Hey guys, the Entity of Darkness here, I decided that album reviews would be too time consuming considering school, but I still wanted to look at music. So I decided to look at songs, one group of posts for songs I hate (Auditory Abominations) and the other for songs I like (Ace Audio).
This should be fun.
Pop music hit a major low point in the mid 2000s, and I'm not just saying that because I'm a rock fan, no there is some good pop music out there, but not a lot of it came from 2004. I could do a top 10 worst list of the pop songs that came out of the mid-2000s and still have to make several, really difficult choices. However, I'm fairly certain that this one would make that list in a heartbeat.
To give you some perspective, 2004 was the year Muse released "Absolution", Modest Mouse released "Good News for People who Love Bad News" and The Killers released "Hot Fuss". This was not an awful year for music, but you know what was becoming popular? "The Reason", "Milkshake", and "Hey Mama". Before any of you say that comparing rock music to pop music is comparing apples to oranges, that is the point of comparing things, to look at the differences and see which one people prefer, so let's see what people preferred about this track because it landed at Number 9 on the Hot 100, higher than "Are You Gonna Be My Girl?" and "Let's Get it Started".
The song's intro is just repeating the title of the song over and over, because that doesn't get repetitious at all. Then we get a rapper introducing the song. He does not to a terrible job, he has a good voice and is quite tolerable, but the beat in the background is just atrocious. It's as if "Come and Get it" somehow got even more high pitched, and don't even try to defend it as a dance song because dancing requires rhythm and timing that match and follow the beat, I can not imagine dancing to this song without it looking horribly out of place.
So after almost a minute of this (keep in mind that is including the opening bit of the video), we finally get to listen to Ciara sing and dear Anubis and the entire pantheon of death deities is she awful. If you put Mariah Carey, The Gibb Brothers and George Michael in a blender and sucked out all the talent you'd get something like this. This has not only the effect of making me wish the song was an instrumental, which considering the actual beat of the song makes me wish I put a bullet in my head before the song began, but it also has the issue of muddling up the lyrics. However, from what I can hear, and see from online searches, the lyrics are nothing to celebrate either.
Really, the song itself is about as memorable as a dull and boring movie, but the beat just drives me nuts. It's as if somebody mutilated a theremin before sending the sound it produced through an early 90s computer being strangled.
Petey has another rap verse, and again it's tolerable, sans the obnoxious beat. Really, if it wasn't for that beat the song would just be very forgettable.
So what made this song a hit? The beat is obnoxious, the singer is awful, the lyrics are nothing great and the song itself if just kind of bland and forgettable. Is it because that songs like this were becoming the dominate pop song? No, it was mostly songs you could dance to, and this isn't even a good dance tune. If this is the best dance song you've ever heard, listen to Daft Punk, or Die Antwoord or something with more energy and beats that don't sound like Morse Code machines being sat on.
I'm the Entity of Darkness, and this is one mystery, I myself don't wish to solve.
This may be a very interesting list, because on one end, I have not done as many Ace Audios as I quite honestly wanted to do this year, but on the other hand, the songs I have for this list are all very good. Even though I have only done eighteen Ace Audios, plenty of these songs are amazing and could easily have topped this list on their own, but alas, I have a choice to make and not an easy one. So, this is pretty much the same as my last list, except that now these are the songs I actually liked. So, on with the show.
Kicking off my list is a song that I didn't even think would make this list, I mean I love AC/DC, they are in my top 15 favourite bands, but Back in Black just didn't seem to be as good as some of the other songs I covered. With that said, I was instantly hooked in while listening to it. That guitar riff is just so good and hot damn do I love Brain Johnson's vocals.
