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Everything posted by daniel_v

  1. You two should check your inbox next time you're online here. And yeah, Adam talked to Matt about the videos during a Q and A session last year.
  2. Came across this guy when I discovered a cover he did of MG's Sicily. He has some really unique originals, imo, that I've quite enjoyed listening to.
  3. Not too sure where else to post this so I thought I would post it here. Anyways, the 4 of you should check your message boxes if you see this.
  4. All 3 are now just in the link that Gweeps just shared above and are available for download. I have to say that I'm liking both new songs. The piano and the bridge in Victory is Free are standouts to me and his use of strings and electronic elements in Back of the Tiger (on top of the themes touched on in the sound clips he used are pretty poignant. I like the fact that he used them from John. F. Kennedy who really was an incredibly president). Also have to say I'm always surprised by how proficient Matt is at using the drums in Garageband considering you have to be good at using a key board to produce them in first place which is not the easiest thing.
  5. Hey, I don't know if I have what you'd be looking for, but I do have a lot of content back from in the day. If you want to P.M me feel free and I'll see if I can't send you some of the stuff you lost.
  6. I hadn't heard from Travis in over a month and after having called the Langley hospital earlier this week without any results I came across this online tonight. https://www.bclocalnews.com/obituaries/travis-jeremy-simons/ Username: Barfnuts I'll have to ask everyone's forgiveness for the length of this since I've never written one of these for a Bored member here and I've always sucked at keeping things short. Most of you didn't know Travis on account of him just starting to post here this past November, but me and Adam had the honest pleasure of meeting him this past January in his own town of Langley. He was the gentleman who interviewed Matt after his hometown show in Coquitlam back in May of 1998. Right after that he put together/narrated this little segment for Roger's Cable despite only being 18 years old at the time: 21 years later after finding Adam's thread here about rare MGB videos, he would find the material he had from that night, convert it to digital, and share a bit of it with us on The Bored here just to be kind since so many of us were asking him how much other footage of the concert he still had. It's a wonderful video and made a lot of us exceptionally happy to see. He was also a super talented musician who never quite had the breaks he was looking for, but regardless always loved creating: It's funny...not much more than a month ago we were discussing how so many people who grew up on MGB would go onto to become musicians themselves and I can't help but think Travis would have included himself in that category to one degree or another since he always said MGB was a huge influence for him. Anyways, regardless of the short time period I knew him, through the many things we discussed online here- and the evening myself and Adam spent hanging out with the guy that I will never forget- I can say without hesitancy that he was a good person, who had a decent/kind soul, and lived by an honest/worthwhile set of morals. I'm extremely grateful for the time I had to know him and will miss him a hell of a lot. Thanks for reading.
  7. Just a couple things I came across on Youtube that I thought were worth sharing: 1- A good interview Matt did with CBC earlier on this year about the new album. 2- A cover of Sicily that a musician did doing all the instruments himself.
  8. I think he corrected the initial link which was accidentally misspelled as "datlight" when he first posted it. Corrected link is here: https://www.matthewgood.org/daylight-actual Thanks for posting this, btw, Mackie1023.
  9. Not knowing Matt personally obviously I don’t know his financial situation, but as I said in my first post the following was/is my reasoning for suggesting this in the first place: “I was thinking about this because like all of us he has bills to pay and people to support, but given that touring is any musician's main source of revenue these days I have to imagine this spring/summer (if not the entire year) is going to be a little more difficult for him. While I realize that like any Canadian who has lost income as a result of this crisis he can simply apply for the $2000/per month subsidy from the current federal government, I’m assuming that amount would not cover what his regular income intake would have been were he still on tour.” That’s not to mention he has 3 kids to support. There’s also a good article here discussing what the pandemic has done to the Canadian Arts community: https://nowtoronto.com/music/features/covid-19-canadian-musicians/ As I said earlier too, I’m just floating the idea to see what others think. Again, I realize most people have their own obligations and wouldn’t expect a lot of people to be able to contribute (or maybe would rather contribute elsewhere which is of course totally fine), but for those of us who felt like they could, I’m simply thinking this could be a good way to give back to someone who has given us so much through his music over the years and might now be struggling a bit himself.
