If you're actually reading this then chances are you already have my last album but if NOT and you're curious:
https://battema.bandcamp.com/
Also, Ephemeral Sun: it's a thing and we like making things that might be your thing: https://ephemeralsun.bandcamp.com
Ha ha ha...yeah, another one of the less-stellar verbal moments That said, I gave the song a good solid listen en route to work this morning and it is damned fine. It feels the most like something that could've happened with Collins still in the band; the chords, that quirky rhythm guitar playing that Rutherford used (same as on Driving the Last Spike), the driving drums near the end.
The hardest track for me is Small Talk. Honestly, almost nothing about that track works...the balance of the album has such a consistent sense of brooding and dark, and then this goofball of a tune lands out of nowhere.
If you're actually reading this then chances are you already have my last album but if NOT and you're curious:
https://battema.bandcamp.com/
Also, Ephemeral Sun: it's a thing and we like making things that might be your thing: https://ephemeralsun.bandcamp.com
"Small Talk" never bothered me as much as it seems to bother others here, either.
Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally
If you're actually reading this then chances are you already have my last album but if NOT and you're curious:
https://battema.bandcamp.com/
Also, Ephemeral Sun: it's a thing and we like making things that might be your thing: https://ephemeralsun.bandcamp.com
I believe the lyrics on later Genesis albums are the "elephant in the room." They were starting to sound a little lame on the Shapes album, but I like the music on that one enough for it not to bother me. Thereafter, they seem to sound more amateurish with each album. I'm pretty sure this is due to the loss of Gabriel and, to a lesser extent, Collins.
What's interesting is that I think most of the lyrics on Banks's solo albums are pretty well crafted, which points to Rutherford as being the one to blame.
I think so too, there generally seems to be an extra layer to many of Banks' lyrics that aren't always apparent initially.
"One man's hot is another man's cool" I think is just fine, but "you have to lose me in another world" (from Congo) I'm not sure about. It doesn't rhyme but it was left anyway, which normally would mean that the wording was more important than the rhyme, but I'm not sure that's the case here, unless I'm missing something. Personally, I've always liked the album with my favorites being "Uncertain Weather" and "One Man's Fool". My least favorite is "Shipwrecked", which isn't bad, but would have been way more successful a track had the bridge been more like the bridge in "A Piece of You". So its a song of unrealized potential.
I like "Small Talk". I get why others don't though.
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
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I like "Small Talk" as well, though it's a bit of an odd fit on the album.
I really like CAS as an album, but the fadeouts are definitely one of things that make it kind of frustrating.
I listened to bits of the album on Youtube and it starts off like the album is going to kick ass. And then it just... doesn't. You can jump to the 2nd song and not know it's a new song. And os on and soon. Same tempo, same key, same beat. I like where it could have gone a lot. But I think they just got lazy.
Remember, The Lamb songs don't fade for the most part, they cross-fade. Big difference. It's hard to give an extended concept work a sense of flow if it's crashing to big stops every five minutes. The Lamb songs flow into each other. Fades give albums a continuity that tends to be different from live performances where you get applause and get ready for the next thing, which usually didn't come after the previous thing you just played in the first place. Genesis also constructed beautiful full stop transitions on their albums, like Entangled into Squonk.
That said, the fades on CAS don't seem to be there for any sense of flow or aesthetics, they just seem arbitrary and lazy.
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