The good news Is this the Life we really want Waters first record since ATD 25 years ago is a return to form. Format: MP3 DownloadVerified Purchase. Is This the Life We Really Want? Roger Waters. Buy Buy Listen Buy. Always Send Me To This Retailer. By using this service, you agree to use of cookies.
To be elegible for this price, Add to CartSince 1979, Roger Waters has been up against The Wall. Almost 40 years after the release of The Wall, the former Pink Floyd bassist has never fundamentally surpassed his great work, the double album that entered into rock legend but which also marked a turning point in the life of the group that he founded in 1965 with Syd Barrett, Nick Mason and Richard Wright. In his several solo albums, as well as in the great live performances that re-interpret The Wall, Waters has always worked on the same grandiloquent musical and ideological themes. With Is This The Life We Really Want?, his obsessions with the alienation of the individual by society and imminent apocalypse have not changed one iota. Madness like the excesses of our times naturally form a central part of this record, his first proper studio album since Amused To Death, which came out in 1992.
Roger Waters, who surely knew that he needed to introduce a little novelty into his creative universe, had the good idea of entrusting the production to Nigel Godrich, who is mainly known for his work with Radiohead. And to amplify the winds of change, the British producer even roused some of the big names of his generation, like the guitarist Jonathan Wilson, the drummer Joey Waronker and keyboard player Roger Manning.
But the Waters fundamentals are still very much audible. And his fans, as well as Floyd fans, will soon feel a sense of homecoming. Roger Waters has not revolutionised his art, his words, and even less his personal touch. Instead, he has set about developing the talent for which he is known.
And in his register of rock that verges on the theatrical, he truly excels. Your browser does not support the audio element. Album DescriptionSince 1979, Roger Waters has been up against The Wall.
Almost 40 years after the release of The Wall, the former Pink Floyd bassist has never fundamentally surpassed his great work, the double album that entered into rock legend but which also marked a turning point in the life of the group that he founded in 1965 with Syd Barrett, Nick Mason and Richard Wright. In his several solo albums, as well as in the great live performances that re-interpret The Wall, Waters has always worked on the same grandiloquent musical and ideological themes. With Is This The Life We Really Want?, his obsessions with the alienation of the individual by society and imminent apocalypse have not changed one iota.
Madness like the excesses of our times naturally form a central part of this record, his first proper studio album since Amused To Death, which came out in 1992. Roger Waters, who surely knew that he needed to introduce a little novelty into his creative universe, had the good idea of entrusting the production to Nigel Godrich, who is mainly known for his work with Radiohead. And to amplify the winds of change, the British producer even roused some of the big names of his generation, like the guitarist Jonathan Wilson, the drummer Joey Waronker and keyboard player Roger Manning.
1 disc(s) - 12 track(s). Total length: 00:54:06. Main artist:. Composer:. Label:. Genre:.
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Britpop in 10 Albums“If punk was about getting rid of hippies, then I'm getting rid of grunge.” It was with this sentence from Damon Albarn in 1993 that England invaded the stage previously dominated by Nirvana and Seattle grunge. Britpop is deeply linked to politics and local identity and emerged just as Tony Blair and New Labour were entering the scene. English romanticism was once again becoming attractive compared to the American identity, which was considered too hollow in the UK. Make way for “Cool Britannia”.
May not have made an album of new material between 1992 and 2017, but he was very active during that quarter-century. He toured regularly, wrote an opera, reunited for the 2005 charity concert Live 8, and revived several times, turning the self-absorbed rock opera into a political piece., his fourth song cycle, picks up on this thread, functioning as barbed protest music for the age of Brexit and Trump. Doesn't disguise his bile - there's a lament for 'The Last Refugee' and he spits out 'picture a leader with no f. brains,' a clear broadside against Trump - but the album doesn't seethe with rage. With its deliberate tempos, wide soundscapes, operatic guitar solos, and swelling crescendos, it is recognizably a album or, perhaps more accurately, a ian one. Where his other solo albums sported productions that tied them to their time - quite garishly so in the case of 1987's - is warm and supple, thanks in no small part to a band featuring guitarists and, drummer, and keyboardist. The key player, though, is producer, who gives this a sonic richness evoking late-period without specifically nodding toward any particular record.
Certainly, lacks the straightforward narrative or melodic thrust of, but it isn't as somnolent as, and if the songs don't call attention to themselves, they nevertheless form a long suite that works as a sustained mood piece. was also released on LP and included a download insert.