  10. So sorry to hear that Keep your chin up. All things pass and so will this. I’m sure you’ve already looked at this as well but on the off chance you haven’t it would probably be worthwhile: https://newsinteractives.cbc.ca/coronavirusbenefits/#section-jobs Likewise, check your PMs in a few minutes. Gonna message u right now.
  11. Just thought I'd start a thread to float an idea and see what everyone else thought. Obviously it's been a rough last couple years for Matt if people have paid attention to some of the stuff he's discussed regarding his personal life. With his father passing away this year and his tour having to be cancelled due to the current health crisis I can't imagine he's having the most wonderful year so far either. As such, I was curious as to what people here would think about a private Go-Fund-Me page for him as way to help out a bit (one that would only be posted here). I was thinking about this because like all of us he has bills to pay and people people to support, but given that touring is any musician's main source of revenue these days I have to imagine this spring/summer (if not the entire year) is going to be a little more difficult for him. While I realize that like any Canadian who has lost income as a result of this crisis he can simply apply for the $2000/per month subsidy from the current federal government, I’m assuming that amount would not cover what his regular income intake would have been were he still on tour. Nor do I know what his personal financial commitments are either. Now, to be clear, this isn't something I would expect many people to contribute to since I know "a lot" of people don't have spare money to contribute right now due to their own financial situations and obligations. But, for those of us who are lucky enough to still be working and are not in a bind yet I thought this might be a nice and tangible way to say thanks for all the decades of music that Matt has shared over the years. Then again, maybe this is dumb idea, lol. I don't know. Maybe it’s better just supporting the guy by purchasing stuff through the merchandise store? Anyone have any thoughts, pro or con towards either option?
  12. There's a lot of interesting questions and answers in there. Guess it just goes to show that time does change your perspective sometimes and other times it doesn't. One question that stood out to me in that regard was the question about taking heavier songs and reworking them acoustically and Matt's pejorative feelings about the idea at that time. While his answer made complete sense at the time, I'm glad he changed his mind and actually did go that route with some of the songs on Rooms. For example, even though Hello Time Bomb seems to be a song most people prefer the full band version of, I'm probably one of the few people who really appreciate the acoustic version more. It has such a calming effect on me when I listen to it. Load Me Up is another one. Don't get me wrong, I love the regular version of it too (especially when it's played live with the live band jam for the bridge), but I really appreciated the folk/country version that was released on the BM revisited album as well.
  13. You know, one of the things that I've come to realize I appreciate about Matt's career over the decades is how many different amazing musicians he has worked with. Even in his Pre-MGB days he only worked with the best of the best it seems. I mean, if you listen to the work that Steve, Judy, Eran, and Ariel did with him on 15 Hours, the instrumentation from all of them is/was just out of this world. Even Matt once commented that he had to admit they were all just amazing players. And when you combined their talent with Matt's frantic and kinetic rhythm guitar playing, especially in the hybrid genre of rock/folk that they were doing, it was just so unique and enjoyable to listen to. When he started with Dave, Ian, and Geoff, the same thing applied, imo. Ian's playing in LOTGA and AOB was just out of this world, Dave's keyboard and guitar playing added so much depth to the songs (see Native Son and Giant for just a few of many examples), and Geoff's bass riffs that he came up with...by God, that man was a genius. The fact that he once commented that the bass lines simply wrote themselves just went to show how humble and talented a musician he was because bass lines that good most certainly do not just write themselves, lol (especially when the way they're played by the musician playing them makes a big difference). And again, when you combined all that talent with how prolific and amazing a guitarist/singer/writer Matt was/is, and it really was like lightening in a bottle for every album, like you said Mike. Even when Rich took over after Geoff left, despite them having different styles, he fronted some bloody amazing songs and his bass work on AOB still contains some of my favorite bass lines ever (especially the climax on Truffle Pigs). That