OpinionHated

The Hated Opinionated One

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Twitter Me This…

Posted by Scotio on June 15, 2009

For anyone odd enough to even be interested . . . I, too, am on the infamous site known as “Twittter” . . . you’re now allowed to shake in your boots.

But, yes, I’m on there. If, for any reason, you want to follow me . . . or state something to me in a short & brief manner, you can find me here:

http://twitter.com/Cabres

Feel free to dispute, disrupt or discuss anything you want. I’m game. Artists & fans whom stumble across my reviews, you’re more than welcome to state what you feel about it there. And, any time I drop a new review, article(yes, I can do those) or random outburst(those are coming soon to a wordpress near you) I’ll be posting a link to it there.

EDIT 2.0: I have decided to reactivate my twitter account. This time, there is no plans to sit around gossiping and gabbing at artists like some silly little fan. My “tweets” will be towards artists, news, or other events that are all media based. If it serves no purpose towards making OpinionHated more successful and my goal of becoming a professional writer more realistic, then I won’t even bother with it. So, hopefully, this ship can be steered into clearer waters.

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Chris Cornell Screams Sell-Out

Posted by Scotio on February 2, 2009

chriscornellscream

Ok, I’m all for artists exploring and expanding. I can’t stand anything stagnant and dull. I’m one for change/growth. Still, there are some things that you should just know better than to do. Chris Cornell, this goes out to you. The new album, Scream, is produced entirely by Timbaland. Wait. Pause. Stop. Rewind. Timbaland? Are you being for real? Mister “Friggy-Friggy”? With Chris Cornell? The man who pleaded to the Black Hole Sun? Ok, I normally don’t like doing negative review posts, but there are just some things that need to be talked about. This album is definitely one of those things. Now, granted, I was thrown off when I found out about the collab between to the musical . . . umm . . . entities? Yeah, that’s a good choice of words. But, I decided that, maybe it isn’t so bad. I mean, Cornell did team up with the musical crew of Rage Against The Machine, right? Timbaland couldn’t have convinced Cornell to do anything drastic right? Right? Hello? Is that an echo?

Umm . . . hmm . . . I feel bad doing this. Why? Because I’m a serious old school Cornell fan. But, I guess . . . just like that crazy lady that I’m eternally romantically attached to say . . . medicine isn’t always pleasant tasting, but it’s needed. So, yeah, “Ground Zero” is a song on the album. The music and the Timbaland “Ey!”‘s that were featured on Nelly Furtado’s album screams out radio single. Chris Cornell seems uncomfortable on this song(actually, on all of the songs, but we’ll get to that). It doesn’t seem like a good match at all. This track just feels like it belongs in the hands of someone who relies on studio magic to come across as a moderate(read: successfully climbing up today’s musical charts).

“Part Of Me” is the album opener. And, yeah, man it was the start of bad things. A prologue of despair would be trying to be polite. The Chorus seems like something some Wack&B singer would croon out for a commercial rapper’s goofball ranting track. To sit there and say that you’re so into the girl but her problems just seem to be too much is one thing. But, to just freely toss out the bitch word just seems like a sad attempt at being edgy. I mean, cool. Feel that she’s a bitch. But, say that under your breathe(or out loud when you’re all alone). Don’t take this crappy route, man. Come on, Chris. What are you doing? The Spoonman bows his head in shame because of this.

“Never Far Away” HAS to have been a Justin Timberlake song. There isn’t ONE single solitary piece of this song that doesn’t scream JT. The beat, the singing melody, the lyrics  . . . all of it seems like a b-side to FS/LS. It’s really bowel movement inducing to sit there and deal with that. Like, let me get something straight here: If JT did the song. Sure, it would have been a cool track. It would have been one of those closet pleasure songs that I’d have to hide from people knowing that I enjoy. But, with Chris on this track, it just feels like he lost a bet or something and had to do the song. No, he doesn’t half-ass the song. I think that’s the problem. His voice isn’t suited for Candy Pop. There’s too much edge to it. There’s a strain laced through it from the years of dishing out good Rock music(save for the last Audioslave album, of course). But, no, don’t think that I’m being a bully. Let me show you why, the song “Long Gone” falls under that same category. JT or Rihanna or one of those other half talented singers would have aced this right out of the park. Chris Cornell makes you sit there and wonder “Dude, was reuniting with Garden really THAT bad of an idea for you to end up deciding to do this?” I mean, to just be fair, it’s as confusing as seeing Shaggy & Scooby performing in a Tag Team MMA event. Yeah, doesn’t settle right with your mental, does it? I know.

