You’re exactly right.
I feel “Not Enough Violence” & “Picture Me Gone” are the two behemoths balancing both sides of the album. They were honestly the two songs that resonated the most on my first listen.
“Picture Me Gone” feels like the real climax to the album. Awesome that the final vinyl side will start with “Picture Me Gone” and the last two songs. I’ll probably listen to that part the most, love all three of those songs.
Can’t forget Adrenaline! “Bored” is a ferocious way to start a music career.
It’ll probably be a couple more weeks til it comes in, but I’ll let you know.
REALLY weird the beat keeps going but her verse is absent. Definitely sounds like a mistake.
Did you get one of the 5000 limited copies with teal vinyl, red cover?
I was kind of hoping there was another one to read. Off to the Internet…
I know I mentioned I’m not a huge horror fan, but “Devil’s Rejects” is one of my favorite movies. Best use of “Freebird” ever.
Hell yes Miles! A portion of that “SA” ending reminds me of AnCo in the way it starts winding back up, which is crazy considering you just cited AP & AnCo as the two times you’ve had to stop what you were doing. I think my, “WTF is this really this good?” moment was in the K-side. I think it was “Exile on Frog Street” when it culminates in that Beatles-esque climax. I actually got up to see if that was the last song and scoffed because, of course there was more!
Dick, you know I’m a sequencing nutjob. It’s no easy feat to properly sequence 17 songs, but by God I think he did it. Even down (especially down) to the vinyl sections. Notice how there is a fade out at the end of each side? THAT’S when you do fade outs! Plus the two transitions you mentioned are key, especially “Jell-O” into “Black Ballerina”.
As for progression… I always preferred the slow burning cuts on “Mature Themes” like “Driftwood” and “Nostradamus & Me”, which is why I think I like “Not Enough Violence” the most. But songs like “Kinski Assassin” with its “WTF is this?”-ness are absent from “pom pom”. I think that’s a good move. Containing his weird urges in the creative bridges in the midst of the jams.
I’m trying not to pull that “I just heard a great album, so it’s my AOTY” thing we do every week around here. But dammit, every listen makes me think more and more that “pom pom” is the real thing and actually deserves the fuck out of it.
It dawned on me that “Plastic Raincoats in the Pig Parade” is the PERFECT album opener. Since every track is its own force to be reckoned with, the whole album does feel like a parade. With its different sections, all in a row, yet so diverse.
The intro on “One Summer Night” is unfuckwithable. LOVE that song too.
Basically any of the songs over 5 minutes are likely my favorites. Love the part on “Sexual Athletics” when he says, “LET’S ALL GO TO THE EMOTIONAL OLYMPICS” and is met with a disgruntled “mehhh.” The song continues and Ariel lets out this defeated, “ok.” Then jams that song into overdrive. Who fucking does that?
I foresee the entire D-side (K-side) being overplayed at my place. “Picture Me Gone” / “Exile on Frog Street” and “Dayzed Inn Daydreams” blew me away as closing tracks. You know I’m a sucker for penultimate tracks, so imagine me hearing “Picture Me Gone” — “What a perfect closing track! Making “Black Ballerina” the greatest penultimate track! Wait, another song? OK. Oh snap! So “Picture Me Gone” is the greatest penult… wait, no?” So to me, there are three penultimate tracks on this album. Meaning: this album saves a lot of killer for the end. “Daydreams” is a beautiful album closer and “Exile on Frog Street” will undoubtedly rank extra high on my top pennies of the year list.
“Black Ballerina” gets better every time I hear it. But if I had to do a quick top 5 songs (even though I love them all) it’d be (at this moment in time):
01. “Not Enough Violence”
02. “Picture Me Gone”
03. “Four Shadows”
04. “Exile on Frog Street”
05. “Sexual Athletics”
But it’s tough to choose! So thankful Ariel threw us the kitchen sink. I just wanna roll around in these songs like a pile of leaves.
Thankfully in Ariel’s case, he has a record waiting to change minds. Sure, he is being lumped into the, “How could you say that?!” crowd as of late. But his music is so disconnected from anything that he’s talked about, I found it incredibly easy to forget about the interviews when listening.
Whereas with The Koz, I think it’d be pretty difficult to listen to Benji and not hear the “war on drugs suck my cock” line enter into my consciousness unannounced. I think that’s the big difference. The Koz brought his music into his issues, whereas Pink is just another artist spewing stupid shit because he doesn’t have a filter.
Everyone needs to at the absolute least hear “Not Enough Violence” — it’s a behemoth.
Wait whaaaat? I heard “Tyranny” wasn’t getting a vinyl release until December, so I bought the CD instead. I hope you aren’t waiting til December to hear it!
I’ll buy “pom pom” on vinyl the moment it comes out. I’ve been steering clear of leaks more and more, but I was actually checking every day for a RTJ2 leak and found “pom pom” instead.
Go figure I find two of the absolute best records of the year at the same time.
Yeah that was a great read.
I think I read the right one? It was around the time Mature Themes came out though, not sure if there was a previous one when Before Today came out.