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Based on the added instruments on this album and some of the comments you've (Matt's) made, are we to expect a larger number of people on stage to back the live shows? If so, is that going to influence/change the chosen venues?

 

Not that I'm expecting a reply, but I just want to say that it's distinctively courtious and considerate for someone of your stature to give this much of your time to us on here.

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Thanks for the reply. Sounds pretty sweet - I'm pumped.

 

With the presence of a piano, will the setlist, aside from the new album, include songs from previous albums that have piano in them? Or is it to important to include the essential radio hits that draws the majority thus leaving no room for others? - Or should I just shut up and wait and see what is included like everyone else.... and be content with whatever is played.

The last thing I want to do is get into a setlist discussion like we've had on here in the past. Just a general question.

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Guest Bimbly
At the end of the day - I write songs - you write songs.

 

Influences are a strange thing. A very long time ago, maybe 19 years ago, a friend of mine played a song of mine to a guy on a panel at a music conference. His response was "don't try out-bob dylan bob dylan". He was right, though I remember taking it badly at the time. But the reality is I hadn't found my voice.

 

My biggest influence has always been latter day Talk Talk, from Colour of Spring through Laughing Stock. One thing that i have laboured to do is to not emulate it because if i did i would have gone so far that it would have been the same thing. On this new record there are finally flourished of it, but after over 20+ years of listening to it I was able to do it in a controlled manner.

 

I still poke and prod Warne for stories about mark hollis, as they made his solo record together. Funny thing is, he's actually married to a distant cousin of mine. sometimes you don't want to hear the stories because they just wreck it for you. sometime not. mark's an utter perfectionist and nothing that he does is not thought through a million times. he hears things so exactly in his head that to not get it drives him mad. unfortunately, working with him also drives people nuts because of that. like going over 8 bars of one song for a week.

 

the thing is to keep at it if it's in you and you love it. at the end of the day - fuck what everyone else thinks.

 

At the end of the day we might both write songs, but you're the Juno award winning, soundtrack to my teenage years songwriter! No matter, that's a very humble, nice thing of you to say. And again, I appreciate your candor and advice. I've already started re-examining songs with all of it in mind. Very cool. I love this: "fuck what everyone else thinks".

 

Very interesting re: Talk Talk. I don't know them beyond their pop hits. I snagged Laughing Stock and Spirit Of Eden based off of your comments. Right away I noticed some similarities with Radiohead's new record, particularly Bloom, as I (think) I've heard you mention before. I'll need some more time to let it sink in. They both seem like daunting records. I can also hear the influence on your music as well- particularly the brooding ambience. That's after a VERY cursory listen, though.

 

Also, speaking of Radiohead, did it make you smile when you first heard Codex (King Of Limbs)? The first thing that came to mind when the piano chords played-- The Rat Who Would Be King ;) which is one of my favourites.

 

I'd also been thinking about the process of choosing a single that you mentioned. It's funny to me. I suppose they have focus groups-- either with randoms or the heads of radio stations? I've only heard a part of How It Goes, but it immediately sounded more memorable to me than Lesser Men (which I'm into, for the record). I've heard this story about Noel Gallagher (Oasis) telling his label to essentially shove the single they selected from Definitely Maybe and release 'Supersonic' instead. I bring it up because I heard you pulled a similar stunt with Apparitions back in 97. Are you completely divorced from picking the song that represents your album now? I mean, is it safer to farm the decision out, so that if it 'fails' the record company can't blame you?

 

OK, I feel like I'm abusing the privilege of chatting with you here now haha thanks again!

 

The other Matt

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Just get Stu to sling a tuba around his back and you'll be fine. ;)

 

Thanks for taking the time to respond here, Matt.

 

And for what it's worth, you've inspired me, though not musically. I suffered with sever depression for years. A video you shot for an interview about seeking help for mental disorders finally spurred me to seek help. I think you won an award or honour or something to that effect. So thank you for having the courage to speak out about issues like that, that have affected you. I know how much courage it must take, because I run into people everyday in my life that I want to tell about my problems and issues, but they still have the wrong ideas about them, misconceptions they've held for their whole lives.

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Though you all may have already heard, I will add to the general consensus that Non Populus is one of the best songs I've heard in a long time. I'm excited for the album, and while I do hold some reservations about how much I will actually enjoy it given that I've heard the demos, I'll admit that I'm less concerned about that right now. Non Populus clearly translates much better on the album version, and at first listen to the demo version I thought it was pretty distant from his other work. I guess that's good, because it's what he set out to do. And if Non Populus was a track that I felt a little iffy about at first, I'm glad that the rest of the record has the same intentions.

 

As far as the Beatles comparison is concerned, I'll admit I'm not even the biggest fan of them. Sgt Peppers Lonely Hearts Club Band was a huge staple as far as my childhood goes. It's one of the only records I actually listened to on vinyl, and I would spend hours having it playing over and over while reading the lyrics on the back cover of the album. Lots of memories. So while I'm not too familiar with the entire Beatles catalogue, maybe I don't have a place in making a comment like that. It's the bass in the song (Lesser men) that stands out in my head, and I find that the riff, tone, and plucking patters (although it might be picking, actually) remind me of listening to Sgt Peppers.

 

Take that how you'd like. I didn't mean it as a compliment even, but if you'd consider it one, you can have it. And I think you deserve it, even if you think you don't.

 

I guess bringing along a keyboardist opens up a little more room to play some of the new material live. Can't wait to see how that translates. I thought Volcanoes was interesting when the guitar intro was played live, so I can only imagine how different it will be for this record.