To me, this was also a very important song for the band as a whole considering that Bon Scott died shortly after the album began production, so the fact that the band could continue while still getting a frontman who sounded close to Bon Scott is quite impressive. I understand people are mixed about Brian Johnson, some loving him and others thinking that the band is not as good. To some respects I can see where some people are coming from, but honestly they sound pretty similar, not the same, but similar. I do like to chuckle at the people who complain that it sounds entirely different though. I mean, it's still AC/DC, it's not like when Ronnie James Dio took over Black Sabbath and made it pretty much just another Rainbow. The fact is, this song not only proved that the band could still go strong, but also continue staying strong whilst remaining largely unchanged. Rock on guys, rock on.
Usually, I try to avoid talking about politics as much as possible, not that I am against talking about it, but I usually try to avoid subjects that polarize people so much. This is what makes a song like this a little bit more special to me, as it makes me feel comfortable listening to a subject I don't really feel comfortable with.
"Symphony of Destruction" has a beautiful simile in the chorus, stating "Just like the pied piper / Led rats through the streets" which is a really chilling comparison, especially if you have read the Pied Piper story, seriously after the king refused to pay the piper he kidnapped all the children. Let that be the moral folks, overthrow the king before he allows somebody to steal your children from you.
I'm putting both of these versions together because it's easier than putting them separately. Seriously, if they were separate the Simon and Garfunkel version would just have been one spot below the Disturbed version. I like the lyrics of the song, but that is not really an interesting thing to say about either song, so I'm going to talk about what I like about each song.
The Simon and Garfunkel version is a classic folk rock tune from the sixties, one of the best decades in music history, third or fourth best hands down. I like the vocal harmony and the very somber tone to it, but it has a sort of melancholic cheer to it, it is a very interesting sound. On the other hand, the Disturbed version (which is my personal favourite of the two) has the better instrumentals, the piano in the beginning is just breathtaking and the orchestral backing builds upon itself until it climaxes and it just sounds beautiful. This version has a more depressing sound to it, but it kind of sounds very hopeful towards the end, especially with the building orchestra and David Draimen's roaring vocals. Really, both these songs are amazing, and I recommend both of them highly, now, back to the entries that aren't shared.
War songs are usually hit or miss with me. I like songs like "One", "Zombie" and "Orange Crush", but other songs are not really songs that I would be listening to given the choice like "War" by Edwin Starr. This is what I love about "To Hell and Back" though, it isn't an anti-war song in the usual sense as there are no metaphors comparing the people who start wars as demons, no lyrics about crusades or atrocities, it's just a song about this one guy who suffered.
In some respects, yes this can be seen as an anti-war song, it does talk about the horrors of war and the effect it has on the soldiers who fight it, but the song isn't directly about that, it's more about Audie Murphy, who was a famous sufferer of PTSD. I like a song that can take a different look at things, because while thousands of people are treating veterans like murderers, we are ignoring the issues they have. I support troops, not war, there is a difference.
My favourite song in the rap & hip hop genres is this one, and considering what else has made the list, can you really say that you're surprised?
The subject of this song is very different compared to the subject of most modern rap songs, mostly about making money, getting ladies and getting high. This song is different, it talks more about alcoholism and the effect it has, both directly and indirectly. The song is a very melancholic but strangely relaxing tune, especially with it's beats and instrumentals, and yes digital beats still counts as instrumentals. The opening especially gives you a feeling of being afloat on your back gazing at the sky. It's a very calming song despite it's not very calming lyrical content.
Sometimes, all you need is a musical fence. Seriously, watch the making of this song, Gotye has it on his own channel, it's actually really interesting, but I digress. The instrumentals of this song alone could have placed it on this list, especially that amazing slide guitar, oh man I love that slide guitar. Gotye's vocal performance is also incredible, for those of you who only know him for "Somebody That I Used to Know", you aren't getting the full experience, he can really put a lot of power in his vocals. The theme of apocalypse is also an interesting one, not very often do I hear a song that has lyrics that perfectly match the tone of the instrumentals. More songs about apocalypse need slide guitar.
