Red Mosquito

stip wrote:Release_me has promised a vocal review. And harmless promised drums. Someone will need to do woodblock

They go "tock tock tock" on every beat in Infallible. It's quite intricate work.

Well, one review down!

darth_vedder wrote:

theplatypus wrote:Big letdown.

Yeah, from the Stone clip, I was hoping for greatness, instead my initial impression leaves me under





























































whelmed.

FTFY

Mike wrote:

stip wrote:Release_me has promised a vocal review. And harmless promised drums. Someone will need to do woodblock

They go "tock tock tock" on every beat in Infallible. It's quite intricate work.

Can I grab drums and percussion? We have more extra percussion here than anything since... maybe No Code.

This song went from big disappointment on listen one to probable favorite on listen 2

harmless wrote:

Mike wrote:

stip wrote:Release_me has promised a vocal review. And harmless promised drums. Someone will need to do woodblock

They go "tock tock tock" on every beat in Infallible. It's quite intricate work.

Can I grab drums and percussion? We have more extra percussion here than anything since... maybe No Code.

Take it up with captain woodblock.

harmless wrote:

Mike wrote:

stip wrote:Release_me has promised a vocal review. And harmless promised drums. Someone will need to do woodblock

They go "tock tock tock" on every beat in Infallible. It's quite intricate work.

Can I grab drums and percussion? We have more extra percussion here than anything since... maybe No Code.

You can have the percussions but not the part in Infallible that goes "tock tock tock tock" with the woodblock.

Grabbed it off the other thread. Expanded it a bit. Leaving it here.

It might help a bit, going in, if I say that hearing the sound clip on the vignette didn't do much for me to begin with. It reminded me of something that might open a Genesis song...say, No Son of Mine....only not remotely as quirky, interesting, or atmospheric as that implies. The thumpity-thump progression by itself feels to me like lifeless implied melodrama...the kind of backing they might put to an army/navy/marines ad going into movie theaters that leans heavily on helicopters, guys leaning over other guys' shoulders while they look at screens, and big broad tank shots.

Still, if it had been used as a backdrop for some creative or interesting sonic breath and sparkle, or been granted some really interesting percussion (beyond just the kit), it could have resulted in a decent piece. The base idea could potentially have been the basis for something that, if they'd worked on it during Binaural, would have sat in the aesthetic space between NAiS and Sleight of Hand. Instead, to my ears, the song sounds like they took their second choice for lead-in music to Inside Job, turned it up to wup-wup levels, and then built it into a song that wants so badly to be your friend it doesn't dare reveal any distinguishing personality or emotion. Ed's vocals during the verse do their best to undercut whatever "darkness" or unique attitude the plodding music has, the music IS plodding, and the chorus has but a single life goal: be memorable. Not, be memorable because you did something special or worth remembering. Just...be memorable. Be easy enough to be catchy. Be memorable for being memorable. Like being famous for being famous. And always remember, you are beautiful no matter what they say.

Musically, the shift into the chorus on Swallowed Whole conveys wonder. The band shifts in the second half of Mind your Manners, introducing a modicum of hope into already well-established frustration. Even Future Days at least sounds contemplative and warm. With Sirens and Infallible, the music and melody don't convey anything to me other than: "Big."

Mike wrote:

harmless wrote:

Mike wrote:

stip wrote:Release_me has promised a vocal review. And harmless promised drums. Someone will need to do woodblock

They go "tock tock tock" on every beat in Infallible. It's quite intricate work.

Can I grab drums and percussion? We have more extra percussion here than anything since... maybe No Code.

You can have the percussions but not the part in Infallible that goes "tock tock tock tock" with the woodblock.

I will mention that but attribute the discovery to yourself in a footnote.

McParadigm wrote:Grabbed it off the other thread. Expanded it a bit. Leaving it here.

It might help a bit, going in, if I say that hearing the sound clip on the vignette didn't do much for me to begin with. It reminded me of something that might open a Genesis song...say, No Son of Mine....only not remotely as quirky, interesting, or atmospheric as that implies. The thumpity-thump progression by itself feels to me like lifeless implied melodrama...the kind of backing they might put to an army/navy/marines ad going into movie theaters that leans heavily on helicopters, guys leaning over other guys' shoulders while they look at screens, and big broad tank shots.

Still, if it had been used as a backdrop for some creative or interesting sonic breath and sparkle, or been granted some really interesting percussion (beyond just the kit), it could have resulted in a decent piece. The base idea could potentially have been the basis for something that, if they'd worked on it during Binaural, would have sat in the aesthetic space between NAiS and Sleight of Hand. Instead, to my ears, the song sounds like they took their second choice for lead-in music to Inside Job, turned it up to wup-wup levels, and then built it into a song that wants so badly to be your friend it doesn't dare reveal any distinguishing personality or emotion. Ed's vocals during the verse do their best to undercut whatever "darkness" or unique attitude the plodding music has, the music IS plodding, and the chorus has but a single life goal: be memorable. Not, be memorable because you did something special or worth remembering. Just...be memorable. Be easy enough to be catchy. Be memorable for being memorable. Like being famous for being famous. And always remember, you are beautiful no matter what they say.

Musically, the shift into the chorus on Swallowed Whole conveys wonder. The band shifts in the second half of Mind your Manners, introducing a modicum of hope into already well-established frustration. Even Future Days at least sounds contemplative and warm. With Sirens and Infallible, the music and melody don't convey anything to me other than: "Big."

I think that "Infallible" just SOUNDS as if it should be big, but for whatever reason, it isn't. And that was a surprise but it's what charms me about Riot Act. Several moments sound like they should be bigger, but aren't. We might find out that what Infallible has going for it (not what it *could* or *should* have going for it) might make its rewards somewhat different than we thought they'd be, but rewarding nonetheless. Or we might somethin' else.

Once I got past the wtf moment of trying to digest the upbeat poppiness of this song, I enjoy it. Its overtly radio friendly, but there's some things in there that I really like. Jeff did a nice job with this song. I'm fearing how much more I'll like the demo, should that ever arise.

Where can I hear the soundcheck version of this one?

Now its reminding me of t-rex.

I really like the lyric right before it goes back to the first verse at the end (and you're right Harmless, that final repeat verse is really important)

'time we best begin here at the ending'

I see where McP is coming from but I strongly disagree.

I like the structure of the song. It seems they go back to the "pre chorus" after the chorus...

Whoever said the chorus sounds like Christina Aguilera ruined this song for me...at the moment at least.

This should have bigger guitars. I think it will definitely improve on a live rendition, or one of those videos ala Siren.

I imagine Ed will struggle with this one live.

stupidmop wrote:Now its reminding me of t-rex.

What song? I've been on a T.Rex kick lately.