said, even though I still absolutely miss the old line up, one can't deny how talented the players he's brought in since the band broke up are too. For example, as far as drummers go I love both people he's worked with since Ian. Pat had the energy of an atomic bomb behind the kit. He honestly was always a pleasure to watch/listen to. Same goes for Blake as I've said in other threads. It really adds to a concert when you know the musicians playing are not only into the music they're playing, but also really fucking good at it too, and Blake really embodies that and there's no question he knows how to bring songs to another level when playing live. Same thing goes for the guitarists that have worked for him since Dave too. While Christian was hit and miss for me since he didn't always manage to quite hit the right spots, imo, most of the time he did and when he did he helped make some great climaxes for different songs. It seemed like during the 2002-2005 period Matt was looking to really revamp his songs live and Christian, along with the other members, really seemed to help facilitate that. The work he did in the extended outros (on songs like Giant and Near Fantastica), to me, are a highlight of Matt's live career. As far as Jimmy goes I have nothing bad to say about him at all. In fact I can't ever recall him sounding off or missing anything. He had a great amount of energy on the stage too, seemed like the kind of personality one would want on the road with you, and was unquestionably a really skilled musician. And then there's Stu. Stu just kicks ass. Period. I have never once seen that man play an off note, he is versatile as all Hell when it comes to the different styles he can play (country, rock, folk, etc), and Matt just generally seems to like the guy which is obviously a good thing when it comes to any kind of a working relationship. I think the interesting thing about the guitarists Matt has had over the years is that I like them each better or less depending on what songs they were filling in for. For example, I think Jimmy added the most to Everything is Automatic, Dave really played my favorite style of lead on Giant (it had a very dream like quality to it), Christian was perfect for a lot of the extended jams that Matt would do during the 2002-2005 time period, and Stu does some out of this world guitar work on A Boy and His Machine Gun, Running for Home and Non Populas. Same thing goes for bass players, before, during, and after MGB. Ariel could maneuver his way around a bass guitar like no one I have ever heard and the amount it added to the songs he was a part of was so appreciated. I discussed why Geoff and Rich were so invaluable above. I know some people weren't a fan of Milos when he first started because he didn't move around as much on stage, but that changed over the years, and I always loved the flair and depth his work would add to the live versions of songs he did. When it comes to MAtt's current bassist, Peter, I also can not find a single thing to fault the guy on he. He is super creative and I loved his work on the reworked E.P of Beautiful Midnight. The way he managed to come up with such incredible bass lines that filled in for the original guitar work on Suburbia and Born to Kill really floors me every time I listen to it. Great musician as well. And that's not to mention the keyboard/piano players that played for him before, during, and after MGB. Steve Codling during the 93-95 era, Steve Black on Fearless, Mark Olexson during the 2002-2003 era, Peter Nunn in 2008, and of course Anthony added some amazing layers during his tenure (both in the studio and on the stage). In fact, I hope he does bring back the keys one of these days. I love the depth they add to his songs. So, while I absolutely agree with you that Dave was/is a monumentally talented guitar (who is probably my biggest influence as a guitar player actually) and someone I'm exceptionally appreciative to have been exposed to, I'm also glad that Matt has had such a high standard when it comes to choosing what musicians that play with him because over the years we've got to see some beautiful work by a lot of different people
  14. Agreed, Blake is a fantastic drummer. Not only is he utterly proficient and able to elevate songs to a higher level on the stage (see the bridge of Load Me Up here ) but you can also tell that he really enjoys playing the music. When ever he's on stage you can tell by his facial expressions that he's really into what he's playing, a lot. He even sings along even when he's not doing backing vocals (which he's really frickin good at). Love that guy's work all around.
  15. Did anyone watch this when it was still on air between 1999 and 2006? Been rewatching it in the last couple months. Still an amazingly written show all these years later, and one that touched on a lot of political topics that are still pertinent today (while also having some great humour).
