![]() If you spend multiple careers turning out lyrics that are shrouded in poetry and intentional obfuscation and then you excise that from your life, sometimes you need to spend some time speaking plainly until you can re-learn how to engage with that in a way that feels comfortable and healthy again. I think that the Palms/TBEITBN plain-faced lyrics were a needed change of pace for Dustin, and I'm now head-canon convinced that Dustin may have done that as a reaction to deconstructing his brand of evangelicism, which makes tons of sense. Lyrically it's nice to see Dustin obfuscate stuff again. Anthology gets the same sort of feeling because at the end of that Dustin keeps pushing up and up but the band wasn't doing the same. The modulations in the last chorus are a fun thing they don't do very often- not sure off the top of my head if they've ever done multiple modulations like that before. ![]() Not sure if that big cymbal in the bridge is a sizzle or a china, but it's recorded in such a neat way I have a lot of questions- wouldn't be surprised if that exists as a solo element mic'd from a mile away and they just reproduce it on stage with a big splash or sizzle or something.Ĥ/4 through the verses, 4/4 - 3/4 in the chorus with a 4/4 - 4/4 on the last two bars to transition back to the verses. Since Teppei engineered this again, seems like a real intentional choice and how they like the rhythm section to sound moving forward. Sonically this sounds a lot like the mixes on Major/Minor, which I enjoy- the bass is fat and beefy, Riley's using a lot of ghost notes on the snare for rhythm and to push momentum instead of using the kick like he did in the early days (makes sense, need to take care of bum knees).
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