swan wrote:I've got tickets to one of the LA shows in August, and am really hoping they bring along 3-6 string players for this tour. I don't doubt that they can pull off any & all songs without, but it sure would be nice to have that element..
I'm excited by what this could mean for live performances of older songs with strings
TKOL's closer, "Separator," has a really strong groove, in my opinion -- in fact I hear it as kind of similar to Miles Davis's "On the Corner," where the drum "riff" is the focal element of the song, more so than any of the stuff more customarily in the foreground.
LoathedVermin72 wrote:Well. Boy oh boy was I wrong about TKOL. I am loving this. What an unexpected development.
Codex ownz.
I'm on that one right now. Only track that I didn't totally love so far was "Feral", which seemed a little filler-y. But yeah, this album is super good. It's got some real groove.
i love the breakdown at 3:35 and how it bridges back into the hook around 3:50-55. One of my favorite moments in their catalogue.
First impression: I mildly like it. "Burn the Witch" is the best song. A lot of it doesn't work for me. Again, it doesn't get in my guts like it seems to want to. Especially "True Love Waits" - the new instrumentation is mostly just distracting.
They are contemporaries to an extent, and no doubt Noel remembers a time when "Wonderwall" and "Champagne Supernova" were omnipresent hit singles while "High and Dry" was something that might appear at 10:45 PM on "120 Minutes" with Matt Pinfield, sandwiched between Pavement and Matthew Sweet videos. I'm sure it doesn't set well with him that five years later Radiohead was being lauded as the greatest band on the planet while Oasis was getting C-minus-level reviews for "Heathen Chemistry."