Ronnie James Dio didn't die, he just left to fight the evil in some other dimension and is out there riding a dragon into fierce battle.
The story that "Stargazer" tells is a very good story, about a stargazer who has this tower built up to the skies but instead of flying like he wanted to, he just falls and dies. It's a very sad ending, but the instrumentals and lyrics make it more bitter-sweet. I love a song that can play with feelings like that as if they were putty. Since I'm talking about feelings let's also talk about that guitar solo. Hot damn that is just amazing. I seriously feel as though I'm flying when I listen to it, and then at the end I just land at the foot of the tower. Legends never truly die, they just leave the mortal world.
Speaking of legends. This song is pretty much Freddie's epitaph, it's a very operatic song, but behind the power and energy is a dying man. What really makes this song special is indeed Freddie's vocal performance, being sick and dying and he still knocked the ball out of the park. The rest of the band also do an amazing job with their instruments, Brain May especially deserves an honourable mention as his guitar playing compliments the tone of the song so well, it just matches the majesty and epic-ness of the song and adds so much to it. This is an entire rock opera squeezed into a few minutes and it doesn't even sound as though it's compressed, it sounds like it took the right amount of time it needed to, it's so beautiful.
This and my number one pick are both some of my favourite songs of all time, and although this ranks higher on my personal top ten, my number one pick was overall the better song. "Aerials" is my favourite song from my favourite band, but why? Well, for starters, I love the instrumental work, like seriously, the guitar work by Daron Malakian is just perfect, and John Dolmayan just kills it on the drums. I also like the lyrics, the metaphors could really be about anything, about prejudice, about borders, about war, about anything, and that's what makes a song like this so good, that it can be about anything, not that it has one specific meaning. As much as I love the upcoming song, it does really have just one meaning, this could be about anything. So, what tops this track, from my favourite band? well...
There is a reason this was my first Ace Audio. Octavarium is a twenty-four minute song, and every time I hear it, it only feels as though a couple of minutes passed by, never anywhere close to half an hour. On top of that, the inspiration from classical music can not be missed, even being in separate movements, and each instrumental solo between the movements transitions each one perfectly. The third movement is my favourite, but every movement of this song hits bulls eye. I could gush on and on about this song, from the opening to the ending, to the theme to the stories of the first two movements, to the fourth movement which has my favourite bit, oh man this is one of my favourite songs, and objectively looking at it, it really was the best song I reviewed this year.
And hey, here are my selected honourable mentions, consider these the songs that could've made the list, but just didn't.
Oh boy this year, well since I just started I haven't really reviewed a whole lot of songs yet, but I have done enough to warrant a worst list. Now, I'm new to reviewing individual songs, as previously I've done reviews of Creepypasta (link to one review here), and as usual for those reviews, I often look at the worst of the stuff I reviewed, so I may as well do it here. Now, I want to end the year on a decently positive note, so I'm starting with my worst, and being honest, there is quite a lot of garbage this year, but I'm confident I can sort through the worst. Now, going through my entire list of blog entries, I have done twenty one Auditory Abominations, however one of them was a top ten list, which included honourable mentions, one of which I reviewed prior to that list, and another was a musical that had a selection of five separate songs, so that is a total of thirty-eight songs I've talked about on this blog. In comparison, I've only done eighteen Ace Audios this year, that is a twenty song difference, and very discouraging. Well, no use harping about it any longer, these are the worst songs I've looked at this year, oh joy.
And by the way, you can check out the reviews by clicking on the song title.
Oh goody, we are really starting off strong. This abomination is a lounge-jazz cover of the Rage Against the Machine song and it really does show why you should not do lounge-jazz covers of hard rock and heavy metal songs. I doubt that the guys are taking this seriously, I mean they call themselves Lounge Against the Machine, they really are not convincing me that they're doing this in earnest, except that they're not really doing anything. They are covering the song, and doing nothing, if they weren't doing this in earnest, they would be doing something clever or funny with the song. At least it felt like Pat Boone covered those songs with some form of earnesty, but I feel like these guys are doing it as a joke without understanding what makes a parody song or a joke song work.
