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Old 06-24-2016, 08:40 AM   #526
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In Rainbows doesn't have a song as incongruous as Burn the Witch.
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Old 06-24-2016, 08:41 AM   #527
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The cool part is that these songs from various sessions/years/decades feel like they're telling the same story.

Which was literally my entire point.
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Old 06-24-2016, 08:43 AM   #528
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In Rainbows doesn't have a song as incongruous as Burn the Witch.
I know we're all used to it by now, but Bodysnatchers is comparable. The album's only instance of guitar distortion, unless I'm forgetting something.

Both albums flow like a dream though.
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Old 06-24-2016, 09:06 AM   #529
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This morning "don't leave" has a new layer of grief.
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Old 06-24-2016, 10:24 AM   #530
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Yeah I did. But I think Sufjan's lyrics on that are so eviscerating and so specific that even though I don't personally connect with nearly all of them they're still so fascinating and interesting. It's like reading a gripping novel. Whereas AMSP's lyrics feature plenty of Thom's trademark esotericism and metaphor.
I can see that. I can relate to both but C&L means a lot more to me. I don't think I have to be able to relate to lyrics in the moment in a specific way to be able to connect with them overall.

I listened to AMSP on a road trip over the weekend for the first time in a few weeks and I still loved it enough to put it on repeat for 2-3 times. But how it will settle in long term I don't know.
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Old 06-24-2016, 10:37 AM   #531
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Classic Interference. Attack people for their semantics

(I don't care, I think it's funny)
I wasn't 'attacking' you specifically. It's just something I've seen many people mention and it's strange as Radiohead do this with all their albums.

LeMel's point about TLW is fair however. It's amazing how they've completely changed the meaning of the song.
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Old 06-24-2016, 10:42 AM   #532
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In Rainbows doesn't have a song as incongruous as Burn the Witch.
I think you could interpret it as the way friends, family, etc will vilify one of the partners when a relationship is on the rocks or breaking up, the whole "how could you do this to the kids?!" sort of thing.
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Old 06-24-2016, 10:52 AM   #533
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I know we're all used to it by now, but Bodysnatchers is comparable. The album's only instance of guitar distortion, unless I'm forgetting something.

Both albums flow like a dream though.
I've always felt that it flows wonderfully out of 15 Step's manic drums and clipped Thom moans, and it has all the hallmarks of In Rainbows, even if it is far more upbeat than the other 10 songs. The anxious, incessant hi-hat drums and then the guitar line that melts into the rhythm section about halfway through which turns the song completely on its head.

I take your point, but to me it has always very much felt a part of the album (not that you are insinuating that it isn't). Its status as an energetic lone child live staple certainly helps your argument though.

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This morning "don't leave" has a new layer of grief.
Doesn't it.

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I wasn't 'attacking' you specifically. It's just something I've seen many people mention and it's strange as Radiohead do this with all their albums.

LeMel's point about TLW is fair however. It's amazing how they've completely changed the meaning of the song.
Oh man, I wasn't accusing you of that either. I seriously just had a half-a-second chuckle. I picked the wrong word in 'old'.

I saw Ful Stop and Identikit live in what turned out to be the last two shows of the KoL tour. I should go back and revisit.

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I think you could interpret it as the way friends, family, etc will vilify one of the partners when a relationship is on the rocks or breaking up, the whole "how could you do this to the kids?!" sort of thing.
For sure - but it is a massive red herring musically. I love the song absolutely but I kind of wish it had been a non-album single at this point. From the start of Daydreaming onwards everything is so, so tight.
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Old 06-24-2016, 10:55 AM   #534
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I can see that. I can relate to both but C&L means a lot more to me. I don't think I have to be able to relate to lyrics in the moment in a specific way to be able to connect with them overall.

I listened to AMSP on a road trip over the weekend for the first time in a few weeks and I still loved it enough to put it on repeat for 2-3 times. But how it will settle in long term I don't know.
I do recall you mentioning that you had a very strong personal connection to C&L. And you're right - I mean, it was my second fav 2015 album behind To Pimp a Butterfly and I saw his show four times. I'm just word vomiting.

I had AMSP in my head all day today, played it two or three times at work, and I'm listening to it right now. So, progress
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Old 06-26-2016, 03:20 AM   #535
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The dark piano that comes in towards the end of Decks Dark is so good.
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Old 06-30-2016, 02:11 PM   #536
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I haven't had a time to jump on and say this, but I fuckin' hate when bands break and album into 2 records. I want side A and side B. I don't want to have to switch every few minutes. It ruins the experience for me.
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Old 06-30-2016, 04:16 PM   #537
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Agreed. The downside of the modern vinyl/audiophile fetish.
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Old 06-30-2016, 05:16 PM   #538
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Well, an LP when mastered right, can hold up to 20-25 minutes of music on each side. Anything more, say 30-35 minutes will result in a loss of fidelity. Tracks towards the inner part of the lp will suffer. I don't mind when an lp that's around the 55 minute mark is broken up into two LPS.


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Old 06-30-2016, 11:12 PM   #539
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What I find unforgivable is the Reflektor LP release, in which the tracklist was changed in order to better fit the sides of the vinyl (Reflektor>Flashbulb Eyes>Here Comes the Night Time; We Existed was shifted from Track 2 to Track 4. This is just wrong).
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Old 07-01-2016, 02:35 AM   #540
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I watched the Radiohead's performance of Karma Police (i think it was from 2003 Glastonbury, and it was on Youtube. Hate me, Thom. hate me) and I almost cried. what is wrong with me
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