Categories:
Cart 0

Your cart is empty

Guns N' Roses|Chinese Democracy

Chinese Democracy

Guns N' Roses

Digital booklet

Available in
16-Bit CD Quality 44.1 kHz - Stereo

Unlimited Streaming

Listen to this album in high quality now on our apps

Start my trial period and start listening to this album

Enjoy this album on Qobuz apps with your subscription

Subscribe

Enjoy this album on Qobuz apps with your subscription

Digital Download

Purchase and download this album in a wide variety of formats depending on your needs.

To put Chinese Democracy in some perspective: it arrives 17 years after the twin Use Your Illusion, the last set of original music by Guns N' Roses. Consider that 17 years prior to the Illusions, it was 1974, back before the Ramones and Sex Pistols, back before Aerosmith had Rocks and Toys in the Attic, back before Queen had A Night at the Opera -- back before almost anything that Axl Rose worships even existed. Generations have passed in these 17 years, but not for Axl. He cut himself off from the world following the trouble-ridden Use Your Illusion tour, retreating to the Hollywood Hills, swapping every original GNR member in favor of contract players culled from his mid-'90s musical obsessions -- Tommy Stinson from the Replacements, Robin Finck from Nine Inch Nails, Buckethead from guitar magazines -- as he turned into rock's Charles Foster Kane, a genius in self-imposed exile spending millions to make his own Xanadu, Chinese Democracy. Like Xanadu, Chinese Democracy is a monument to man's might, but where Kane sought to bring the world underneath his roof, Axl labored to create an ideal version of his inner world, working endlessly on a set of songs about his heartbreak, persecution, and paranoia, topics well mined on the Illusions. Using the pompous ten-minute epics "Estranged" and "November Rain" as his foundation, Axl strips away all remnants of the old, snake-dancing GNR, shedding the black humor and blues, replacing any good times with vindictive spleen in the vein of "You Could Be Mine." All this melodrama and malevolence feels familiar and, surprisingly, so does much of Chinese Democracy, even for those listeners who didn't hear the portions of the record as leaked demos and live tracks. Despite a few surface flourishes -- all the endless, evident hours spent on Pro Tools, a hip-hop loop here, a Spanish six-string there, absurd elastic guitar effects -- this is an album unconcerned with the future of rock & roll. One listen and it's abundantly clear that Axl spent the decade-plus in the studio not reinventing but refining, obsessing over a handful of tracks, and spending an inordinate amount of time chasing the sound in his head -- that's it, no more, no less. Such maniacal indulgence is ridiculous but strangely understandable: Rose received unlimited time and money to create this album, so why not take full advantage and obsess over every last detail? The odd thing is, he spent all this time and money on an album that is deliberately not a grand masterpiece -- a record that pushes limits or digs deep -- but merely a set of 14 songs. Compared to the chaotic Use Your Illusion, Chinese Democracy feels strangely modest, but that's because it's a single polished album, not a double album so overstuffed that it duplicates songs. Modest is an odd word for an album a decade-plus in the making, but Axl's intent is oddly simple: he sees GNR not as a gutter-rock band but as a pomp-rock vehicle for him to lash out against all those who don't trust him, whether it's failed friends, lapsed fans, ex-lovers, former managers, fired bandmates, or rock critics. Chinese Democracy is the best articulation of this megalomania as could be possible, so the only thing to quibble about is his execution, which occasionally is perplexing, particularly when Rose slides into hammy vocal inflections or encourages complicated guitar that only guitarists appreciate (it's telling that the only memorable phrases from Robin Finck, Buckethead, or Bumblefoot or whoever are ones that mimic Slash's full-throated melodic growl). Even with these odd flourishes, it's hard not to marvel, either in respect or bewilderment, at the dense, immaculate wall of god knows how many guitars, synthesizers, vocals, and strings. The production is so dense that it's hard to warm to, but it fits the music. These aren't songs that grab and hold; they're songs that unfold, so much so that Chinese Democracy may seem a little underwhelming upon its first listen. It's not just the years of pent-up anticipation, it's that Axl spent so much time creating the music -- constructing the structure and then filling out the frame -- that there's no easy way into the album. That, combined with the realization that Axl isn't trying to reinvent GNR, but just finishing what he started on the Illusions, can make Chinese Democracy seem mildly anticlimactic, but Rose spent a decade-plus working on this -- he deserves to not have it dismissed on a cursory listen. Give it time, listening like it was 1998 and not 2008, and the album does give up some terrific music -- music that is overblown but not overdone. True, those good moments are the songs that have kicked around the Internet for the entirety of the new millennium: the slinky, spiteful "Better," slowly building into its fury; the quite gorgeous if heavy-handed "Street of Dreams"; "There Was a Time," which overcomes its acronym and lack of chorus on its sheer drama; "Catcher in the Rye," the lightest, brightest moment here; the slow, grinding "I.R.S."; and "Madagascar," a ludicrous rueful rumination that finds space for quotations from Martin Luther King amidst its trip-hop pulse. These aren't innovations; they're extensions of "Breakdown" and "Estranged," epics that require some work to decode because Axl forces the listener to meet him on his own terms. This all-consuming artistic narcissism has become Rose's defining trait, not letting him move forward, but only to relentlessly explore the same territory over and over again. And this solipsism turns Chinese Democracy into something strangely, surprisingly simple: it won't change music, it won't change any lives, it's just 14 more songs about loneliness and persecution. Or as Axl put it in an apology for canceled concerts in 2006, "In the end, it's just an album." And it's a good album, no less and no more.
© Stephen Thomas Erlewine /TiVo

