listen.
Showing posts with label usa. Show all posts
Showing posts with label usa. Show all posts
Saturday, June 26, 2010
Sunday, January 24, 2010
We Tigers - Animal Collective (2004)
my favorite song off of Sung Tongs and one of the most memorable Animal Collective songs ever!
prepare to dance!
prepare to jump!
prepare to scream!
prepare to sing!
prepare to dance!
listen.
Friday, August 21, 2009
Four Organs - Steve Reich (1970)
it starts with an innocent maracas player, alone in his robotic, unaccented shaking for almost four seconds. but, even though the shaking continues nonstop and steady for the rest of the fifteen minute song, the shaking is never left alone again for longer than a moment.
that's because at 0:04, the organs come in. four organs, to be exact. and when they do, you know it's Steve Reich minimalism at its finest.
i don't know anything about music, so i'll let Wikipedia describe exactly what happens in this song from start to finish: "the four organs, harmonically expound a dominant eleventh chord (D-E-F#-G#-A-B with an E in the bass), dissecting the chord by playing parts of it sequentially while the chord slowly increases in duration from a single 1/8 note at the beginning to 200 beats at the end."
now, to make this a little more visual, Reich's vision for the piece (as given at the premiere): "I had the idea that if a group of tones were all pulsing together in a repeating chord...one tone at a time could gradually get longer and longer.... The tones would simply begin in unison...and then gradually extend out like a sort of horizontal bar graph."
playing on organs popular in rock & roll at the time (think The Doors), the organists play longer and longer, more and more sustained tones, building on top of each other the entirety of the song. one chord. one chord the whole time. one chord over and over and over again. one chord, in the beginning, just an eighth note. then a quarter note, half note, whole note. one chord played for minutes at a time, by the end of the piece. with the omnipresent shaking as a foundation, they construct an upside down pyramid, working their way to textures so thickly layered that at one of the early performances, they nearly drove a poor old lady to insanity.
allmusic describes the first couple performances of the piece in 1971, when "Imagine," "My Sweet Lord," "Maggie May," and "Brown Sugar" were the world's biggest hit singles:
as Meryl expressed last night, by comparing this reaction to that of Edouard Manet's Olympia, which also sparked controversy when it was shown in 1863, it seems that there's something to pieces of art that make people want to tear it to shreds. she said, "if your art upset a lot of people, you're probably doing something right." i think that's exactly what happened here.
one chord, two words, three syllables, four organs, five musicians, six stars.
listen.
that's because at 0:04, the organs come in. four organs, to be exact. and when they do, you know it's Steve Reich minimalism at its finest.
i don't know anything about music, so i'll let Wikipedia describe exactly what happens in this song from start to finish: "the four organs, harmonically expound a dominant eleventh chord (D-E-F#-G#-A-B with an E in the bass), dissecting the chord by playing parts of it sequentially while the chord slowly increases in duration from a single 1/8 note at the beginning to 200 beats at the end."
now, to make this a little more visual, Reich's vision for the piece (as given at the premiere): "I had the idea that if a group of tones were all pulsing together in a repeating chord...one tone at a time could gradually get longer and longer.... The tones would simply begin in unison...and then gradually extend out like a sort of horizontal bar graph."
playing on organs popular in rock & roll at the time (think The Doors), the organists play longer and longer, more and more sustained tones, building on top of each other the entirety of the song. one chord. one chord the whole time. one chord over and over and over again. one chord, in the beginning, just an eighth note. then a quarter note, half note, whole note. one chord played for minutes at a time, by the end of the piece. with the omnipresent shaking as a foundation, they construct an upside down pyramid, working their way to textures so thickly layered that at one of the early performances, they nearly drove a poor old lady to insanity.
allmusic describes the first couple performances of the piece in 1971, when "Imagine," "My Sweet Lord," "Maggie May," and "Brown Sugar" were the world's biggest hit singles:
In 1970, Reich received a phone call from the conductor Michael Tilson Thomas asking for some new orchestral repertory, and he jokingly responded, 'Of course, my new piece Four Organs." To his great surprise, Tilson Thomas agreed to Reich's suggestion. While it was anything but symphonic, Four Organs was performed by the Boston Symphony in Boston's Symphony Hall in October, 1971, along with works by Mozart, Liszt and Bartok. The stoic New England audience took the work in stride, but a more volatile New York audience was less approving when it came to Carnegie Hall in 1973. Shouts, boos, cheers, threats and counter-threats by patrons broke out during the performance, and one elderly lady even banged her shoe on the edge of the stage in an attempt to stop the music. The New York Times critic Harold Schonberg reported that "the audience behaved as though red-hot needles were being inserted under fingernails." Nevertheless, Reich soon became a hot commodity and his reputation took off soon after the notorious concert.
