Discussion in 'Music Discussion' started by MistaMarko, Aug 21, 2010.
.....misleading phrase thanks devronius
oh wow i called it months earlier.
They should get Axenrot to play drums when they realize there is actually a need for them.
There will probably be a track of Akerfeldt farting and Wilson inhaling them and remarking with wry, loving, British wit: "Remarkable!", "Magnificent!', "Resplendent!", "Spectacular!"
Then a ten minute experimental track where Akerfeldt talks about his record collection whilst masturbating and Wilson makes laser noises with a guitar.
Now that we finally know when the hell this is getting done I'm anxiously waiting for a song to be released
not expecting great things tbh
Between Mikael's non-metal weird spacy direction, Blackfield's weird, spacy music, SW's new weird and spacy album, and SW saying PT's next album beig weird and spacy because he's tired of metal, I can't foresee this collaboration being interestingly differentiable from everything else.
Steven said on facebook that Heritage, Grace for Drowing and this album are a trilogy.....
I haven't been excited by either of the first two so I'll be quite surprised if this one does it for me either
I'm confused at how that is supposed to even work. You can't just be like "hey, let's make these other two albums we just separately made the first two parts of a trilogy, with the third part being this storm corrosion album. these suckers are gonna eat that shit up"
Not that complicated: they're riding the same vibe/train of thought and wrote all the stuff around the same time period. And I'll pre-order it based on the content of Heritage and Grace for Drowning.
They didn't set out to make a trilogy or anything. You guys are taking it wrong. It's more that they were both writing their albums at the same time, and also writing this. All three are coming from the same period in the artists lives and obviously influenced by each other and have the same sort of general idea and aesthetic, probably not in order to make it a trilogy, but just because that's what these two are interested in at this time. Steven was just saying that there are general ideas and themes that probably unintentionally come through on all three. Having heard Heritage and Grace for Drowning, yeah they definitely don't fit together like a "trilogy" might, but there's enough of a connection that you can kind of see both were interested in experimenting with their sound and also bringing back a sort of old prog rock aesthetic. I'm guessing Storm Corrosion will continue this sort of thing in a way.
Edit: Yeah, ghostnotes got it before me.
It's fine if it is in the same vibe as GFD and Heritage....but I'm not a fan of calling three different albums a trilogy if they weren't originally meant to be a trilogy. If Storm Corrosion had set out to create a trilogy, with this first album being the first part, it would have been different. It doesn't feel the same just being like "yeah, these other two albums are part of a trilogy." That would be like Dream Theater randomly saying a few months ago that ADTOE and Static Impulse are two parts to a trilogy...it would feel incredibly awkward to just randomly combine the two like that despite no lyrical or intentional likeness.
Holy shit Spaceman he didn't mean a literal trilogy dammit!!!
From his Facebook, earlier on:
I know it's not a literal trilogy lol, it just kinda bothers me that they called it a trilogy at all :shrug:
This got blown out of proportion anyways, it only bothered me a little bit
but thanks for posting that quote, that made it make more sense
April 2012. 6 tracks, each over 10 minutes long. I'm pretty excited
Finally the trilogy will be complete
Interested in what this will sound like.
No drums is an interesting choice.
Yeah. No drums makes me think it'd be something very acoustic and folky, but then 10 minute songs kinda goes against that.
I'm kind of indifferent towards this. Who woulda thunk that I'd expect Akerfeldt to be the one gaying this thing up? But Wilson is pretty strong at the moment, so we'll see.
I think they said it's kind of orchestral and dark, but it will probably have folky stuff too i think.
It's gonna be a Scott Walker rip off.
I'll be shocked if this isn't ultimately pretty boring. I used to love both of these guys, but it's been a long time since either of them captivated me.
Listen to Grace For Drowning.
I actually listened to it twice today. It's a fine record, but at no point does it every blow me away.
I quite enjoyed Insurgentes, but Grace for Drowning and the most recent two PT records I find for the most part pretty dull.
What the hell is wrong with you guys?