  16. Moving Walls Review 2.0 Never been good about being brief, and for better/worse this post won’t be any different. Figured I’d write a second review after having had a little more time to sit, listen and feel out the new album. I like to do this some times as I believe both first and evolving perceptions are important when it comes to music (and any art really). Likewise, after thinking some more last night about what Matt said concerning perceptions, I ended up having to concede a point he made too and admit to myself that the album has for sure grown on me. Preface So, first I wanted to address a couple things I’ve thought about with regards to some responses to my original post, both from Matt and others. While I stand by some of the statements I made, and have already admitted others were in poor creation, I can definitely understand why I some of what I initially wrote would also come off as pretentious and arrogant. As I said, there are times when I am very careful about the words I choose and others when I am not. To that point, and in response to Matt understandably questioning the idea that others would know how his sonics “should” sound, I’ll fully admit that was an extremely poor choice of word use on my part. Obviously only Matt knows what his music is supposed to do and where it’s supposed to travel. I can now partially count myself among those kinds of special people that he and Ryan Dahle mocked in their spoof demo, ‘Free Download’ (“Why don’t you give us your expert opinion?” lol). In place of suggesting that certain songs “should” have had certain progressions that did not occur, I should have written that I “would have appreciated” to see them go in certain directions that they didn’t. I had hoped by stating at the end of my post that all of the above was nothing more than my subjective opinion that people would understand I wasn’t saying my opinion was anything more than my opinion, but in such a long section of writing, I suppose I can understan why people focused on only specific points (especially Matt since it's his music). Next, on the notion that I exclaimed “This isn’t the Matthew Good I know!”, to be clear, I did not use use that tone and did not make that statement in the way it was hyperbolized. The exclamation mark indicates anger and also that I think I am entitled to something from someone else. Again, to be clear, I would never in a million years get angry over someone having a different perspective than I do (even if I do sometimes get disappointed which is my own issue to deal with) and I do not think Matt owes me anything. If anything, despite all the money I’ve spent over the years on concert tickets, albums, and merch, I still owe him far more than I can ever repay given what his music has done for me over my lifetime. When I said the songs don’t really sound like Matt Good songs to me that was, again, perhaps a poor choice of words on my part. Matt, as an artist, has always been someone who tries to avoid repeating himself and I respect that about him. Likewise there is absolutely nothing wrong with exploration save for the fact that some times not everyone is going to appreciate what that exploration yields (as is the case with any subjective medium). While stand by the opinion that the album reminds me of Our Lady Peace's "Burn, Burn" for the reasons I listed, I should have also simply written that some of the songs are very different from anything Matt has ever done and that those specific ones really weren’t something that connected with me as a listener upon a first listen because they didn't sound distinctive to me compared to other artists. More to the point, I was also referencing that in every other album that has come before this one, even if I didn’t like certain songs, and even if they had a different genre that Matt was exploring, I still appreciated that, imo, they had a certain feel to them that still would allow people to identify them as Matt’s, even without his vocals. I honestly can’t explain what that feel is, but it’s just something that I’ve always noticed and appreciated. Again, this is nothing more than my subjective opinion and obviously given the responses to Moving Walls I am in an extremely tiny minority of fans who feel this way. Furthermore, I am not by any means a person who pines for Load Me Up 2.0 or Hello Time Bomb 6.0. In fact, for the most part, while I have nothing against the singles since they are what hooked me initially, it has always been the non singles and deeper cuts from albums that have kept me so enamored with Matt’s music. Omissions of the Omen, Generation X-Wing, The Inescapable Us, I the Throw Away, A Sort of Protest Song, The Fall of Man, Hopeless, Empty Road, Extraordinary Fades, Los Almos, and Cold Water are some of my favorite songs from any artist anywhere. Hell, I even the love the pre-LOTGA stuff that he did with Steve, Judy, Eran, and Ariel (Bluebird is one of my favorite songs of all time). While I’m still not proud of myself for having written a hastily half thought out and at times rough review that Matt ended up reading, I do still stand by the fact that the opinions I expressed are simply my own subjective feelings- nothing more and nothing less, as everyone is allowed to have. Actual Second Review However, as I said at the top, my perception on the album has admittedly lightened and improved a fair amount over the last week and a half. Simply put, after a week of listening to it every day while driving around town I’m able to appreciate it more and that may continue as the weeks and months go on. If I were to pinpoint why this is I suppose it would have to do with the initial strong points that stood out to me originally- mainly the inspired/hopeful/driven lyrical content and complimenting instrumentals that go along with most of the songs. As I said in my first post, I think more than any other album Matt has ever created this one was crafted to make sure the lyrical content was front and center while the instrumentals more so simply act as a vessel to transport the message in the lyrics to the listener. And man, these are admittedly some beautifully crafted and uplifting lyrics. Like Adam said, the inflection in his voice when he sings a lot of the lines in this album is incredibly potent (even when you don’t know what he is saying in a song like Lumiere Noire, for example). Perhaps the best example of this is Your Rainy Sound. Despite being more focused on