Courtesy: Red Light Records
The Amsterdam Red Light District has finally returned. Early this month, the band released its latest album Sapere Aude. The band’s third full-length studio recording, this 10-song record is another solid new effort from the French four-piece and another work that shows the independent music scene has just as much to offer audiences as the mainstream realm. This is made obvious right off the top in the album’s opener ‘Nobody Moves Like You.’ It will be discussed shortly. ‘Carry On,’ the album’s mid-point — and possibly the album’s best offering –also shows what makes this record so strong. It will be discussed later. ‘Evil Stakeholders,’ the album’s penultimate track, is yet another example of what makes this album so impressive. It will also be discussed later. Of course it is not the last of the songs included in this album that shows its strengths. The other seven songs included in the album’s body are strong points in their own right here. Those songs, together with the works directly noted here, the whole of the album makes this latest effort from TARLD an easy candidate for any critic’s list of the year’s top new independent albums and hard rock/metal albums.
Sapere Aude, the latest full-length studio recording from France’s The Amsterdam Red Light District, is easily one of this year’s top new independent albums and one of its top new hard rock and metal albums. It is another of those albums that shows — over the course of its 35-minute run — that independent bands deserve just as much attention and credit as their more well-known counterparts. This is proven in this album right off the top in the album’s opener, ‘Nobody Moves Like You.’ In regards to its musical arrangement, it wastes no time at all grabbing listeners. Rather, the band launches almost immediately into the guitar-driven opus and keeps the energy full throttle right to the song’s end. That energy is a great compliment to the song’s lyrical content. That’s because,as it would seem, the song is one of those works that centers on a woman. That is inferred as front man Elio Sxone sings, “I see a smile growing up on your face/You can close your eyes, but your whole body shakes/Stop looking at me like this/And let your body feel the heat.” He also notes at one point in the song, “Nobody moves like you/You used to be so cool/What the f*** happened to you/You don’t feel different/But you don’t feel the same/I’ll give you something you don’t want to forget.” Considering all of this, the song seems to come across as the song’s subject singing to a woman to whom he perhaps had a connection but maybe no longer does. The Sxone’s energy in his vocal delivery, coupled with that of the song’s arrangement, hints at some pretty strong emotions of frustration and sarcasm; sort of as if this is someone saying, look at what you lost. It’s really an interesting work and certainly a strong first impression from the band this time out. It is only one of the album’s strong points, too. ‘Carry On’ is another of the album’s strongest offerings, if not its strongest.
‘Carry On’ is such an interesting work because as with the album’s opener, the pairing of its musical energy and lyrical content creates yet another powerful overall statement. As with ‘Nobody Moves Like You,’ this adrenaline-fueled rocker is very much a guitar-driven piece whose foundation is only strengthened even more by its rhythm section and Sxone’s powerhouse vocals. It is a song that will certainly appeal to fans of Stone Sour and Buckcherry. That sounds like an offbeat comparison, but those are the first bands to come to this critic’s mind. Interestingly enough, those influences work quite well here in keeping listeners engaged and entertained. This time out, the song seems centered on someone who has just been absolutely beaten down by the world and is struggling just to keep it together emotionally. This is inferred as Sxone sings, “I’m not the man I used to be/I am the one you never wanted to see/It’s not that I don’t like you, baby/It’s just that I hate everybody.” The seeming frustration doesn’t end here. He goes on to sing, “It comes alive when I lose control/My state of mind is so unstable/The only thing I know/You have to stop yelling at me when I try to talk/If you think I’m in trouble/Have you ever felt so paranoid?/The only thing I know/If something strange happens to me/You’ve got to keep control/This world makes me feel like I’m losing myself/If you’ve got a solution/I don’t need your help/Carry on.” Again, this seems to hint at someone who has just been torn down emotionally and psychologically. This is inferred even more in the song’s final verse in which Sxone sings, “I promise I’m not as bad as you think/If I don’t know myself, how can you know me anyway/My clear mind is doomed/F****** locked in a room.” This is a pretty strong statement, and one that is certain to reach plenty of listeners. What makes all of this so much more interesting here is that it’s not one of those brooding, goth songs that it could be, considering this wording. Instead, Sxone and his band mates have crafted a song that captures the frustration of someone angry over dealing with this seeming instability, someone who wants some form of stability. This makes the song all the more engaging for audiences, and in turn all the more clear an example of what makes the album in whole stand out. Even as strong as it is, it is not the last example of what makes Sapere Aude another enjoyable effort from TARLD. ‘Evil Stakeholders’ is one more example of what makes the album so impressive.
‘Evil Stakeholders’ speaks for itself just from its title alone. This is a sociopolitical commentary on the current state of the world. It expresses both musically and lyrically, anger and frustration at what the world’s political and other leaders have caused to happen to the planet’s people. Sxone sings here against a metalcore style arrangement, “I try to understand what they’re telling me on TV/Remote control in my hand/Are they watching me?/Spending our time like a flock of sheep/Mind your step/Keep your head up and follow me/Can’t you see that they try to split the world/Spreading their words/Tell us we can’t live together/How can’t you see/Look at me/I cannot breathe anymore/Who is right, who is wrong/How many tons of evil stakeholders/Now don’t you feel paranoid?” He goes on in similar fashion from here on out, even indicting those leaders for trying to bribe the masses to get the votes. Once more, Sxone and company have crafted another powerful statement here, a statement that is just as relevant today as it has ever been. A statement that likely will be relevant for decades to come, sadly. That statement, when coupled with its musical counterpart, goes a long way toward showing even more why the song stands out in this record, and why the record in whole stands out. It is a work that both musically and lyrically is certain to appeal to audiences around the world, yet still not the last of the album’s notable works. ‘Need,’ with its Prong-esque arrangement and commentary on capitalism and consumerism is another stand out effort, as is ‘Over The Fence’ with its defiant call to action against those who control the world and ‘Wild Life,’ which seems to encourage individuality versus being just another drone in the masses. Between those songs, the works more directly noted here and the remaining four songs not discussed here, it becomes clear what makes Sapere Aude a strong new offering from a great independent hard rock band.
Sapere Aude, the third full-length studio recording from The Amsterdam Red Light District, is a powerful new effort from the French hard rock outfit. It shows over the course of its 10-song, 35-minute run that independent acts deserve just as much credit and attention as any major name band. That is proven time and again here, as already noted, beginning with the album’s opener, which seems to center on a broken relationship that is anything but brooding. Rather it is empowering. ‘Carry On’ is another of those works that could have been brooding as it seems to center on personal emotional and psychological strife. Instead of being that brooding work that it could have been, is another impacting work that is certain to give listeners their own strength. That is because it lets them know they are not alone in their struggles. ‘Evil Stakeholders,’ with its blatant commentary on what’s happened to the world thanks to its political and business leaders and its equally stinging musical arrangement, helps the album stand out, too. There’s also the commentary on consumerism in ‘Need’ coupled with its Prong-esque musical arrangement, ‘Over The Fence’ with its defiant, fist-pumping call to action by the world’s people and ‘Wild Life,’ which seems to encourage people to stand up for themselves rather than just being another number, that stands out here. These songs, and the album’s other offerings taken into consideration, make Sapere Aude a great new effort from The Amsterdam Red Light District and — again — more proof of why independent acts deserve just as much attention and credit as their more well-known mainstream counterparts. It also collectively proves this record to be easily one of this year’s top new independent albums and hard rock/metal offerings. It is available now and can be ordered direct via the band’s website. more information on Sapere Aude is available online now along with all of the band’s latest news and more at:
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