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  • No worries, I can wait for the review indefinetely.
    "Which is better, eternal happiness or a ham sandwich? It would appear that eternal happiness is better, but this is really not so! After all, nothing is better than eternal happiness, and a ham sandwich is certainly better than nothing. Therefore a ham sandwich is better than eternal happiness."

    - Raymond M. Smullyan

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    • Originally posted by Maya View Post
      try to write two or three tracks per day, it was too much.
      Yeah, I think you are probably right This is because my kids just discovered the color text tab and put requests for colors. :P

      I will try to do a couple tracks at a time because it's something I really want to do.
      Originally posted by Snake View Post
      No worries, I can wait for the review indefinetely.
      Aww...don't worry Snake, I know you are the most disappointed I haven't gotten it done yet. Don't worry, you will be the first to know when it is done.

      Comment


      • @Snake is really disappointed, He was expecting the two reviews and none was posted.

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        • ^ I know, I feel really bad for letting him down. I know he's Richard's Number 1 Fan. I promise I will still get it done Snake! Eat You Alive and Get Down first. I will try at least for one of them tomorrow. Just hold on one more day!

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          • ^Words cannot describe how frustrated I feel about not seeing your promise fullfilled. But well, I guess that is life. I shall move on eventually.
            "Which is better, eternal happiness or a ham sandwich? It would appear that eternal happiness is better, but this is really not so! After all, nothing is better than eternal happiness, and a ham sandwich is certainly better than nothing. Therefore a ham sandwich is better than eternal happiness."

            - Raymond M. Smullyan

            Comment


            • Originally posted by Snake View Post
              ^Words cannot describe how frustrated I feel about not seeing your promise fullfilled. But well, I guess that is life. I shall move on eventually.
              My friend, you have just made my day. I thank you.

              Comment


              • Eat You Alive

                I love the feel of this song. The opening lead up with the electronics and drums before the guitars start is perfect. I spend a great deal of time during this song tapping along to the drums. It moves really well, and is one of those super catchy tunes I find myself humming throughout the day. The lyrics are very good and could be interpreted in lots of different ways. For me, this song was an excellent start to the album. Fast enough, good lyrics, catchy rhythm, and driving beat.

                After an initial dislike of Frank Dellé's part in this song (or at least Richard's "Are you ready?" bit from the video) I actually really like it with many repeated listening. It fits the song and the video. It's fun to try and sing along with him (and rather difficult). Even knowing the lyrics he is saying doesn't help in singing along, it really takes practice. And the lyrics are good of course.

                Then it goes back into the regular chorus with an easy sort of change, and finishes the song out nicely.

                I will admit the video definitely helped my appreciation of this song, as it gives very clear images to go with the music. I miss the Rainbow teaser on the album because I liked how it fit in at the end of the video, but obviously it doesn't lead in the actually second song on the album.

                This song would be a good introduction for Emigrate listeners. It's got the heavy guitar sound, excellent drums, excellent momentum, Richard's singing and catchy lyrics, and sort of eases you into the guest artists. I can listen to this song over and over and not get tired of it.

                ER's scorecard: 10/10

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                • looking forward to the next

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                  • Get Down

                    Ok, a much quicker start to this song than Eat You Alive and there is a definite "club" feel in the music. Very heavy, throbbing bass line and heavy electronic feel. Not generally my sort of thing, but let's see where it's going.

                    I am usually fairly picky when it comes to female vocals. I either like them a lot, or not at all. Especially when they are singing along with a male voice. I don't like it if their voices don't mesh well. So far so good; Peaches has a pretty good voice and I don't instantly dislike it. Richard's "Yep!" that is scattered throughout the beginning of the song lends absolutely nothing to the song and I actually find it pretty annoying. It just doesn't fit with Peaches's voice. Or anything really.

                    Richard's verse...makes no sense except to sound vaguely like he's having sex with a baby bird? Oooookay. Whatever you're into I guess.

                    Get down get going chorus starts, guitar here is good. But still doing that weird "Yep!" thing. The harmony between them when he's actually singing is good. Another point in favor.

                    Then we get the heavier transition at the end. This part is very good, though the lyrics are really really really repetitive.

                    Best part of the song? It's got a heavy beat and the guitar riffs are very Emigrate. Worst part? You guessed it. "Yep!"

                    ​ER's Scorecard: 4/10

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                    • Originally posted by The Rose View Post
                      looking forward to the next
                      x2 (love the smiley)

                      Keep working, later I'll listen to it and read them again.

                      PS: @Snake is really happy now.