If instead of covering the song line for line, they could maybe have garbled a couple of lines to poke fun at Zak de La Rocha's rapping style, than it would be a bit funny, but instead we got a shitty, boring and bland cover of an awesome song that quite honestly should have been forgotten.
Generally I don't like pop music, sure there are some good and even excellent songs now and again, but most of it just shows up, does it's purpose and disappears. Except now, it gets forced down our throats until it just goes away, which is not what music is supposed to be like. But what really grinds my bolts is when the song is as obnoxious as an infant throwing a tantrum.
When your opening beat sounds like a dentist's drill going through your ears, you should redo the entire thing. On top of that, Selena herself has very little interest in the song, or at least that's what it sounds like in the song, which is another bad sign. Essentially all this song is just an obnoxious beat with a boring singer with a subject that has been done since music existed. I doubt that there is any worse combination.
What a load of whiney, generic bullshit! That is all this song is, a whiney piece of trash with generic lyrics that are supposed to be deep and meaningful even though they are the same lyrics every beginner tries to write for a "deep and meaningful song from the heart". On top of that, the vocals are annoying, as if Bob Dylan somehow ate Gerard Way, before being kicked in the nuts. Seriously, this kind of song makes me wish I was listening to "Heathens" and I don't even like that song a lot. Music did take a bit of a hit in quality in some areas in the 2000s, but not everything that is utter crap is from the modern era.
Generally, I would call a song like this a piece of fluff, but fluff is generally just a bunch of sugar and love, and I doubt any of that went into this song. What? You guys thought I was going to do the whole "That would be an insult to fluff" thing? Well, you're right because calling this song fluff is an insult to fluff.
I mean, what can I say? A large problem of this song is that it came out in the 1970s, a decade where the word "Tame" was being tossed out the window. Yeah, we had disco, but we also had songs like "Let's Get It On", "War Pigs", "Anarchy in the U.K.", "Stone Cold Crazy" and other songs containing explicit lyrics and themes that would have been considered taboo in previous decades. Sure a relatively tame song like this could easily become popular, but therein lies the problem, what really is worth holding on to with this song? The song's lyrics are not even wrapped in good metaphors and the instrumentals are slow and boring, and that is another large problem with the song. The song is just boring, nothing about this song is interesting on any level, the lyrics aren't interesting, in fact they are very obvious, the instrumentals are not interesting and the band isn't even that interesting, nor memorable. Really, the song itself is just one of those songs that you could lump into one of those "70's Classics" compilation CD's alongside the other tracks that nobody remembers.
I know people love this song, but why? Seriously what is the appeal? Was it the "Sincerity"? Well, I highly doubt that because "I Want to Know What Love Is" works about as well as the classic "Hey baby, are you an angel?" pick-up line. "I Want to Know What Love Is" is like the barest minimum of a pick-up line, a line that drunks at the lowest of the lowest, low-end bars would not use.
On top of that, the song is just dull. It often just kind of drones and goes nowhere except for the awful chorus line, which it just decides to repeat, over and over and over and over and over until it digs into your brain like the Cerebral Bore, you know that badass gun from Turok II? Well, for anybody that has played the game, that would be a perfect comparison because after that thing digs into your brain it explodes. I think you can figure out what that means about this song on your own.
If I could do my worst list of Katy Perry songs again, I probably would, but then again you try listening to over twenty songs from your most hated music artist and then tell me how easy it is. I feel as though the list itself could have used another rewrite, but I'm still confident that this would be the number one pick yet.
