simultaneously filthy, infectious, sloppy, and brilliant. You could dance to it, and you could probably die to it. "Maps" was nominated for a Grammy, and the record went gold in the UK.
The Yeah Yeah Yeahs spawned a new breed of power trio. They work together as a single organism, but each member maintains their own personality and contributes their own strengths. Think of them as a three-piece Earth, Wind, and Fire. On second thought, it's probably better if you didn't do that. Brian Chase's drumming couldn't be tighter or more precise, even as the band descends into the pitch-dark caves of noise he frequents in his free-jazz spare time--and one can hear rigor and experiment behind even his simplest, no-frills (or -fills) rhythms. Nick Zinner's guitar pushes back--hard--against Chase's formalism, grounding the group in rock and roll at its ballsiest, dirtiest, and most shredly. His soaring, sometimes grinding lines are wires connecting Chase's drums to the psychologically kaleidoscopic vocals of Karen O, who, as the New Yorker has noted, would have been a success "had she appeared with nothing more than a microphone and a pair of maracas."
The band developed an itchy and unshakeable aversion to repeating itself. It would have been easy enough to record another spastic, live-sounding garage album after the success of Fever, but their next full-length, 2007's Show Your Bones, added acoustic guitar and more serious compositions that picked up on the direction suggested by a song like "Maps." Rolling Stone called the record a "textural triumph," and the group honed their legendary stage performance -- one cannot understand the Yeah Yeah Yeahs without seeing Karen O writhing and thriving onstage. A handful of great songs that didn't make it onto Bones became tour staples (and fan favorites), and the band sat down with the celebrated PiL/Slits/Gang of Four producer Nick Launay to record 2007's EP Is Is.
Last year, the Yeahs shook their Etch A Sketch® clean to start work on a new record with producers Dave Sitek and Nick Launay. "We usually go into these things totally blind," Karen O said. "We have no idea what's going to happen when we sit down." This empty page feeling was helped by geography: they began writing the record in the middle of a snowstorm, in a hundred-year-old barn in rural Massachusetts. "You looked out the window and it was just pastures and pastures of snow-covered fields," she said. Zinner had brought along a synthesizer to work with during the writing session, not expecting it to end up on the album. "That was an old keyboard I bought on eBay," he said. "Literally, it was the first day we were setting up, plugging things in. Ten minutes later, we'd written that song 'Skeletons.'" The song--and the whole record--have a new feeling of space and atmosphere that's unusual for the band. "Obviously, synths have been in rock music forever," Zinner says. "But to us it feels new, which is all we really care about--that excitement."
It's Blitz! signals both a glance backward and a step forward for the Yeah Yeah Yeahs. Zinner's vintage Arp--the same model used on records by The Cars, Joy Division, and Kraftwerk--contributes atmospheric washes ("Skeletons"), disco wiggles ("Dance till you're dead!" Karen sings on "Heads Will Roll"), and New Wave melodrama ("Soft Shock"). The first single, "Zero," combines all these elements to create a dance-floor anthem that sings directly to the listener. "We've got a death grip on the adolescent way of feeling things," O said. That's something I'll never be able to shake in the music I write. It's almost feels like a John Hughes 80s movie." But acknowledging the past in this way doesn't sound make for a nostalgic-sounding album. "I think there's a cool stability reflected in this record," Brian Chase says. "It reflects our transformation, and how we've developed as people."
Product Description
At the turn of the twenty-first century, the New York City music scene floated in a surfaceless orbit of samplers, shoegazers, and delay pedals. The city's guitars lay choked by a digital fog, or else they lay dustily forgotten. Then, in 2002, an unbridled five-song EP by an unknown band brought noise, sex, passion, and mayhem back to the stage and to the stereo. The band's name evoked the kid who knows that whoever's in charge is full of s**t -- "yeah, yeah, yeah" -- but it also rang with the affirmation of pure rock and roll: F**k yeah! The Yeah Yeah Yeahs' first full-length album, Fever to Tell, was simultaneously filthy, infectious, sloppy, and brilliant. You could dance to it, and you could probably die to it. "Maps" was nominated for a Grammy, and the record went gold in the UK.