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                      • Rock City

                        This song starts out great, nice and fast (even if there is a bit of a surf vibe before the singing starts) with GREAT drums courtesy of Mikko! And then in comes Lemmy. Oh yeesss....very muchly anticipated (yes I made up a word) since it was announced he'd be making an appearance on the album. From interviews before the album was released, Richard mentioned you could hear in Lemmy's voice that it reflected he'd been ill lately, and I agree with this. Even if it sounds a bit weak, it is still very much Lemmy and wonderfully done. He sounds rough and that fits with the song.

                        Rock City doesn't even bother with innuendo. This song is about sex. The line "You're old enough" sort of inclines one to believe at least one individual involved in the sex downtown may be pushing the legal age, which given it's Lemmy singing gives this more than a bit of a creepy old guy feel.

                        Lyrically, this song isn't as strong as some of the others. It's clever and not bad, but doesn't stand up to some of the others on the album. I find I rather prefer some of the songs that make me think a little more instead of just shoving the fact that it's all about sex in my face. Even when those songs are about sex too.

                        Musically, the sound is different from just about everything else on the album. It's faster (which is great) and features incredible drumming, and the guitar riffs and solos are very good.

                        I think if there had been more songs on the album with similar faster paces, it may have scored a bit higher.

                        ER's Scorecard: 6/10

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                        • Ugh. Tried to do one more. It was done. Server error ate my post. *sadface*

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                          • At this hour, it happens often

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                            • Cool; I'll start mine tomorrow (was just 3 days in Paris). Every day is more or less fully booked though, but I'm a quick writer. And I'll start reading yours, ER .

                              Edit: I finished my review! I'll read it again tomorrow and post it.
                              Last edited by Waidmann; 12-25-2014, 01:12 AM.
                              Dort wo der Horizont
                              Sich mit dem Meer verbindet
                              Dort wollt' ich auf dich warten
                              Auf das du mich dort findest

                              Comment


                              • Eat You Alive

                                A powerful start of the record. The song is quite mainstream, builds up well and offers a strong sound. It’s really active and catchy, ideal for a single.
                                The resemblance between the chorus catch phrase “Eat You Alive” and Neil Diamond’s “Sweet Caroline” can annoy in the beginning, but after a few times listening that’s gone. It’s a quite poppy song, but with a dark touch to it, which is more obvious in the destructive lyrics. Frank Dellé entertains us in the second part with a more professional singing (Richard performs ‘okay’, but shows himself not too talented in this one) during the bridge. This levels the whole thing up quite a bit, and brings us overjoyed back to the sing-along chorus.
                                The songs ends nicely with Richard singing softly a part of the song Rainbow. It’s a small part of the song, but it adds a nice touch. Good job!

                                Score: 8/10


                                Get Down

                                Nomen est omen! The title already reveals where the level goes. You can hate or love Peaches, but in the end she has singing talents. Many people say she doesn’t put them to use, and with this track they just might be right. We quickly understand where this song is going, creating an underground club-sound. This evocation works, but it’s also where it ends. No real surprises, no additions that are very memorable or noteworthy. It’s an experiment, but not a really interesting one.
                                A kudos maybe to the beat and the bass lines which aren’t in fact too bad. This song can work maybe as some background tune at a night club or at some quiet late night party. Overall however, it sounds more like a filler. The lyrics are quite shallow as well.

                                Score: 4/10


                                Rock City

                                This is again somewhat better (hard to go further down). The music is simple, but not bad. The lyrics are acceptable, though again no rocket science (which isn’t necessary either). The sound of the track is good, but it all appears a bit old, just like Lemmy’s voice. It’s the nostalgic song of an old rocker who still has some tricks up his sleeve, though the golden days are long gone. Not bad at all, but not very splendid either.

                                Score: 6/10


                                Hypothetical

                                This song starts very strong, good and keeps that up. The whole begins with a threatening tone, flowing into a heavy riff, that’s hard to listen while sitting still. The bridge can seem a bit weird, but it’s still a catchy track, with good guitars and a Manson in good shape. The lyrics are quite poetic as well (finally!). Maybe the music is simple, maybe it’s not well-thought through, but it works. Especially live, this would be a song to look forward too; too bad that’s not likely to happen.