These kinds of songs irk me, the kind of songs that "Royals" was written in response to, the songs that say, "Life is perfect, strive to be this!". The reason these songs irk me is because of several reasons, starting with the fact that I am a fan of people like Doug Walker who have their fans on an equal level to their fame. Simply put, a song like this is essentially the singer saying that they'd rather have things than fans, or they just see fans as more things. It also doesn't help that listing off items does not make interesting lyrical content, and the fact that at the really worst, it feels like bragging. Add to that the fact that Katy Perry is my least favourite music artist and you have a song guaranteed to make this list. The downside is, it just gets worse from here.
Again, what was the appeal? This time the argument of the "Sincerity" does not work because "Everything I do, I do it for you" is a flat out creepy pick up line that borders on unhealthy obsession. At least "Every Breathe You Take" was supposed to be a stalker song, not a romantic song. Okay, I think I finally get the appeal. Yes, people thought "Every Breath You Take" was romantic, even though it was supposed to be disturbing, which makes it more ironic that I find this song disturbing when it was trying to be romantic, and that is no better shown than the song's second biggest issue, the vocal work.
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Oh sorry, I just fell asleep on my keyboard.
What we have here is one of the most boring songs in the entire god damn world, if Katy Perry is my least favourite music artist, than Chicago is, actually I can't go as far to say they are my least favourite band, especially when Foreigner and Buckcherry both exist, but oh man the band may as well be. I still stand by what I say about the 1970s, it was the best decade for music and I doubt anything will top it, but when the good stuff is amazing, the bad stuff is an equal level of awfulness, like the Yin and the Yang, for every amazing song, there is a song that is not.
Really, the entire problem of the song can be heard within the first minute of the entire thing, it's a break up song that sounds like a lullaby, and I don't want to feel sleepy when I hear a break up song, I want to feel compassion, sympathy or something else like that, not as though I'm sitting through Final Fantasy The Spirits Within, seriously, what is it with me and Video Game references today?
This song is wretched, if anything this should have been my first auditory abomination because this is one of my most hated songs. I can barely even stand five minutes of this, why isn't this song a crime unto humanity?
Carly does no favours for this song, she does not have a good voice on this track, which is especially worse when you consider she does not have to bad of a voice. The instrumentals have this faux orchestral sound that just does not work, it just makes the song sound even more annoying. The song is also a total ear worm, completely taking over our brains and sticking out like a sore thumb, kind of like the DuckTales theme song.
Oh and one more tidbit, did you know that Carly Rae Jepsen is older than Adele? Yeah, I'm not kidding, by three years in fact.
Oh yes, I despise "Call Me Maybe" a hell of a lot more, but if I had to objectively point to the worst song I've reviewed for this blog this year, it has to be "Starships". At least "Call Me Maybe" had focus, this song begins with one beat and vocal style, transitions to another and ends with one more, and when I say transitions, I mean just kinda shifts into it, no build up, no nothing. The lyrics also serve as a downfall to the song mostly for being just as incoherent, starting like a party song, then going into lyrics about being able to have intercourse with whomever, then out of nowhere singing "Twinkle Twinkle Little Star", that is if you can even understand what she is "Singing", as she yells so loudly that some of the words just get garbled into random noises, and sometimes the lyrics are just random noises.
This song is the worst, and you know what? I have another year of this to go. Well, next time I'm doing the best songs I've reviewed this year, see you then.
And with the total amount of crap I went through, here are a few dishonourable mentions, if you want to check out the song, I've left the link below the title.
No, I'm not joking, this is a really good song. No, you weren't in a coma that skipped Christmas and went straight to April Fool's Day, or at least not that I know of.
I know people are split on BABYMETAL, but I personally don't mind them, sure not every song is great, but if that was the deciding factor of liking or disliking a band, I think I'd hate every band in the world. Really, they are just a Japanese pop-metal group, not to dissimilar to a band like Def Leppard or KISS, although those bands are better than BABYMETAL. I think what people should remember about the band is that they are both a pop and metal group, and are afraid of being neither. Some songs are more pop than metal, some are more metal and some are both. This song is more of the middle one.