as Meryl expressed last night, by comparing this reaction to that of Edouard Manet's Olympia, which also sparked controversy when it was shown in 1863, it seems that there's something to pieces of art that make people want to tear it to shreds. she said, "if your art upset a lot of people, you're probably doing something right." i think that's exactly what happened here.
one chord, two words, three syllables, four organs, five musicians, six stars.
listen.
Tuesday, August 18, 2009
Patty Waters
Patty Waters is a mysterious jazz singer who made two recordings in 1966 for the obscure free-jazz label ESP-Disk. One of these albums was called Sings. The cover:
The first half is fourteen minutes worth of seven songs, for solo meandering/wandering piano and searching/lost female voice, with titles like "Moon, Don't Come Up Tonight" (because her man isn't coming), "Why Can't I Come to You?" (because he doesn't want her), and "I Can't Forget You" (with key lyrics, 'Since you don't want me / It makes me want you all the more'). Blunt.
The second half is fourteen minutes worth of a freaky horror-jazz take on the traditional folk song "Black is the Color of My True Love's Hair," in which the word "black" is repeated almost ad nauseam in every vocal style known to Ms. Waters, from manly growl to high-frequency shrill to Damo Suzuki/Eye/Yoko Ono-begetting noise-making.
For reference, here is the cover of her other album, College Tour:
I bought this and now I'm sharing it! So you have no excuse not listen to it: the musics
The first half is fourteen minutes worth of seven songs, for solo meandering/wandering piano and searching/lost female voice, with titles like "Moon, Don't Come Up Tonight" (because her man isn't coming), "Why Can't I Come to You?" (because he doesn't want her), and "I Can't Forget You" (with key lyrics, 'Since you don't want me / It makes me want you all the more'). Blunt.
The second half is fourteen minutes worth of a freaky horror-jazz take on the traditional folk song "Black is the Color of My True Love's Hair," in which the word "black" is repeated almost ad nauseam in every vocal style known to Ms. Waters, from manly growl to high-frequency shrill to Damo Suzuki/Eye/Yoko Ono-begetting noise-making.
For reference, here is the cover of her other album, College Tour:
I bought this and now I'm sharing it! So you have no excuse not listen to it: the musics
Monday, July 20, 2009
Help - Thee Oh Sees (2009)
okay. i admit it. i'm obsessed with this album, not just the album art:
originally, i simply wrote, "another quick, short post. what i imagine when i think about good and fun psychedelic rock: a purple smiling bat that can magically make rainbow arcs squiggle."
i tried to reduce my love for this album to its album art. let me try again: in less than a month, this has become one of my favorite albums of the year.
it's grungy. it's one of the dirtiest albums i've listened to in a long time. the drums are simple, but they provide a perfect backbone to the swampy, distorted humming of the guitar. i can't tell if the vocals have tons of effects put on them, or this guy just sings like a maniac, but i'm at last sure the reverb is out of control. it's like he's singing for a football stadium inside a garage. which brings me to my next point.
it's psychedelic. this guy sings like a retarded angel shaman, or something. i don't know how else to describe it. his voice is high-pitched and harmonious and wonderful, but it's also kind of whiny and just plain weird. beyond the vocals, this will FEEL just like good old rock & roll, nothing psychedelic at all. and yet, there is something in the sound that i think you will find makes it teem with rainbow sparkles and talking purple bats coming out of walls.
it's fun. all i want to do when i listen to this record is get off my goddamn chair and jump around. it's not particularly danceable, it's not what you'd call headbanging music, but i can't stop myself from dancing and headbanging to it.
ambiguous descriptions of a few tracks (which can all be listened to fully and freely here):
electric guitar and bass guitar wind, wind, wind, wind in the first three seconds and then, suddenly, the album blasts off with "Enemy Destruct." drums splashing, maybe some tambourine, and the singing comes in, trippy, like we just got dropped off on the peak of an acid trip.