the sonics of the song initially, I have to admit the “death is a blanket; sometimes you fold it” lyric, and the way he sings that line along with the instrumental backing, is one of the most powerful things I have ever heard. In fact, all of the lyrics in that song are just fantastic. Likewise, after listening it multiple times, I am getting over the fact that it didn’t go where I was initially expecting it to go. Hell, even the songs that aren’t meant to be uplifting (see One of Them Years) are so passionate that it’s difficult not to appreciate them. Radicals is another one that I’ve started liking and listening to more even though I wasn’t really captured by it at first. Even though it’s very different for Matt, the 1800s vibe it has is really intriguing to me for some reason and keeps bringing me back. To be sure, there are still songs that do very little for me (A Momentary Truth, Booby Trapped, Fingernails, and Parts) but even those one are difficult to not at least partially admire simply because of the formidable lyrical content. Beauty, for another example, is a song where even though I’m not a huge fan of the instrumental writing, I’m beginning to appreciate it a lot more because of the lyrics Matt wrote for it. In fact I’d say they’re some of the strongest and most introspective lyrics Matt has ever written. I love “There’s beauty in the struggle, and beauty in the cost, if along the way that beauty wasn’t lost” and how it relates to all the other potent lines of revelation in the song. The interesting thing is that the appreciation for the lyrics to an extent ends up making me appreciate the instrumental sections more too. Likewise, after reading Matt’s explanation of A Thousand Tons, I’m really starting to appreciate that one more now as a whole. It’s like listening to someone paint a story and explain their emotions as it progresses along. It's very emotionally resonant, haunting, hopeful and sad all at the same time when viewed as a story, especially given the direction it heads nd how it eventually ends up back at the beginning just before really taking off. If it wasn't for Matt bothering to explain his process on that song, I might not view it the way I do now. Don't get me wrong, I still stand by my opinion that I “personally” would like to see more going on instrumentally on certain songs during their album endings (see Last Parade, So Close, Great Whales of the Sea, What if I can’t See the Stars, Mildred?) and in the progressions of certain songs, but that is again nothing more than a personal opinion that comes from the fact that I am a huge lover of instrumental crescendos and peaks (probably due to listening to so much/too much Explosions in the Sky) and I fully admit that just because I feel something does not make it true. It’s just a perception and I fully understand that Matt of course has other motives at times and is obligated to follow them as an artist. He is, after all, an artist first and foremost, far more so than he will ever be entertainer and I can definitely respect/accept that. Lastly, again, I really do fucking adore Dreading It. To me, even though I can’t decipher all the lyrics yet, because of both the lyrics and the instrumental writing in that song, out of all the songs on the album it probably connects with me the most. In fact it made the buying the album more than worth it and got me thinking about how even if there is only one song per album that I love, I’d be happy to pay a hundred dollars to be able to hear it. Dreading It is with out a doubt that song for me. The audio about Brooke Robinson, the intro with just the drums and a bit of guitar feedback, followed by the lead guitar picking mixed with the driving bass line, the way it jumps higher to that triumphant chorus punctuated by the horns, the choir sounds as it comes out of the chorus, and especially the brief bridge that leads into the driven and propelled end are all very formidable and meaningful for me. Like I said, I also really like the lyrics that are descriptive, cryptic, and straight forwards all at different times ("a suitcase of air and ketamine" vs. "She said hold me tight and don't forget about yesterday and all the things you said to me"). Aside from all of it making you think and decipher meanings, Matt also seems to reference clowns a few times in this album and he does so here again with a line about Emmett Kelly which makes me wonder if it's some how connected to the Sicily video given that he referenced the nature of clowns while giving an interview about that video too. All of that considered I really do find this song fascinating and exciting. It's like the equivalent of a very well crafted and introspective adventure/mystery movie. While again I "personally" would have liked to hear a bit more going on with the drums at the end of the song, I really do over all very much appreciate the drum lines that Blake came up with for this song as a whole too (love the busy snare), and the ending as a whole still really does manage to have an impact for me (love those horns) . Ultimately, even though this album as a whole still ranks near the bottom of my list of MG/MGB albums, it has definitely has grown on me and I can appreciate Matt’s point about trying to go deeper than surface level examinations of songs with regards to expectations. Likewise there's unquestionably something to be said for doing something that resonates with people more over the long term than it does in the short term. I expect that as the weeks and months go on it will continue to grow on me. Likewise, even though it's not one of my favorites, I can admit that it's probably one of Matt's most artistic albums ever. With the focus on lyrics, it almost has a Leonard Cohen feel to it. Lastly, if on the off chance Matt does happen to come across this thread again- as I said earlier, I truly do hope he focuses more on the 99 percent of people who loved this album much more than on the 1 percent who weren't as enthusiastic. At the end of the day I'm only writing what I have because decades ago Matt rightly noted that everyone has a right to an opinion when it comes to art (provided they acknowledge it's nothing more than an opinion) and because sometimes diverse feed back is not always a bad thing if it makes someone think (even if at the end of day the person/people receiving said feedback also fairly reject it because they have different motives, feelings, and interpretations).
