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Everything posted by borntohula

  1. i don't come around very often so i have way too many people to respond to. big ol' quotefest/quotsterfuck ahead: 'accept the fact that this is another album, period'??? yes? what? your writing is hilarious, please post more. tell me how much more of an album this album is than the last album. how many more albums is it? that's a bitchin story for many reasons. they do a mclusky cover? which song? have you heard the new future of the left record? raunchy? were we listening to the same MGB? as opposed to the places inside you that music isn't supposed to touch? tell me more. the first time we've ever agreed on here, ever. i think it's called a vibrato. and yes, he uses it a lot, and it gets really annoying. for whatever reason, on this record he's decided to whip it out any chance he can get, just like those goddamn strings, because when used in conjunction, people think that you're writing something emotional and profound. this could be intentional, but the overall effect seems to make the songs sound generic and plodding. dude needs to find a decent drummer. listening to the CD now, and i haven't warmed up to the things i didn't like about the album when i first heard it as a stream. the vocals and strings are overbearing, and are so in your face that they're seemingly trying to hide the fact that the dude can't find a hook these days. whats worse is that he's trying to pass it off as 'experimentation' to varying degrees of success. the beginning of the album works well and i enjoy how it fits together, but then it trails off... it recovers again at the end, but the middle is just a snooze. the closest thing resembling a pop song is 'us remains impossible' a horribly titled, awkwardly worded song that i really can't stand. matt's pop songs never really struck a chord with me, but after becoming a fan, i was drawn to how his shorter, more structured pieces were really intelligent and often spoke volumes more than his longer songs. theres more brains, passion and subversion in the two minutes of 'poor man's grey' than anything else on WLRRR, for instance. it also helps that the song is a fucking joy to listen to. don't get me wrong, i love the bold experimentation on avalanche and what followed, but there's very little experimentation going on here. matt's done strings before, and we all know he does a great job at writing arrangements, but there's no new ground being broken. he just sounds like he's suffering from a lack of new ideas, direction-less, and simply treading water. the saddest part about this whole experience is that his sense of humour is completely absent. i don't expect jokes, or samples from sexlines or anything (been there, done that) but when the subject is obviously a heavy one, taking oneself too seriously is a really easy misstep to make, and i definitely think that vancouver is far too earnest in that respect. the songs that best feature his biting wit and vitriolic criticisms are often his most enduring, and also happen to be his most creative. i really like the one-two-punch of "girl wedged under the front of a firebird" and "i'm not safer than a bank." those songs are actually experimental, but they're also smart, funny, scathing, and most importantly, affecting. yet, mat isn't communicating his anger and frustration to us by tugging on our heart strings with cheap, well worn tricks like string arrangements, slow-builds and crashing cymbals. so many people are saying that they're mad that they heard the demos first, but i'm almost feeling the opposite. very few of these songs are really doing anything for me, and i'm really interested in seeing if this would change if i heard the songs in their infancy stages. are the demos in the NF store? where can one get his hands on them?
  2. i can see my house now on streetview, but i went outside and the car and camera were nowhere to be seen. then i went back inside, and i could still see my house on the monitor. then i went back outside, and the google car had disappeared again. i don't think i'll be able to sleep tonight until i catch the google guy in the act. i will catch him.
  3. yes, but as far as i can tell, the nobel peace prize isn't really going anywhere, so i don't really see the harm in them waiting until the man has done something that we can actually sit back and say 'wow' at. i'm definitely a fan of positive reinforcement, but awarding him at this point really does feel cheap, like an oscar. sure, he might deserve it for putting forth some effort, but he's not even put a dent into things yet. i really think he should consider giving it back. that would show some grace on his part. this, to me, has echoes of:
  4. i'm going to go out on a limb here and assume you've never heard paul simon's music or the talking heads. i'll throw peter gabriel in there too, for good measure.
  5. also, i really wish duvall's voice had been showcased a bit more. i realize that AIC has always been about the great harmonies and vocal juxtapositions, but duvall has such great pipes, i really feel like they weren't really used to their full potential. sometimes thats the sign of a good singer, someone who has patience and who can show restraint, but that doesn't really sound like that's the case here.
  6. what she said. the album is decent; considering all the factors involved, they've made a good AIC record. but never having been a fan of AIC, this record is not a great point to jump into their music.
  7. yes but think of it this way: they're his songs (the better ones, anyway). what's to stop him from touring again, but as noel gallagher & band? he can play all the hits, much to the fans delight, without having to contend with numbskull and the revolving doors. oasis haven't been a band in the conventional sense of the word for quite a long time. they've been trying to feign it lately by letting the other ones write songs, but those were easily the weakest tracks on dig out your soul]/i].
  8. they're clever, but that's all they really have going for them. not really interested in hearing their new album, but i always like being wrong about a band.
  9. yeah, seems like wishful thinking to me.
  10. i'm pretty glad that i haven't listened to any of the demos. i think that experience spoiled HM for me a bit and i got over it a bit too soon. this record isn't one that i'm grasping right away, and i like that. anton: don't get me wrong, i like strings too, but there's just a lot of them. it's a bit overwhelming.
  11. not much new to add here, other than that this is some great news.
  12. probably my favourite canadian record this year. there's some show on suntv here in toronto called king kaboom. i've only seen it once but from my understanding its a mish-mash of shorts and musical performances. anywho, ohbijou played 'new years' on it and it was fantasssstic. that's prolly my favourite song off the album.
  13. upon my first listen, i'm really not sure how i feel about this record. everything seems over-sung and WHATS WITH ALL THE FUCKING STRINGS?!?! my god. maybe it'll grow on me. things pick up a bit for me after 'silent army in the trees' but not much.
  14. i voted for the danza biopic. my next would be the raging piano film.
  15. auf der maur got it? maybe i'll wait a bit longer before i proclaim my love to her...
  17. i feel weird voting for matt, seeing as how he really didn't do much.
  18. i agree the song is too long. that's not to say it won't grow on me, but i think it's a mistake to release a 7 minute song and have that be what we base our first impressions on. to my understanding, cantrell has been writing longer and longer pieces in his solo work (and to be honest, AIC were never that succinct), but the length of this song detracts from any memorable riffs or hooks that might rise above the sludge. the vocals are harmonized nicely, but they're a bit low in the mix. that, coupled with the shitty reverb effect makes them sound really washed out and bereft of any character... a lot of times they just sound like they're mumbling. what made layne's vocal style such a great match for AIC was how it almost worked as a counterpoint to the heaviness of the rest of the band... he cut right through and was unmistakable. no, i don't think they sound like the AIC of yesteryear, but i don't really think they sound like a modern metal band either. there's nothing new or really relevant about what they're doing on this song. i don't expect them to be fucking radiohead or making fucking blip metal like genghis tron but for the love of god change things up a bit. just because they've opted for a less formulaic song structure doesn't mean that they're light years ahead of where they used to be... they just sound heavier and more polished, which relates more to production than it does songwriting.
  19. it's one of my favourites of all time, sad ending and all. i rented a film called the girlfriend experience thinking that it would be the stephen soderbergh film about an escort, but it turned out to be another film entirely. the strange thing is, it was made in the same year, has a very similar story, and shares a title with the soderbergh joint. i don't get it. i felt like i was in a parallel dimension when i saw it.
  20. better than most of the stuff on rock radio, but not really memorable. shade's comment might be a bit reductive, but there's still something to it. these guys don't sound like they've learned much since '90.
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