See full article here.<\/a><\/p>\n

Kdy\u017e p\u0159ed n\u011bkolika lety ukon\u010dili \u010dinnost texa\u0161t\u00ed Born To Lose<\/strong>, mrzelo m\u011b to, a ur\u010dit\u011b jsem nebyl s\u00e1m \u2013 ov\u0161em nebyl by to Chris Klinck<\/strong> a jeho parta, kdyby snad p\u0159estali b\u00fdt hudebn\u011b \u010dinn\u00ed. Nowherebound<\/strong> u\u017e br\u00e1zd\u00ed p\u00f3dia n\u011bjakou dobu naprosto sebejist\u011b a p\u0159in\u00e1\u0161\u00ed poslucha\u010d\u016fm radost z\u00a0americk\u00e9ho punku, kombinovan\u00e9ho s\u00a0country a folkov\u00fdmi tendencemi. Jejich up\u0159\u00edmn\u00fd rock\u2019n\u2019roll byl p\u016fvodn\u011b sp\u00ed\u0161e komorn\u011bj\u0161\u00edho akustick\u00e9ho ra\u017een\u00ed, b\u011bhem let ov\u0161em p\u0159i\u0161lo ke slovu op\u011bt v\u00edce spoluhr\u00e1\u010d\u016f, elektrick\u00e9 kytary, v\u00edce n\u00e1stroj\u016f a \u0159\u00edzn\u011bj\u0161\u00ed zvuk. Songy s\u00a0texty, pln\u00fdmi bolesti, slz, str\u00e1d\u00e1n\u00ed, ale i odvahy j\u00edt d\u00e1l, neztr\u00e1cet nad\u011bji a hlavn\u011b z\u016fstat s\u00e1m sebou. Beznad\u011bjn\u00ed romantici, drsn\u00ed postmodern\u00ed kovbojov\u00e9, osudov\u00e9 \u017eeny. Noirov\u00e9 p\u0159\u00edb\u011bhy o\u00a0l\u00e1sce a nen\u00e1visti. Po vyd\u00e1n\u00ed \u010dty\u0159 plnohodnotn\u00fdch alb a dal\u0161\u00edch materi\u00e1l\u016f p\u0159ich\u00e1zej\u00ed Nowherebound<\/strong> s\u00a0p\u00e1t\u00fdm studiov\u00fdm albem, pojmenovan\u00fdm Hearts & Arrows.<\/em><\/p>\n

Nutno \u0159\u00edci, \u017ee na posledn\u00edm z\u00e1\u0159ezu op\u011bt p\u0159itvrdili \u2013 od akustick\u00e9ho punku p\u0159edchoz\u00edch alb postupn\u011b p\u0159e\u0161li a\u017e do pozice, u n\u00ed\u017e si m\u00edsty vzpomenete na p\u016fvodn\u00ed Born To Lose<\/strong>, av\u0161ak nebudete ochuzeni ani o nov\u00fd v\u00edtr do plachet. Nal\u00e9hav\u00fd vyprav\u011b\u010dsk\u00fd projev zp\u011bv\u00e1ka Chrise<\/strong> v\u00a0kombinaci se sborov\u00fdmi vok\u00e1ly po\u0159\u00e1d funguje. Po hudebn\u00ed str\u00e1nce se jedn\u00e1 o vyrovnan\u00e9 a\u00a0ucelen\u00e9 album, ov\u0161em neu\u0161kodil by trochu v\u00edce gar\u00e1\u017eov\u00fd a \u201e\u0161pinav\u00fd\u201c zvuk. Chris<\/strong> a lid\u00e9 kolem n\u011bj m\u011bli v\u017edy co \u0159\u00edci a hodn\u011b p\u0159\u00edb\u011bh\u016f na srdci, nicm\u00e9n\u011b celkov\u00e1 stop\u00e1\u017e alba, p\u0159esahuj\u00edc\u00ed p\u0159i \u0161estn\u00e1cti kusech (sedmn\u00e1cti v\u010detn\u011b bonusu) pades\u00e1t minut, u\u017e m\u016f\u017ee b\u00fdt moc velk\u00e1 n\u00e1lo\u017e.<\/p>\n

