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Glass Houses

Billy Joel

Pop/Rock - Released March 1, 1980 | Columbia

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The back-to-back success of The Stranger and 52nd Street may have brought Billy Joel fame and fortune, even a certain amount of self-satisfaction, but it didn't bring him critical respect, and it didn't dull his anger. If anything, being classified as a mainstream rocker -- a soft rocker -- infuriated him, especially since a generation of punks and new wave kids were getting the praise that eluded him. He didn't take this lying down -- he recorded Glass Houses. Comparatively a harder-rocking album than either of its predecessors, with a distinctly bitter edge, Glass Houses still displays the hallmarks of Billy Joel the pop craftsman and Phil Ramone the world-class hitmaker. Even its hardest songs -- the terrifically paranoid "Sometimes a Fantasy," "Sleepin' With the Television On," "Close to the Borderline," the hit "You May Be Right" -- have bold, direct melodies and clean arrangements, ideal for radio play. Instead of turning out to be a fiery rebuttal to his detractors, the album is a remarkable catalog of contemporary pop styles, from McCartney-esque whimsy ("Don't Ask Me Why") and arena rock ("All for Leyna") to soft rock ("C'etait Toi [You Were the One]") and stylish new wave pop ("It's Still Rock and Roll to Me," which ironically is closer to new wave pop than rock). That's not a detriment; that's the album's strength. The Stranger and 52nd Street were fine albums in their own right, but it's nice to hear Joel scale back his showman tendencies and deliver a solid pop/rock record. It may not be punk -- then again, it may be his concept of punk -- but Glass Houses is the closest Joel ever got to a pure rock album.© Stephen Thomas Erlewine /TiVo
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Close to the Glass

The Notwist

Alternative & Indie - Released February 21, 2014 | Sub Pop Records

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The Notwist have been around for long enough and have such a solid discography that it's easy to take them for granted. It's almost as if their consistency works against them getting the credit due for helping to create the electronics-meets-indie rock template followed by so many later bands. However, that shouldn't be a problem with Close to the Glass; the band's first album since 2008's The Devil, You + Me is some of their most accessible and attention-getting music yet. The Notwist blend the experimental side of their music and their undeniable pop skills into songs that are equally dynamic and haunting: songs such as "Signals" are abrasive and hooky at the same time, marrying noisy percussion with a poignant melody and strings. The band's maturity shows in how easy they make this seem, and aside from the nine-minute instrumental workout "Lineri," their experimental expertise is in service of some of their strongest songs. Chief among them is the warmhearted and winsome "Kong," which sounds like a Teutonic version of I Can Hear the Heart Beating as One-era Yo La Tengo. Inspired by a story from Markus Acher's childhood when he wished for superheroes to rescue his family from their flooding house, it's a glimmer of youthful faith on an album otherwise full of adult fears and doubts. With their fragility, tension, and running theme of separation, these songs are indeed close to the glass, but the Notwist bring an exquisite clarity to this uncertainty. "Casino" uses gambling as an extended metaphor for a troubled relationship yet never feels contrived; "Run Run Run" fills the space between Acher and his beloved with spooky electronics and surprisingly muscular percussion and brass; and "7-Hour-Drive" sets the sweet frustration of a long-distance relationship to alternately raging and swooning shoegaze. Throughout the album, the Notwist search for connection, something they've excelled at since the days of "Pick Up the Phone." However, the way they join the organic and the electronic, the cerebral and the emotional on Close to the Glass makes it the most thoroughly rewarding and enjoyable album of the Notwist's career to date.© Heather Phares /TiVo
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Close to the Glass

The Notwist

Alternative & Indie - Released February 21, 2014 | Sub Pop Records

The Notwist have been around for long enough and have such a solid discography that it's easy to take them for granted. It's almost as if their consistency works against them getting the credit due for helping to create the electronics-meets-indie rock template followed by so many later bands. However, that shouldn't be a problem with Close to the Glass; the band's first album since 2008's The Devil, You + Me is some of their most accessible and attention-getting music yet. The Notwist blend the experimental side of their music and their undeniable pop skills into songs that are equally dynamic and haunting: songs such as "Signals" are abrasive and hooky at the same time, marrying noisy percussion with a poignant melody and strings. The band's maturity shows in how easy they make this seem, and aside from the nine-minute instrumental workout "Lineri," their experimental expertise is in service of some of their strongest songs. Chief among them is the warmhearted and winsome "Kong," which sounds like a Teutonic version of I Can Hear the Heart Beating as One-era Yo La Tengo. Inspired by a story from Markus Acher's childhood when he wished for superheroes to rescue his family from their flooding house, it's a glimmer of youthful faith on an album otherwise full of adult fears and doubts. With their fragility, tension, and running theme of separation, these songs are indeed close to the glass, but the Notwist bring an exquisite clarity to this uncertainty. "Casino" uses gambling as an extended metaphor for a troubled relationship yet never feels contrived; "Run Run Run" fills the space between Acher and his beloved with spooky electronics and surprisingly muscular percussion and brass; and "7-Hour-Drive" sets the sweet frustration of a long-distance relationship to alternately raging and swooning shoegaze. Throughout the album, the Notwist search for connection, something they've excelled at since the days of "Pick Up the Phone." However, the way they join the organic and the electronic, the cerebral and the emotional on Close to the Glass makes it the most thoroughly rewarding and enjoyable album of the Notwist's career to date.© Heather Phares /TiVo
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Too Close To Home

