Wretched and Divine:The Story of the Wild Ones is the third studio album and the first concept album by one of my favourite bands, Black Veil Brides. Despite the album being released back in early 2013 and me not getting my copy of it until mid 2014 I’m still absolutely in love with almost every song on this album. I wasn’t much of a BVB fan back then, only hearing them being compared to Blood On The Dance Floor, but once I heard this album I fell in love and realised those comparisons were not true at all.
The album opens with Exordium, the first of five spoken word tracks on the disc. This track has Andy’s deep, raspy voice speaking about ‘the kingdom of God’ and how it can be found everywhere. Although this first track is 25 seconds of too much religion for me it flows
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This may have just been because I’m not a big fan of the band’s slower songs but either way I found myself skipping them after two or three plays.
All of the bands other songs on the album feature what I believe to be extraordinary guitar skills, exceptional drumming, and some amazing lyrics like ‘Take a look into the life you're leaving. I promise you this isn't pain you're feeling’ from Devil’s Choir and ‘before your life is over, know this to be true. All the hate we hold inside still won't save your youth’ from Days Are Numbered featuring Brett McCracken, the lead singer and songwriter of The Used.
This is definitely an album I recommend listening to in order the first couple of times so you can have truly understand the storyline as well as hear how the songs flawlessly move into each other.
I must admit this rating is incredibly biased considering BVB is one of my favourite bands however I wasn’t that into some of the songs. From a fan’s perspective I give this one…
★★★★☆
My top 5 tracks from the album:
In The
An African folk groove enriched with wha-wha infusions, vibraphone melodic inspiration, and eccentric soprano drives are keys to turning “Life is Limitless” in an elated celebration. This rapture is disintegrated, giving its place to a radiant spirituality, when the following track, “Universal Harmony”, begins to spin. This tranquil prayer, a true moment of inspiration, acquires further elasticity when the drummer reinforces the triplex kinesis reserved for the improvisations.
The fourth song is called Know your enemy by Green Day. I picked this song because this song resembles to Holden and Stradlater physical relationship. Holden always call stradlater a phony and they were punching each other, they show so much hatred toward each other. Now they become enemies.
It was the year 1929, and the oldest discovered piece of ancient sheet music was inscribed on a stone tablet unearthed in a Hurrian ruin near Lake Van, Turkey. The lyre piece, translated from Hurrian as “Princess Atyah’s Song” was then transcribed and interpreted by modern string aficionado Michael E. Levy into a contemporary rendition at an Ancient History symposium in Chicago. It was perhaps an ill-fated decision, to take something filled with some much sacred potential, and bring it into the modern realm without abandon. Levy performed the piece in front of an audience of a baker’s dozen archaeologists and music historians in a small rented venue nearby the symposium’s main venue. The next night, everyone that had been in attendance
7. “Metrorail Thru Space” brings the album down for a bit, with slightly more ominous chord progressions, and a choral-style collection of “bum bums” that echo sonorously over the disco-like drum beats. The track definitely chills you out, despite the upbeat tempo and galactic synth runs.
These songs make up the bulk of the album. This is where Alice and Bernie really flex their songwriting muscles because of how they are actually able to embody the characters they are writing about and bring these people to life. The way they are able to tell a large story in such a short amount of time takes talent that few have; it was great that Cooper picked Taupin to write with him on the album. No one writes lyrics the way Taupin does, and the reason the album is so good is because of Taupin's writing ability. The song about the spoiled little rich girl in "I Wish I Was Born in Beverly Hills" shows how clever they can
“Sgt. Pepper’s Lonely Hearts Club Band:” Just a quick track to introduce the album. It’s got a lot of interesting sound effects and beats going on in the background. Just a funky way to kick off the album and I’m a fan.
The album seems’ to be a repeat of the same catchy tunes from the first album “Bad Blood” but with some additional songs added to it. Best to buy the second Album unless you're a collector, and just hope that future additional albums have newer original songs on them. If this is a sign of what is to come with this group then their fame may be short lived once the catchy tune where’ off.
Three songs from the album stuck out to me—tracks two, three, and seven. More commonly known as “Omen,” “Holding On,” and “Magnets.” The first song, “Omen,” features Sam Smith while the brothers, Disclosure, provide the almost seductive keyboard track that Smith takes control of, incorporating stimulating vocals while narrating a story that conveys the analogy
The fourth track is “Social Disease”, which was written by Richie Sambora and Jon Bon Jovi. This up tempo song has guitar riffs and the drums and keyboard arrangements make for an awesome listening experience. Sometimes it is hard to tell if the sound is coming from the guitar or from the keyboards, but the layering of sounds makes this a true rock song. After the final verse/chorus, the instruments keeping playing, the chorus is repeated, and then an outro is performed by the instruments to end the song.
Overall the album is not worth revisiting, or even visiting in the first place. Kid Cudi shows us exactly what he thinks it means to be musically creative, yet this album is void of any creativity. Speedin’ Bullet 2 Heaven is an album that was only created because of Cudi’s avoidance of criticism and his fans that praise his work despite the actual quality of it. This is not the decline of an artist or even an attempt to stay relevant, this is what it’s like to listen to the death of a musical
"For you, for me, forever more" performed by Morgan King, in my opinion this song repeats itself from the other love songs, still great performance by Morgan King. "Who Care's" the title for the song speaks for itself, im getting slowly disappointed of the first cd, the songs basically repeat themselves, same themes (mostly about love), same kind of instruments used in each song.
A gem within a gem, the middle eight of this track is quite glorious as well, quite energetic compared to the rest of the album. I believe that segment alone deserves to be a separate song and replaced at least one of the tracks tucked within the core of the album, like the single “Exploitation” which I thought the clacking noise and distorted sound was a bit too distracting and monotonous for my taste.
This collaborative album comes from two peas in a pod, Courtney Barnett and Kurt Vile. In the first few tracks especially, the two of them trade off singing lines, causing the tunes to sound like a conversation between two songwriters chatting about life and finishing each other's sentences. There are are songs written by both of them, as well as Barnett’s wife Jen Cloher (Track 3) and Tanya Donelly (Track 9). The layers of guitarIf you like Kurt Vile or Courtney Barnett you will love this album because they balance each other out quite well. It is gentler than some of Courtney Barnett’s solo work and less atmospheric than Kurt Vile’s solo records. You hear the best of both of them while they play together. This is a wholesome and genuinely
"Enter Sandman" is the opener of the album with a clean start of a eerie guitar with a side effect of wah-wah accompany. The whole basis of the song picks up with drums on the toms and snare varying each other. When you first hear this opening, you realize this is so different to their early work it is quite interesting how the outcome will be. The outcome is extraordinary with James' vocals lower than normal and music is in a different style. The only similar touch to the song is the electrifying solo that is excellent. The bridge is very effective with James praying with a child which really goes with the music. The rhythm of the guitar carries the song along till the end. This was a great release and possibly one of the best on the
The drastic difference between the three sections feels rushed and incomplete - certainly something that Guided by Voices is familiar with, but the strength of their greatest albums allows these incomplete tracks to hide behind the bigger songs. The stretch of songs between "A Good Flying Bird" and "Closer You Are" on Alien Lanes, their greatest album, showcases their abilities to sequence their throwaway tracks in a manner that enhances the songs as much as