the second song, "Ruby Go Home," is my favorite on the album, but i don't know why. it starts off relatively simply, with some basic guitar riff, basic drum thrashing, etc etc. the verse involves all sorts of nonsense and the phrase "ruby go home!" the chorus involves a bunch of oh!s and "ruby go home!" the bridge involves repetition of "ruby go home!" there's nothing inherently special about this song. but the band sinks into this moment, this glowing red moment, and they just feel it. they sit there and rock and rock and rock. the moment doesn't end. the guitarist starts fucking around a little bit, nothing fancy, nothing to suck us out of the moment, nothing extraordinary, just more rocking out. and it's catchy, too.
what the hell is that sound at the beginning of "Meat Step Lively?" i have no fucking clue, but it sounds like a baby guitar crying. more rocking out, more living in the moment. except halfway through this one, a wind instrument comes out of nowhere. somebody's blowing on a flute or something, transforming what just sounded like acid-tripped-out Kinks into the pop version of King Crimson or something.
the sixth track, "Can You See," definitely reminds me of something i've heard before. the way it swings back and forth like a pendulum. no, more like a crowd at a show. it's like swaying, not swinging. the bass does it. do do do.......do...do do do......do... and so on.
unfortunately, (for me) the album sort of tapers off towards the middle after an explosive first half, barring one song:
"Destroyed Fortress Reappears" is my second favorite song on the album. this is where the vocal reverbs go nuts. for five minutes he just chants like a high priest over this snare drum march and simple bass/guitar strumming, highlighted with this awfully catchy hook every so often.
i'll admit. the first time i listened to this record i was baked out of mind. i was sitting on a couch in my friend's apartment in the mission, facing one of two tower speakers bellowing out the cool tunes. i really couldn't speak, but i periodically checked with other people to make sure they thought the music we were listening to was as good as i kept thinking. i think i downloaded it the next day.
then a few weeks later, a couple days ago, i went to a bar to see them live for $7. seven bucks! well, not counting beers. but the show was outstanding. short, maybe. but they've only got two albums and each one is full of 1-3min tracks. i expected people to enjoy the show but not rock the fuck out like they did. we were practically moshing. they played "Ruby Go Home" thank god. and i'm pretty damn sure they played it twice as long, illustrating my point that the band has found an inescapably savory moment in that song.
this is good fucking rock & roll, plain and simple.
listen to whole thing here.
originally, i simply wrote, "another quick, short post. what i imagine when i think about good and fun psychedelic rock: a purple smiling bat that can magically make rainbow arcs squiggle."
i tried to reduce my love for this album to its album art. let me try again: in less than a month, this has become one of my favorite albums of the year.
it's grungy. it's one of the dirtiest albums i've listened to in a long time. the drums are simple, but they provide a perfect backbone to the swampy, distorted humming of the guitar. i can't tell if the vocals have tons of effects put on them, or this guy just sings like a maniac, but i'm at last sure the reverb is out of control. it's like he's singing for a football stadium inside a garage. which brings me to my next point.
it's psychedelic. this guy sings like a retarded angel shaman, or something. i don't know how else to describe it. his voice is high-pitched and harmonious and wonderful, but it's also kind of whiny and just plain weird. beyond the vocals, this will FEEL just like good old rock & roll, nothing psychedelic at all. and yet, there is something in the sound that i think you will find makes it teem with rainbow sparkles and talking purple bats coming out of walls.
it's fun. all i want to do when i listen to this record is get off my goddamn chair and jump around. it's not particularly danceable, it's not what you'd call headbanging music, but i can't stop myself from dancing and headbanging to it.
ambiguous descriptions of a few tracks (which can all be listened to fully and freely here):
electric guitar and bass guitar wind, wind, wind, wind in the first three seconds and then, suddenly, the album blasts off with "Enemy Destruct." drums splashing, maybe some tambourine, and the singing comes in, trippy, like we just got dropped off on the peak of an acid trip.
the second song, "Ruby Go Home," is my favorite on the album, but i don't know why. it starts off relatively simply, with some basic guitar riff, basic drum thrashing, etc etc. the verse involves all sorts of nonsense and the phrase "ruby go home!" the chorus involves a bunch of oh!s and "ruby go home!" the bridge involves repetition of "ruby go home!" there's nothing inherently special about this song. but the band sinks into this moment, this glowing red moment, and they just feel it. they sit there and rock and rock and rock. the moment doesn't end. the guitarist starts fucking around a little bit, nothing fancy, nothing to suck us out of the moment, nothing extraordinary, just more rocking out. and it's catchy, too.