The Blue Dawns

Rock - Released November 11, 2022 | Glass Door Recordings

Summer Party Bangers | Hit Songs

Summer Hits

Pop - Released May 19, 2023 | Legacy Recordings

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Close to You

Elmore

Pop - Released April 14, 2017 | Glass Box Records

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Close To You

Benny Bridges

Electronic - Released November 5, 2021 | Fantastic Voyage

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The Cure - Live at Glastonbury Festival 1986

The Cure

Alternative & Indie - Released May 17, 2023 | Vintage Jukebox

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Closer + bonus (Live at the University of London Union, 8 February 1980)

Joy Division

Alternative & Indie - Released July 9, 1980 | London Records

Distinctions The Qobuz Ideal Discography
When Closer was released on July 18th, 1980 Ian Curtis had already been six feet under for two months. At just 23 years old, the singer of Joy Division – who committed suicide – would never get a share of the laurels that this second and last studio album was about to receive for the years and decades to come… In such grim circumstances, this opus was of course bound to become a sort of testament. With Closer, rock music (that in this case doesn’t roll so much) got the most beautiful soundtrack to its angst. As always with Joy Division, the groove is viscerally martial, guitars are excessively shrill, the vocals are wrapped up in a straightjacket, rhythmic patterns smell sweetly of cataclysm, while the lyrics evoke claustrophobia: no doubt about it, post punk now has its Tables of Law. A rulebook and lifestyle directly inherited from early Velvet Underground, Bowie in his Berlin days, the Doors and German Krautrock. With Closer, Ian Curtis still remains here among us. © Marc Zisman/Qobuz
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Closer To Grey (Deluxe Edition)

Chromatics

Electronic - Released October 2, 2019 | Italians Do It Better

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Joshua Radin Live from the Village (Deluxe)

Joshua Radin

Pop - Released May 13, 2016 | Glass Bead Music Inc

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Objects May Be Closer Than They Appear

Machines All the Way to the Sea

Dance - Released September 15, 2020 | Non Applicable Records

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GOLDEN

Jung Kook

K-Pop - Released November 3, 2023 | BIGHIT MUSIC

More than any of his BTS bandmates, Jung Kook has been primed for the greatest crossover potential with his debut solo album, Golden. Unlike the rap showcases of RM, Suga, and J-Hope or the focused genre forays from V, Jin, and Jimin, Golden takes aim at the mainstream sweet spot that swirls together funky beats, catchy melodies, and irresistible choruses. It doesn't hurt his prospects that everything is in English, either. Backed by producers such as BloodPop, Diplo, Andrew Watt, and Cirkut and songwriters like Shawn Mendes and Ed Sheeran, the LP also features rapper Jack Harlow on the bouncy, fun-loving "3D"; Major Lazer on the sensual, throbbing "Closer to You"; DJ Snake on the shimmering electronic dance anthem "Please Don't Change"; and Latto on the chart-conquering, record-breaking sex romp "Seven" (the edited version is also included). While the laundry list of A-list names attached to the project leaves little doubt that this has been custom-designed to make him an even bigger star, everything works so well because of Jung Kook's seasoned vocals and natural allure. Like Justin Timberlake and Harry Styles before him, it's quite clear that Jung Kook has been christened as his boy band's main breakout, and Golden makes a great case for that push.© Neil Z. Yeung /TiVo
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Closed To The Public

Fidel Gastro

Hip-Hop/Rap - Released July 2, 2022 | Muckin' Futts Records

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Carly Pearce

Carly Pearce

Country - Released February 14, 2020 | Big Machine Records, LLC

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A 1990s revival has already hit rap and pop music, so it makes sense that country would have its moment of nostalgia, too. Cue singer-songwriter Carly Pearce's second album, which captures the spirit of that era without sounding like a retread. (Big credit goes to late producer busbee; this was the last album he finished before his 2019 death.) There are shades of Faith Hill's warm-honey tone on songs like "Halfway Home" and "It Won't Always Be Like This," and Martina McBride's comfortably lived-in style on "Greener Grass" and "Heart's Going Out of Its Mind." The lightly bluesy "Lightning in a Bottle" comes on like a modern update of Deana Carter's "Strawberry Wine." And the excellent duet "I Hope You're Happy Now," with Lee Brice, would have been right at home on '90s FM radio. Pearce shakes things up with R&B-inflected "Closer to You" and the irresistible "Call Me" — a flirtatious track that sounds fresher than anything in country music right now. This little gem was co-written by Little Big Town's Phillip Sweet and Jimi Westbrook, who made a big mistake in not keeping it for themselves. © Shelly Ridenour / Qobuz