More info

Chinese Democracy

Guns N' Roses

launch qobuz app I already downloaded Qobuz for Windows / MacOS Open

download qobuz app I have not downloaded Qobuz for Windows / MacOS yet Download the Qobuz app

You are currently listening to samples.

Listen to over 90 million songs with an unlimited streaming plan.

Listen to this playlist and more than 90 million songs with our unlimited streaming plans.

From kr125,00/month

1
Chinese Democracy
00:04:42

Josh Freese, ComposerLyricist - Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

2
Shackler's Revenge
00:03:36

Guns N' Roses, MainArtist - Caram Costanzo, Producer, ComposerLyricist - W. Axl Rose, ComposerLyricist - Brian Carroll, ComposerLyricist - Bryan Mantia, ComposerLyricist - Peter Scaturro, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

3
Better
00:04:56

Robin Finck, ComposerLyricist - Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

4
Street Of Dreams
00:04:46

TOMMY STINSON, ComposerLyricist - Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Dizzy Reed, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

5
If The World
00:04:53

Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Chris Pitman, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

6
There Was A Time
00:06:40

TOMMY STINSON, ComposerLyricist - Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Dizzy Reed, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

7
Catcher In The Rye
00:05:52

Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Paul Tobias, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

8
Scraped
00:03:30

Guns N' Roses, MainArtist - Caram Costanzo, Producer, ComposerLyricist - W. Axl Rose, ComposerLyricist - Brian Carroll, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

9
Riad N' The Bedouins
00:04:10

TOMMY STINSON, ComposerLyricist - Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

10
Sorry
00:06:13

Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Brian Carroll, ComposerLyricist - Bryan Mantia, ComposerLyricist - Peter Scaturro, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

11
I.R.S.
00:04:27

Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Dizzy Reed, ComposerLyricist - Paul Tobias, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

12
Madagascar
00:05:37

Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Chris Pitman, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

13
This I Love
00:05:34

Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

14
Prostitute
00:06:15

Guns N' Roses, MainArtist - Caram Costanzo, Producer - W. Axl Rose, ComposerLyricist - Paul Tobias, ComposerLyricist - Axl Rose, Producer

