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Bayside|Killing Time

Killing Time

Bayside

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Idioma disponible: inglés

It would be easy to misconstrue the title of Killing Time as a defeated admission from a tired band whose members were just going through the motions, putting out record after record because that’s what bands are supposed to do. For Bayside, however, that couldn’t be less true. Working with producer Gil Norton, who worked on monumental albums like the Pixies’ Doolittle and Foo Fighters’ The Colour and the Shape, the band has made what might be its most fully realized album to date. The band sounds as fresh and vibrant as ever on tracks like “The New Flesh,” reaffirming for fans that Bayside have held firmly onto their pop sensibility and vigor, and that they can still combine them as well as anyone in the emo/post-hardcore game. This comes through brilliantly on “Mona Lisa,” where the band evokes the polished pop heaviness of early-model Weezer, deftly shifting keys to make the song feel like it’s constantly evolving without losing any of its infectiousness along the way. Given the way Bayside have incorporated all of the lessons learned from their other albums, it almost feels like the album’s title refers to all of the time spent up until this recording, painting a picture of a band that’s been spinning its wheels trying out this and that before really bringing it all together into one polished record. If you're a fan who may have been disappointed after the release of 2008’s Shudder, this is the album you’ve been waiting for.

© Gregory Heaney /TiVo

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Killing Time

Bayside

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1
Already Gone
00:03:39

Chris Gehringer, Mastering Engineer, StudioPersonnel - Chris Sheldon, Mixer, StudioPersonnel - Sean Kelly, Asst. Recording Engineer, StudioPersonnel - Gil Norton, Producer - Bayside, Composer, Author, MainArtist - Dan Austin, Engineer, StudioPersonnel - Adam Armstrong, Asst. Recording Engineer, StudioPersonnel

℗ 2011 The Bicycle Music Company

2
Sick, Sick, Sick
00:03:33

Chris Gehringer, Mastering Engineer, StudioPersonnel - Chris Sheldon, Mixer, StudioPersonnel - Sean Kelly, Asst. Recording Engineer, StudioPersonnel - Gil Norton, Producer - Bayside, Composer, Author, MainArtist - Dan Austin, Engineer, StudioPersonnel - Adam Armstrong, Asst. Recording Engineer, StudioPersonnel

℗ 2011 The Bicycle Music Company

3
Mona Lisa
00:03:09

Chris Gehringer, Mastering Engineer, StudioPersonnel - Chris Sheldon, Mixer, StudioPersonnel - Sean Kelly, Asst. Recording Engineer, StudioPersonnel - Gil Norton, Producer - Bayside, Composer, Author, MainArtist - Dan Austin, Engineer, StudioPersonnel - Adam Armstrong, Asst. Recording Engineer, StudioPersonnel

℗ 2011 The Bicycle Music Company

4
It's Not A Bad Little War
00:04:12

Chris Gehringer, Mastering Engineer, StudioPersonnel - Chris Sheldon, Mixer, StudioPersonnel - Sean Kelly, Asst. Recording Engineer, StudioPersonnel - Gil Norton, Producer - Bayside, Composer, Author, MainArtist - Dan Austin, Engineer, StudioPersonnel - Adam Armstrong, Asst. Recording Engineer, StudioPersonnel

℗ 2011 The Bicycle Music Company

5
Sinking And Swimming On Long Island
00:03:47

Chris Gehringer, Mastering Engineer, StudioPersonnel - Chris Sheldon, Mixer, StudioPersonnel - Sean Kelly, Asst. Recording Engineer, StudioPersonnel - Gil Norton, Producer - Bayside, Composer, Author, MainArtist - Dan Austin, Engineer, StudioPersonnel - Adam Armstrong, Asst. Recording Engineer, StudioPersonnel

℗ 2011 The Bicycle Music Company

6
Seeing Sound
00:03:23

Chris Gehringer, Mastering Engineer, StudioPersonnel - Chris Sheldon, Mixer, StudioPersonnel - Sean Kelly, Asst. Recording Engineer, StudioPersonnel - Gil Norton, Producer - Bayside, Composer, Author, MainArtist - Dan Austin, Engineer, StudioPersonnel - Adam Armstrong, Asst. Recording Engineer, StudioPersonnel

℗ 2011 The Bicycle Music Company

7
The Wrong Way
00:03:26

Chris Gehringer, Mastering Engineer, StudioPersonnel - Chris Sheldon, Mixer, StudioPersonnel - Sean Kelly, Asst. Recording Engineer, StudioPersonnel - Gil Norton, Producer - Bayside, Composer, Author, MainArtist - Dan Austin, Engineer, StudioPersonnel - Adam Armstrong, Asst. Recording Engineer, StudioPersonnel

℗ 2011 The Bicycle Music Company

8
On Love, On Life
00:03:26

Chris Gehringer, Mastering Engineer, StudioPersonnel - Chris Sheldon, Mixer, StudioPersonnel - Sean Kelly, Asst. Recording Engineer, StudioPersonnel - Gil Norton, Producer - Bayside, Composer, Author, MainArtist - Dan Austin, Engineer, StudioPersonnel - Adam Armstrong, Asst. Recording Engineer, StudioPersonnel

℗ 2011 The Bicycle Music Company

9
The New Flesh
00:03:44

Chris Gehringer, Mastering Engineer, StudioPersonnel - Chris Sheldon, Mixer, StudioPersonnel - Sean Kelly, Asst. Recording Engineer, StudioPersonnel - Gil Norton, Producer - Bayside, Composer, Author, MainArtist - Dan Austin, Engineer, StudioPersonnel - Adam Armstrong, Asst. Recording Engineer, StudioPersonnel

℗ 2011 The Bicycle Music Company

10
Killing Time
00:03:32

Chris Gehringer, Mastering Engineer, StudioPersonnel - Chris Sheldon, Mixer, StudioPersonnel - Sean Kelly, Asst. Recording Engineer, StudioPersonnel - Gil Norton, Producer - Bayside, Composer, Author, MainArtist - Dan Austin, Engineer, StudioPersonnel - Adam Armstrong, Asst. Recording Engineer, StudioPersonnel

℗ 2011 The Bicycle Music Company

Presentación del Álbum

It would be easy to misconstrue the title of Killing Time as a defeated admission from a tired band whose members were just going through the motions, putting out record after record because that’s what bands are supposed to do. For Bayside, however, that couldn’t be less true. Working with producer Gil Norton, who worked on monumental albums like the Pixies’ Doolittle and Foo Fighters’ The Colour and the Shape, the band has made what might be its most fully realized album to date. The band sounds as fresh and vibrant as ever on tracks like “The New Flesh,” reaffirming for fans that Bayside have held firmly onto their pop sensibility and vigor, and that they can still combine them as well as anyone in the emo/post-hardcore game. This comes through brilliantly on “Mona Lisa,” where the band evokes the polished pop heaviness of early-model Weezer, deftly shifting keys to make the song feel like it’s constantly evolving without losing any of its infectiousness along the way. Given the way Bayside have incorporated all of the lessons learned from their other albums, it almost feels like the album’s title refers to all of the time spent up until this recording, painting a picture of a band that’s been spinning its wheels trying out this and that before really bringing it all together into one polished record. If you're a fan who may have been disappointed after the release of 2008’s Shudder, this is the album you’ve been waiting for.

© Gregory Heaney /TiVo

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