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daniel_v last won the day on May 6

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  1. I know. Getting to hear/see old tracks like that live was mind binding/exploding, lol. Even AMR was pretty damn cool too considering there are no live versions of it online save for the traded version of the one where he adds in lyrics from Giant (before it was released on BM) during the bridge. And while I'd love to take credit for this, Adam, Chad, and Sue Lloyd are the ones who deserve all the credit. Adam for doing all the leg work of contacting Sue and getting the tapes from her for digitization, Chad for hosting them, and Sue of course for finding them and getting them to Adam despite the tapes being so old. I literary had no part in this. With regards to what Matt thinks, obviously none of us are psychic, so we can only speculate unless he eventually sees this thread and chooses to comment, but hopefully considering that this was all published live on TV decades ago with his consent, and that it meant/means a crap load of happiness to more than a few of us, he'll be okay with it. Don't get me wrong, given that he hates a lot of MGB's work on account of his shitty memories with the band, it's completely understandable that he doesn't like looking back on some of their work, but again, this is from waaaay early on (before the infighting really got heavy) and one can only hope that would mean he wouldn't begrudge others from appreciating the performances from an outsider's perspective.
  2. You know, listening to the end of the Town Pump interview, if one listens closely enough as the interviewer is going into the bar- though perhaps this is just my imagination transferring something I had just listened to- the bass line there almost does sound like the bass line that Geoff plays after the bridge of Sharks from the 2:40-3:12 mark. In fact...I just listened to it again after writing the above sentence and I'm sure it's the same bass line. Compare the bass riff at the 2:40-3:12 section of the Sharks video to the bass line in the background of the Town Pump video at the 5:40-5:51 section (just as the interviewer enters the Town Pump). It's the same bass line which means that it was at the very least played twice live, if not incorporated into their set on a more regular basis during that period. Makes one wonder if there were other unreleased songs from that time period that were played live too. Even though I know he hates the original version of Fearless (which is still beyond me to fathom how anyone could not like that song), I agree that it's encouraging. I would love to hear an acoustic/full band version of his new rendition of that (similar to what OLP did with their I and I at Much back in 2000). Not that I don't like his new stuff as well- I really do- but it's nice to get a mix of everything from an audience's stand point. That's a fair point. I think it's just human nature to appreciate and chase after things that are difficult to attain simply from the standpoint of curiosity. But, again, given the unconventional nature of the song, and the extremely uplifting mood it brings about, I still do think it would be a stand out track regardless (for me anyways). Kind of makes me wish it had made it onto Raygun. Then again if it had I probably wouldn't have been as hysterically thrilled to have finally heard it after all these years this week, lol. And yes, "Revenge". By God...everything about that song (at least from the brief snippets we heard of it posted on Geoff's memorial page) suggested it was a stand out track. To this day the bass line he was playing is one of my favorite bass lines ever. It's so oxymoronically relaxed and yet leading to something explosive at the same time as was evidenced by the intense rhythm guitar Matt was shown to play during the brief shot of the chorus that was recorded. That's not to mention both Ian and Charlie Quintanna doing what looked like some wicked drum work in the studio. Everything about that video- getting to see what it was like for the band to work on it and discuss it's progression- was so cool and appreciated. Who knows, maybe if a concert from that time period ever surfaces we could get lucky and see it performed. I don't think they would have bothered recording it if they hadn't tested it out live before given that in the Sharks interview Matt mentioned they had been playing LOTGA songs live for a year and half before the album was actually released.