 

 

And while we have you here, can I ask if you plan on taking on any of your older material that you haven't yet performed with the current band? I know that topic started up a bit of controversy when the last tour got underway, but thought I'd bring it up anyways. It also just occurred to me that the record hasn't even been released yet, so rehearsals probably won't happen for a while, and you've probably got a lot more on your plate other than re-learning old material. So yeah, that discussion is probably very premature so just disregard it if you'd like.

 

Thanks for shedding some light over here, too. It's been kind of stale on these forums since M+ started up, so it gives the boards a nice shot of rejuvenation.

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After a few listens to the finished Non Populus, I'm loving it. It's even better than the demo for sure. There's some clear familiarity yet this doesn't sound like any other song he's done in my opinion. I hear quite a bit of Explosions in the Sky influence and some of these musical segments are every bit as beautiful and more so than EITS. It's Matthew Good so it's obviously better. I like the changes in Matt's voice throughout, the glockenspiel addition, the guitar sound in the solos and the acoustic towards the end has a cool tone. I also really like the female backing vocals. The whole ending is fantastic. Musically this is one of his best songs in a while.

 

Dang it though, this has got to be it for final versions. He says he isn't streaming the record but he does change his mind sometimes. I hope he sticks to it for this because I don't want to hear anymore until the record is released. I even made myself a promise to not listen to anything else until it's released, just in case he does let us hear more.

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Here's different bands or things other people or myself have heard (or been reminded of) somewhere in the new songs:

 

Rush

The Beatles

Tool

Fallout 3 (the video game)

Talk Talk

Explosions in the Sky

Genesis

Dredg

Tragically Hip

Elliott Smith

Pink Floyd

Oasis

Ben Folds

John Lennon

 

Let's see how many we can think of.

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Elements of T-Pain and Eminem really shine through on Non Populus. Unfortunately I don't hear the Rush comparison, but if it were up to me I would substitute the ending with the Tom Sawyer synth outro. Matt will not get another cent from me until that happens.

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Guest Bimbly
Re: Bim

 

There is no question that Radiohead has been highly influenced by the last two Talk Talk records. In fact, most bands of that ilk have been to some extent. When you listen to some of the things Radiohead’s done post OK Computer there are direct links back to Spirit Of Eden and Laughing Stock. The things is, both of those records were made over 20 years ago now, and all of them were done with real instruments.

 

You have to read what went down with Hollis and EMI to really understand the story behind it all. After the success of Colour Of Spring, because it had a very successful international single on it (Life’s what you make it), EMI threw tons of money at Mark to make the follow up. Instead of giving them something along the same lines, the group spent a year in the studio and came up with something so inaccessible that, after a process of trying to get off the label, EMI sued them because the record was not “commercially satisfactory”. The case was thrown out of court, but that’s still a big deal.

 

One thing that they did on that record was after the finished most of it they brought in a variety of players and told them to just play whatever they wanted over top of the entire thing. He and Friese-Greene then spent a lot of time going through it all and nabbing the bits they liked. No that’s genius – and ballsy.

 

They never toured the record, in fact they refused to.

 

But of the two, Laughing Stock is, I think, more important and more inspirational. The genius of Myrrhman and New Grass is absolutely undeniable. Not only that, they both contain elements that bands at present are lifting all over the place.

 

I'm loving the punk rock ethos behind the making of the record. It's easy for me to say with no career on the line, but the idea of bucking the trends, saying fuck it, and putting out this weird Jazz influenced, long form album after a string of hit singles is hilarious and awesome. They're almost like a reverse Genesis.

 

It's cool that you're following in that tradition, too. I think in the end making an album for posterity is always better than aiming for the current charts, anyway. The best 'chart' music is often the stuff that, just by virtue of the zeitgeist, strikes a chord. Beatles, Nirvana, Zeppelin, etc. Or, beyond that... look at The Pixies and My Bloody Valentine. They're more popular now then they were when they were putting out their classics like Doolittle and Loveless! Which is incredible, I think.

 

I've got to say though, I appreciate the craftsmanship in a lot of (arguably vapid) pop songs, too. I thought Teenage Dream by Katy Perry was tight songwriting wise- lyrics excepted. Just had to throw that in to be somewhat contrary haha

 

Pretty wild about the label suing. Didn't Neil Young's label do that to him in regards to one of his 80s albums? Maybe they just rejected one of his bizarro 80's releases on the grounds of it not being "rocking enough"- so he turned in a rockabilly album instead. haha!

Edited by Bimbly
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Doesn't sound like it. I'm surprised since Vancouver came out on vinyl and I would think this one would be of great interest on vinyl. I don't personally care since I don't buy vinyl, don't have a record player, but other people would really like it.

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I've got to say though, I appreciate the craftsmanship in a lot of (arguably vapid) pop songs, too. I thought Teenage Dream by Katy Perry was tight songwriting wise- lyrics excepted.

 

I have a guilty pleasure for that song as well. Unfortunately, it was a total rip-off of Ke$ha's TiK ToK.

 

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As long as we keep Nickelback out of it.

 

Chad Kroeger is one of the most prolific songwriters of today's generation. His words speak to the heart with utmost sincerity and poetry. Take, for example, this quatrain from their smash hit "Photograph"...

Look at this photograph

Every time I do it makes me laugh

How did our eyes get so red?

And what the hell is on Joey’s head?

 

At first glance, you'd say it's a typical AB rhyme scheme, but when delving deeper into the poem's (and it is pure poetry) meter, you'll notice how the 1st and 3rd lengths have a varying meter length, but the 2nd & 4th are equal, signifying a duality within the verses that extend a symmetrical balance, an equilibrium that quantifies the "photograph" emanating feelings both positive AND baleful.

Edited by OriginalSpecies
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I see the album is up for preorder on iTunes Canada, but I don't see any information of the release on iTunes US. Does anyone have this information? If not, would someone be willing to post a comment on Matt's blog for me?

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