Once upon a time, Steven Wilson wrote great hooks-- whether they were lyrical, melodic, rhythmic, emotional, etc.-- and sometime after Deadwing came out he seemed to forget how. I know it's not very prog to admit, but what draws me (and most music listeners on the planet) into a song is a hook of some kind, and his music has been largely devoid of them for some time. He still puts out solid material, but it just doesn't stick much anymore.
What? He has a lot of insanely great hooks still. Great Expectations was a great vocal hook pretty much the entire way through. The verses in Drawing the Line were great hooks. I Drive the Hearse had a bunch of great vocal hooks. In Grace for Drowning I thought there were quite a few good hooks in Deform to Form a Star, Postcard, and Like Dust especially. Really, even as a prog lover I'll admit that hooks bring me into a song. That's why I love Wilson so much. He seems to have so many in almost every song.
Am I the only one who thinks that there were a few fantastic hooks in FOABP as well?
I think my problem with FOABP wasn't the lack of hooks (there were a few good ones) but more with the production and composition. He kept banging on about how this was a single piece split into six tracks, but it didn't feel like that, it just felt like six songs with linking lyrical themes. I discovered later on the Nil Recurring disc that all the musical cohesion and recurring themes had been cut from the record for whatever reason. Just to account for Wilson's sudden need for his records to be within vinyl record length I guess? Nevertheless, I really enjoy the songs of FOABP, especially Way Out and Sleep Together, but I don't really enjoy the album as a whole, especially after about five albums in a row I'd consider close to masterpiece level.
FOABP does have some good hooks, but I'd say a bit less than some of the other PT and SW records. My real problem with FOABP, I think, comes with the fact that they played everything live first, and I got used to the bootlegs. I thought Steven's vocals had way more hooks live than they did on the record. On the record they were much more subdued and almost sounded like he was drugged. I'm sure that was a stylistic choice, and it makes sense, but I really preferred the live vocals. My Ashes sounded almost agonizing live. Anesthetize had a great vocal hook when he said "shuffling through the stores like zombies" and "god tempt me" that just didn't happen at all on the studio versions. Sleep Together also sounded almost angry and had a sort of biting edge to it that wasn't as pronounced on the studio version, too.
I agree that the vocals sound better live, like when Wilson adds emphasis that wasn't in the album itself. RDreamer, do you remember My Ashes on the Anesthetize Live DVD? John Wesley sings the "and my ashes..." part and it fucking kills me, like sends shivers down my spine. But in the album itself, I hear no Wesley on that part. He's a much better vocalist than Wilson, which really makes me wish he was an actual member of the band, sung more, etc. Not that Wilson is a terrible vocalist, but seriously, Wesley is way too good a singer to not utilize more.
I definitely agree Wesley adds a ton with his backing vocals. The FOABP songs are loads better live.
That's actually the one Wesley part I'm not particularly fond of. Everything else he's in I love, especially stuff like Fadeaway. I do wish he'd join just for a bit of vocal variety in PT. I still prefer Wilson most of the time, but that's because the parts were written for him. Wesley is amazing on his solo stuff, with things that were written with him in mind. Adding in some of that to PT would be really cool. And just overall backing vocals on the albums would be great, too.
Regarding MP's "wrongful exclusion" from this project, I really think that SW & MA merely did not regard MP as the talent that they have regarded themselves within their own bands. There will most undoubtley be drums, they were just being nice to that obnoxious kid on the block that was just being reeeally annoying.
According to this interview there are drums, just not much. SW says there's like 15 to 20% drums, and they're done by Gavin Harrison.
Akerfeldt, you liar I assume that the scarce drumming is going to be really ambient-sounding anyways.
Waste of talent.
what? You're telling me that's a bad thing?
The 15-20% part
No. I meant the Gavin Harrison thing. I'm sick of all of SW's projects relying on Gavin Harrison. SW already sounds fairly samey, but adding the same drummer to the mix just makes it all the worse.
If it ain't broke, don't fix it! And I think SW will sound samey no matter who drums.
But Gavin Harrison is one of the best drummers in the world. And recording an album is really expensive, so if you're going to hire a session drummer why take a risk with someone you don't know rather than hiring a player you already know will be great and efficient?
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