  17. Honestly, even though I know you're just joking, that is an analogy I really do regret using now. People who know me know that even though I sometimes choose my words very carefully, at other times I just write whatever is sitting at the top of my head, especially when it comes to topics I'm passionate about. The original post I made here was a mixture of both. I wanted to make sure I was honest, but also fair and not by any means fully negative either. Either way, the baloney comment was below the belt. If I was Matt and I read a long time fan make that kind of a comparison it would probably sting me a little too and the last thing I've ever wanted to do is cause any kind of pointless discomfort to someone who has done as much for me as Matt has done through his music over the decades. As I noted, I should have been more careful and diplomatic about how I wrote that paragraph. Just because I don't find as many of his songs as moving as I used to does not by any means mean that I'm not still grateful for the songs (new and old) that I still do like. Likewise, the quality over quantity comment was probably unfair too since in the past people (not me though) have complained about his albums not having enough songs on them. Like I said, he can't please everyone and I really do hope he focuses more so on the vast majority of positive comments people are making everywhere about his album instead of possibly allowing the few less than positive ones like mine to get him.
  18. Feel like I should apologize. It's been a while since you've been here, Matt. I wrote what I wrote and I'm not going to be a fake sycophant by erasing it/pretending like I didn't write it- or even back tracking- but had I known you for sure were going to read my post I would have crafted it with much more care and diplomacy. I'm not naive enough to think that you care what a random, over opinionated fan like myself has to say on a message board, but on the off chance my words did get to you, you have my honest apologies and regret. I've said this before, but I'll say it again- your music over the decades has given me and hundreds of thousands of others more than any other artist ever has and I think I speak for the majority of us when I say we are eternally grateful. My initial opinion on this album is nothing more than that- an initial opinion- and does not cancel out all of the good you've done in the past. Likewise, most importantly, I certainly hope you don't focus on the few negative reviews as much as you focus on the vast majority who have expressed their gratitude to you for this album. You go on any social media outlet- be it Youtube or Facebook- and you'll see just about every comment noting how they love this music and- in the case of the Sicily video- noting how it actually saved their life. With regards to the few negative reviews here- including mine- you're never going to please everyone and nor are you required to. You do what you do and it's always been honest. Regardless of perceptions, I think everyone here respects you for that. Anyways, thanks for sharing your thoughts on the song writing process too. Cheers, Matt.
  19. I wouldn't say I'm bored to tears by it, but I agree that out of everything he's ever released, upon a first listen this probably the one that ranks at the bottom of my list for him right now. Like you, I'm glad others are enjoying it and I can understand why too- a lot of the songs have a very uplifting sound to them and it seems like on this album Matt wanted to the lyrical content to be front and centre, which I can appreciate since most of the time Matt is a very prolific lyricist (this album being no exception). Furthermore I can appreciate the fact that as usual he's trying to branch out and do something different from a sonic perspective. But for me, it just doesn't really work. Don't get me wrong, even weak songs by Matt still aren't bad, but I just find that there are a lot of songs on this album that sound very similar to each other, and more importantly sound somewhat only half baked/a little lazy. Take "Your Rainy Sound" for example. It has a beautifully driven and inspiring opening intro/verse to it, but what should only be a pre chorus- one that leads into a thundering real chorus that compliments how powerful the intro/verse is- ends up being the chorus. As such it feels like the entire songs suffers as a result. The same critique applies to "A Thousands Tons", imo. It's got a galvanizingly haunting pulse that starts off the song, which then moves into a crescendo like mountain movement which makes you think it's going to lead to an explosively intense new section of the song, but then it just stops, goes back into where it was previously, and then ends. It's like having to listen to the album version of Something Like a Storm again. You think it's going somewhere amazing and then....it just fades into nothing. I hate when songs do that. To be clear and fair though, there are definitely some good ideas in here, and I really appreciate the uplifting/inspired feeling that a lot of them have. "Dreading It", for example, is a fucking beautiful song to me. The lyrical content and the sonic composition are driven and have a worthwhile/meaningful theme and ending to them. I'm