Post by The_Cake_of_Roth on Jun 17, 2019 20:08:37 GMT
Many people know this as the song used at the end of The Matrix... the opening feels like a build-up to an attack, with the bending tremolo guitar sounding like electricity. I love how the song delays the entry of the vocals by chilling for a few seconds with the guitar dropping out and the bass line anticipating the main guitar riff that begins after its wailing re-entry (perfectly synced with Neo's flight in the film), "waking" everything back up.
I've posted this song before under a different context but it's pretty classic in just its opening and its humor - where is the savoir faire - he's not here right now - which may be the funniest slacker joke ever linking the word savior/savoir and then linking it to the messiah complex in the later lines. When this song kicks in, it really kicks in and when this band was smart well...........they were almost too smart.
Post by The_Cake_of_Roth on Jun 18, 2019 1:18:55 GMT
Incubus's first two albums are their best to me because they were weirder and more idiosyncratic back then. This song opens with a groovy blues riff, setting up a brief slap bass solo by Dirk Lance that is absolute fire... and I always laugh at Boyd's primal scream that happens afterward.
A cliched pick but an instantly identifiable opening and it's actually the drums that make it memorable and of course that drum pattern opening pops up throughout.
That opening drum pattern is a good example of the kind of stock accent patterns that often function as rhythmic hooks in a lot of 80s pop/rock. There it's used in the intro (a slightly different syncopated pattern than what the drums are doing throughout the rest of the song), but here are a few examples of songs that use an expanded version of that rhythmic pattern as a transitional hook in the prechorus.
Post by The_Cake_of_Roth on Jun 18, 2019 22:10:20 GMT
The muted and static, yet propulsive guitar pattern and Grohl's soft, yet urgent singing (speaking to himself) give you the feeling that something is bubbling under the surface, leading to an explosion of activity.
Post by The_Cake_of_Roth on Jun 27, 2019 23:15:20 GMT
Yes, I'm posting the band's most popular, overplayed song... doesn't change the fact that the first minute is a great, precisely constructed build-up of anticipatory energy. It opens of course with the iconic, sinister guitar riff initially played clean with subdued hi-hat and an interjection of quietly cool wah-wah pedal... the drums play a large part in building momentum here: Ulrich eventually doubles the rate of the hi-hat pulse, and then doubles the rate of attacks again when he switches to the toms and when the bass enters. When the distorted guitars finally come in, Ulrich adds periodic snare accents and cymbal crashes, both of which are syncopated to mirror the rhythmic onset of the guitar riff and suggest an imminent release of pent-up energy.
What really makes this intro cool to me, however, is how the main riff is in constant flux... it's presented in a kind of prototypical form during the clean opening, then fragmented when the distortion kicks in. The remainder of the intro is spent rebuilding the riff to its original form. It almost regains its original construction, but not quite, and becomes a slightly modified version by the end of the intro, when the guitars explode in full force.
Post by Johnny_Hellzapoppin on Jun 29, 2019 19:36:43 GMT
Disappointed with myself for not including this one in my first post. This whole song is great and the band are hugely underrated, but the opening 15 seconds of this one are just joy to the ear. Sometimes simplicity is all you need to sound magical.
Over 4 years since their last single - blocked legally from releasing it - they previewed their (over 5 years delayed) 2nd album with this classic song which opens with Hendrix crossed with Jeff Beck guitar wizardry. Nothing else on the 2nd album quite matched it - but even if the rest was awful - and it wasn't - this song and this opening was worth it. A genuine classic opening and song :
Post by The_Cake_of_Roth on Jun 30, 2019 3:45:55 GMT
What strikes me immediately in this opening are the guitar's harmonies... Radiohead's adventurous harmonic language is part of what I love about them, and here there's a strangeness in the chord progression made possible through the tonal distance between the chords in the song's first few seconds. The chords are not closely related or part of the same key, and what's cool is that this same kind of chordal juxtaposition is often used in film scores for science fiction films featuring cosmic spectacle, which is motivated by the strangeness of the sound and the sense of remoteness it evokes... and of course it's appropriate here given the title of the song. Bookended by the opening chord progression, the song overall has a transportive quality to it, and you feel like you're floating through space.
The scary marching boots that open the song, the guitar and drum kickoff in the intro - a declarative statement - "A cheap holiday in other people's misery!" ........the only thing better than this opening is the ending where Rotten is being pulled over or under or what's happening - you're not quite sure - it's a form of madness it's clear and yet not understandable either.
One of their very best songs - their last great single too: