Drones Album Discussion Thread

[Chryse]

US is saved by the fact that is fantastic live. I'm not mad its kinda boring on the album.

[serpentsatellite]

I listen to almost all of my music on random; I barely ever have time to listen to an entire album.

But, I've noticed when a song from Drones pops up, I'm likely to skip it thinking "nah, I'll listen to that entire album later when I get time."

 

So, despite my not thinking the "point" or story of the album came across very clear, I still listen to the album all the way through when I get the opportunity.

 

Not sure if I think it's a cohesive album as a whole, or if the idea of it as a concept album got imprinted on me pre-release.

[Jobby]

Listened to Defector for the first time in a while and it was a bit more enjoyable than I remember it being. Granted, I'm listening to an edited version without the first chorus but that solo It might not be my favourite solo of theirs' anymore but it's a damn close second to Invincible.

 

Also, Revolt is just as brilliant as I remember it being <3

[OriginOfAbso]

I feel like they really could have made Defector one of their better songs. The solos and the breakdown near the end are brilliant and really capture the spirit of the song, especially with the JFK intro and outro. But then they have to repeat the same lines 4 times with Queen vocals.

 

And I do enjoy Revolt now, I just still can't get over the "You can grow!"

[heyjackk]

 

That's a big reason I've wanted to see the Drones stuff live, because they seemingly figured out how to put some emotion back into their material, and I was big on seeing if that translated live this time.

 

 

It's why I really hope Matt doesn't keep doing that shitty falsetto in Dead Inside's ending, it sounds so powerful and emotional at the ending and needs to stay that way.

[Citizen Erased 01]

still a damn fine album, the only dud for me is Defector. Even enjoy Mercy and DI still (but don't think they're very good live).

 

Way more staying power than 2nd Law

[Alec Ferris]

I dunno, I've always really liked US. It's campy, but not in that uncomfortable, love letter to Bono way we've been exposed to in recent years. The ending was massive live.

 

This.

 

Missed you, Bumpy

[s3ker]

Some time has passed. Here are my current thoughts on it.

 

There are moments on drones I'm not a huge fan of. Psycho feels lazy (especially when it seems even the majority of Abso/BhAR b-sides have had more thought put into them than this track), and I'm always on the fence about Defector and some bits on the 2nd half of the record.

 

The concept comes across, but it's a tad too in your face. Even the cover...jesus. The thing with drone warfare and a lack of empathy is something that could be properly explored, but it falls flat right at the cover. You're this mega band, you've got all sorts of resources at hand. And somehow you end up hiring an artist that comes up with something that looks like whats going on in the brain of a 18 year old liberal on it's first year of taking political science in uni. Maybe I wouldn't mind it being obvious if it was good to look at. But it's just...ugly. And not in an artsy way where it's supposed to be ugly and shocking to look at. It's just... meh. I'm surprised Warner went with it, it's a tough sell.

 

Yet, the whole thing has done more for me than TR or T2L I don't dislike those records, and unlike what some people like to believe, I don't think they've dumbed it down on those, and in some ways I think they upped their game. They experimented with loads of stuff I'm actually into, but sometimes those experiments just felt like caricatures. Caricatures of genres and things they were interested in. So even though the tracks were well done, they were a bit hollow.

 

But Drones feels like the first in a while while where the music is driven by emotion. Even when it's being cheesy and way too literal (Dead Inside, Revolt, Aftermath, etc.) it feels like it's coming from somewhere sincere. Seems like this wide range of (at times, contradicting) emotions that Matt just needed to get out through his songwritting.

 

I found myself relating to Dead Inside, and I haven't gotten tired of it since it was released. It's equal parts cheesy and honest, with outstanding vocals delivered on top. That bridge gets me every time, same goes for The Handler. T2L seems like Matt's vocal peak but I think here he finally kinda nailed the right balance between the theatrics and his older style.

 

Also, even though they stripped it down a bit, I like how theres still loads of attention to detail. I really like all the arrangements and layers of harmonies. The boys work that studio.