Really, this song sounds like the intro to an epic anime, something like Naruto or Bleach, or maybe even Rurouni Kenshin, lord knows we need something better than it's English theme song (Link). This is because of the instrumentals, the instrumentals on this song are super good. That is something I must admit about any Babymetal song, the instrumentals are usually really good. However, the reason this particular song sounds so good is because of one reason, or two actually, Herman Li and Sam Totman of DragonForce. That's right, DragonForce. It's really the instrumentals that drive this track.
The lyrics are supposed to be positive, but I don't speak fluent Japanese, I mean I speak a little bit, kind of. I know "Old Macdonald Had a Farm", well, I can only say "Old Macdonald had a farm, and on that farm he had a crow", damn I really should have paid attention in Japanese class.
Well, I'm not expecting System of a Down or Led Zeppelin levels of lyrical content, but even if the lyrics are not very good, (Which again, sorry but can't tell) the vocal performance is also pretty solid, say what you want about the group, but they are decent vocalists and have good musicians behind them.
You can see how this became the opening track off of Metal Resistance, which I did a review of here. That is however, the album's biggest weakness, as it starts with its best song, not that the album is bad, but there is no real pay-off for going through the entire thing.
You know, overall this is an awesome song, The vocal work, the instrumentals and the technical are all solid. If you aren't into pop metal, you won't find a whole lot to enjoy about this song, but I say, give it a chance, you may like it.
I'm the Entity of Darkness, and I think I'll try to post one more thing this year. If I don't, Happy New Year!
Well, 'tis the time of year for pop stars to sing the time-tested carols for the consumers to eat up. The vast majority of Christmas music is mostly just covers of classic Christmas songs, not that any of them are bad, in fact with the right people, you can make a really good version of the classic. As much as I would love to cover one of the classics on this blog, I actually want to start with one of my personal favourite Christmas tunes. A popular gem from the 1980s known as "Fairy Tale of New York".
This is not my favourite Christmas song because it hasn't been covered by thousands of people, this is my favourite because it is not all "happy, joyous, and all that stuff." It starts off with a slow piano and a droning singer, and when I say droning, I mean he extends most of his lines, like "It was CHIIISTMAAS EEEVE BAAAABE." as a fair example. This is not a hindrance to the song though, as it helps establish the mood and tone of the song pretty much as the song starts, which means the rest of the song can be dedicated to the events of the song.
The song tells a story, and I love it when a song does this. This particular story is about an Irish immigrant couple, whose lives are ruined by addictions and bickering.
The opening does start off slow and somber, but after a little bit (about a minute in) the song adds some string instruments and Kristy MacColl offers her vocal talents. The sound is a good juxtaposition to the kind of depressing lyrics, although the first verse and chorus are pretty happy. I mean, the two reminisce about meeting, saying "You were handsome/ You were pretty, queen of New York City." and "We kissed on the corner, then danced through the night". It is a pretty joyous part of the song.
However, after that the song becomes pretty depressing. Now the two are throwing insults at each other, and wishing this was their last Christmas together. This portion of the song caused a little bit of controversy, although I think censoring the lyrics kind of ruins the portion. Also keep in mind that the particular word they use, has a different meaning in different places, especially in the U.K. where the band is from. This is also made a bit more clear by adding the words "Cheap, lousy" at the beginning, implying uselessness, which is generally what you would not want in a small bundle of sticks or a cigarette. Although, yeah it could be a slur, I wasn't a British person in 1980's I was barely even a sperm cell.
The final portion of the song is slower than the others, it is probably where the guy is trying to get the girl back, but it is not made very clear because of the length before the chorus. Seriously, there are like three of four lines and then BAM, "The boys of the NYPD Choir were singing Galway Bay," and then instrumentals. It still is a nice part of the song, but maybe one of two more lyrics could have made it stronger, or maybe made the song worse I don't know, I did not write it.