  3. Just thought I'd start a thread for people to discuss the song and their thoughts. Given how long a lot of us waited to hear it I kind of wondered if it was possible for the final product to meet my expectations. It happens sometimes that you build something up in your mind so much, based on a small section of something, that the end product ends up being a bit of a let down (Vampires, from OLP, comes to mind). And yet, I was pleasantly surprised by how much I liked this. At first, despite being ecstatic that I was finally getting to hear it, I thought to myself that I could kind of understand why it was never recorded as a studio song. The song structure is very unconventional and probably not something that would be easy for many to catch on to. And yet...I still think it's a fantastic song for many different reasons, most of which apply to a lot of songs from Matt's early career. The barely containable energy and fast rhythm of Matt's guitar playing, and his vocal performance (loved the brief moments of falsetto when he sings "Guys like me" and his lead vocals after the bridge that were extremely reminiscent of his pre-LOTGA days) are just a few of those things. Another is that the song showcases a lot of the other band members talents. Dave's thick, skilled and creative keyboard playing add such a texture/depth to the song and Ian's drumming, as was the case with most of his early work, is so busy and lush. And then Geoff, as usual, provides such groovy and soulful bass that was, as usual, very defining for a lot of those early songs from Matt. Then there is, again, the song structure. Despite it being unconventional, I think that's what makes it so great. The long intro, the unexpected joining of the full band, the bridge (which has such a great feel and progression) being placed in place of where you would expect the second chorus, and then the lead vocals Matt does after, which lead into the last chorus, and the outro- all of it is like one big "fuck you" to the traditional verse, chorus, verse, chorus, bridge, chorus song structures. To me, that's exactly what makes it so much fun to listen to- because everything is a fresh surprise. I honestly can't listen to it without having my mood lifted. It's honestly like listening to magic for me. As a slight aside, I've talked to others about this before, but I honestly can not wrap my head around how Matt can hate these songs so much, especially given how creative and soulful they were. I mean, something like the Audio of Being being hated by him, despite it being a fantastic album (from a listeners standpoint anyways) makes sense because he has such bad memories associated with recording the songs, but the LOTGA material/era was never talked about by him as a time period where in fighting and ego were a big issue, so I've always found his hate for it bizarre. But, each to their own guess. Anyways, just my thoughts. What did everyone else think of Sharks?
  4. I have been waiting since 2001, ever since I saw a clip of it on the MMM Bio, to hear Sharks and this interview. The other stuff looks f***ing great too. Something from the The Town Pump? Seriously?! Sweeeeeeeet sweetness!!! Hahahahaha!!! I'm downloading all of it as I type this and am as giddy as a school girl right now Honestly haven't been this excited for something in a loooong time Thank you so much, all of you- Chad, Adam, and Sue. This means mountains to me. Edit- My brain just exploded. I can not believe I just watched a live performance of Native Son. F***CKING NATIVE.SON! I honestly don't think I can process that. Hahahahahahahahahahahahaha!!! Seeing the entire band that young is something else. I never thought I'd get to see a live video performance of a song from that album. That was indescribably glorious. Sharks was bloody awesome too. Very reminiscent of his Pre-MGB songs (especially the lyrical performance). I don't know why they decided to play that that day too but I'm so glad they did!
  5. Thanks again for the heads up, Adam. Really looking forwards to it Aside from material of the early days of the band being so rare, to my knowledge the only video that exists of Geoff performing with them is the Mike Bullard performance of Indestructible, and that is a shame given what he brought to the table. He was such a unique, skilled, inventive, soulful and talented bass player.
  6. I really do love this guy. Such an under appreciated artist.
  7. Any chance this user is still kicking around on the board here, but just as a different user? I know their profile says they last visited back in 2005 so I know it's a long shot, but I'm looking to try and find rare MGB stuff that hasn't found its way onto Youtube yet so I can get it up there.
  8. This is...really epic, exciting, and organic sounding https://www.instagram.com/p/Bw8p_t-g_v2/ Hopefully it leads somewhere big. Though Something Like a Storm sounded like it was going somewhere massive too and then just faded out, so hopefully this one is a little different in that sense. I doubt Matt would share the climax of a song before it was finished.
  9. What did you think? SPOILERS AHEAD For my part, I'll admit I was on the edge of my seat the entire time and that I was cheering when Arya was able to drop the Night King. Likewise, I thought they handled the 4 deaths quite well, especially Theon's. To see him not make the wrong choice this time when his back was against the wall was a good finale for him and it even seemed like the NK gave him some low key respect when he bothered to look down at him on the ground. However, in retrospect, there were things I wasn't a fan of either: -The lighting for episode was terrible (though admittedly perhaps on purpose to try and give the audience an idea of what it was like for those there). -It felt like, given the number of wrights, more main characters should have died. Don't get me wrong, four long time characters going out (two of them being main characters), isn't nothing, but it just felt unrealistic for so many other main characters to come out of that alive given the numbers they were swarmed by (much like in episode 6 of last season). -As tension filled as it was, it feels like the death of the Night King was almost....too soon. While we know "what" he was trying to do (at least according to Bran/The 3 Eyed Raven), we still don't know "why" he was doing it. What motivated him? Perhaps we'll still find out in these last few episodes, but it's possible we won't. Lastly- and this is just a random thought- there is something very off about Bran. It feels like there is more going on with him than we know and while that may seem obvious to some, I feel like there is more going on with him in a bad way. I can't explain it but after the end of this episode...I feel like there is going to be a reveal that Bran/the 3 Eyed Raven is not what we all thought.
  10. You know, me and Adam were talking last year about how it's strange there are so few fans from that era. I mean, obviously a good portion of people who know of Matt probably know of him from the late 90/early 2000s, and there are a sizable portion of people who I see online that say they got into him in the later 2000s as well, but I think you are the first person I've ever seen note that they started following him "BEFORE" LOTGA came out which is pretty damned cool. Where and how did you first hear of him?
  11. Albatross was hit and miss for me. There were certain songs I really liked (Albatross, Control, Rest of the World) and more than a few I felt were pretty "meh". I've felt that way about all of their CDs since they reunited actually. It's funny you should mention their second album though as I've always felt that was one of the strongest CDs I've ever listened to, from any band. I agree it's long, but the amazing thing to me about it was that there is almost no filler which is rare for any group. I wish more bands could pull that off these days as 14-15 great songs on one album is just fantastic (the ironic thing, imo was that the two weakest songs of the album were singles, lol). Undersold, Everything is Fine, Ladylike, Breakthrough (which featured Miles Kennedy before he hit it big with Alterbridge), West Virginia, and Defined By What We Steal are standouts for me in the entirety of the BW catalog. They just did such a great job at finding a balance between complex instrumental layering, unique sonic instrumentation, meaningful lyrics/vocal performances, and enjoyable/catchy melodies that it's one that really stands the test of time for me. But, each to their own Nothing wrong with someone else feeling differently. I've been really digging this one. It seems like the band was able to take the more technical side of their song writing/performing abilities that they've been honing this decade and mix it with Ian's ability to write catchy tunes. Hope the new album has more like this.
  12. What was Matt’s reaction? I know in the past he has not taken kindly to folks becoming violent at his shows. https://youtu.be/dKm1WRp5Rs8
  13. Thanks a lot! I've only ever heard Matt do one piece that would qualify as close to electronic, and that was the "Globes" background music loop he had on his site sometime in 2004. It wasn't electronic in the sense of "dance electronic" thankfully, but it had an electronic texture to it (if that makes any sense) and it sounded really well created. Almost like a sad, kind of empty feel. Really liked it and wouldn't mind hearing more of that kind of work from him one day.
  14. This was a long time ago that Matt mentioned it (think it was a 2004 Chart Attack article), but I was curious if he still has any interest or drive in doing an electronic album ever in his career? I think you're right too. He may not reply all the time, but he does seem to listen. I brought up a brief discussion about playing Omissions in the original picking pattern that he had played it on the album after he did a chord version during the 2014 September show in Toronto with Jay Baruchel. He actually did reply saying that he felt the song was more about the lyrics than the guitar, but a little while after that he did start playing it the original way it was written. So it is nice that he takes what fans think into consideration even though he doesn't have to.
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