spark_
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Everything posted by spark_
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Stunningly, there are other events in peoples' lives which are more important than going to a music festival.
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That is an all-time-great troll.
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http://www.smh.com.au/entertainment/music/muse-paul-weller-and-ffs-bring-back-the-1970s-we-should-have-had-20150609-ghizhk.html I assume this counts as a review, though it's more of a thinkpiece at times. 4 stars nonetheless.
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Yeah I've definitely heard of this being the case for games, so you'd imagine it's similar for music.
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Yeah in isolation that's fine. I just miss the wannabe-virtuoso piano of earlier albums where it really dominated the songs. It's a big element of their songwriting which has gone completely missing over the last few years.
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It's not really prominent, though. It's just sort of there, providing background harmony.
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What's happened to Matt's piano playing in general? Last two albums have had a real lack of the at least technically impressive sounding piano of OOS, Absolution, TR etc.
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The entire bassline of the verses on Megalomania is identical to the opening part of the 1st movement, there's a direct quotation of the 3rd movement's central theme on Butterflies and Hurricanes, Space Dementia obvs
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Well, Muse have done it fine before. Look at the number of clear but not in-your-face Rachmaninoff quotations in their early work - so I don't quite buy that it would be too obscure if they didn't just flat out copy the entire piece.
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Written a piece in the same style, using the same sort of harmonies, melodies etc without actually being... y'know, the same.
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Yeah this is the track which has grown on me the most. The weird structure bothers me less and less the more I get used to it, I suppose.
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Well he did say he was kind of indifferent to it...
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Interesting, those are the opposite comments I would have made about the production in comparison to TR or (especially) BHAR. Perhaps there were bigger crimes on those albums than the way they were produced which meant they didn't stand out to him, but I'm surprised by that.
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That's neat, but even then that still would have come through if they had just quoted/alluded rather than done a flat-out cover/rearrangement.
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The DiS one is harsh but it's a perfectly legitimate music review, unlike the other one (but we've all commented on that already)
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Yeah it's just "what makes it truly succeed, though, is how Muse manages to make each song stand on its own" kinda makes me go "okay... expand on this, please..."
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I read that, got to the last line, assumed that there would be another half to the review after the video, got very confused when there wasn't....
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Strongly suspect that he actually quite likes Absolution at a minimum, given that the last line references and links AP in what seems to be a positive (nostalgic?) way.
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In stunning, stunning news, not all music reviewers like the same things.
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The main thing I'm getting out of this is that the reviewer really, really doesn't like Exo.
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What on earth? 4.5 is not extremely low for a Pitchfork review. They actually use the entirety of the 10-point scale and have given quite a number of 0.0 reviews. I read somewhere that the score and the review are done by different people, not sure if it's true, though.
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He's consistent with that, though. The things he liked about T2l were the patently, deliberately absurd bits such as Panic Station and Survival, which is exactly the sort of stuff the band has cut out in Drones - so it stands to reason that he'd like this less.
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You'd run into the problem that none of the three parts, one their own, have enough to them to hold up as individual songs. Not a criticism, ofc, as it wasn't constructed that way.
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At least that way you actually have to do something to see it, though, rather than just have it spat out at you with no real context. As for the Pitchfork review: not really sure what the problem is, tbh. It's harsher than I expected it to be, but it's hardly a complete flogging. Is the problem here that they don't align with everyone else's reviews? Or that they don't cater to the same demographic and music tastes as everyone else? It's self-indulgent and wanky, and I would preferred if they were more specific about what they actually liked/disliked on any given song and less Radiohead references, but it's Pitchfork. You expect that.
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Could anyone else barely hear Matt singing during the second half of Mercy? No idea what was up there.