Holger
Group: Members
Posts: 1506
Joined: Feb. 2003 |
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Posted: Dec. 04 2005, 08:52 |
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Quote (Alan D @ Dec. 04 2005, 12:44) | Look at this variety of response, here, too. Some people are obviously being really moved by those synthetic 'Our Father's in this Mike piece; whereas I just can't cope with the apparent absurdity of the sound of them, repeated over and over: 'Aaaahhh Fotheerrrrrrr'. But what strikes me as absurdity is presumably caused by the personal associations I make; and for others, these sounds have wholly different associations that make them respond positively ... |
I think those elements of absurdity are a big part of what I like about Mike's music. Listen to some of the lead guitar playing on some of his older recordings, let's say up to QE2 (I think his playing got progressively tighter as time went on) - it's so sloppy sometimes it's almost unbelievable, but he can not only pull it off and make it convincing, I'd actually go as far as saying that's what's so good about it. Or, speaking of QE2, listen to Celt... the whole piece is simply ridiculous, with those drums that are completely outside of anything most people would consider a good sense of timing, and that incredibly naive harmony and melody on top of it. Still, it's a piece I absolutely adore, not in spite of, but because of those things I mentioned. There would be tons of other examples, and I could possibly post some more as I think of them if it's unclear to anyone what I'm talking about, but I think the point comes across. I see much of the synthetic voices on L+S in exactly that tradition. Another example there would be how the word "net" in Surfing is pronounced so strangely, or how the voices in Tears of an Angel seem to say "fallen like pain" when you know that in fact that's not what they're supposed to be singing at all.
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