℗ 2008 Geffen Records

Album Description

To put Chinese Democracy in some perspective: it arrives 17 years after the twin Use Your Illusion, the last set of original music by Guns N' Roses. Consider that 17 years prior to the Illusions, it was 1974, back before the Ramones and Sex Pistols, back before Aerosmith had Rocks and Toys in the Attic, back before Queen had A Night at the Opera -- back before almost anything that Axl Rose worships even existed. Generations have passed in these 17 years, but not for Axl. He cut himself off from the world following the trouble-ridden Use Your Illusion tour, retreating to the Hollywood Hills, swapping every original GNR member in favor of contract players culled from his mid-'90s musical obsessions -- Tommy Stinson from the Replacements, Robin Finck from Nine Inch Nails, Buckethead from guitar magazines -- as he turned into rock's Charles Foster Kane, a genius in self-imposed exile spending millions to make his own Xanadu, Chinese Democracy. Like Xanadu, Chinese Democracy is a monument to man's might, but where Kane sought to bring the world underneath his roof, Axl labored to create an ideal version of his inner world, working endlessly on a set of songs about his heartbreak, persecution, and paranoia, topics well mined on the Illusions. Using the pompous ten-minute epics "Estranged" and "November Rain" as his foundation, Axl strips away all remnants of the old, snake-dancing GNR, shedding the black humor and blues, replacing any good times with vindictive spleen in the vein of "You Could Be Mine." All this melodrama and malevolence feels familiar and, surprisingly, so does much of Chinese Democracy, even for those listeners who didn't hear the portions of the record as leaked demos and live tracks. Despite a few surface flourishes -- all the endless, evident hours spent on Pro Tools, a hip-hop loop here, a Spanish six-string there, absurd elastic guitar effects -- this is an album unconcerned with the future of rock & roll. One listen and it's abundantly clear that Axl spent the decade-plus in the studio not reinventing but refining, obsessing over a handful of tracks, and spending an inordinate amount of time chasing the sound in his head -- that's it, no more, no less. Such maniacal indulgence is ridiculous but strangely understandable: Rose received unlimited time and money to create this album, so why not take full advantage and obsess over every last detail? The odd thing is, he spent all this time and money on an album that is deliberately not a grand masterpiece -- a record that pushes limits or digs deep -- but merely a set of 14 songs. Compared to the chaotic Use Your Illusion, Chinese Democracy feels strangely modest, but that's because it's a single polished album, not a double album so overstuffed that it duplicates songs. Modest is an odd word for an album a decade-plus in the making, but Axl's intent is oddly simple: he sees GNR not as a gutter-rock band but as a pomp-rock vehicle for him to lash out against all those who don't trust him, whether it's failed friends, lapsed fans, ex-lovers, former managers, fired bandmates, or rock critics. Chinese Democracy is the best articulation of this megalomania as could be possible, so the only thing to quibble about is his execution, which occasionally is perplexing, particularly when Rose slides into hammy vocal inflections or encourages complicated guitar that only guitarists appreciate (it's telling that the only memorable phrases from Robin Finck, Buckethead, or Bumblefoot or whoever are ones that mimic Slash's full-throated melodic growl). Even with these odd flourishes, it's hard not to marvel, either in respect or bewilderment, at the dense, immaculate wall of god knows how many guitars, synthesizers, vocals, and strings. The production is so dense that it's hard to warm to, but it fits the music. These aren't songs that grab and hold; they're songs that unfold, so much so that Chinese Democracy may seem a little underwhelming upon its first listen. It's not just the years of pent-up anticipation, it's that Axl spent so much time creating the music -- constructing the structure and then filling out the frame -- that there's no easy way into the album. That, combined with the realization that Axl isn't trying to reinvent GNR, but just finishing what he started on the Illusions, can make Chinese Democracy seem mildly anticlimactic, but Rose spent a decade-plus working on this -- he deserves to not have it dismissed on a cursory listen. Give it time, listening like it was 1998 and not 2008, and the album does give up some terrific music -- music that is overblown but not overdone. True, those good moments are the songs that have kicked around the Internet for the entirety of the new millennium: the slinky, spiteful "Better," slowly building into its fury; the quite gorgeous if heavy-handed "Street of Dreams"; "There Was a Time," which overcomes its acronym and lack of chorus on its sheer drama; "Catcher in the Rye," the lightest, brightest moment here; the slow, grinding "I.R.S."; and "Madagascar," a ludicrous rueful rumination that finds space for quotations from Martin Luther King amidst its trip-hop pulse. These aren't innovations; they're extensions of "Breakdown" and "Estranged," epics that require some work to decode because Axl forces the listener to meet him on his own terms. This all-consuming artistic narcissism has become Rose's defining trait, not letting him move forward, but only to relentlessly explore the same territory over and over again. And this solipsism turns Chinese Democracy into something strangely, surprisingly simple: it won't change music, it won't change any lives, it's just 14 more songs about loneliness and persecution. Or as Axl put it in an apology for canceled concerts in 2006, "In the end, it's just an album." And it's a good album, no less and no more.
© Stephen Thomas Erlewine /TiVo

About the album

Improve album information

Qobuz logo Why buy on Qobuz...