harmless wrote:I think I get what people mean when they say the solos aren't appropriate to the song, but I don't hear it. It's a really bare-bones song, and I feel as if the same song on S/T (for example) would've been really boring. It might've ended up being "Come Back", which was just dull. In this case I think the arrangement and production bells and whistles actually help it to aspire for more. I still think it sounds like R.E.M in its lushness, which is nice. Their production values were often over the top.
Imagine it on no code or riot act
The solos are just to bright for me, its like the song is set at night with twinkling stars and the glow of the moon, and the solos are the sun shooting across the sky yelling 'look at meeeee!'. It's just...the wrong time of day It needed something more subtle imo, more twinkling less laser beam of light.
Mike wrote:They should have done every solo with an ebow. That would have sounded like the moon.
Yeah, that would've been cool. I see it.
So, I just Googled the difference between 3/4 and 6/8 timing, and the most helpful explanation at a glance was this one:
3/4 is Diddle Diddle Diddle
6/8 is Diddely Diddely
They're the same number of quavers, but 3/4 is 3 groups of 2 quavers (Diddle Diddle Diddle, e.g., a waltz) and 6/8 is 2 groups of 3 quavers (e.g., a jig).
So I think you're right. Apart from the drum groove not being a waltz exactly, I think that's the timing. Except the last bar of the intro "phrase" (and all other musical interlude phrases) is 2 quavers/beats instead of 3. I think the equivalent bar of Lowlight is 4 quavers/beats instead of 3. It's interesting, the 4 beats creates a lazier, sleepier feeling. The feeling of the 2 beats instead of 3 is a little bit more anxious.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
Mike wrote:They should have done every solo with an ebow. That would have sounded like the moon.
Yeah, that would've been cool. I see it.
So, I just Googled the difference between 3/4 and 6/8 timing, and the most helpful explanation at a glance was this one:
3/4 is Diddle Diddle Diddle
6/8 is Diddely Diddely
They're the same number of quavers, but 3/4 is 3 groups of 2 quavers (Diddle Diddle Diddle, e.g., a waltz) and 6/8 is 2 groups of 3 quavers (e.g., a jig).
So I think you're right. Apart from the drum groove not being a waltz exactly, I think that's the timing. Except the last bar of the intro "phrase" (and all other musical interlude phrases) is 2 quavers/beats instead of 3. I think the equivalent bar of Lowlight is 4 quavers/beats instead of 3. It's interesting, the 4 beats creates a lazier, sleepier feeling. The feeling of the 2 beats instead of 3 is a little bit more anxious.
I love how
"3/4 is Diddle Diddle Diddle
6/8 is Diddely Diddely"
makes one understand the difference. 3/4 accents the 1, 2 and 3 and 6/4 accents the 1 and 4.
Mike wrote:They should have done every solo with an ebow. That would have sounded like the moon.
Yeah, that would've been cool. I see it.
So, I just Googled the difference between 3/4 and 6/8 timing, and the most helpful explanation at a glance was this one:
3/4 is Diddle Diddle Diddle
6/8 is Diddely Diddely
They're the same number of quavers, but 3/4 is 3 groups of 2 quavers (Diddle Diddle Diddle, e.g., a waltz) and 6/8 is 2 groups of 3 quavers (e.g., a jig).
So I think you're right. Apart from the drum groove not being a waltz exactly, I think that's the timing. Except the last bar of the intro "phrase" (and all other musical interlude phrases) is 2 quavers/beats instead of 3. I think the equivalent bar of Lowlight is 4 quavers/beats instead of 3. It's interesting, the 4 beats creates a lazier, sleepier feeling. The feeling of the 2 beats instead of 3 is a little bit more anxious.
I love how
"3/4 is Diddle Diddle Diddle
6/8 is Diddely Diddely"
makes one understand the difference. 3/4 accents the 1, 2 and 3 and 6/8 accents the 1 and 4.
Yes! Drummers' explanations are just the best.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
Kevin Davis wrote:Of all the songs on the new record this is the one that I think suffers worst from its "O'Brienization"--I keep wanting it to be grainier, dustier, closer to that recording of Eddie and Mike playing "Let Me Sleep" in Italy. The composition has an almost Delta-Blues-y, "old weird America"-type vibe to it, and that sort of song isn't meant to scrubbed with a toothbrush until it sparkles squeaky clean. I agree with the people who've said Mike's solos are inappropriate.
