Oct. 6th, 2007
(no subject)
Oct. 6th, 2007 02:16 pmI just realized why the Beatles are so good in mashups... because the weak parts of the Beatles, ironically given their name, are the drums and occasionally rhythm guitar (John was ok, but often perfunctory at it), both of which happen to be the big strengths of modern rock/pop. Hearing the Beatles with phat beats and crushing guitars behind them is pretty fucking amazing.
That said, I'd like to request your favorite Beatles mashups... preferably songs where John is singing.
That said, I'd like to request your favorite Beatles mashups... preferably songs where John is singing.
The empire might never end...
Oct. 6th, 2007 02:30 pmOn the music analysis tip, this song is nearly perfect.
It opens with a descent into the depths, turning around at the last moment into a reprieve
and it goes from there - an alternation not of soft and hard sounds, but of horror and victory
an endless struggle against implacable odds, but one in which we'll always come out ahead
it's an analogue for the secret war for the soul of each and every one of us
and the music dips and swoops just exactly in sonic precision with the lyrics,
some of which are so clever and sharp that they'll cut your brain open:
"it's an eternal evil, concerned with thievery
medieval prehistoric rhetoric, well, we ahead of that"
"I insert these codes for the cataclysm, ever since I had the vision
use my magnetism
in this modern metropolis, that tries to lock us up
under preposterous laws that's not for us"
Even the main chorus line "yo, it's three thousand thirty" is tricky in the context of the album, asserting an overlay of time tracks,
an eternal return of patterns... it's always 3030, and we're always coming back.
It opens with a descent into the depths, turning around at the last moment into a reprieve
and it goes from there - an alternation not of soft and hard sounds, but of horror and victory
an endless struggle against implacable odds, but one in which we'll always come out ahead
it's an analogue for the secret war for the soul of each and every one of us
and the music dips and swoops just exactly in sonic precision with the lyrics,
some of which are so clever and sharp that they'll cut your brain open:
"it's an eternal evil, concerned with thievery
medieval prehistoric rhetoric, well, we ahead of that"
"I insert these codes for the cataclysm, ever since I had the vision
use my magnetism
in this modern metropolis, that tries to lock us up
under preposterous laws that's not for us"
Even the main chorus line "yo, it's three thousand thirty" is tricky in the context of the album, asserting an overlay of time tracks,
an eternal return of patterns... it's always 3030, and we're always coming back.