>From: Philip Smoker <[EMAIL PROTECTED]> >To: [EMAIL PROTECTED] >Subject: [MMouse]: I can't forget the day I shot that bad bitch down >Date: Tue, 20 Jun 2000 07:24:02 -0700 (PDT) > >First things first: > >When listening to the new album, I've noticed that it >sounds like the boys lifted a guitar loop from the end >of "Dark Center of the Universe" as part of the >opening to "Gravity Rides." If you play track 3 >followed by track 2, you'll hear that the very last >guitar sound in "Dark Center," which is a note whose >pitch is bent down and then back up to the original >tone, is the foundation for the beginning of "Gravity >Rides," with some percussive elements added by >Jeremiah over that particular guitar noise (sticks >tapping the rim of the snare, sounds like to me). >This was something I noticed quite some time ago and >keep forgetting to mention, it was a lot more obvious >to me when the sequence of the album had "Dark Center" >first and "Third Planet" third. Also, you can hear "life like weeds" in the final minute or so of "I came as a rat" and did anyone else notice that the weird, woozy-folky bit that comes at the end of "tiny cities made of ash" is hidden? If you're listening to the CD on random, you'll never hear it... you have to listen from "tiny cities" to "the cold part" to hear it. I think I've seen that before. >Which brings me to another thought: >How might this album have been different if "Dark >Center" had opened it instead of "Third Planet" in the >top slot? I really think that "Third Planet" segued >into "Perfect Disguise" much better than "Dark >Center," but this is just my opinion, of course. >Please contribute yr random thoughts to the forum. This thought brings ME to another thought; I think a lot of the dissapointment with this album has to do with the fact that so many people heard it in other forms before it was released, and became attached to earlier, different versions of songs. In all honesty, I don't think it has anything to do with the album versions of songs being better or worse than "beta" versions (doesn't get much nerdier than that), I just think people just get attached to what they hear first. For example, I never heard any old versions of "Dark Center...", which I'd heard were far superior to the album version. Well, I downloaded a live version and the version from the Japanese EP, and I don't think either one compares to the album version. Just a thought... Makes me glad I didn't hear the album before-hand. >I'm also curious as to how these songs can come off as >"uninspired" to some people, especially when the band >has been playing some of these songs live for almost >two years. Again, just my opinion, but is it possible >that people are finding the big production sound to be >too sterile, and suddenly they think less of the songs >because of the way they sound? I guess I just don't >understand why some people are having such a hard time >enjoying this album, there seems to be some kind of >mental block attributed to clean sound and multiple >overdubs. Granted, during the first few listens there >are so many new sounds to soak up and contemplate, but >I really believe that this one will grow on you, as it >has for me. It seems that the more I hear it, the >more I find new elements to the songs that I didn't >immediately recognize before. And I can't get over >just how heavy "Stars Are Projectors" is, I mean I >heard it live about a year ago, but on the album it >just sounds so full and meaty. *swoon* I don't understand it either; this album is very produced as far as layering and effects, but one of the things that is so amazing about it is that it's NOT sterile; the album still has a very gritty and raw feel to it, much like old Modest Mouse. If you want an example of "sterile" production hurting an album, check out Pavement's "Terror Twilight". Believe it or not actually, I think "The Lonesome Crowded West" sounds slicker than "The Moon & Antarctica"; that's why I've never liked it as much as "Long Drive". "TM&A" seems, in my mind, to regain the dark, mean vibe of "Long Drive". >Re: moshing at concerts >I think moshing was a lot more interesting to me when >I wasn't so concerned with actually watching the >musicians play onstage. I think there's nothing more >communal than a good group pogo, especially if >Pavement is closing their encore in Towson last >September with "You're Killing Me," "Conduit For >Sale!," and finally "Unfair." I think it's great to >be able to jump up into the air and bump into yr buddy >while screaming "THIS IS A SLOW SICK SUCKING PART OF >ME!!!" But moshing? Do you we really have that much >pent-up rage and angst to spare at a Modest Mouse >concert? Whatever happened to just jumping up and >down instead of needing to run into people? And more >importantly, who here wants to show their age and tell >me they actually remember SLAM dancing? Now THAT was >entertainment. *sigh* Where are my salad days? I havn't seen moshing since I went to Lollapalooza in 1995 (sonic youth, pavement, beck, etc...). Do people really mosh still? I get freaky-deaky at concerts, but I make sure to stay in my area and not bash into people. I think most people do that don't they? >Some other random recommendations: Here's one more: Crooked Fingers - Self Titled LP : This is a new solo project from Eric Bachmann of Archers of Loaf and it's really good. ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
