So tenderly like a whip

Billy Idol in the best of times, accompanied by Steve Stevens on guitar sounds basically supercooled and uninvolved, brash, only genuine with the web-can-me-by-all voice. With him acting not fake but real. Whether he can shred punk and new wave, melodious ballads daherrotzt mercilessly, or whether it can rock'n'roll straight off the leash Where "Billy Idol" it says, Billy Idol's inside, unmistakable. Dire always, never dull! And boring already especially not. Anyway, this album has the customized title and actually sounds like a whip-cracking smile; Relentless optimism exuding Li-La-mood bears should better take cover.

Melancholic Punk characterizes clearly the album and also gives potentially loose songs the right bite, and everything seems all of a piece, whether a song sounds more worn or breathless. Monotonous is "Whiplash Smile" not in any case; a couple of times missed Billy Idol will also find the most hardened eardrums contrast baths, contrasts melancholic ballads with punk rhythm, making a time-honored classic legs or celebrated melancholy Fury. Occasionally, this is fundamental to the attitude, but inconsequential that will never, not even when single Hangover "Do not Need a Gun": Here sounds Billy Idol in such a way as he would bite the same, but too much has draufgepackt; that sounds too complacent. As I said, but that is the only real hangover.

"Whiplash Smile" namely contains not only good songs, but also timelessly good, who recognized not make dust for over 20 years and the zeitgeist turn a long nose: "Worlds Forgotten Boy" a forwards with straight punk rock mix the album and acts as a soporific like a whip (for the record: The album is called "Whiplash Smile").
Have similarly timeless well kept other: In "To Be a Lover" but the veteran soul classics "I Forgot to Be Your Lover" is initially unrecognizable, after all. And approved; Here's no cheaper trick somehow added a classic fudge on the anno '86 trendy sound, but easily made consistent and good. Next: Hinge inspired punk's in "Soul Standing By"; gloomy rock'n'roll in "Fatal Charm"; melancholy Fury, loose and snappy while in "All Summer Single". And then of course the much too short "Sweet Sixteen" - that sounds like a thoroughly dusted Liebesleid classics from the '50s with all accessories and without lard. So loose sounds Billy Idol rarely, but again vibrates its characteristic The World End is near-timbre.
Finally, "One Night, One Chance": An almost conciliatory conclusion, but a barbed. One of the most diverse songs of the album, quiet, but certainly not suitable as background music during Einduseln; it already makes the idiosyncratic rhythm. And of course, Steve Stevens' striking guitar that ungracious between growls again when too much slick harmony could creep in.