 

While it sits a bit behind BhAR/Abso/Origin, I think it's a step in the right direction, and I'm really looking forward to hear all the new tunes live.

 

 

/rant

Edited October 31, 2015 by s3ker

[Museic Syndrome]

Some time has passed. Here are my current thoughts on it.

 

There are moments on drones I'm not a huge fan of. Psycho feels lazy (especially when it seems even the majority of Abso/BhAR b-sides have had more thought put into them than this track), and I'm always on the fence about Defector and some bits on the 2nd half of the record.

 

The concept comes across, but it's a tad too in your face. Even the cover...jesus. The thing with drone warfare and a lack of empathy is something that could be properly explored, but it falls flat right at the cover. You're this mega band, you've got all sorts of resources at hand. And somehow you end up hiring an artist that comes up with something that looks like whats going on in the brain of a 18 year old liberal on it's first year of taking political science in uni. Maybe I wouldn't mind it being obvious if it was good to look at. But it's just...ugly. And not in an artsy way where it's supposed to be ugly and shocking to look at. It's just... meh. I'm surprised Warner went with it, it's a tough sell.

 

Yet, the whole thing has done more for me than TR or T2L I don't dislike those records, and unlike what some people like to believe, I don't think they've dumbed it down on those, and in some ways I think they upped their game. They experimented with loads of stuff I'm actually into, but sometimes those experiments just felt like caricatures. Caricatures of genres and things they were interested in. So even though the tracks were well done, they were a bit hollow.

 

But Drones feels like the first in a while while where the music is driven by emotion. Even when it's being cheesy and way too literal (Dead Inside, Revolt, Aftermath, etc.) it feels like it's coming from somewhere sincere. Seems like this wide range of (at times, contradicting) emotions that Matt just needed to get out through his songwritting.

 

I found myself relating to Dead Inside, and I haven't gotten tired of it since it was released. It's equal parts cheesy and honest, with outstanding vocals delivered on top. That bridge gets me every time, same goes for The Handler. T2L seems like Matt's vocal peak but I think here he finally kinda nailed the right balance between the theatrics and his older style.

 

Also, even though they stripped it down a bit, I like how theres still loads of attention to detail. I really like all the arrangements and layers of harmonies. The boys work that studio.

 

While it sits a bit behind BhAR/Abso/Origin, I think it's a step in the right direction, and I'm really looking forward to hear all the new tunes live.

 

 

/rant

 

Grest post.

[altbecky]

Why does Aftermath have to suck so much. The beginning is gorgeous and then it takes a horrible turn to country diva and leaves me crying for what could have been. It's just so disappointing.

[serpentsatellite]

They had to come up with some way to make it not a total reworking/cover of Brothers in Arms. There's already a lot of reworked songs on the album...

[simplytom]

Why does Aftermath have to suck so much. The beginning is gorgeous and then it takes a horrible turn to country diva and leaves me crying for what could have been. It's just so disappointing.

 

^ Totally agree

 

But... at least it's not Guiding Light

[Bumpypotato]

This.

 

Missed you, Bumpy

 

<3

 

But... at least it's not Guiding Light

 

I actually prefer Guiding Light.

[Mechagodzilla]

Aftermath, I thought was good... until all the vocal layering comes in near the end.

[Spectrum IV]

Aftermath >>>>>>>>> GL

[Hopix]

Aftermath, I thought was good... until all the vocal layering comes in near the end.

 

Said everyone ever.

[serpentsatellite]

So, The Globalist. I've for some reason listened to this like 15 times today after not listening to it for quite a while.

 

Are there two people in this song/alive at the end, or is this sort of an "other Barry" situation? (Matt talking to himself.)

 

Granted, there's a "babe" there in the end, but there's a meaningless one in Reapers, too.

Because it ends with "I just needed to be loved."

 

Or is it about just giving in and living with someone even though you hate one another?

 

I don't see it being completely the "bad" ending if two people were alive together who loved one another.