“Take Me Alive”, I’ll admit, did start off pretty damn “sexy”(to steal from the crazy woman, yet again). It had like a Bollywood feel to the song(Someone saw a Slumdog Millionaire preview?). The sitar and string sounds work well with him singing like was playing Jafar in an Aladdin Rock Opera. Hell, I’ll be truthful. If the whole album had this feel, I would have felt like I was eating Shell Toes for dinner. But, such wasn’t the case. I don’t know whether I was happy for being right from the start . . . or upset for predicting the failure that was to come once I pressed play. I’d rather take this song 13 times than any of the other tracks once. “Watch Out” plays out like some sort of angry pop track. Yes, the oxymoronic statement has been put into play. The synthesized guitar loop is annoying at best. The Timbaland Stutters before the Chorus makes you do a double take at the sadness that is the track. The cheap titty bar drum loops makes you re-evaluate what type of downward spiral must one be stuck on to make this sort of crud. I’ve heard more angst on some songs from Daughtry than what this tried to sneak over(or under) people. It’s quite strange having to state that and then look at whom I’m reviewing here.

Outside of that one track, the rest of the album just plays out like the same old song and dance that you’ve heard from Timbaland ever since he got his new MMG label. It’s very disappointing to see Chris Cornell sell his soul like that. I understand that everyone wants to make dynamic impacts all across the board, but this is just like something from Faust. I’m crying flagrant foul with this release. It’s heartbreaking and tragically desperate in every sense of the phrase. And, adding in small uses of profanity throughout the album won’t stop the people from calling this Justin Timberlake’s unreleased album. I’m sure there’s a very strong chance that the countless number of pop music drones will probably gobble this up, and Cornell will, for once, feel like a Mega Media Star. He should have been content being a Rock DemiGod. Now, he’s lower on the respect totem pole than he’s ever been. Only a Soundgarden Reunion album will wash away the pain that has been dealt with this blow. And, yes, this blows.

*Note: I know I didn’t get into great detail on the actual pieces of the song that makes them fall or fail . . . but if you’re familiar with the type of pop music that he’s doing now, I don’t even think the details need to be addressed.

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Dropz Drip Out Sonic Absinthe

Posted by Scotio on June 11, 2008

You ever sit around in a quiet place and have music playing in your head as if you have a mental jukebox? Being that I can’t hear you answer that question, I’ll just move on as if you answered and I didn’t care. Well, that happens to me quite often. Which I guess by today’s clinical standard, that should mean that I should be on some sort of pill. But, I like my little internal music. Sometimes it’s a song I never actually heard before being played in it. More often, though, it’s music that I’ve heard before . . . just not recently. Well, such was the case a few days ago. And, the song was “The Concept” by the band Dropz. I asked a friend of mine, who shares a similar love for Sneaker Pimps as I do, if he ever heard Dropz‘s album Sweet Oblivion or any music from them. He responded with no. At which point I was not only floored, but forced to play him hear a few songs from them. While that was going on, I thought about how many people never knew that the band even exists(ed?). So, I decided to cook up a review of their album in hopes to spark interest in their music. Let’s begin, shall we?

The aforementioned song “The Concept” opens up the album. Which is a very groovy way to do so, with the song housing the lines “There’s a Beast inside of us”  for the chorus. Everything about the sound is somewhat familiar to anyone who has heard the Becoming X album by Sneaker Pimps. That will be for two reasons: 1.) The main composer of the music, Hoshino Hidehiko aka Hide(from the J-Rock iconic band BUCK-TICK), listened to that album heavily when he was crafting the sound for this album; 2.) The lead vocals are handled by Kelli Ali(formerly Kelli Dayton) of Becoming X fame. Cube Juice makes up the third leg of this tripod group.

The following track’s sound, “Read My Mind,” is as uplifting as its lyrics are depressive. I know I’ve said it before, but this is really a summer track. A musical soundtrack to a fun trip traveling somewhere new and adventurous, or even just a good song to play while folks are on an amusement park ride. For me, it leans the most to the latter, due to childhood memories of music similar to this playing when I was on such rides. But, as I said, the lyrics aren’t as bright and sunny as the music is. Kelli sings about a turbulent relationship and their inability to properly communicate. It’s an odd mixture, but again, if you’re a Becoming X fan, you’re very familiar with such a combination.

