The Gaslight Anthem have always been known for harder sounds, with "Get Hurt"Constitutes rock band from New Jersey now, however, go one better. Since its inception in 2007, the band has partnered with joy universal elements of rock like stadium rock and a bar-blues, folk and pure pop with punk and ultimately their own powerful and mass inspiring sound created.
With the album "handwritten"From the year 2012, The Gaslight Anthem were at the peak of their anthem time. It rose in eight countries in the top 10 of the charts. After the band has reached the top, they will bring their music now more extreme than ever before to the point , and not by additional instrumentation or advanced adjustments but by extremely expands their musical concept. Huge melodies and loud roared choruses not fail to work this time, but songs like "1,000 Years"And the title track intersecting operate also in grunge and symphonic pop and soul and psychedelic sounds and are traversed by great ambition, experimental energy and a collective spirit.
"When we started, was not necessarily clear to us, what we were doing," says singer and guitarist Brian Fallon. "But we knew we had to break new ground, if we wanted to see themselves still as relevant band. The old ones had expired, there was nothing more to say or do."
"Handwritten" had the band with producer Brendan O'Brien (Pearl Jam, Bruce Springsteen) Was added, but now they chose to Mike Crossey a rather unexpected collaborator. In April 2014, found Gaslight Anthem and the Irish producer, among others, for his work with the Arctic Monkeys, Jake Bugg and The 1975 is known in the Blackbird Studios in Nashville together. From the beginning, the approach of the band was "just try everything," says Fallon. "Nothing was forbidden, nothing was excluded. Everything was worth a try."
According to Fallon was the first unexpected result of the sessions of the album opener "Stay Vicious". Thundering Drums roll over to an enormous neo-metal sound and immediately the direction changing riff that think of the alternative rock leaves, with which the band has grown up. As it is hardly surprising that" Stay Vicious "fOr The Gaslight Anthem has opened creatively formally floodgates.
"This is something we have not done before," says Fallon. "I was afraid Mike would think I would not know what I'm doing. But he said that's great, keep it up. This then has virtually freed me and everything else let me try."
The songs "are all completely different emerged as otherwise" and The Gaslight Anthem have their instincts and methods scrutinized and refined. For the first time in the band's history, they have been electronic instruments and computer technology used, which Alex Levine and Benny Horowitz'Tireless rhythm machine enriched by an unexpected flow. Alex Rosamilias guitar playing, which was long inspired by the adventurous escapades of post-punk, is structured in accordance with the music on tracks like "Rollin 'and Tumblin'"And"Dark Places", The last song on the album, but also noisy and stammering. Fallon has been thinking what vocal range on this musical restlessness would fit, and his Shouting enhanced by advanced harmonies and a tortured howl that he jokingly" as a woman in the calls sing 60s ".
"I just tried everything possible," he explains. "I did not feel that I must confine myself to the same old deep baritone."
To the once clear: The Gaslight Anthem are also on "Get Hurt" yet the band with 2008 "The '59 Sound" their breakthrough came only with a larger bandwidth, more skills and more mature. When the muscles also play with amplifiers can and are happy to complex, revealed the band on songs like "Get Hurt"And the moving"Break Your Heart"But a fine sense, which is wrapped in previously unknown musical grays.
"Quietly to begin a song, and then to let him breathe for a minute," says Fallon, "is not an easy thing. We wanted to be soft the soft moments also. Everyone needs a break, even on a plate."
The texts Fallon approached Related manner and explored more abstract and verschleiertere narrative techniques in to give his true feelings better expression. The issues become even more depth and its always lively, dominated by figures histories obtained by ever more complex language and thoughts flow like spontaneity new nuances.
"I have worked me really," he says. "I just thought, I write about what I think and what concerns me at the moment. I do not know if it is true, or whether the sense of time is, but I just let it all out. I have it let it happen. So it happened, that was real. "
"Stray Paper"Passionately backing vocals from the incomparable Sharon Jones, represents perhaps the most outstanding moment of the album. The complex orchestrated melodies and modern dynamic look in remarkable repertoire of The Gaslight Anthem none. The magical realism of the song, with its high symbolic and metaphorical flight was a stunning revelation for his Creator.
"From this perspective, I had never written," says Fallon. "In 'Stray Paper' I have, I think, something discovered, that I for the rest of my career to pursue gladly would. I want to continue on this path and see where it leads."
The Gaslight Anthem faced a dilemma that we encounter most bands in the like situation: How to develop further, without losing the original vision of the eye, which has a brought a bunch of loyal fans around the world? Your answer to this question is bold, energetic and resistant. "Get Hurt" may represent a defiant transition, deep inside The Gaslight Anthem have remained the same.
"You can never lose himself," says Fallon. "No matter how much you change, the core of what makes a will, always get. If you are honest with yourself, preserved to this core. Then you find yourself not suddenly in a genre again, where you nothing lost - it creates its own ".
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