SUICIDAL TENDENCIES - Lights..Camera..Revolution Japan ESCA-5132
Edición japo del cuarto álbum de estudio de esta banda de Thrash y Crossover en la cuál militó brevemente el actual bajista de Metallica: Robert Trujillo.
En este disco se meten alejan del Hardcore para meterse más de lleno en el Thrash Metal, pero a la vez incluyendo cierta influencia funk. El disco fue todo un pelotazo en EE.UU.
Tracklist:
1 You Can't Bring Me Down 5:48 2 Lost Again 5:15 3 Alone 4:23 4 Lovely 3:44 5 Give It Revolution 4:20 6 Get Whacked 4:22 7 Send Me Your Money 3:21 8 Emotion No. 13 3:41 9 Disco's Out, Murder's In 3:06 10 Go'n Breakdown 4:38
Codec: EAC-FLAC Tamaño archivo: 385.75 GB Portadas: Todas a 400 dpi.
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
Archivo Log de extracciones desde 23. Febrero 2015, 17:25
SUICIDAL TENDENCIES / Lights... Camera... Revolution - Japan (ESCA-5132)
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Corrección de Desplazamiento de Lectura : 667 Sobreleer tanto en Lead-In como en Lead-Out : No Rellenar las muestras faltantes con silencios : Sí Eliminar silencios inicial y final : No Se han usado muestras nulas en los cálculos CRC : Sí Interfaz usada : Interfaz propio de Win32 para Windowns NT y 2000
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Nombre de Archivo E:\Música\EAC\Suicidal Tendencies\SUICIDAL TENDENCIES - Lights... Camera... Revolution - Japan (ESCA-5132).wav
Nivel Pico 89.7 % Gama de Calidad 100.0 % Test CRC 6BC18559 Copiar CRC 6BC18559 Copia OK
Sin Errores
Resumen AccurateRip
Pista 1 no presente en la base de datos Pista 2 no presente en la base de datos Pista 3 no presente en la base de datos Pista 4 no presente en la base de datos Pista 5 no presente en la base de datos Pista 6 no presente en la base de datos Pista 7 no presente en la base de datos Pista 8 no presente en la base de datos Pista 9 no presente en la base de datos Pista 10 no presente en la base de datos
Ninguna de las pistas está presente en la base de datos AccurateRip
Japanese edition of Suicidal Tendencies fourth studio album.
From Metal-Archives:
Suicidal showed a remarkable musical progression already on preceding records like Join The Army and How Will I Laugh Tomorrow When I Can’t Even Smile Today, leaving behind the humble hardcore noise behind to offer something much more serious. However, this is the album where their improvement reached peaks, becoming a truly professional thrashy metal group by increasing the difficulty of the songs and their length, obtaining a distinctive sound that made a difference from the rest. Just like their pals from DRI and the Big 4, it was time for them to get rid of clichés and topics to achieve maturity to prevail during the upcoming uncertain times for the whole genre.
This is the definitive phase where Suicidal’s stuff became superior, from amateur hardcore to raging thrash. The killer opening track “You Can’t Bring Me Down” or “Disco’s Out, Murder’s In” feature the frantic characteristic speed inherited from the early hungry years, though now it’s completely controlled and disciplined, combined with vigorous riffs and effective structures. The band was never so skilled before, the previous 2 records meant a big improvement but not so advanced like this. They reach next level with greater instrumental complexity, more meticulous arrangements and a much professional performance. The vital contribution of both George and Clark is these compositions leading force because this material is generally guitar-based, putting attention now on the instrumental configuration and the quality of riffs. “Lost Again” or “Give It Revolution” include some remarkable guitar lines, for instance, crude and insistent, proving Suicidal’s determination to give the 6-string section control and presence. On other hand, lyrics are still numerous and indispensable for the cuts, not just empty fillers, like the touching “Alone” or the more sarcastic “Lovely” demonstrate. Choruses are constant and repetitive, making these numbers catchy and slightly commercial but expect no cheesy words; the group’s attitude remains pure and explicit. “Go ‘N Breakdown” is pretty outrageous and lyrically punkish, while “Send Me Your Money” brings back some humor and jokes (check out that hilarious promo-video), both sharing a straight simple instrumental construction that works out admirably. Other tunes like “Emotion No.13” and “Get Whacked” might not be really complicated either but lack no passion or sense.
The results are surprising for a band that used to play chaotic hardcore not much long ago, but it’s not the same line-up that recorded the homonym debut (only Mr. Muir is left). So these much skilled musicians realized of the need to evolve to survive, paying attention to what all those thrash acts they inspired in the past were doing. The nature of most of these violent riffs is quite thrashy indeed, no traces of punk lines left but tag these tunes as thrash would be wrong and vague. There’s speed, there’s aggression and certain difficulty (compared with the previous attempts, of course) but those aren’t the main goals for the band that performs this naturally, without following a uniform strict pattern. The variety of compositions is stunning, being no longer musically unified and predictable, alternating velocity with heavy rhythms, rampant and weighty guitar lines and lyrics that have something to say. Words like “I just need someone to take my hand and pick me up when I'm feeling down, someone to take my heart and give it a home” show an unexpected sensitive side of these guys, honest and true (the result of own real experience, maybe?) while other expressions like “Kick you in the balls, now you're a soprano singer” prove they won’t betray their aggressive nature, no matter how tremendous the new sound modification might be. That sound change has been proved successful, instrumentally, these numbers have become refined and accurate, more reasonable than the poor 1 minute long old songs. Sometimes structures are basic and direct, other times more varied and pretentious but it’s evident a higher level has been reached. Now Rocky is really using all his potential with this new scheme giving him the chance to prove his talent. Solos are lengthier, riffs more important to define this material, Suicidal even leave bigger space for instrumental sequences that are undoubtedly discreet and limited, still. Discreet but part of an immense step forward nobody could’ve imagined by 1983.
Early raw hardcore became obsolete and no longer refreshing by the end of the 80’s, so the need to improve for groups like this was crucial. Taking elements from such a popular subgenre by that time like thrash was a sensible choice. In fact, they shouldn’t be accused of plagiarism entirely; after all, they contributed to determine that subgenre essence back in the old days. The splendid result of this album proved that decision effective and wise, just like what happened with DRI’s Thrash Zone. They would get even more versatile and fascinating in the following release, The Art Of Rebellion, though that brilliant inventiveness came too late, sadly in a time when grunge ruled the world and nobody was interested in thrash anymore.
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