 

And I don't think I even have my own, separate feelings on Aftermath. I know I think the first and last lines are sung poorly. But, for the rest of it, all I remember when I listen to it, ever, is the look on my boyfriend's face when we were first listening to it together. It was like that emojii with the hearts for eyes, in real life.

[Finn.]

So, The Globalist...

Granted, there's a "babe" there

 

Is not a "babe", it's Babe, the talking pig, after nuking the whole world the protagonist and his pig start a farm with sheeps, dogs and ducks.

 

That's the way i see it.

[matewr]

So, The Globalist. I've for some reason listened to this like 15 times today after not listening to it for quite a while.

 

Are there two people in this song/alive at the end, or is this sort of an "other Barry" situation? (Matt talking to himself.)

 

Granted, there's a "babe" there in the end, but there's a meaningless one in Reapers, too.

Because it ends with "I just needed to be loved."

 

Or is it about just giving in and living with someone even though you hate one another?

 

I don't see it being completely the "bad" ending if two people were alive together who loved one another.

 

And I don't think I even have my own, separate feelings on Aftermath. I know I think the first and last lines are sung poorly. But, for the rest of it, all I remember when I listen to it, ever, is the look on my boyfriend's face when we were first listening to it together. It was like that emojii with the hearts for eyes, in real life.

 

I think, its about women who control that bad guy. He needed to be loved, so he did this whole thing, just for the pleasure of this women. Or maybe, he is alone, and he did this, because of loneliness... you know, absence of love, is really bad thing and it can make you hate the whole world.

[heyjackk]

Or maybe, he is alone, and he did this, because of loneliness... you know, absence of love, is really bad thing and it can make you hate the whole world.

 

Pretty sure it's this theory. Couldn't get her to love him so he had a tantrum and blew up the world

[serpentsatellite]

I figured more along the lines of 'was never shown love and thus never knew how to be loved or love in return' - but I was more wondering if there were two people alive at the end, or one.

One would seem to belie the lonely part, but I guess honestly being left alive with someone who will never love you is also pretty depressing.

[heyjackk]

I figured more along the lines of 'was never shown love and thus never knew how to be loved or love in return' - but I was more wondering if there were two people alive at the end, or one.

One would seem to belie the lonely part, but I guess honestly being left alive with someone who will never love you is also pretty depressing.

 

considering he literally sings "it's you and me babe survivors," I'd assume the main character of the song is alive with someone else

[Museic Syndrome]

So, The Globalist. I've for some reason listened to this like 15 times today after not listening to it for quite a while.

 

Are there two people in this song/alive at the end, or is this sort of an "other Barry" situation? (Matt talking to himself.)

 

Granted, there's a "babe" there in the end, but there's a meaningless one in Reapers, too.

Because it ends with "I just needed to be loved."

 

Or is it about just giving in and living with someone even though you hate one another?

 

I don't see it being completely the "bad" ending if two people were alive together who loved one another.

 

And I don't think I even have my own, separate feelings on Aftermath. I know I think the first and last lines are sung poorly. But, for the rest of it, all I remember when I listen to it, ever, is the look on my boyfriend's face when we were first listening to it together. It was like that emojii with the hearts for eyes, in real life.

 

 

 

Or maybe Matt just didn't have a fucking clue what he was writing and just added 'babe' in every second song cuz someone told him it's cool now. Maybe Bingham.

[serpentsatellite]

considering he literally sings "it's you and me babe survivors," I'd assume the main character of the song is alive with someone else

 

You'd think; but that doesn't mesh to me with the "forever alone" ending.

 

And, I mean, he's admitted to putting a "babe" in Reapers, 'just for funzies.'

 

For some reason, I really want to believe it's a madman talking to himself.

[MartianSpaghettiRider]

For some reason, I really want to believe it's a madman talking to himself.

 

It's highly possible. An excuse of what was once a man, left all alone and deranged because of his own massive, destructive madness, speaking with his own mind.