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[PO] We Lost The Sea - Departure Songs


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It is?

 

Do you have any idea what the fuck he is talking about? How are you being patient if you are listening to the song?

Is he waiting 22 minutes to queue it? I thought he would love that shit. I mean, it's not 2 hours, but it's like Rioseco, Arcs, and Echo all in one (time wise).

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I just wouldn't be spending my time (or money) on something that I found to be an exercise in patience, or otherwise trying. I know that's probably not what he meant, but as an aspiring wordsmith I feel like he could've phrased that better. Maybe the payoff is the reason he appreciates the song, but to say the builds and progression require "extreme patience"? I disagree. It's not like there's 20 minutes of harsh noise and screeching synths before a beautiful, melodic closer. The track is a journey and I wouldn't really call any part of it grating.

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I just wouldn't be spending my time (or money) on something that I found to be an exercise in patience, or otherwise trying. I know that's probably not what he meant, but as an aspiring wordsmith I feel like he could've phrased that better. Maybe the payoff is the reason he appreciates the song, but to say the builds and progression require "extreme patience"? I disagree. It's not like there's 20 minutes of harsh noise and screeching synths before a beautiful, melodic closer. The track is a journey and I wouldn't really call any part of it grating.

 

I've listened to it a few times (the album) in the last few days. When I hear it, it doesn't feel long, drawn out, or a test of patience. The way they did the song, in fact the whole album, it flows very well. It doesn't have that "this song is still going?" feeling, which is good. Cause that can definitely ruin a good song.

 

"It's cool, but also ... not. It's short, but also ... long. It's a test to listen to, but also ... rewarding. Such art."

 

Are we just running out of things to say these days? Haha.

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The extreme patience part was meant in reference to the fact that the song features a verrry slow build with those beginning sections. It's very atmospheric and ambient before it gets to the "rock" parts.

It's like listening to Hammock or This Will Destroy You. Sometimes you're in the mood for those slow-burn ambient type things that move at glacial paces, and other times not.

Sometimes you just want to throw on "Quovis/Further Up/Further In" and just rock the fuck out.

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I have been on a big instrumental kick lately with Jakob, Pelican, and Toundra. This was right up my alley this week. Its more tame then head banging. Not loud enough so you cant think, but just enough to inspire.

 

Very well said.  There's quite a contrast across this record, and that dynamic is definitely nice.  It makes it a little situational, though, for better or worse – I've got to be in the mood for something that falls between post-metal and ambient to put it on.

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I shudder to think what would happen to me if I brought up The Four Trees in my Spotify playlist and clicked "Shuffle".

I magically dissolve into the ether, only to reappear next to him. Bringing with me the cable Phil gave me, only to use it to strangle him until I watch him breath his last breath, and the light goes from his eyes. That way the atrocity of hitting shuffle on a post rock album, especially Caspian, will never happen again.

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I magically dissolve into the ether, only to reappear next to him. Bringing with me the cable Phil gave me, only to use it to strangle him until I watch him breath his last breath, and the light goes from his eyes. That way the atrocity of hitting shuffle on a post rock album, especially Caspian, will never happen again.

Hitting shuffle defeats the purpose of carefully crafting new sequences.

For instance, I think something like Quovis -> Sealawn -> Further Up -> Waking Season -> Further In could actually work REALLY well, because of the ways that those songs begin an end.

Especially the end of Waking Season into Further In... they could let that thing build and build and set up some loops with manic guitars, kind of the way they do for the end of Sycamore before they all go to the drums, and then out of the ether comes the drumbeat for Further In.

Also, back to the topic sort of at hand... it looks like I've finally found a copy of the colored version of "The Quietest Place On Earth" from someone on Discogs. yaaaaay!

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Hitting shuffle defeats the purpose of carefully crafting new sequences.

For instance, I think something like Quovis -> Sealawn -> Further Up -> Waking Season -> Further In could actually work REALLY well, because of the ways that those songs begin an end.

Especially the end of Waking Season into Further In... they could let that thing build and build and set up some loops with manic guitars, kind of the way they do for the end of Sycamore before they all go to the drums, and then out of the ether comes the drumbeat for Further In.

You have the audacity to say you're against shuffle, and then stick songs between the Holy Trinity? Are you fucking kidding me. Correct me if I'm wrong, but I'm pretty sure we had this conversation. You don't break up Quovis, Further Up, Further In. YOU DON'T FUCKING DO IT. Stop. Just stop trying to fuck with perfection. Next you'll be asking to play songs between The Raven, Vienna, and Sycamore.

Sometimes you make me so angry I want to strangle you with a bike chain.

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