I'm ready to leave, I'm ready to live
Mar. 20th, 2011 09:57 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
harborshoreSo I've been making happy little mentions of that new album for a few days, but I haven't talked about it at length yet (except for in email with some lovely people who don't mind it when I capslock at them, er, come out with measured and considered commentary I mean). But I do want to talk about it here. (Partly because pollen season is starting and I woke up decidedly grumpy, and writing this will help.)
The following contains: incoherent commentary, music nerdery, delight, some talk about voices and production and fun (the regular kind, though I am horribly jealous of those of you who get fun. as an opening act), and all of it adds up to a great deal of excitement about seeing them live in May (if the stars all align in the right way), for I have heard VERY good things about their most recent live shows.
Also it got pretty long.
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fictionalaspect said it really well: Basically, this is an album that wants to grab you by the hand and take you out dancing. It is like HEY! HEY! LET'S GO DRIVE AROUND IN THE SUNSHINE AND SING AT THE TOP OF OUR LUNGS!
I couldn't agree more. It's unabashed, unashamed pop of the most fun kind, where radio-friendliness hasn't taken away the quirks of the music--I think Ready To Go (Get Me Out of My Mind) is one of the more well-crafted singles I've heard in a good while. Simple, infectuous, hell-yes-we're-going-dancing-because-how-could-you-listen-to-this-and-sit-still?
But I promised music nerdery. Yes! Instrumentation and production, let's talk about that. Can I tell you just how much of a relief it is to listen to an album where ALL the songs don't start out in one register and finish in the same one--my dad used to say this thing about actors who came on stage and immediately started yelling, "But where are they going to go when it gets really emotionally intense?" The same is true about starting out quiet and never leaving that register.
And production/instrumentation is an easy way to work with that, because yes, you can start out a song singing over a pretty bare track and fill it out at the chorus with wailing background noises and bigger drums and then go back and then go somewhere else--which, ah, these boys apparently understand dynamics, and I can't tell you how much of a relief that is to listen to. Examples include "Let's Kill Tonight" and "Hurricane" but it's pretty evident throughout.
So yes, I do appreciate the instrumentation and the production on this--I've listened to this album quite a number of times by now, and discovering something new every time is kind of the best thing ever. It's quirky and it's fucking weird in places, and random accordions and synthesizers and ugh, yes. They never end up in that wall-of-sound sort of feeling that is so boring (and is the reason why Let It Be ought not to have been produced by Phil Spector, because fuck that shit, those songs don't need that). Also, I love the fact that Brendon's voice is never overshadowed--sometimes he uses it as an instrument, that is, it's a part of the greater puzzle, and sometimes it's all alone, but he's never hidden, which, oh my god, EVERYONE fails at that all the time.
Speaking of the way Brendon sings, that's a good way to segue into talking about musicianship, right? Hi, they're both pretty amazing. I mean, yes, the fact that Spencer is apparently determined to never play boring rhythmic parts ever again is pretty hilarious(ly adorable), because even on Always, the quiet ballad that sounds like Brendon's spent some time listening to older music, Spencer's avoiding straight fours and also doesn’t do the same thing in the first verse as he does on the second.
But the rhythm is part of what makes this album so fun, part of the reason why this album feels like spring and dancing and smiling (even as it sometimes is ALSO ABOUT DEATH AND VERY SERIOUS FEELINGS, but we'll get to that). I mean, Ready To Go? That song is pretty much a great demonstration of an awesome pop song that makes you grin and turn up the volume and sing along happily. The drive of it is a big reason why (I mean I love that song as it is, but the drive? FUCK YES, I want to daaaance.).
And so yes, musicianship. Spencer's drumming, hi bb, it's nice to have you back, and Brendon--okay. I love some songs on Pretty. Odd. a lot, don't get me wrong--I think Folkin' Around, Mad as Rabbits, When the Day Met the Night and Northern Downpour are absolutely great, but two things were severely under-utilized on that album: Spencer's drumming and Brendon's vocal versatility. I say this as someone who loves sixties pop and more modern versions of it (hi, The Like), but yeah, for parts of that album they weren't playing to their strengths as a band. And that's not saying you must to write the same style of music always, but when you have a drummer that can do what Spencer does, and you have a singer with that range and those abilities to switch registers, yeah. I loved Pretty. Odd., but I wanted it to do more with what the band had, if that makes sense.
