Discussion in 'Charts, rates etc' started by HeartSwells, Apr 19, 2017.
Too Much was the worst song for me. You could say it was too much...
This is out way too early.
I LOVE Too Much, how can it be out already?
The entire instrumental bit in the middle is so amazing. Almost feels like you are in the middle of a storm on the ocean. Very dynamic. I really was expecting this to at least make it a few more spots before going out.
34. Flint (For the Unemployed and Underpaid)
Highest score: 10 (@NecessaryVoodoo)
Lowest score: 6 (@andru @Epic Chocolat @Stradiwhovius @LE0Night)
My score: 8
What kind of clairvoyance for Flint's water crisis? Flint is a sobering album opener, and one of the album's most affecting slowies. I love the minimalist approach here, the piano melody is beautiful, and it's one of the few times Sufjan uses horns for something that isn't joyous or frantic.
I imagine the lyrics aren't autobiographical, but what gets me are the "I pretend to cry/try" lines; despite losing his job and home he comes off so helpless, in the end shrugging about his future, even if he died alone.
"What an introduction to his discography; tender, raw and beautiful. Gotta love a brass section, too. The sentiments of the track are even more poignant in light of the ongoing crisis Flint" @constantino. "This is so brilliantly sparse, and the way it cuts out after 'died' in the final line is just heartwrenching" @kalonite. I don't really have anything to add other than a yas to both of these comments.
"A pensive and bleak, yet somewhat dewy eyed intro which sets the tone and context of the album but ultimately nothing special" Nothing special? who hurt you @Stradiwhovius??
"Well I am one song in and though he pretends to be crying, I am not" bless you @Sprockrooster, guess we'll see how you made it through Carrie & Lowell later.
34. Seven Swans
Highest score: 10 (@MollieSwift21 @Kuhleezi @RUNAWAY)
Lowest score: 5.5 (@VitaminBee @Epic Chocolat @LE0Night)
My score: 8
This one will always hold a special place in my heart, it was the opening number for when I saw the greatest show on Earth, aka the Age of Adz tour.
Still, despite it's good features I struggle to truly love it, the desolate first half encompasses most of the things I end up disliking about the album, it's a bit too minimalistic, and not in the usual emotive way. I'm blaming that on the banjo, but maybe the lyrics are part of the issue too.
It's probably the only Sufjan song that... frightens me? It gets quite dark and intimidating as the song progresses, and the lyrics paint God in that way too. Shake me a tad. A farcry from the rest of the album really.
Still, when the song explodes into HE IS THE LORD, its lit.
"This actually makes me believe in god a bit" @madeofghosts. You have a new recruit @aaronhansome. "That climax in the outro is sonically so beautiful it obliterates every problem I have with connecting to it lyrically" @Sprockrooster. Maybe not this one though.
Highkey agree with @constantino here. "This really comes to life after the 4 minute mark, doesn’t it?"
"I like that banjo strumming sound throughout the album" I'm gonna assume this is shade after your score, @Epic Chocolat. You ain't wrong though.
"God its just gloriously weird isnt it?" claims @Stradiwhovius. Imagine saying this and listening to The Age of Adz for the first time though.
"This is...sinister.... I know it's Revelations and apocalyptical, but still" @kalonite left shook like me.
Oh god no as if we've lost Seven Swans! It's grown on me even more since the rate, it'd easily be one of my 10s now. It is so dark and intimidating, and the octave jumping chorus creates a perfect sense of apprehension and anticipation as we enter that fantastic climax.
SEVEN SWANS SEVEN SWANS SEVEN SWANS
Justice for the banjo! Favorite song on the album, sad to see it go.
33. Get Real Get Right
Highest score: 10 (@aaronhansome @Kuhleezi)
Lowest score: 4 (@Epic Chocolat)
My score: 10
Get Real Get Wronged.
Funny that this ended up just beating Seven Swans, because it's time to have another chat with The Lord. Most of the time I find he doesn't come across as preachy, and I know the final verse here could come across that way, but I find the final verse is aimed at himself and not the audience. Whatever, I'm going to Hell anyway.
The beat here knocks, and I kinda live for all the kitsch (the flutes, autotune and spacey effects). It's all well and good, but its the transcendant second half where my love for this comes from. The tension is amped, and I don't think I've heard Sufjan so desperate (least until I Want To Be Well) on a song before, like he's trying to convince himself of what he's saying. Props to the whirlwind of instrumentation too.
FOR YOU WILL NOT BE DISTRACTED BY THE SIGNS
DO NOT BE DISTRACTED BY THEM
One of my favourite moments in his discography.
Also shout out to the brilliant people behind the Age of Adz tour backdrops, this one gave me all the graphics for The Age of Adz images. I took a picture of the back of the vinyl for the font, that is dedication right???
No-one had really nice things to say about this one. I'd cut it out but I need to bulk this out somehow.
"If St Vincent ever wrote a musical, this would soundtrack the moment where the protagonist was facing an intense moment of inner turmoil, followed by a moment of self-discovery. The baroque elements in the composition are absolutely spectacular. Unfortunately, like a lot of songs on this album, it tails off a bit towards the end" Now what the fuck at that last bit, @constantino. The whole album is filled with amazing build ups and payoffs. Too Much, Age of Adz, Vesuvius, I Want To Be Well, THIS SONG... smh.