what the hell is that sound at the beginning of "Meat Step Lively?" i have no fucking clue, but it sounds like a baby guitar crying. more rocking out, more living in the moment. except halfway through this one, a wind instrument comes out of nowhere. somebody's blowing on a flute or something, transforming what just sounded like acid-tripped-out Kinks into the pop version of King Crimson or something.
the sixth track, "Can You See," definitely reminds me of something i've heard before. the way it swings back and forth like a pendulum. no, more like a crowd at a show. it's like swaying, not swinging. the bass does it. do do do.......do...do do do......do... and so on.
unfortunately, (for me) the album sort of tapers off towards the middle after an explosive first half, barring one song:
"Destroyed Fortress Reappears" is my second favorite song on the album. this is where the vocal reverbs go nuts. for five minutes he just chants like a high priest over this snare drum march and simple bass/guitar strumming, highlighted with this awfully catchy hook every so often.
i'll admit. the first time i listened to this record i was baked out of mind. i was sitting on a couch in my friend's apartment in the mission, facing one of two tower speakers bellowing out the cool tunes. i really couldn't speak, but i periodically checked with other people to make sure they thought the music we were listening to was as good as i kept thinking. i think i downloaded it the next day.
then a few weeks later, a couple days ago, i went to a bar to see them live for $7. seven bucks! well, not counting beers. but the show was outstanding. short, maybe. but they've only got two albums and each one is full of 1-3min tracks. i expected people to enjoy the show but not rock the fuck out like they did. we were practically moshing. they played "Ruby Go Home" thank god. and i'm pretty damn sure they played it twice as long, illustrating my point that the band has found an inescapably savory moment in that song.
this is good fucking rock & roll, plain and simple.
listen to whole thing here.
Tuesday, July 14, 2009
Gangsta Gangsta - N.W.A. (1988)
"We don't Just Say No, we too busy saying YEAH." -- Ice Cube
If Ice Cube's not a role model, I don't know who the hell is.
If Ice Cube's not a role model, I don't know who the hell is.
Saturday, July 4, 2009
Merriweather Post Pavilion Art
I am in love with color, and lots of it, solely because of Animal collective and their recent album, Merriweather Post Pavilion.
first there is the eye tantalizing cover
then their is their first video for 'My Girls'
and then there is the first single for 'Summertime Clothes'. I could stare at this for hours.
and then there is the video for 'Summertime Clothes' with many dancers, balls of light, excellent textiles, and of course colorful light!
I must admit, that the sounds and colors of this album are so complementing. a full frontal on your ears and eyes. if only I could get to one of their shows these days :(
first there is the eye tantalizing cover
then their is their first video for 'My Girls'
and then there is the first single for 'Summertime Clothes'. I could stare at this for hours.
and then there is the video for 'Summertime Clothes' with many dancers, balls of light, excellent textiles, and of course colorful light!
I must admit, that the sounds and colors of this album are so complementing. a full frontal on your ears and eyes. if only I could get to one of their shows these days :(
Wednesday, July 1, 2009
"New Animals From The Air"-Eluvium
what can I say, inspiration always comes when I am at a computer lab trying to get homework done with my mp3 player on.
The opening track to his album is like the gong they hit at the begining of mediation sessions for me. It takes me in, it sits me down, it makes me close my eyes, it makes me take deep breaths, it makes me relax. Its a slow yet decisive song that is soft on the ears, heavy on the loops and layers, yet is as warm as a blanket for me. I often go to sleep to this song. I often put this song on before I start a paper. I put this song on when I need to relax. I put this song on a lot.
To be honest, it might seem like this song is one long loop, repeated for almost 11 minutes. And I know its pretty close to that. But I think that this song is not about trying to make a catchy loop, a good chorus, or even to be ground breaking. This song for me, is trying to get at your emotions. Its trying to still you, its trying to move you, its trying to change you. Its beckoning you to dive into this beautiful, foggy album. I think the record jacket speaks for itself, and this song.
Now I must admit, that this might be a hard one to grasp during the summer, when the sun is out, and people are showing off their skin. This is the kind of song that I listen to when I need to get something done. This is teh type of song you listen to when, like the record jacket, you are wandering throught he fog. When I need to relax, when I need to work, when I need to sleep. If you find yourself, awake at 3 am, and you need to sleep, try it. Its a lullabye. When you need to work, and you need to focus, this is your adderall.
mp3 download from record label: http://temporaryresidence.com/mp3s/eluvium_newanimals.mp3
The opening track to his album is like the gong they hit at the begining of mediation sessions for me. It takes me in, it sits me down, it makes me close my eyes, it makes me take deep breaths, it makes me relax. Its a slow yet decisive song that is soft on the ears, heavy on the loops and layers, yet is as warm as a blanket for me. I often go to sleep to this song. I often put this song on before I start a paper. I put this song on when I need to relax. I put this song on a lot.