Obecn\u011b si p\u0159\u00edli\u0161 nepotrp\u00edm na krat\u0161\u00ed songy, funguj\u00edc\u00ed jako intro k\u00a0desce \u2013 m\u00e1lokdy toti\u017e maj\u00ed smysl, v\u011bt\u0161inou vyzn\u00ed do pr\u00e1zdna. U prvn\u00ed polo\u017eky alba, The Processional,<\/em> tomu je trochu jinak; p\u016fsob\u00ed nejen jako element k\u00a0navozen\u00ed atmosf\u00e9ry ve\u010dera, p\u0159\u00edjemn\u011b str\u00e1ven\u00e9ho na koncert\u011b s\u00a0p\u0159\u00e1teli, ale i coby del\u0161\u00ed \u00favod k\u00a0The Cursed<\/em>, kdy u\u017e poslucha\u010d nasko\u010d\u00ed do oml\u00e1cen\u00e9ho vozu americk\u00e9ho n\u00e1kladn\u00edho vlaku nebo se nalod\u00ed na plachetnici, ji\u017e cht\u011bl m\u00edt v\u017edycky vytetovanou na rameni, a vyraz\u00ed na divokou cestu. Cel\u00e9 album se val\u00ed vp\u0159ed jako parn\u00ed lokomotiva \u2013 jednou pomaleji, v\u00edce folkov\u011b a zasn\u011bn\u011b, kdy se objevuj\u00ed kl\u00e1vesy, pi\u00e1no nebo rozervan\u00e1 a\u00a0st\u00e9naj\u00edc\u00ed foukac\u00ed harmonika, podruh\u00e9 rychle a nekompromisn\u011b, v\u00a0duchu typick\u00e9ho americk\u00e9ho punk rock\u2019n\u2019rollu, spol\u00e9haj\u00edc na ostr\u00e9 kytary, navztekan\u00fd zp\u011bv a\u00a0zb\u011bsil\u00e9 back-vok\u00e1ly. V\u00a0podstat\u011b autobiografick\u00e9 vypr\u00e1v\u011bn\u00ed, obsahuj\u00edc\u00ed odkaz na Rolling Stones<\/strong>, je v\u00a0Troubadours<\/em> podpo\u0159eno svi\u017en\u00fdm tempem a zb\u011bsil\u00fdm kytarov\u00fdm s\u00f3lem, p\u0159i\u010dem\u017e prvky mi p\u0159ipom\u00ednaj\u00ed n\u011bco od Rat City Riot<\/strong>. Probl\u00e9mem dal\u0161\u00edch song\u016f je, \u017ee jejich sch\u00e9ma je dost podobn\u00e9 \u2013 nezn\u00ed \u00fapln\u011b stejn\u011b, dr\u017e\u00ed atmosf\u00e9ru vysoko, ale dal\u0161\u00edm z\u00e1chytn\u00fdm bodem jsou pak a\u017e Carry On <\/em>(z\u00e1van nad\u011bje, p\u0159esn\u011b v\u00a0srdca\u0159sk\u00e9m duchu kapely) a vlajkov\u00fd song Hearts & Arrows<\/em>. Tuto polo\u017eku ale v\u00a0druh\u00e9 polovin\u011b alba p\u0159ebije v\u00e1l Those Were The Days<\/em> a jeho nostalgick\u00e1 atmosf\u00e9ra, pi\u00e1no, harmonika i\u00a0kytarov\u00e9 s\u00f3lo v\u00a0duchu so-cal<\/em> uskupen\u00ed \u00e1la Social Distortion<\/strong>. Red River & 8th <\/em>se zas krom vypr\u00e1v\u011bn\u00ed, nas\u00e1kl\u00e9ho chlastem a rock\u2019n\u2019rollem, m\u016f\u017ee py\u0161nit i vtipn\u00fdm a divok\u00fdm z\u00e1v\u011brem v\u00a0duchu Ramones<\/strong>, 78702 <\/em>je o nep\u0159\u00edli\u0161 r\u016f\u017eov\u00e9 historick\u00e9 i\u00a0aktu\u00e1ln\u00ed situaci, t\u00fdkaj\u00edc\u00ed se pozemk\u016f a m\u011bstsk\u00e9ho uspo\u0159\u00e1d\u00e1n\u00ed v\u00a0domovsk\u00e9m m\u011bst\u011b kapely, texask\u00e9m Austinu. Intro desky zaji\u0161\u0165ovalo p\u0159\u00e1telskou party atmosf\u00e9ru, outro v\u00a0podob\u011b The Benediction <\/em>je rozlou\u010den\u00edm ve smyslu \u201ez\u016fsta\u0148te sami sebou a m\u011bjte se, ne\u017e se znovu potk\u00e1me\u201c.<\/em><\/p>\n

Album Hearts & Arrows<\/em> p\u016fsob\u00ed jako v\u0159el\u00e9 p\u0159\u00e1telsk\u00e9 objet\u00ed v\u00a0chladn\u00fdch p\u0159ed-apokalyptick\u00fdch \u010dasech, kdy mus\u00edte nad\u011bji, dobro a optimismus dolovat jako vz\u00e1cn\u00e9 klenoty; neklade si za c\u00edl b\u00fdt p\u0159evratnou nahr\u00e1vkou, ale je nabit\u00e9 jistou pozitivn\u00ed energi\u00ed. Nemus\u00ed \u010dlov\u011bka bavit napoprv\u00e9, je t\u0159eba d\u00e1t v\u0161emu dostatek \u010dasu a soust\u0159edit se na vyprav\u011b\u010dsk\u00fd um Nowherebound<\/strong>.<\/p>\n

