Quote:
Originally Posted by fluxequalsrad
Still not done dissecting this.
Back in the day, Billy could have a big shitty knuckle dragging riff like the one in Where Boys Fear to Tread, the song would have a ton of snarl - but still there was enough sugar to wash it down. (I.E. the subtle girly backup vocals, the 'doo-doo-doo-dooos'). The groove is also heavy as fuck and ripe with sonic details that keep you coming back.
Now, its like the blueprint is shitty radio beer rock your uncle likes. There is also a clear lack of playful engagement with sonic texture or details that make for a lasting recording. Just pick any track on MCIS and there is something to chew on. (I.E. What is that weird buried slide guitar in 33? What are those backing harmonies in 1979 doing? What are they saying during the bridge of Bodies?). It's so fucking dry and seperate now that you wonder if he just plugged the guitar/piano into garageband and didn't touch a thing. Billy did well by adding postcards in his older songs, like the cop car in Starla, or any number of flourishes he gushed about in liner notes.
Solara. People who like metal won't like it, and the rest of us who appreciated the delicate balance they struck between metal and pop-rock (without an ounce of punk) also won't like it. I have no idea what they are going for.
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that's an extremely fair and generous review, considering that this song is utter shit.