While I am on the subject, I do love the chorus, it is short, but gives a nice image, and I love the lines "And the bells were ringing out, for Christmas day." it just makes me feel good.
If you're tired of the usual Christmas carols and want something less like "It's Beginning to look a lot like Christmas" than I would recommend this one. It sounds like no other holiday song I've ever heard, and does not use the holiday as an excuse to make a happy song. A lot can happen on Christmas, lots of good and lots of bad, and this song perfectly shows that.
I'm the Entity of Darkness, and Happy Holidays to everyone, and I wish you a grand new year, hopefully it will turn out better than this.
I have a pretty big project coming up that may take me quite a while to actually do, so I'm just going to do whatever I want to do until then, but I should have a holiday themed blog next time.
The 1990s was a strange era for music. At the beginning of the decade it was the Grunge scene that dominated, than it was the alternative rock scene, and then it was boybands. Really, no one sound defined the nineties, maybe a specific year, but not the whole decade. The nineties is not like the Two-thousands where dance pop and alternative rock were the definitive music genres of that year, nor the seventies where it was mostly disco and rock, and Elton John. However, the nineties are a fascinating little blip in music history, giving us plenty of oddities that we somehow still remember, yet completely forgot about at the same time. Anybody remember "No Rain"? "Semi-Charmed Life"? "Bittersweet Symphony"? You do, but not until I brought them up, either that or you are a real big music nerd like myself.
Oasis definitely falls within the category of a 90s oddity hit, but people really remember them. You know, people like "Wonderwall" and that seems to be it, nobody really seems to remember "Morning Glory" or "Don't Look Back in Anger", which both came off the same album, but people also seem to remember this song. "Wonderwall" I get, it's an acoustic ballad, which every teenager will just eat up, but "Champagne Supernova"? Why? This is not really a song that I can see mixed in with one of those "nineties classics" CDs you see at the check out aisle in Wal-Mart. But maybe that is the reason people remember it, because it doesn't sound like a song from the nineties, more like a song from the sixties.
You can definitely hear the psychedelic influences in the opening instrumentals, beginning with the sound of waves and then following with this guitar sound that sounds as though Noel Gallagher is drowning a slide guitar, I mean whatever sounds cool I guess. But seriously, the opening instrumentals are awesome, and immediately take me into the song, and get me into a psychedelic feeling. I would say more so than a band like early Pink Floyd, and I'm talking like Piper at the Gates of Dawn Pink Floyd, where they actually tried to be a psychedelic band.
Liam Gallagher does have vocals that split some people, personally I don't mind them too much. I mean, yeah they are pretty much is Bob Dylan had a colonoscopy, but still Bob Dylan has a decent voice and for the style of rock that Liam sings, his vocals match well. Plus, Liam begins with a much more somber tone in his voice, and slowly graduates to his usual level towards the end.
The lyrics are strange, but they are supposed to be. I especially love the line "Slowly walking down the hall/faster than a cannonball" just for how odd the line is. Personally, I think this is another song about nothing like "Loser" or "Bohemian Rhapsody", but everybody has their own interpretations of this song. I like a song that is not directly about anything, it is kind of a nice break to listen to a song like it, considering I listen to a lot of metal, which can get very political, putting it very lightly.
I also love the guitar solos, being pretty reminiscent of Jimi Hendrix but still distinct on it's own. I can't help but think of floating aimlessly on an ocean whenever I hear the song, it's pretty amazing.
The 1990s was an odd time for music, but we got plenty of gems from the rough, and many of those gems were rough. It was a fascinating time that gave us a song that was very reminiscent of the psychedelic era, but still felt right at home in the Alternative scene of the mid to late 90s. Considering plenty of other songs like this have essentially become novelties at this point, it's nice to see that there is still an audience of a song like this.
I'm the Entity of Darkness, and I would comment on the Gallagher brothers, but you know what? It's December, let's just leave it for now.