The Yeah Yeah Yeahs spawned a new breed of power trio. They work together as a single organism, but each member maintains their own personality and contributes their own strengths. Think of them as a three-piece Earth, Wind, and Fire. On second thought, it's probably better if you didn't do that. Brian Chase's drumming couldn't be tighter or more precise, even as the band descends into the pitch-dark caves of noise he frequents in his free-jazz spare time--and one can hear rigor and experiment behind even his simplest, no-frills (or -fills) rhythms. Nick Zinner's guitar pushes back--hard--against Chase's formalism, grounding the group in rock and roll at its ballsiest, dirtiest, and most shredly. His soaring, sometimes grinding lines are wires connecting Chase's drums to the psychologically kaleidoscopic vocals of Karen O, who, as the New Yorker has noted, would have been a success "had she appeared with nothing more than a microphone and a pair of maracas."
The band developed an itchy and unshakeable aversion to repeating itself. It would have been easy enough to record another spastic, live-sounding garage album after the success of Fever, but their next full-length, 2007's Show Your Bones, added acoustic guitar and more serious compositions that picked up on the direction suggested by a song like "Maps." Rolling Stone called the record a "textural triumph," and the group honed their legendary stage performance -- one cannot understand the Yeah Yeah Yeahs without seeing Karen O writhing and thriving onstage. A handful of great songs that didn't make it onto Bones became tour staples (and fan favorites), and the band sat down with the celebrated PiL/Slits/Gang of Four producer Nick Launay to record 2007's EP Is Is.
Last year, the Yeahs shook their Etch A Sketchョ clean to start work on a new record with producers Dave Sitek and Nick Launay. "We usually go into these things totally blind," Karen O said. "We have no idea what's going to happen when we sit down." This empty page feeling was helped by geography: they began writing the record in the middle of a snowstorm, in a hundred-year-old barn in rural Massachusetts. "You looked out the window and it was just pastures and pastures of snow-covered fields," she said. Zinner had brought along a synthesizer to work with during the writing session, not expecting it to end up on the album. "That was an old keyboard I bought on eBay," he said. "Literally, it was the first day we were setting up, plugging things in. Ten minutes later, we'd written that song 'Skeletons.'" The song--and the whole record--have a new feeling of space and atmosphere that's unusual for the band. "Obviously, synths have been in rock music forever," Zinner says. "But to us it feels new, which is all we really care about--that excitement."
It's Blitz! signals both a glance backward and a step forward for the Yeah Yeah Yeahs. Zinner's vintage Arp--the same model used on records by The Cars, Joy Division, and Kraftwerk--contributes atmospheric washes ("Skeletons"), disco wiggles ("Dance till you're dead!" Karen sings on "Heads Will Roll"), and New Wave melodrama ("Soft Shock"). The first single, "Zero," combines all these elements to create a dance-floor anthem that sings directly to the listener. "We've got a death grip on the adolescent way of feeling things," O said. That's something I'll never be able to shake in the music I write. It's almost feels like a John Hughes 80s movie." But acknowledging the past in this way doesn't sound make for a nostalgic-sounding album. "I think there's a cool stability reflected in this record," Brian Chase says. "It reflects our transformation, and how we've developed as people."
登録情報
- 製品サイズ : 12.29 x 14.2 x 1.19 cm; 92.13 g
- メーカー : Interscope Records
- EAN : 0602527001883
- 商品モデル番号 : 5261855
- オリジナル盤発売日 : 2009
- レーベル : Interscope Records
- ASIN : B001UJIMF0
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 378,910位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 78,670位ロック (ミュージック)
- - 110,028位輸入盤
- カスタマーレビュー:
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
今までは、あくまで主役はカレンで、ニックはさりげなくバックアップするような印象でしたが(それでも存在感は凄かったですけど)、今回はついにカレンを喰っているような感じがします。
というか、カレンは意図的抑えていて、楽器とのバランスが絶妙です。
ニックはシンセを多様してますがセンス光りまくりです。ここに来て爆発です。音が楽しすぎます。
これは神曲だっ!!
