It’s hard not to feel for Alice in Chains — all the guys in the band were lifers, all except lead singer Layne Staley, who never managed to exorcise his demons, succumbing to drug addiction in 2002. Alice in Chains stopped being a going concern long before that, all due to Staley’s addictions, and it took guitarist Jerry Cantrell, bassist Mike Inez, and drummer Sean Kinney a long time to decide to regroup, finally hiring William DuVall as Staley’s replacement and delivering Black Gives Way to Blue a full 14 years after the band’s last album. To everybody’s credit, Black Gives Way to Blue sounds like it could have been delivered a year after Alice in Chains: it’s unconcerned with fashion; it’s true to their dark, churning gloom rock; and if you’re not paying attention too closely, it’s easy to mistake DuVall for his predecessor

This was the heaviest album to me again, because I just did not know where to start, it is one of many reasons that it is number one on the list. Now keep in mind that Dan Whitford is a master DJ has a tendency to aesthetics bands like Fleetwood Mac and ABBA, but also the New Order and Roxy Music, Pop, these emotions shine through Cut Copy’s sophomore album. Saved by Tim Goldsworthy (DFA, loving hand), and the implementation of the wonderful mix of vintage and modern synthesizers, real and sampled drums, and samples flourish, Cut Copy has shined light blue print of all the complex elements of pop music management. Taking their cues from a wide range of dance, disco, pop and punk, and synthesizing it all together so potent concoction to create a dance / pop sound of 1974, 1982, 1987, and especially 2008. And all the crap that went along with all of these years must be scraped off, and immediately thrown away, allowing for diamonds hidden beneath it all shine brightly. Now, I believe that there is a lot of talented bands out there who could commit to tape one who is doing all of this, but it’s not what Cut Copy does, they made the whole freakin album. With all of the songs in relation to one another, a detailed life of the party in doubt, and the Night of Triumph, all in one, short-teasing songs tie the album together, and bleed together beautifully to hit the ground to manipulate sound waves Bouncing Off thems

Now I have to say I can not be complacent, I still have some pent up aggression, I would like to listen to garage rock wear, the idea of using the noise of visceral reaction is pretty interesting, and in 2009, no one is better than No Age. Enough said, perhaps, but the start was buried under all the distortion, and bombast is a clear feeling of melodic sensitivity. All the noise, and that this duo does not have sufficient access to, this album is very acute sensitivity to the feelings, this band does not make you infallible forwards at a steady speed, but convey very different messages in the song the song. Until this album I was pretty sure that was just so many kinds of distorted noise that the guitar could attack me, because this disc, I have decided that a lease has been made twice as much as I knew before, and I estimate that, unfortunately, not yet.