So yes, this album. Brendon's voice--the way he does Always and Let's Kill Tonight and Memories and--depending on the story he's telling, the production changes, the way he sings changes, his fucking RANGE (STALL ME, okay, I'm going to talk more about that song later, but yes, his range). Brendon playing all of the instruments, the two of them playing everything except the strings? That is seriously impressive (and I want him and Laena to do a side project so badly, even though I know that will never happen, but hi, oh my god, it would be the best of all things--I shall have to settle for Raw Geronimo and whenever Panic officially admits to letting Dallon in the band and they start writing songs with him). In a lot of ways, this album is about the music and all the things happening in it, and that makes me really happy. Real skill, knowledge about how to use it--fun. tweeted something about Brendon and Spencer being among the most talented musicians they'd ever met after they spent some time in the studio together, and I can see why.
Jesus, this got long. Sorry guys? Anyway, I'm almost done. I want to talk about the lyrics for a bit, and then the minor gripes I have with this album (THERE IS A SONG THAT SHOULD BE ON THE ALBUM PROPER), and then I will, you know, stop, even though I could certainly go on. And on and on.
Lyrics! I think this album demonstrates two things: Brendon Urie knows how to tell a story and he knows how to use something that should be too simple to work ("I'm a light at the end of the road/blink back to let me know") and make it just right. I will readily admit to there being some hilarious lines on here. I tease because I love, but this is where the I HAVE SERIOUS FEELINGS part I mentioned earlier comes in, because "bad glue on a get-well card" as a simile makes me grin and shake my head a bit, but I suppose we can add that to the general collection of hilarious bandom lines: "I want to be the friction in your jeans"? "Took you in the vineyard a couple of hours after I met you"? "Come on come on I want to kiss your battery"? etc. Well, The Hush Sound, apart from Medicine Man, which is a bit skeevy for other reasons, do tend to solidly composed songs with lyrics that both mean something and work with the song. Hurricane is genuinely one of my favorite songs in the world. /tangent, because I MISS THEM and as much as I like Gold Motel sometimes, I prefer the Hushies. So goddamn good.
However. Songs like Memories, where the verses definitely show the fact that Brendon can put together a story really well and have it make sense (ahaha, a rare talent indeed), and songs like Stall Me and Sarah Smiles? Brendon's lyrics often work well for the same reason as Fall Out Boy's lyrics often work--he's a singer writing songs, and Patrick put Pete's words together in a way that made it work for him to sing them. They both understand sounds, and I love that. Sarah Smiles is a perfect example: "You've fooled me twice with your lies and I say--" Look at that assonance! It's really simple, but hi, does it ever work to push us over into the chorus.
And I'm almost done, but first, the one major gripe I have with this album is that Stall Me is a bonus track and not on the album proper. It's a fucking amazing song. Track it down if you don't have it, I just--WHY would you not put that on the album. I would have it in the first half, because the only other thing that I would change is that I would reshuffle the song order just a little bit, and Stall me would fit in really well. Also it's a good fucking song, one of the best ones from this, Brendon and Spencer, do not hide it from us!
In short, WELL DONE, boys, I can't wait to see you in May. Cannot wait. ♥
The following contains: incoherent commentary, music nerdery, delight, some talk about voices and production and fun (the regular kind, though I am horribly jealous of those of you who get fun. as an opening act), and all of it adds up to a great deal of excitement about seeing them live in May (if the stars all align in the right way), for I have heard VERY good things about their most recent live shows.
Also it got pretty long.
fictionalaspect said it really well: Basically, this is an album that wants to grab you by the hand and take you out dancing. It is like HEY! HEY! LET'S GO DRIVE AROUND IN THE SUNSHINE AND SING AT THE TOP OF OUR LUNGS!I couldn't agree more. It's unabashed, unashamed pop of the most fun kind, where radio-friendliness hasn't taken away the quirks of the music--I think Ready To Go (Get Me Out of My Mind) is one of the more well-crafted singles I've heard in a good while. Simple, infectuous, hell-yes-we're-going-dancing-because-how-could-you-listen-to-this-and-sit-still?