To be honest, it might seem like this song is one long loop, repeated for almost 11 minutes. And I know its pretty close to that. But I think that this song is not about trying to make a catchy loop, a good chorus, or even to be ground breaking. This song for me, is trying to get at your emotions. Its trying to still you, its trying to move you, its trying to change you. Its beckoning you to dive into this beautiful, foggy album. I think the record jacket speaks for itself, and this song.
Now I must admit, that this might be a hard one to grasp during the summer, when the sun is out, and people are showing off their skin. This is the kind of song that I listen to when I need to get something done. This is teh type of song you listen to when, like the record jacket, you are wandering throught he fog. When I need to relax, when I need to work, when I need to sleep. If you find yourself, awake at 3 am, and you need to sleep, try it. Its a lullabye. When you need to work, and you need to focus, this is your adderall.
mp3 download from record label: http://temporaryresidence.com/mp3s/eluvium_newanimals.mp3
Animal Collective- Winters Love (live circa 2009)
quick personal animal collective recap: I first started to hear about this band after freshman year of college. It truly was from my friend Mark Quines, contributor to this blog, who had an advance copy of Strawberry Jam (2007). I return to santa cruz at at the first time I see my good friend Josh at his then new house, RIP 504 Palm Street, and he was discussing how his whole house had taken a field trip to see them just a week or two before. Josh was so down, and I was curious cause I just kept hearing about them, yet I had heard noithing. Next week, he slams me a CDR with Sung Tongs, Feels, and Strawberry Jam. Im short, it wasnt love at first listen at all, but i quickly grew attached to Banshee Beat, Leaf House, and Fireworks. Fast forward to my interesting psycaledic trip, and it was the NPR live bootleg that helped calm my soul. I cant tell you how important this band is to listen to on a bootleg. I oftentimes find myself listening not to the albums, but to the bootlegs, so they truly have a special place in my heart.
Live Situation: So i had tickets to see this band in LA, and then one of the guys got sick, so after driving down on a friday, the show was later postoponed, I couldnt make the postponded show, and I requested a refund 3 minutes to late for ticketmaster. In short, I still want to see them live, and the live shows are important, if not crucial I think, to listening to this band. In the past two years, with the band's main guitarist taking a break, the band has been trying to fill in the Gap with whatever they feel like, welcome Merriweather Post Pavillion. So, for old songs, they have been remaking and reinventing them to play live.
Winters Love: This song is originally from Sung Tongs, yet has been recreated, reworked for the 2009 tour. The bootleg I have is from the Bowery Ballrom performance on 2009/01/21. The only similarity between the original and this one is the 10 second smaple they put from the original. It might be in teh same Key, yet it is sung almost entiretly without lyrics, and with Noah just, seemingly, improvising and letting sweet, beautiful noise emit from his mouth. Its slow, its atmospheric, its relaxing, its chill, it was perfect for my walk up to campus in 60% humidity with a bottle of cold green tea. This song fits best within the encorce, following the encorce break after brothersport, and before Comfy in Nautica. I'd recommend listening to the whole bootleg of course, but at least from brothersport to the end. Noah's vocals drift into the opening, calling, voices of Comfy. For me, Its pretty beautiful.
bootleg: http://www.archive.org/details/acollective2009-01-21.nyctaper.Neumann_KM150.16bit
Tuesday, June 30, 2009
Codeine - Castle (1990)
I apologize for the youtube video. This is all I could find.
Yesterday night, for some reason I decided to youtube "Codeine". The only song that attracted my attention was a song that I knew about a few months ago which they wrote for a 6 x 7" box compilation set called "Endangered Species".
I'm pretty sure this is hard to find, which is why it took me so long to realize this song even existed.
As all Codeine songs, they're hard, but soft yet somewhat noisy and slow hence the genre I feel they pioneered, "slowcore".
It starts off with a couple of riffs that makes you think you're about to listen to a badass upbeat rockin' song, but all of a sudden the crashing drums with a dragging bass and feedback from the guitar comes in and it transforms into a sluggish song. The nasally voice of Stephen Immerwhr comes in with the lyrics.
