washing machine wrote:I love KD and I love Washing Machine, but I just really don't think he's given pre-Geffen SY a fair enough shake on the board over the years for that to be a balanced take.
Hey, I like all eras of SY! I obviously haven't been listening as long as you have (you helped guide me through my initial discovery of the band, after all), but I'm pretty familiar with all the albums at this point. If I had to pick I might even say "Shadow of a Doubt" is my favorite SY song period.
washing machine wrote:But most importanly, and this is obviously subjective to no end, but Schizophrenia to me just sounds more like a SY song. It's slightly out of tune, it's unsettling but somehow ear candy too, it is full of texture, and when I close my eyes I can see dark NYC alleyways, clear as day.
I am not sure I really relate to this criteria with SY -- I don't think there are
any SY songs where they don't sound completely and utterly like themselves. I would say this about my pick, though: I like "Schizophrenia," and
Sister, a lot. But as someone who really enjoys longform instrumental music, that side of SY's musical personality has been super important to my experience with the band. And even though "Schizophrenia" gives an elemental taste of what that side of their personality is like (or would be like in a longer-form piece), and certainly does so in a way that is right for that song, it's not the same; to me, music that unfolds over a long period of time creates an experience that is not sufficiently conveyed or represented by being reduced to a "capsule" version. If someone were to tell me that the definitive, most representative Miles Davis track was, say, something off
Birth of the Cool (where all the songs are 2-3 minutes long, limited by the 10-inch 78 rpm format), right off the bat I would be skeptical, because that experience of hearing his music unfold over a longer period of time, of following his musical trains of thought (and those of his sidemen) over the course of 9-10 minutes, is something definitive to my experience with his music that can't be conveyed simply by showing me something that adheres to a similar aesthetic value, only in a more consolidated format. That just isn't how it works for me.
For some bands, a mere representation of this type of element in a song that might be a contender for an exercise like this may be the best you're going to get, but for SY it isn't. Even if "Diamond Sea" ended after 5 minutes, it would still be a first-rate SY song, but it also presents an indulgent side of their personality (which, in my opinion, is a big part of what they were about) in a way that lets you actually indulge in it.
You could also argue that their pre-Geffen years comprised 9 years of their career, where the Geffen years and beyond comprised 21, so something that is from that later period and sounds like it is more "representative" of the band than something from their pre-Geffen period.
While fully accepting that I am a SY neophyte compared to Reid, Trag, Spenno, and probably most everyone else here (not many people got into SY for the first time in 2011), that's my argument and I'm sticking to it!