But I promised music nerdery. Yes! Instrumentation and production, let's talk about that. Can I tell you just how much of a relief it is to listen to an album where ALL the songs don't start out in one register and finish in the same one--my dad used to say this thing about actors who came on stage and immediately started yelling, "But where are they going to go when it gets really emotionally intense?" The same is true about starting out quiet and never leaving that register.
And production/instrumentation is an easy way to work with that, because yes, you can start out a song singing over a pretty bare track and fill it out at the chorus with wailing background noises and bigger drums and then go back and then go somewhere else--which, ah, these boys apparently understand dynamics, and I can't tell you how much of a relief that is to listen to. Examples include "Let's Kill Tonight" and "Hurricane" but it's pretty evident throughout.
So yes, I do appreciate the instrumentation and the production on this--I've listened to this album quite a number of times by now, and discovering something new every time is kind of the best thing ever. It's quirky and it's fucking weird in places, and random accordions and synthesizers and ugh, yes. They never end up in that wall-of-sound sort of feeling that is so boring (and is the reason why Let It Be ought not to have been produced by Phil Spector, because fuck that shit, those songs don't need that). Also, I love the fact that Brendon's voice is never overshadowed--sometimes he uses it as an instrument, that is, it's a part of the greater puzzle, and sometimes it's all alone, but he's never hidden, which, oh my god, EVERYONE fails at that all the time.
Speaking of the way Brendon sings, that's a good way to segue into talking about musicianship, right? Hi, they're both pretty amazing. I mean, yes, the fact that Spencer is apparently determined to never play boring rhythmic parts ever again is pretty hilarious(ly adorable), because even on Always, the quiet ballad that sounds like Brendon's spent some time listening to older music, Spencer's avoiding straight fours and also doesn’t do the same thing in the first verse as he does on the second.
But the rhythm is part of what makes this album so fun, part of the reason why this album feels like spring and dancing and smiling (even as it sometimes is ALSO ABOUT DEATH AND VERY SERIOUS FEELINGS, but we'll get to that). I mean, Ready To Go? That song is pretty much a great demonstration of an awesome pop song that makes you grin and turn up the volume and sing along happily. The drive of it is a big reason why (I mean I love that song as it is, but the drive? FUCK YES, I want to daaaance.).
And so yes, musicianship. Spencer's drumming, hi bb, it's nice to have you back, and Brendon--okay. I love some songs on Pretty. Odd. a lot, don't get me wrong--I think Folkin' Around, Mad as Rabbits, When the Day Met the Night and Northern Downpour are absolutely great, but two things were severely under-utilized on that album: Spencer's drumming and Brendon's vocal versatility. I say this as someone who loves sixties pop and more modern versions of it (hi, The Like), but yeah, for parts of that album they weren't playing to their strengths as a band. And that's not saying you must to write the same style of music always, but when you have a drummer that can do what Spencer does, and you have a singer with that range and those abilities to switch registers, yeah. I loved Pretty. Odd., but I wanted it to do more with what the band had, if that makes sense.
So yes, this album. Brendon's voice--the way he does Always and Let's Kill Tonight and Memories and--depending on the story he's telling, the production changes, the way he sings changes, his fucking RANGE (STALL ME, okay, I'm going to talk more about that song later, but yes, his range). Brendon playing all of the instruments, the two of them playing everything except the strings? That is seriously impressive (and I want him and Laena to do a side project so badly, even though I know that will never happen, but hi, oh my god, it would be the best of all things--I shall have to settle for Raw Geronimo and whenever Panic officially admits to letting Dallon in the band and they start writing songs with him). In a lot of ways, this album is about the music and all the things happening in it, and that makes me really happy. Real skill, knowledge about how to use it--fun. tweeted something about Brendon and Spencer being among the most talented musicians they'd ever met after they spent some time in the studio together, and I can see why.
Jesus, this got long. Sorry guys? Anyway, I'm almost done. I want to talk about the lyrics for a bit, and then the minor gripes I have with this album (THERE IS A SONG THAT SHOULD BE ON THE ALBUM PROPER), and then I will, you know, stop, even though I could certainly go on. And on and on.