The brilliance about this is that, every member seems to make the song better. Such is the case with the track “Dream Machine.” Cube takes Hide’s electronic guitar and drum attacks, fills it up with his electronic distortion and static harmony, then Kelli comes in and lays the track out flat with her simple, yet bold, lyrics that point out how fickle our society is about machinery and physical enhancements. Stating how people of today can easily go and get anything fixed on their person to the point where “turning you on’s like turning on TV.” Granted, everyone nowadays is saying that, but this was made in 2003-2004. So, at that time(though it was only a few years ago) folks were declared “dweebs” for not following the trend . . . ass implants, ladies?

One of the biggest and most rocking out tracks on this collection is “I Spy.” Hide strums his axe with ease and precision. The live drums are loud, noticeable, and hip-moving. Kelli doesn’t stand-out from the music. Instead, she rides inside of it like a piece of paper on a wave. Cube’s additions to this aren’t heavy, either. Also, he just adds to what’s there, builds with it, and doesn’t try to overshine Hide’s work . . . well, at least not until the end of the track.

Oh, and if you’re lucky, you would have snagged yourself a Limited Edition of the album, which has a second disc featuring all the songs from the main album but remixed by the group’s artists and electronic disco techno knob-twister Bryan Black. Yeah, I guess another thing similar to Becoming X, only it features all the songs and not the selective ones that others liked and wanted to bunch up the album with repeatedly. The remixes are just as nice and neck swinging as the originals. The remix album is so solid that it could be a stand-alone disc and could equally compete for dominance against the original work. I know, I’ve faced horrid remixed material, as well. So, trust me when I say that such is not the case, here. But, I will say that the remixes would fair over better with those deeper into electronic music than the average listener. And, typically, the Japanese market(where the album was primarily released).

Out of all 20 tracks, my favorite would have to be “Lose The Boy [Antidepressant Remix].” It has more oldschool Hip-Hop styled drums, and Electronic Madonna-styled voice effects . . . so much so that if you told someone it was a new or unreleased Madonna track, I’m sure they’d believe you. But, it’s just something about it. The original is magical, also, but this remix just does something. It reaches some sadder more sullen place, yet smooths everything out to make the bad seem ok. The electronic effects that are laced throughout the song are just enchanting. They hold you dearly, and craddle you like some type of depressing, yet soothing, lullaby.

I’m sure that a good bit of people have discarded this album simply because of the similarities to Becoming X. But, fans of that superly solid debut album by such a ground shaking Trip-Hop act should look to this as “What if Sneaker Pimps redid their music and added Kelli back into the fold in this day and age?” This is that sound, but not quite. I say that because none of the SPs housed the guitar savvy skills that Hide does. I will say that Cube Juice would put them in for a good run for their money, and the winner of that outcome would have to be witnessed and not predicted. Still, I feel that this album holds a special place for me due to the special place that Becoming X holds. Is that fair? Who knows. Who cares, either? Because if it wasn’t for Becoming X, this album, let alone this group wouldn’t have ever been created in the first place. Top that, cool cats!

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It has come to my attention that…

Posted by Scotio on May 2, 2008

Ok, so, I’m fairly new to the public net, now. And, I didn’t expect a grand following for some time to come. As is, I still don’t have one. Though it isn’t a burden to me, I’ll just keep trekking on in hopes of actually being able to get paid for something I love to do in the future.

With that being said, I’ve recently found out that some of my reviews on things have found their way on blogs/pages/sites of others. Though I’m not bothered by this at all, I do just say that you link back to where you got the review from. If you’re using my review(s) for illegal purposes, allow me to again state, I have NOTHING to do with that. I do take pride in the free advertisement . . . make sure you post my blog! I need hits and I need a following! I’m not ranting for my health, people.

Still, I do thank everyone for their reading and liking of my statements. And, if reading my reviews helped you find a new band/act/movie/whatever that you have newfound love for, then I’m doing my job better. Or, if it properly depicts your angst for the list of stuff stated in the previous sentence, then, again, I’m glad to be of service.

Again, thanks for the love.

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