Red Mosquito

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.

They should have done every solo with an ebow. That would have sounded like the moon.

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.

harmless wrote:

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:

harmless wrote:

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.

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.

I actually quite like the production/use of additional instruments on this one. The final few choruses with the organ are fucking amazing.

Same. I wouldn't want the "keys" taken out of this one.

I guess I can see yellow moon being this dusty forlorn lonely little song. But I love it as this cinematic final moment

McParadigm wrote:you know it never really comes up

growing, growing, growing....

stip wrote:I guess I can see yellow moon being this dusty forlorn lonely little song. But I love it as this cinematic final moment

I think it's the opposite; the production as is makes it feel far smaller and less expansive than it could/should be.

Still, it's crawling towards being the best song on here for me.

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.

Possibly my favorite of the last two records. I really enjoy FoN, though. That has great storytelling, Yellow Moon has striking imagery. Snapshots.

chinofstone wrote:Yellow Moon has striking imagery. Snapshots.

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.

harmless wrote:

Mike wrote:

harmless wrote:

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.

warehouse wrote:

harmless wrote:

Mike wrote:

harmless wrote:

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.

I never expected PJ to write a song like this at this point and I'm glad they have.

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.