Lyrics! I think this album demonstrates two things: Brendon Urie knows how to tell a story and he knows how to use something that should be too simple to work ("I'm a light at the end of the road/blink back to let me know") and make it just right. I will readily admit to there being some hilarious lines on here. I tease because I love, but this is where the I HAVE SERIOUS FEELINGS part I mentioned earlier comes in, because "bad glue on a get-well card" as a simile makes me grin and shake my head a bit, but I suppose we can add that to the general collection of hilarious bandom lines: "I want to be the friction in your jeans"? "Took you in the vineyard a couple of hours after I met you"? "Come on come on I want to kiss your battery"? etc. Well, The Hush Sound, apart from Medicine Man, which is a bit skeevy for other reasons, do tend to solidly composed songs with lyrics that both mean something and work with the song. Hurricane is genuinely one of my favorite songs in the world. /tangent, because I MISS THEM and as much as I like Gold Motel sometimes, I prefer the Hushies. So goddamn good.
However. Songs like Memories, where the verses definitely show the fact that Brendon can put together a story really well and have it make sense (ahaha, a rare talent indeed), and songs like Stall Me and Sarah Smiles? Brendon's lyrics often work well for the same reason as Fall Out Boy's lyrics often work--he's a singer writing songs, and Patrick put Pete's words together in a way that made it work for him to sing them. They both understand sounds, and I love that. Sarah Smiles is a perfect example: "You've fooled me twice with your lies and I say--" Look at that assonance! It's really simple, but hi, does it ever work to push us over into the chorus.
And I'm almost done, but first, the one major gripe I have with this album is that Stall Me is a bonus track and not on the album proper. It's a fucking amazing song. Track it down if you don't have it, I just--WHY would you not put that on the album. I would have it in the first half, because the only other thing that I would change is that I would reshuffle the song order just a little bit, and Stall me would fit in really well. Also it's a good fucking song, one of the best ones from this, Brendon and Spencer, do not hide it from us!
In short, WELL DONE, boys, I can't wait to see you in May. Cannot wait. ♥
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(no subject)
Date: 2011-03-20 10:34 am (UTC)What did you think about some of the more misogynistic undertones of the album? I didn't like the lyrics to begin with but they really threw me off and unsettled me with that kind of jagged-edgy-it's-cool-to-be-creepy-and-sexist theme underneath a lot of them. It felt like Fever, only... more disturbing, considering it was coming out of a twenty-three year old's mouth who is in a happy relationship, rather than an angsty teenage breakup.
(no subject)
Date: 2011-03-20 02:25 pm (UTC)Underneath a lot of them? Hmm. I don't think the creepy of this album is necessarily sexist at all, that's not what I got from it (apart from one of the verses of Ready To Go, which, yeah, I love that song but those lyrics happened and that sucks). However, I'd agree that Sarah Smiles fits in with the time-honored bandom/rock tradition of writing slightly or very problematic songs about your current or former girlfriends or about women in general ("Change" is another pretty good example, don't you think? And Pete Wentz is responsible for a fair few.), even if it has a few important differences. I have a bandom songs-about-women post brewing, and I'll talk about that there.
But honestly, on the grand scale of misogyny from Eminem to Ani DiFranco, this album doesn't get a very high rating. Fever is far worse.
(no subject)
Date: 2011-03-20 03:11 pm (UTC)(no subject)
Date: 2011-03-20 04:03 pm (UTC)PS. Brendon playing allllll of the instruments. :DDDD
(no subject)
Date: 2011-03-20 04:19 pm (UTC)Anyway, I can't actually comment on anything else in this post because I'm waiting to listen to the album until I can hear it all at once. Goddammit, life, give me an hour to listen to this album. ;___;
(no subject)
Date: 2011-03-20 04:30 pm (UTC)I liked listening to it a song at a time, actually! But you do it the way you want to do it!
(no subject)
Date: 2011-03-20 07:18 pm (UTC)(no subject)
Date: 2011-03-20 07:27 pm (UTC)PS. Seriously, this album.
(no subject)
Date: 2011-03-21 02:08 am (UTC)(no subject)
Date: 2011-03-21 06:43 am (UTC)(no subject)
Date: 2011-03-21 04:08 am (UTC)(god i miss the hush sound! :((( )
(no subject)
Date: 2011-03-21 06:44 am (UTC)(Me too :( I never got to see them.)
(no subject)
Date: 2011-03-21 07:11 am (UTC)(no subject)
Date: 2011-03-25 02:40 pm (UTC)