really looking forwards to hearing this one live because if there's one weak spot in the song it would be that it feels like the drumming at the end should have been more heavy. When allowed to on the stage Blake always nails it and I think if he has the freedom to let loose he could help make it an even stronger ending. One of Them Years and Selling You My Heart are other stand outs to me. They still sound like Matt and have an interesting/meaningful progression. I guess ultimately what fails for me though overall is that a lot of these songs don't really sound like Matt Good songs. Save for Matt's vocals, they sound like they could be from any number of different adult contemporary artists out there over the last few decades, which is of course disappointing because in the past one of the things I've always loved about Matt is that even if you took away his vocals you could always identify that it was "his" sound. As the years go on it seems like he's losing that drive/originality that made his music so great. There are still powerful ideas within his songs, but when it comes to consistency and even movements within individual songs it seems to be getting more rare that he's able to do finish them with as strong a drive as they started with (another good example of this is There the First Time- it has a wicked first half which moves into an amazing bridge that makes you think something even bigger is coming afterwards, but then it just moves back into what came before it). If I were to compare this album as a whole to anything it actually reminds me a little of Our Lady Peace's "Burn, Burn". That album was a very different sound for the band, but if it wasn't for Raine's vocals, most of the tracks on that record (save for Monkey Brains) could have been from a hundred different mundane and indistinguishable pop rock bands in North America. I feel the same way about this one for Matt. Save for a couple good songs, the rest of them kind of sound like filler songs, and again, even where there are some good ideas, it feels like the rest of the material was just slapped together like a baloney sandwich for the sake of having a completed song. I almost wish he would take longer between albums and work on the songs more so that the final product is stronger. I'll take quality over quantity any day of the week. All that said, this is all just my opinion after a first listen. Upon multiple listens I may appreciate it more and I'll fully admit all of the above is nothing more than a subjective opinion.
  20. I don't know if it was actually public. It was in 2002 and both of them were keynote speakers at New Music West. At some point during the speech Matt references himself and Gene speaking back stage and how they had different perspectives regarding the goal that new artists should have when it comes to choosing goals. Sounded like it was a friendly and amicable conversation from what I remember Chad has the entire thing up on his site here: http://mattgood.plastic-soldier.com/downloads/audio/misc/newmusicwestspeech.mp3 Probably one of the best talks he's ever done. And there's a 5 and half minute clip of him playing and speaking at NMW that year here: https://www.youtube.com/watch?v=-SD3ThrW_RA
  21. As usual Matt gives an introspective and honest interview about a variety of topics. Worth a watch, imo.
  22. No, that makes that sense. I think there's more than a few pieces of Matt's music these days that have a feeling of age, but I mean that in a good way because the ones that do communicate a sense of authenticity and haunting that is really quite beautiful and striking at times. I think the same thing about his reworking of Fearless. It's obviously different than the original, and yet the acoustic nature, the way he sings it with a tired presentation, and the quiet way he strums/picks the chord progression to create a haunting feel is really quite beautiful, especially when contrasted with the original which had such an uplifting and energetic feel to it (which I also love). The new one is like listening to something with the same soul/hope, but just with a different exterior- one that has been through "a lot" of shit over 2 and half decades. Feels like Selling You My Heart has that same kind of vibe to it and I think the video is meant to communicate that as well.
  23. Lol, seems like you were right. Instead of "tomorrow" we got it tonight.
  24. You'll have to let us know how it is. Always wanted to check out Limblifter live. Him and Matt actually did a couple cool and experimental demos together back in 2004. This is a video Matt released of him and Ryan working on a demo called Agoraphobe. https://drive.google.com/open?id=1OdMArBTySzz11ower0OcFNPJ0bK_3rE_ The finished product is here: https://www.youtube.com/watch?v=Jpc20ps6mDw They also did another one called Seriously Serious. It's probably the most experimental work I've heard from Matt and has a really intense/urgent feel to it. Fantastic lyrics, imo, too: https://www.youtube.com/watch?v=xnejenNAgxk Then, lastly, there was their masterpiece- Free Download: https://www.youtube.com/watch?v=o7c0JQZ2YF8 (I remember a few people got a bit salty when this song was released , lol )
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