The secret hope of Rock'n'Roll

The Gaslight Anthem playing for me at least since "The '59 Sound" in the top league of rock music, even if it is shocked at how many people have heard of the band so far little or nothing me again and again. Brian Fallon's voice has a tremendous brand recognition and the lyrics are never easy or trivial - Fallon is in my eyes a poet. About his spiritual views we do not talk just once.
"Get Hurt" has now also been one or two month on his back, but will not be bored, even if you listen to it as often as I do. Was the predecessor "Handwritten" been influenced a little more from folk-punk, here is any punk influence only be guessed. But TGA are indeed known to vary their style to each album a bit. "Get Hurt" is more of a tribute to 90's alternative rock and grunge, coupled with the usual Springsteen homage.

With a brutal guitar riff of the opening track "Stay Vicious" begins, Brian's song comes from the guitars slightly distorted and almost angry, therefore, before almost conciliatory tone to be addressed in the chorus. Many "LaLaLa" 's are used, the title works by distorted guitars as out of the garage of a grunge band recorded the last third heralds a short but brilliant guitar solo. Overall, a really strong mid-tempo rocker, the song opened the dance here. Continuing with "1,000 Years", which again begins with a distinctive guitar part and then strikes calmer tones. The guitars that are a little more here in the background, are supported by precise drumming and the chorus is rapidly fixed in the ear. In addition, the lyrics are just terrific. The title track is a quiet ballad somewhere between indie and pop, which is just moving. With Keyboard great moments are created here with small bays. Even though the whole point is lyrically less poetic than in "National Anthem" on the last album, is "Get Hurt" a good ballad, albeit not a highlight. "Stray Paper" begins as the first two numbers with pithy guitar, then sets a Brian singing, which comes strongly and rough, so the whole opposed to "Get Hurt". A couple of female "UhUhUh" -Gesänge are the song that would have fit well on "Handwritten", remarkably well to face. "Helter Skeleton" then goes a little further back in time, paired a punky "Sink or Swim" -Einstieg with quieter rock bays, which are then in the chorus to a Heartland rock Kracher à la Springsteen. A tribute to ancient and modern times and an absolute highlight on the plate. It is followed by another quiet song. "Underneath the Ground" is a powerful rock ballad, which personally I like better than "Get Hurt", as Brian plays a little more with his phenomenal voice and the guitars come beautifully dreamy. The lead single from the album, "Rollin 'and Tumblin'" is a typical TGA-rocker that makes you feel good and even reveals some punk influences. Strong guitars and great drumming driving the three-minute roller coaster ride, another highlight. "Red Violins" begins immediately with Brian's vocals to reticent guitar, rhythmic bass and drums quiet. The number can be a lot, despite the tightened pace going forward and confident with a strong text. At the beginning of the next track, "Selected Poems" one thinks back to a quiet ballad, until the rest discharges in rocking guitars and Brian very determined and strongly sings. Again one feels reminiscent of older recordings of the guys and it immediately raises an almost homely feel a - do just feels comfortable. "Is not That A Shame" begins again with more distortion in the guitars and recognize you grunge influences which are processed in the chorus with Springsteen-felling, which makes the number to another climax. It is followed by another ballad that can score with good text and musically some hergibt again, nice to see here almost exclusively Brian can be heard with his acoustic guitar. Nevertheless, "Break Your Heart" draws something and would be even better with a few seconds less Time. The last song on the regular edition of the CD is called "Dark Places" which comes as a nice nostalgic rock song in memory of Bruce Springsteen and again everything ascends what the guys have to offer: amazing vocals, fat guitars, driving drums, a not less driving bass and great lyrics. The conclusion makes richig fun and leaves the listener back smiling - done everything right.

Finally, one can only say that the guys have shown to Brian Fallon once again why they are considered the secret hope of rock'n'roll. With great arrangements, strong lyrics (which in my view perhaps a little this time are less poetic, but by no means weaker than before) and of course the incredibly strong voice of front man they manage again, both to pay homage to their roots, and their own way independently to move on , The New Jersey rockers doing their thing undeterred and are certainly new fans to win. For this purpose one can still "Bravo!" say andd bow deeply!