English Translation (Powered by Google Translate):<\/p>\n

When Born To Lose<\/strong> ended up working a few years ago, I was sorry, and I was certainly not alone – but it would not be Chris Klinck<\/strong> and his band if they stopped doing musically. Nowherebound has been stealing the stage for quite some time, giving audience the joy of American punk combined with country and folk tendencies. Their honest rock’n’roll was originally a more amiable acoustic stamp, but over the years, more of the teammates, electric guitars, more instruments, and more sophisticated sound came to mind. Songs with lyrics, full of pain, tears, hardship, but also the courage to go on, not to waste hope and to remain alone. Hopeless romantics, harsh postmodern cowboys, fateful women. Nora’s stories of love and hatred. After the release of four full-featured albums and other materials, Nowherebound<\/strong> comes with their fifth studio album, named “Hearts & Arrows”.<\/p>\n

It has to be said that the last notch has been restrained – from the acoustic punch of the previous albums, they have gradually moved to the position where you will remember the original Born To Lose<\/strong>, but you will not be deprived of a new wind in the sails. The urgent narrative performance of singer Chris<\/strong> in combination with choral vocals is still working. On the music side, this is a balanced and comprehensive album, but it would not be a bit more garage or “dirty” sound. Chris<\/strong> and the people around him always had a lot to say and a lot of stories to heart, but the overall footage of the album, exceeding fifteen pieces (seventeen including a bonus) of fifty minutes, can be a very big charge.<\/p>\n

Generally, I do not think too much about shorter songs, working like an intro on a record – they rarely make sense, mostly sounds empty. The first album item, The Processional<\/i>, is a bit different; not only as an element to bring the evening atmosphere pleasantly spent on a concert with friends, but also as a longer introduction to The Cursed<\/i>, when the listener jumps into the muddy American freight train or embarks on a sailboat and always wants to tattooed on his shoulder; will go on a wild journey. The whole album rolls forward as a steam locomotive – one slower, more folk and dreamlike, when the keys, the piano or the torn and humming blowing accordion appear, the second time fast and uncompromising, in the spirit of typical American punk rock’n’roll, relying on sharp guitars , chanting vocals and frantic back-vocals. In essence, the autobiographical narrative, including a link to Rolling Stones<\/strong>, is backed up at Troubadours<\/i> at a brisk pace and a frantic guitar solo, with elements reminding me of something from Rat City Riot<\/strong>. The problem with the other songs is that their scheme is quite similar – it does not sound the same, it keeps the atmosphere high, but the next clue is Carry On<\/em> and the Hearts & Arrows<\/em> flagship song. In the second half of the album, however, this album is overwhelmed by Those Were The Days<\/i> and its nostalgic atmosphere, piano, harmonica, and guitar solo in the spirit of the Social Distortion<\/strong> social group. The Red River & 8th<\/i> also boasts a humorous and wild ending in the spirit of Ramones<\/strong>, 78702<\/i> is a not too pink historical and current situation concerning land and urban arrangement in the home town of the band, Austin, Texas. The intro boards ensured a friendly party atmosphere, the outro in the form of The Benediction<\/i> is a farewell in the sense of “stay with yourself and have a good time before we meet again”.<\/p>\n

The Hearts & Arrows<\/em> album acts as a warm, friendly hug in the cold pre-apocalyptic times when you have to make hope, good and optimism doll as rare jewels; does not aim to be a breakthrough recording, but is filled with some positive energy. You do not have to have fun for the first time, you need to give yourself enough time and focus on Nowherebound<\/strong> narrator.<\/p>\n","protected":false},"excerpt":{"rendered":"

See full article here. Kdy\u017e p\u0159ed n\u011bkolika lety ukon\u010dili \u010dinnost texa\u0161t\u00ed Born To Lose, mrzelo m\u011b to, a ur\u010dit\u011b jsem nebyl s\u00e1m \u2013 ov\u0161em nebyl by to Chris Klinck a jeho parta, kdyby snad p\u0159estali b\u00fdt hudebn\u011b \u010dinn\u00ed. Nowherebound u\u017e br\u00e1zd\u00ed p\u00f3dia n\u011bjakou dobu naprosto sebejist\u011b a p\u0159in\u00e1\u0161\u00ed poslucha\u010d\u016fm radost[…]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35],"tags":[],"_links":{"self":[{"href":"https:\/\/nowhereboundband.com\/wp-json\/wp\/v2\/posts\/1271"}],"collection":[{"href":"https:\/\/nowhereboundband.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nowhereboundband.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nowhereboundband.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nowhereboundband.com\/wp-json\/wp\/v2\/comments?post=1271"}],"version-history":[{"count":3,"href":"https:\/\/nowhereboundband.com\/wp-json\/wp\/v2\/posts\/1271\/revisions"}],"predecessor-version":[{"id":1275,"href":"https:\/\/nowhereboundband.com\/wp-json\/wp\/v2\/posts\/1271\/revisions\/1275"}],"wp:attachment":[{"href":"https:\/\/nowhereboundband.com\/wp-json\/wp\/v2\/media?parent=1271"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nowhereboundband.com\/wp-json\/wp\/v2\/categories?post=1271"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nowhereboundband.com\/wp-json\/wp\/v2\/tags?post=1271"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}