Cameron is the star but people aren't talking about the drums/percussion enough
best drumming i've heard in YEARS
it was f***ing unreal, even better than the record. so f***ing gritty
Did you go to the free Brooklyn gig?
Did you go to the free Brooklyn gig?
yessir. was biblical, and i saw them twice in philly this summer and they played the record minus long island city and bow down over the two shows
yessir. was biblical, and i saw them twice in philly this summer and they played the record minus long island city and bow down over the two shows
Dope. My coworker went to the Brooklyn show and said they killed it and met the band, I was so tired this past weekend and hadn't listened to the album yet, wish I had gone though
I really want to go to one of their Brooklyn gigs next month but the resale is crazy
Dope. My coworker went to the Brooklyn show and said they killed it and met the band, I was so tired this past weekend and hadn't listened to the album yet, wish I had gone though
I really want to go to one of their Brooklyn gigs next month but the resale is crazy
i'm going to the friday show, the final date. maybe check day of and see if tickets restock/drop?
Here I come come, here I come!
I actually think Long Island City Here I Come is my least favorite on here. Still goes hard tho and works perfectly as the outro. The intro and outro were great picks, don't see them working anywhere else but where they are.
i'm going to the friday show, the final date. maybe check day of and see if tickets restock/drop?
Yea I'm gonna hold for now and keep an eye on it I think
I can't even taste my own tears
they fall into an even sadder b******'s eyes
is my favorite lyric on the album off these first two spins. stops me in my tracks
Trying to think of 2020's rock records that I've enjoyed as much as this.
First one to come to mind was The Strokes' The New Abnormal.
I'd also put Nilüfer Yanya's PAINLESS up there.
Here I come come, here I come!
I actually think Long Island City Here I Come is my least favorite on here. Still goes hard tho and works perfectly as the outro. The intro and outro were great picks, don't see them working anywhere else but where they are.
really that's crazy, i think my least favorite is half real but i still really love it
But then parts of this remind of in rainbows
Radiohead vibes were off the charts for me when I was f***ed up 1st listening to this on my bday
Radiohead vibes were off the charts for me when I was f***ed up 1st listening to this on my bday
I don't think too much of it sounds like Radiohead, but I do think Cameron sounds more like Thom here than on anything prior lol I didn't get those vibes from 3D Country at all
I don't think too much of it sounds like Radiohead, but I do think Cameron sounds more like Thom here than on anything prior lol I didn't get those vibes from 3D Country at all
Yeah I'd definitely say vocally like Radiohead my bad lol.
Also my wife said she heard a pinch of Dylan in there yesterday
I don't think too much of it sounds like Radiohead, but I do think Cameron sounds more like Thom here than on anything prior lol I didn't get those vibes from 3D Country at all
It's like a blend of Radiohead and the Stones to me.
It's like a blend of Radiohead and the Stones to me.
Yup I get a lottttt of Stones. Rock n roll byke
Just got to the GQ piece, great read.
Winter puts it less lightly. “The whole point of the album was to indulge ourselves, and it was indulgent as hell,” he says, pointing to a minute-long drone at the end of that opening track, “2122,” that the label wanted trimmed to five seconds or less. “We considered saying f*** you, but we were told by everyone in our camp ‘You are not in a position to come to the table right now with your own opinions.’ They were right. We had no fans. I was so depressed.”
Wtf, this would've been cool
“He worked his ass off recording Heavy Metal,” his dad, Stewart, tells me via text. “I once descended the stairs past midnight, expecting to find a home intruder and instead found Cameron with a soldering iron, hunched over a piece of gear, discussing vocal chains on speakerphone with a thickly Hungarian-accented interlocutor. He didn’t even look at me.”
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Upbin wanted a weepy number called “Try As I May” excised and another, “Love Takes Miles,” re-recorded to get to its possible pop essence. (To be fair, “Love Takes Miles” has been streamed seven million times on Spotify and has become something of a TikTok hit, soundtracking videos of kittens and teddy bears and prompting lots of acoustic covers. Blume says Winter once told him, “I f***ing hate that song.”)
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“Kenny’s one of the smartest people I know, so he’s good at arguing even when he’s wrong—a cutting wit, too,” says Winter, laughing. He worries that Blume will remind him, again, how little he’s getting paid to shepherd Geese’s records, that making Getting Killed over two months rather than two weeks cost him money. “I personally don’t give a s***. I love the guy, but I can’t think about it like that. I don’t care if you’re doing this for $5, Kenny. I still want my groove.”
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