というのがなかったんですが、全体的なバランスはとてもいいです。
逆に言うと捨て曲がありません。
やりたいようにやってそれが格好いいのは凄い。
1stのようにカレンOは叫ばないし、2ndようなただのガレージロックでもない。
無駄な音が削ぎ落とさた結果ミニマルミュージックやダンスミュージックを
髣髴とさせ、そこにYYYSならではのポップセンスが重なり一層不気味さを増した。
この不気味さはYYYS好きなら皆が求めているもので2ndにはそれが無かった。
前作と今作の間に1st時の再録EPが出たがあれがすべてを変えさせたのだと思う。
結果YYYSにしか作ることができない不気味でポップで時に聴かせる最高傑作が完成した。
ホワイト・ストライプス、ストロークスに次ぐグループとして00年代初頭に大いに注目を浴びたスリーピース。
今作は、ややディープかつヘヴィな印象強かった前作に比べると、弾ける煌びやかなポップセンスが光る作風となった。
ここまでの作品の中では、最も聴き易く親しみやすい音になったんじゃないだろうか。
エレクトロニクスの導入が大胆に行われ、ある意味「モダン」をアピールする作風ともなっている。
素材としての楽曲の良さと、卓越したスタジオワークとが絶妙のバランスで組み合わさった優秀作であると言っていいだろう。
反面、1作目にあったような破天荒さ、何が飛び出て来るかわからないといったようなスリリングさは大いに後退した。
O嬢のVoも、より表現力の向上に注力したといった風で、かつての荒々しさはすっかり影を潜めたかのようだ。
パンクというよりは、、ポストパンク/ニューウェイヴ路線の音、と言っていいと思う。
あるいは、ダンサブルを意識して制作された作品であると捉えてもいいだろう。個人的には、往年のブロンディを想起させられたりもした。
ただ、ガレージロック特有の無骨さ、生々しさというのはしっかりと残されている。
決して、単純にセルアウト路線、ソフト路線に走った音ではない。
本来のロックスピリットはいささかも損なわれていないと思う。
曲作りの素晴らしさと音作りの巧みさがいい具合に融け合った、好盤であると言っていいだろう。
大胆にエレクトロニカを取り入れたKid Aを投じた。
同じような極端な変化を、YYYsはこのアルバムで見せている。
1stからこういう風に、言わば深遠に変化を重ねていくことは、
こういったハードコアをやっていたバンドにはよくあることだ。
ただ、文句なく現ロックシーン最高峰のギタリストであるニック・ジナーに
ギターを手放させるというのは、まさに諸刃の剣だった。
カレン・OのボーカルがあればYYYsと言えるのか、
ニック・ジナーのギターという2枚看板の一つを捨てたとき、このバンドの真価は問われた。
結果から言うと、よくここまで作った、というところだろう。
メロディを研ぎ澄ませた序盤3曲は見事な名曲。
しかし、滅茶苦茶に心を打つような、あのカリスマ性は影を潜めたとも言える。
評論家などはこういった変化が大好きで、こぞって「最高傑作!」と囃し立てているが、
次のアルバムが出たときに、まだそんな評価をしているだろうか?
本当にFever to tellを超えたのか?
私にはどうしてもそうは思えないのだ。
ランナウェイという曲が名曲だと思った。
四つ打ち的なダンサブル、デジタルな曲と静かめな曲がありトータルで収録時間は短め。
ファーストアルバムのインパクトには劣るが佳曲が多く何より歌声が良かった。エキセントリックさは控えめ。
他の国からのトップレビュー
Sui solchi vi era presente un pò di polvere di fabbrica che è venuta via tutta quanta grazie ad una semplice e veloce passata di panno con il prodotto adatto.
Amazon come sempre il top per ciò che riguarda celerità (un paio di giorni massimo a differenza di altri siti, anche rinomati, che ti fanno cadere gli zebedei sul pavimento impiegandoci una ventina di giorni per la consegna di un'album), garanzie e prezzo.
2019年11月5日にイタリアでレビュー済み
Sui solchi vi era presente un pò di polvere di fabbrica che è venuta via tutta quanta grazie ad una semplice e veloce passata di panno con il prodotto adatto.
Amazon come sempre il top per ciò che riguarda celerità (un paio di giorni massimo a differenza di altri siti, anche rinomati, che ti fanno cadere gli zebedei sul pavimento impiegandoci una ventina di giorni per la consegna di un'album), garanzie e prezzo.