![]() Yet these two tracks, in particular, are light in their delivery. It commendable the Pretenders have remained attuned to their musical bedrock. Here, the Pretenders recreate the point when punk rock and pop music clashed, then created the 1980s new wave. ![]() ![]() “Turf Accountant Daddy’s” hardscrabble guitars are mediated by synths. Its heady tempo deliberately slows the pace to make room for more harmony. “Lightning Man” is unquestionably influenced by reggae. In doing so, the Pretenders effectively portray the distinctive qualities of their influences then hone the musical overlaps.Īs such, Hate For Sale also pays homage to the Pretenders’ roots in reggae and new wave. With Hynde’s spectacular guitar solo, the distinction between garage band and punk rock blurs. When Hynde sneers, “Though losing you was a relief / From a life with one man only / Devoid of morals or belief”, the edginess is evident. This energy is turned down in “I Didn’t Want to Be This Lonely” to channel a decisive garage band sound without adopting the genre’s optimism. The Pretenders’ awareness is keen, as the inclusion of a harmonica prevents the track from becoming reiterative. Martin Chambers‘ drumming in “I Don’t Know When to Stop” is as iconic as it is boisterous. In addition to the title track, smatterings of punk permeate the album. The London punk scene was vitally influential to Hynde. The track takes issue with a man so blinded by his privilege he “He won’t get hung or go to jail / He’s got a curly tongue and a curly tail / But mostly he has hate for sale.” The Pretenders’ takedown of toxic-masculinity is symbolic of Hynde’s position in rock ‘n’ roll: she’s been monumental since the advent of her career. Hynde’s vocals are as brusque and sardonic as the instrumentation is powerful. Indeed, the redoubled count-in enshrines the flawed, albeit, the enthusiastic ethos of 1970s punk rock. The title track opens with a failed count-in, finding the Pretenders inaugurating the album with a distinct punk sentiment. Whereas Hate for Sale is a daring attempt to resurrect their glory days, they do so without committing, rendering a diluted product. The album returns the Pretenders to the signature sound encompassing their musical expanse while laying the foundation for Hynde’s recognizable vocals. Predominantly written by Chrissie Hynde and guitarist James Walbourne, Hate For Sale resembles a retrospective. Rejecting the overly adorned styling of their 2016 release, Alone, Hate For Sale emphasizes the same raw and decluttered approach apparent throughout the Pretender’s 40-year course. The Pretenders‘ 11th studio album, Hate For Sale, is a return to their musical base.
0 Comments
Leave a Reply. |