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Get Up and Fight

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I would actually say the chorus is the only thing that works in this song. It's just resting on nothing and the song is really tonally weird.

 

Ngl I don’t mind this song at all, I LOVE the pre-choruses, choruses themselves are pretty decent and the verses are alright (2nd verse is better imo due to that melody on the “only you can” etc part).

 

 

Also, has anyone mentioned the ascending piano at the very end of the quiet piano section? Can’t get enough of those signature Matt arpeggios

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This is growing on me. Maybe I'm a sucker for the soon to be nostalgic sounds of early 2010's pop alternative, but dang if that isn't a great chorus, and pre-chorus, and fine verses.

 

No no no, this is a good song. This might even be a great song. Matt sounds so human. And there's so much going on behind the Tove Lo sample.

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This is just fine. If this was on Showbiz, no one would bat an eyelid. Same as Revolt. It reminds me of vvv early Muse. Obvs, much more polished/refined. The verses are very sweet indeed. I really like those soft synths. Great bassline by Chris too.

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I passed by the CD on the rack at Walmart and the sticker said it includes the hit singles Something Human, Pressure, and Get Up And Fight. So either that's an error or this will be the next single.

Chorus is fun to sing and his falsetto screams at the end are the best he's sounded in a minute

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I have no idea why but I keep thinking I’m about to hear Uhn Tiss Uhn Tiss Uhn Tiss by Bloodhound Gang after the samples and the first seconds of the drum beat kicking in, not a good thing considering the topics of both songs are, uhh, rather different.

 

I have been really enjoying this song though, especially with its strong finish and then backed up with Blockades in the context of the album.

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This is just fine. If this was on Showbiz, no one would bat an eyelid. Same as Revolt. It reminds me of vvv early Muse. Obvs, much more polished/refined. The verses are very sweet indeed. I really like those soft synths. Great bassline by Chris too.

 

I agree about the bassline and the soft synths, but I'm too keen on the verses with those "ah ah ah" backing vocals and Matt's delivery. If they weren't there, this song would score definitely more points to my ears. The pre-chorus is quite sweet, though.jiu..

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It's probably my least favorite on the album (tied with the regular version of Something Human), but I still enjoy it.

 

The Tove Lo vocals are the worst part IMO, I find them annoying. But, I like the melody and bassline and general feel of the verses, especially the chords in the pre-chorus. The chorus is good, but, it's not that good; it's very simple and there's nothing much really interesting to it. The chord progression is fairly boring, if that's the right word, and there's no instrumental depth, the vocals+lyrics are really simple as well. It's not bad it's just not exceptional in any way.

 

The final chorus, though... wow. That falsetto is just orgasmic.

 

I also love the bridge section, with the thumping drums and the dispersed guitar sounds. But Tove Lo's vocals sound incredibly out of place there. I don't think they work there in the slightest. They work in the verses (but I still don't like them much there), but the bridge is a heavy section.

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yeh i hope we get an edit without that Tove whatsit. Or I could do it myself with my PC. I wonder why they did that, theyve never had a poppy female robot sound before.

 

But still a good track, gets stuck in your head.

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It's terrible, probably their worst song they've ever written and recorded.

 

What worries me the most though is everything surrounding it. The only song that pop songwriter Shellback is involved with, just happens to sound exactly like something he would've written himself? I can't be a coincidence.

And in the booklet included with the CD it says "additional writing: Shellback".

So it's clear he's been involved somehow, beyond only producing it, or what do you make of it?

To my ears this could just as well been a leftover; something that was written and intended for a pop artist such as Pink, Katy Parry or something, but ended up not being used.

It's only the vocal change and melody in the pre-chorus that prevent it from sounding entirely that way.

 

That's what really bothers me, except the fact that the song itself suck. Because once a band that previously wrote everything themselves suddenly starts to open up for external writers to get involved and shape songs, well, that basically equals the end.

 

To me it was so very clear the melody-style and arrangement, that first time I heard it, that Matt can't have come up with this all by himself. It just not his way of doing things, especially melody-wise. There have been very "flat", more or less un-inspired songs before but nothing like this. It's generic and radio-"ish" on a entirely new level.

Edited by Dysfunco

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What worries me the most though is everything surrounding it. The only song that pop songwriter Shellback is involved with, just happens to sound exactly like something he would've written himself? I can't be a coincidence.

And in the booklet included with the CD it says "additional writing: Shellback".

So it's clear he's been involved somehow, beyond only producing it, or what do you make of it?

 

Modern producers nowadays are often involved with at least some portion of the writing. You see it a lot in the credits for pop and hip hop albums.

 

If I had to guess, I’d say the verses and Tove Lo hook might have been from him, just ‘cos everything else seems pretty distinctly Matt to me.

 

That's what really bothers me, except the fact that the song itself suck. Because once a band that previously wrote everything themselves suddenly starts to open up for external writers to get involved and shape songs, well, that basically equals the end.

 

Mutt basically took over on Aftermath so it’s not really the first time. Then there’s all the covers, both full songs and parts of original songs, and Who Knows Who with Mike Skinner. Them having a modern producer help write one song on an intentionally contemporary album isn’t really a huge, fatal leap from that.

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Modern producers nowadays are often involved with at least some portion of the writing. You see it a lot in the credits for pop and hip hop albums.

 

If I had to guess, I’d say the verses and Tove Lo hook might have been from him, just ‘cos everything else seems pretty distinctly Matt to me.

 

 

 

Mutt basically took over on Aftermath so it’s not really the first time. Then there’s all the covers, both full songs and parts of original songs, and Who Knows Who with Mike Skinner. Them having a modern producer help write one song on an intentionally contemporary album isn’t really a huge, fatal leap from that.

Sure, but then it's still worrying that a song like Get Up and Fight got through Muses' own quality assurance process, so to speak...

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Sure, but then it's still worrying that a song like Get Up and Fight got through Muses' own quality assurance process, so to speak...

 

It might worry you if you think it’s their worst song but I don’t see how it’d be universally worrying, no :chuckle:

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I actually don't mind this song. I think it's saved by being relatively short. It doesn't feel like I have to slog my way through it like some of the other efforts that go on way too long.

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It's terrible, probably their worst song they've ever written and recorded.

 

 

There's always Prague

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What's interesting is Matt said this started out as a "mellow song, a bit like starlight" and Shellback essentially went NO. Wonder how different it would've been.
Source?

 

If this is true, it's exactly what I meant with me being worried with these sort of things. Because a composer/writer with so many years of experience such as Matt, with his own visions, personal style and intergrity, shouldn't be that easy to persuade and influence.

Of all routes you could choose musically -- why would it be "more contemporary" (as Matt apparantly wanted Propaganda to sound be), poppy or radio-like?

Since when did "contemporary" equals good? Has Muse ever been about being that?

Usually trying to be contemporary will only make it feel outdated faster and age worse -- leaving out the most obvious aspect, which of course that you loose your DNA and style you've built up over the years.

 

IMO you should always do your own thing as a band.

Guys such as Shellback and similar pop-songwriters are really stuck in a way of thinking, a formula metodic, that just doesn't suit a real band such as Muse.

 

If the song is about his relatives cancer, which is quite heavy and serious stuff, and it started out as a more tasteful arrangement and song, then I just can't grasp why Shellback would want to ruin it by making it generic and cheesy, and why Matt would allow it or think it would be reasonable... a good idea.

 

I mean, the most direct and for him personally emotional song hi has ever written, basically?

I don't say that anyone else isn't allowed to like the song, but for me all this just feels very very wrong, especially considering what the lyrics is about, and what you just told about how it began.

Edited by Dysfunco

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Source?

 

If this is true, it's exactly what I meant with me being worried with these sort of things. Because a composer/writer with so many years of experience such as Matt, with his own visions and personal style, shouldn't that easily be persuaded and influenced when it comes to these things.

If the song is about his relatives cancer, which is quite heavy and serious stuff, and it started out as a more tasteful arrangement and song, then I just can't grasp why Shellback would want to ruin it by making it generic and cheesy, and why Matt would allow it or think it would be reasonable... a good idea.

 

I mean, the most direct and for him personally emotional song hi has ever written, basically?

I don't say that anyone else isn't allowed to like the song, but for me all this just feels very very wrong, especially considering what the lyrics is about, and what you just told about how it began.

 

It’s not really about being persuaded. They obviously chose to work with him for a reason and any suggestions he contributed were agreed with. Also, I love Starlight but let’s not pretend that and a few other recent ‘mellow’ Muse songs aren’t generic and cheesy :chuckle:

 

Also, I don’t see how the genre is inappropriate at all?

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Sounds like any 30 seconds to mars song.. emo pop.. really bad for Muse :(

 

You should check out their first album because they really used to be a decent band.

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