And Then There Were None - Who Speaks For Planet Earth?
Artist: And Then There Were None
Album: Who Speaks For Planet Earth?
Year: 2009
Label: Tooth & Nail Records
Web: http://andthentherewerenonemusic.com/
Myspace: http://www.myspace.com/andthentherewerenone
Facebook: http://www.facebook.com/andthentherewerenone
Twitter: @attwn
Buy: iTunes - Amazon - Tooth & Nail Store - Interpunk
Sounds Like: Code of Ethics, Eleventyseven, Family Force 5, Krystal Meyers, Daft Punk, Moby, Basshunter, Darude, Cave In, This Day Forward, Glassjaw, As I Lay Dying, Darkest Hour, Sky Eats Airplane, Swimming With Dolphins, Owl City
Rating: 3/5 ♥♥♥♥♥
Apparently, And Then There Were None is in addition to the massive cluster of bands that are mutated in their sound. In this case the concept of metal-core transforms into a glamorous dance/techno/electronic. According to vocalist Matt Rhoades, is much more natural to produce this kind of music and this creative concept resulted in “Who Speaks For Planet Earth?”.
The pulsating synthesizers of “John Orr The Arsonist” challenge Christians to shine the light of Christ, without shame or fear of being unpopular. The story of an estranged relationship between a father and son is presented in “The Hospital”. The prayer of a son who wants to see his father in a process of inner healing. “Reinventing Robert Cohn” has become one of the most emblematic tracks for the band. Successful keyboards and melodies that seem to describe a young man fighting sexual temptation in a war against the flesh. The particular effect that “Action Is Anecdote” has, began as a punk ballad, but quickly transformed into dance/electro. The lyrics talk about the choice of being a broken person live without love or being a fertile seed, which has the potential to become something beautiful. The octaves are qualified with “The Atmosphere” and its significance feature about heaven and death. With a more alternative choice, “Cloak And Dagger” talks about those secrets and hidden addictions that eat our soul. Melancholy chords and dynamic interfere in “Right Here Waiting” (Richard Marx’s original cover) trying to revive that 90’s success single in a monotone way. The work of Matt McCommish (synthesizers) in the charming “Bed Of Nails” is simply impeccable, while in “Thank The Watchmaker” guitars (Sean Sweeney and Nick Massah) and drums (Ryan Manning) took the reins of the song. “The Alamo” leans more towards a rock side, using background vocals and more clear and explicit lyrics. Finally, “Insozzz …” fades very lazy using abstract phrases without sympathy.
A journey filled with passion and sincerity, masked fun with catchy beats. Sure to please.
Al parecer, And Then There Were None se suma a la masiva agrupación de bandas que mutan en su sonido. En este caso el concepto se transforma del metal-core hacia un glamoroso dance/techno/electronic. Según el vocalista Matt Rhoade, es mucho más natural producir este tipo de música y este creativo concepto dio como resultado “Who Speaks For Planet Earth?”.
Los palpitantes sintetizadores de “John Orr The Arsonist” retan a los cristianos a brillar con la luz de Cristo, sin vergüenza ni temor a ser impopulares. La historia de una relación distanciada entre un padre y su hijo se presenta en “The Hospital”. La oración de un hijo que quiere ver a su padre en un proceso de sanidad interior. “Reinventing Robert Cohn” se ha convertido en uno de los tracks más emblemáticos para la banda. Acertados teclados y melodías que parecieran describir a un muchacho luchando contra las tentaciones sexuales en una guerra contra la carne. El efecto particular que “Action Is Anecdote” posee, comienza como una balada punk, pero rápidamente se transforma en dance/electro. La letra nos habla sobre la elección de ser una persona quebrada viviendo sin amor o ser una semilla fértil, que tiene el potencial de convertirse en algo hermoso. Las octavas se matizan con “The Atmosphere” y su característica significación sobre el cielo y la muerte. Con una influencia mucho más alternativa, “Cloak And Dagger” nos habla sobre aquellos secretos y adicciones ocultas que carcomen nuestra alma. Acordes melancólicos y dinámicos se inmiscuyen en “Right Here Waiting” (cover original de Richard Marx) intentando reanimar aquel éxito noventero de una manera monótona. El trabajo de Matt McCommish (sintetizadores) en la encantadora “Bed Of Nails” es simplemente impecable, mientras que en “Thank The Watchmaker” las guitarras (Sean Sweeney y Nick Massahos) y tambores (Ryan Manning) toman las riendas de la canción. “The Alamo” se inclina más hacia una faceta rock, empleando voces de fondo de una manera más clara y explícita. Finalmente, “Insozzz…” se desvanece con mucha pereza, usando abstractas frases que carecen de simpatía.
Un recorrido lleno de pasión y sinceridad, enmascarado de diversión con ritmos pegajosos. Una delicia al paladar.