Lyrics (excerpt):
There's a castle in her heart
The walls go up for miles
There's a tower
You can see everything
But she shows you nothing
The walls go up for miles
There's a tower
You can see everything
But she shows you nothing
Every time I hear this song I think of Beni Bischof's Castle series.
Particularly this picture:
If you listen to the lyrics and look at the photo; it fits perfectly.
So simple.
This castle. No bridges. No windows. No light inside. Just a massive brick building in the middle of nowhere.
It leaves you empty.
"But she shows you nothing".
Expressway to Yr. Skull - Sonic Youth (1986)
the other night i was hanging out at a friend's apartment on mission doing one of my favorite things to do past midnight: getting stoned and listening to rock & roll. most of the guys there listen to really solid stuff and, considering how baked i was, most records they'd throw on on any given day would make me lean back, close my eyes, and cry rainbows of happiness in my mind at the bliss pounding my face from tower speakers.
this particular night, we were listening to Sonic Youth's third studio album, Evol, while a couple guys played some awesome zombie-killing video game on the tv. i was definitely feeling the album as a whole (and definitely downloaded it right after i went home), but it wasn't until the last track that i melted.
right as "Expressway to Yr. Skull" began, i reached down next to the speaker and picked up the record to check out the album art. then i pulled out a sleeve, looking for the lyrics for the particular song we were on.
sorry i couldn't find a better-quality version, but this will suffice. the song is listed here at the bottom under the alternate name "The Crucifixion of Sean Penn." actually i don't know what the official name is. whatever, it doesn't matter.
like i said, i was searching across the sleeves for the lyrics of the current song. "we're gonna kill the california girls." what the hell? "we're gonna find the meaning of feeling good and we're gonna stay there as long as we think we should." hell yes! i found it!
and right at that moment of Eureka! Thurston Moore cries out "Mystery Train....." at the same moment a sliding guitar sound flies overhead. then comes "Three way Plane....." with the same guitar swooping over me. before i could even gather my thoughts, the last line comes, "Expresswayyyyyyyyyyyy ... to yr. skull!"
i found the meaning of feeling good in three short lines.
Mystery Train
Three-way Plane
Expressway to yr. skull
before you even have the time to settle into that "chorus," though, the band slams into high-gear as if they are entering a long drawn-out jam. you soon doubt this expectation, as the guitars wail solemnly in the background begging for some space to breathe, the drums come crashing down, and the song calms down. you wait for some words. you beg for the mystery train to come pick you up.
but it never comes. the song spends half of its seven building up, only to spend the second half winding down, into a pristine tapering off of noise rock that's anything but noisy.
listen (last.fm has a live version available)
this particular night, we were listening to Sonic Youth's third studio album, Evol, while a couple guys played some awesome zombie-killing video game on the tv. i was definitely feeling the album as a whole (and definitely downloaded it right after i went home), but it wasn't until the last track that i melted.
right as "Expressway to Yr. Skull" began, i reached down next to the speaker and picked up the record to check out the album art. then i pulled out a sleeve, looking for the lyrics for the particular song we were on.
sorry i couldn't find a better-quality version, but this will suffice. the song is listed here at the bottom under the alternate name "The Crucifixion of Sean Penn." actually i don't know what the official name is. whatever, it doesn't matter.
like i said, i was searching across the sleeves for the lyrics of the current song. "we're gonna kill the california girls." what the hell? "we're gonna find the meaning of feeling good and we're gonna stay there as long as we think we should." hell yes! i found it!
and right at that moment of Eureka! Thurston Moore cries out "Mystery Train....." at the same moment a sliding guitar sound flies overhead. then comes "Three way Plane....." with the same guitar swooping over me. before i could even gather my thoughts, the last line comes, "Expresswayyyyyyyyyyyy ... to yr. skull!"
i found the meaning of feeling good in three short lines.
Mystery Train
Three-way Plane
Expressway to yr. skull
before you even have the time to settle into that "chorus," though, the band slams into high-gear as if they are entering a long drawn-out jam. you soon doubt this expectation, as the guitars wail solemnly in the background begging for some space to breathe, the drums come crashing down, and the song calms down. you wait for some words. you beg for the mystery train to come pick you up.
but it never comes. the song spends half of its seven building up, only to spend the second half winding down, into a pristine tapering off of noise rock that's anything but noisy.
listen (last.fm has a live version available)
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