Heh, pbn I think you gave my comments a more thorough picking over than they deserved, seeing how they were fairly disjointed.
as i said, i think this is a whole different argument, but i may as well respond ... i actually do believe, unfortunately, that BoC are (1) past their prime or (2) having sort of a fallow period creatively. the middle third of TCH (tracks 6-11) is the worst stretch of music that they've ever created ... and yet, i have hope, if only because of slow this bird down, left side drive, peacock tail, dayvan cowboy, etc. this doesn't mean that i'm no longer a "loyal fan," but just perhaps that i'm not a "loyal fanboy"
I strongly disagree here. I think '84 Pontiac Dream and Sherbet Head are two of TCH's best tracks. The only tracks on TCH that actually bother me are Peacock Tail, OSTRE, Hey Saturday Sun, and Farewell Fire. Hey Saturday Sun is the worst offender, sounding like a randomly patched together Frankenstein to me. Peacock Tail is the runner up, I don't really get why people like this track so much, sure it builds when most other TCH tracks just sit there, but I don't know, from those first warm bass plucks it sounds like Bobby McFerrin or something. OSTRE is fine, very well produced as everyone says, but seems to exhibit the same Frankenstein problem as Hey Saturday Sun. No matter how well the parts are stitched together, I just don't feel it gels into something that interesting (to mix metaphors). Farewell Fire I find dull, and I resent BoC doing the gimmicky "fade out" thing.
Bitching aside, though, I really like TCH. I think I like it as much as Geogaddi. They're such different albums it's almost silly to compare them. I like them for different reasons. Geogaddi is so dense and chewy, even if there's a moment you don't like just wait a second and another track will start. I love the profusion of musical ideas, but there is something too obvious about the album to me. I think a lot of it has to do with the "hard" drumming, it seems almost cartoonish at points. Music Is Math would be such a fucking excellent track, easily in my top BoC list, if it had IABPOITC subtle drumming instead of the blatant in your face washing-machine thump behind it. It's a great psychaedelic album, I guess in general I just prefer the autistic, weird and remote side to BoC's music, which is more evident on MHTRTC, IABPOITC, and TCH. I think at this point I've listened to TCH more than Geogaddi, which has to mean something. I listened to Geogaddi more intensely
, for a few weeks non-stop, but haven't come back to it as often.
"menace" isn't the point with tch/tch. and i only recall "passion and urgency" in geogaddi and a few tracks scattered throughout their other work ... overall there's a pastoral vibe. the production isn't quite as juvenile/raw/'passionate', in a way, but i think that their production values have gone way up. though i'm not sure that we should blame BoC for maturing; the old tunes stuff was made, what 20-25 years ago? it would be odd if they'd retained all the youthful ferment, i think ... nothing wrong with mellowing out and fine-tuning your sound
Well put. I agree with everything you've said here.
i like the entire tch ep way way way more than the trapped remix ... there are plenty of great melodies all over tch/tch, i wouldn't even know where to begin. perhaps we just disagree here
Guess so. The thing about the melodies on TCH/TCH, is that for the most part I don't think they are fully developed. These days BoC seem content with more "melodic squiggles" as opposed to full-fledged melodies. I think this is most noticeable on OSTRE and 84' Pontiac Dream off TCH. With the Trapped remix, or Red Moss, or June 9th, the melodies just seem to be fully integrated with the percussion, and seem to somehow reach their fullest expression. They weave around, come back, interact with other melodies, in a beautiful way. When I first listened to Left Side Drive and it got to the melody that's introduced at the end, I thought "Ah, here's where it's going to go to the next level." But it didn't, and the song ended. That's the difference for me.
ah okay, back to the original thing ... i guess i can kind of see what you mean, with certain tracks. but then you have something like dayvan, or left side drive, or slow this bird down, which seem extremely groundbreaking and creative and original. in a 25-year career, though, i don't see how any artist could avoid revisiting their earlier work
Well I'm sure you're right. In general I tend to be too critical. I haven't been disappointed with a Boards release yet. And in a way I think TCH has something that MHTRTC and Hi Scores don't have, a certain sort of "drug casualty" frailty that I like quite a bit.
In all art there's an "X Factor" that you can't really describe but you know it when you see it or hear it. It's that inspiration that seems to come from a higher place. You can't learn it, you either have it or you don't. Why is it that some paintings which are much less technically accomplished than others can have a greater impact on the viewer? How is it that certain minimalist tracks, like Kid For Today, can have a greater impact on me than busier and more "complex" tracks like Alpha and Omega, which I find almost unlistenable? I don't know, but I do know that this "X Factor" is fleeting, and most artists only have it for a while. Its sort of a morbid thing to contemplate and I hope Mike and Marcus don't obsess about it. As long as they're still excited about what they're doing, I don't expect they'll become self-parodies. I'm a bit afraid of the "flirting with commercialism" element of the TCH EP but we'll see how that plays itself out in the long run.
Edit: flirting with commercialism in the sense of the choice for the single, and breaking the mold of Hi Scores, Twoism, and IABPOITC by adopting the standard "single and remix" format. Plus adding the video. Just seems too conventional to me. The music on the TCH EP is still uniquely BoC, though.
Edited by lumpenGriff, 27 May 2006 - 03:56 PM.