                                Score: 8,5/10


                                Rainbow

                                The title of this songs might predict something sappy... And that’s actually not very far from the truth. One look at the lyrics indicates that this track is quite the teenage-love song, although written with a more clever knowledge of poetry. The faded voice in the beginning, the heavy drums and riffs man it up quite a bit as well. So, what we get in the end is again a catchy song, that has indeed more sappy roots, but overall forms quite a strong track. It’s not the most manly perhaps, more a Lacuna Coil song if you will, but Emigrate can pull it off. It’s surprisingly hard not to sing along with this one. Will this song be many metal heads’ next guilty pleasure?

                                Score: 8/10


                                Born On My Own

                                Richard says he went deep for this song, making it very intimate. That delivers us not only very profound and inspiring lyrics, but also vocals that are really filled with dark emotions. Here Richard really shows he can sing if he wants to. The end product may not be catchy like previous tracks, but it does sound solid. In the end however, it would’ve been nice if the lyrics altered a bit more, giving the whole some sort of evolution, a new insight or addition. It’s the kind of song you listen to for the strong beginning and than after a while – after the interesting bit – you switch to the next song. To sum up: great theme, solid ‘foundation’, but maybe more of that could be invested in the finish.

                                Score: 7/10


                                Giving up

                                Instrumentally speaking, this starts a bit ‘same old, same old’. The riffs and drums start to remind of previous tracks, which is a bit ashame. Not that it’s actually bad, but not new at all, not really differentiating itself much from the other songs. You get the feeling they used the basic Emigrate frame and just kept it, just adding some extra aspects (like – I must honestly admit – a good base).
                                The theme of the song is also quite ‘normal’, but the lyrics are not bad. It appears to be the good ol’ nonconformist, holding on - rattle, but the way it’s put and the choice of words is interesting and can’t really be called uninspired anymore.
                                What we get is something that’s just “okay”. It’s not right to say it’s a bad song, but the problem is it’s not very noteworthy either. I won’t skip it when it plays through my car radio, but I will often forget how the song goes.

                                Score: 6/10


                                My Pleasure

                                My Pleasure starts off with a very Rammstein-like sound, which promises quality. When it comes to the guitars and drums, the prediction gets well fulfilled: a fast industrial sound dominates the song. The lyrics fit in there as well, although a Rammstein version would be darker and more profound. This song stays more at the surface in that way, which makes it a bit more plain. The vocals are more original (with the group singing / shouting), but not very overwhelming or catchy or too special. It might work better live (with the shouting part), but it’s not a stunning track. However, it helps to listen more than a few times, but that’s especially for the chorus.
                                Again a good beginning, but than it doesn’t really hold on to that level. The song goes on with the basic ingredients, to which you easily can lose interest. Not my pleasure, sorry!

                                Score: 5,5/10


                                Happy Times

                                This song is like Disney’s It’s a small world after all: either very annoying or just very nice and catchy. For me it’s the second one.
                                One thing that pushes me in that positive direction are the lyrics. There are many possible interpretations, many enigmatic formulations, which always makes things interesting. Especially as it goes either way: there’s good and bad combined, sorrow and laughter together, a strong thematic approach we remember from Rammstein.
                                The sound can be a bit silly, but again, it’s catchy and entertaining. Although it’s legit to say this might be irritating when it gets stuck in your head (which just happened as I was writing this). Not the best track, but far from worse! This is again the better work, and Richard proves he can bring some variety if he wants to. Happy Times shows Emigrate still have some interesting tricks up their sleeve.

                                Score: 7/10


                                Faust

                                With Faust Richard chooses for one of the most inspiring themes in German literature, and of course that delivers interesting lyrics. The voice in which it’s sung is also interesting, but Richard has to be careful it doesn’t turn too much into an echo-laden thin production. He just (only just!) saves it with a more deep vocal sound, the one we like about Emigrate, and Richard can happily use more often.
                                The chorus can turn a bit repetitive and silly towards the end. So, again we get a vast beginning which goes downhill during the song. The potential is strong, but the outcome not entirely satisfying. The band backs this up with good base lines, but for the rest a rather simple performance.

                                Score: 6/10


                                Silent So long

                                It’s hard to find flaws in Jonathan Davis’ singing, that’s always been so and always will be. That’s the least we can say when we hear the final track of the album. There’s a lot of emotion in the vocals, which do right to the lyrics. This not much to say about this title song, as it is just a fine production. Maybe not the best guitars and drums, but it somehow ‘fits’. The concept works, the rest doesn’t really bother anyone.

                                7/10

                                So, in general I must say I like the record. The points I give are rather high for someone like me + the song I like really make it worth to buy the album .
                                Dort wo der Horizont
                                Sich mit dem Meer verbindet
                                Dort wollt' ich auf dich warten
                                Auf das du mich dort findest

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