Yep...it's interesting, cause the way the song is written seems begging for that kind of presentation. More than any similarity to Low Light, this song reminds me of Yield in the way that it suggests expansiveness and scope; I think big, outdoor spaces when I hear the songs on that record. This one feels in that vein, but as you say, the fact that it's scrubbed 'squeaky clean' inhibits that a bit.
Same. I wouldn't want the "keys" taken out of this one.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
we hear what we hear, obviously. It's a counterfactual since for all I know everything you want could take what I love and make it even better, but the precision in this song feels really important to me, and I haven't quite yet figured out how to phrase exactly what I think it's doing.
I just think this is one of the most majestic songs they've written in a long long time, and there is an element of craft and artifice in the idea of majesty that I think is appropriate here.
Like much of the album I find this song to have an important juxtaposition. I think the character being described is depressed or lost to the point of suicide but the end result is one of celebration and release. Maybe it's the Obrien effect but I enjoy this result over a heavy and dusty tune. Then I think it would be more swallowed in he sorrow or tragedy of the interpreted suicide.
There's the dog. You can't fake that stuff. Confess with your mouth.
Mike wrote:They should have done every solo with an ebow. That would have sounded like the moon.
Yeah, that would've been cool. I see it.
So, I just Googled the difference between 3/4 and 6/8 timing, and the most helpful explanation at a glance was this one:
3/4 is Diddle Diddle Diddle
6/8 is Diddely Diddely
They're the same number of quavers, but 3/4 is 3 groups of 2 quavers (Diddle Diddle Diddle, e.g., a waltz) and 6/8 is 2 groups of 3 quavers (e.g., a jig).
So I think you're right. Apart from the drum groove not being a waltz exactly, I think that's the timing. Except the last bar of the intro "phrase" (and all other musical interlude phrases) is 2 quavers/beats instead of 3. I think the equivalent bar of Lowlight is 4 quavers/beats instead of 3. It's interesting, the 4 beats creates a lazier, sleepier feeling. The feeling of the 2 beats instead of 3 is a little bit more anxious.
I love how
"3/4 is Diddle Diddle Diddle
6/8 is Diddely Diddely"
makes one understand the difference. 3/4 accents the 1, 2 and 3 and 6/8 accents the 1 and 4.
Yes! Drummers' explanations are just the best.
whenever i try to figure out if a song is in 3 or 6 i hear eddie vedder in my head from lo2l "one two three four two three" lol. as a guitar player, i really dunno the difference between 3 and 6, i play them the same.
Mike wrote:They should have done every solo with an ebow. That would have sounded like the moon.
Yeah, that would've been cool. I see it.
So, I just Googled the difference between 3/4 and 6/8 timing, and the most helpful explanation at a glance was this one:
3/4 is Diddle Diddle Diddle
6/8 is Diddely Diddely
They're the same number of quavers, but 3/4 is 3 groups of 2 quavers (Diddle Diddle Diddle, e.g., a waltz) and 6/8 is 2 groups of 3 quavers (e.g., a jig).
So I think you're right. Apart from the drum groove not being a waltz exactly, I think that's the timing. Except the last bar of the intro "phrase" (and all other musical interlude phrases) is 2 quavers/beats instead of 3. I think the equivalent bar of Lowlight is 4 quavers/beats instead of 3. It's interesting, the 4 beats creates a lazier, sleepier feeling. The feeling of the 2 beats instead of 3 is a little bit more anxious.
I love how
"3/4 is Diddle Diddle Diddle
6/8 is Diddely Diddely"
makes one understand the difference. 3/4 accents the 1, 2 and 3 and 6/8 accents the 1 and 4.
Yes! Drummers' explanations are just the best.
whenever i try to figure out if a song is in 3 or 6 i hear eddie vedder in my head from lo2l "one two three four two three" lol. as a guitar player, i really dunno the difference between 3 and 6, i play them the same.
The only differences will be rhythmic and structural, so they'll have slightly different feels and tempos.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
I never expected PJ to write a song like this at this point and I'm glad they have.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
im loving this one...its exactly what i was asking them to do with a slow burner. I dont know why, but it feels like something that could have been placed in Vs, along with Small Town, for example.
or riot act 
It needed something more subtle imo, more twinkling less laser beam of light.