"SPACESPACESPACESPACEspacespacespacespace" Ok, that made a bit more sense in context @madeofghosts.
"This sounds messy and chaotic, and I know it's supposed to, but it's just a bit much for me" The only thing messy here is your score, @kalonite.
And I ain't talking about the Age of Adz's tone.
No but really, I can understand Too Much I can't but Get Real Get Right as well? With all its twists and twirls and flourishes and a hint of lightheartedness in the beginning (like that SPACE!spacespacespacespace) that is inevitably denied in the ending but still we're talking about Sufjan what did you expect? When it houses one of his most memorable hooks ever that I literally couldn't get out of my head after just playing the album once? Ok work end up unemployed like in Flint.
Wow we're in the midst of a cull for some of my absolute faves I don't like this.
Things are heating up and I'm not ok with all of these great tracks falling away. I think I maybe did do Get Real Get Right a bit wrong, looking back on it.
Does Impossible Soul have a shot of cracking Top 10? With all these Adz cuts it's not looking likely...
I am also hoping Age of Adz makes top 10 at the least. I like Impossible Soul, but my picks for that top 10 placement are I Walked or Vesuvius.
The top 10 is... what it is.
I'm sad Too Much is out, although I voted it low, I do like it but I prefer the shorter version.
Oop, those last two hurt. Seven Swans is top 10 quality.
Highest score: 10 (@kalonite @Number @Kuhleezi)
Lowest score: 6.5 (@ohnostalgia @epic chocolate @Stradiwhovius)
My score: 8
This cutie. Pittsfield is our last remaining cut from The Avalanche... out of 2. Sorry, thought it'd add a bit of weight to the title. It's also the longest track on the album, but I guess y'all didn't mind that.
I like it, though I'll admit its not often I trudge through The Avalanche. The lyrics are cute and it's general mood is quite relaxed (not too disimilar to the other Avalanche tracks); Until it gets to that kickass guitar anyway.
To be honest I don't have much to say about this one, I reckon I scored it how I have from it's relaxed nature; everything post Seven Swans has felt heavy, its easy to get caught up in some of his more hectic products, or some of his more emotionally crushing tracks. This is a nice throwback to the softer Michigan cuts.
C'mon @constantino, lets get cute. "C’mon 7 minutes of depression! The twinkly production is cute I guess..."
"Oh boy a minute of atonal guitar scribbling at the end. No but it actually does sound cool" I forgot about that part @madeofghosts and thought you were talking about that weird lawnmower synth-horn sound nn. It's quite Age of Adz init.
"This is so melancholic and brutally accepting of the hardness of life as a child wanting for love. Even the big triumphant ending still feels hollow and fizzles out painfully" @kalonite hitting a bit too close to home for me and my daddy issues.
31. Christmas in the Room
Highest score: 10 (@LKane @MollieSwift21)
Lowest score: 4.5 (@Epic Chocolat)
My score: 7
One of the more popular songs from Silver & Gold, and I'm glad it got representation (I find the S&G collection a generally more interesting and stronger set). Also did this feature on an advert, famous video or something? I keep having flashbacks to a video ending with the closing line here. Maybe it's just a result of how strong of an impact the chorus has. The Verge picked this as Sufjan's best Christmas song, the list obviously subjective because my poor fav, The Midnight Clear, scraped in at #19. Didn't even get a write up. Twats.
It's one of the better Christmas tracks of his, and has quite a lot of classic Suf-isms, especially love the little synthy notes here.
Silver & Gold was released just under 5 years ago, which would be good news for the next collection, alas...
See you in 2022 I guess. I hope.
"I HATE listening to christmas songs off-season but this is great all-year-round, let’s be honest" great yes but it still has the word Christmas in the title, so it's an automatic pass @constantino.
"This is just really cute. (And also another non-gendered love song, which should really be the norm tbh.) I just love non-traditional Christmas songs" I never pay attention to the Christmas song lyrics @kalonite, all I ever hear is Christmas Christmas Santa Jesus *sleigh bells in background*
"The beginning is a little long but it really grows into a lovely song" How would you cope with The Child With The Star On His Head, @VitaminBee?
30. Carrie & Lowell
Highest score: 10 (@aaronhansome @constantino @MollieSwift21)
Lowest score: 5 (@LKane)
My score: 4
Phew, took long enough.
The title track from Carrie & Lowell. Am I missing something here? The banjo is annoying, and the vocal melody is just as bad. Not even my favourite spacey synthy/guitar tones help elevate the situation much.
It's one of those downer lyric-upbeat instrumental tracks, Suf digs deep into his family's history, most notably talking about his stepfather, mother and the aftermath of her death... aka most of the album; but this time feels way more cutting, the head on the floorboards imagery (either dictating his mother's alcoholism or even Suf's substance abuse at that time) and the closing line ("She breaks my arm") hit hard.
Still, I can't get past the album's weakest instrumental (IMO xxx), sorry all.
Here's the yin to my yang, @constantino. "Urgh this is absolutely incredible, dare I say one of his best. The melody is just stunning"
"I love how you can hear echoes all the way back to the really early stuff in the plinky guitar of the first half of this, but it's just so much more developed and everything just builds and gets richer and richer" you know what they say @kalonite, shit is still shit no matter how you dress it (or build up on it).
OK shit is a bit harsh, I quite like the outro.
I won't live with myself if the Garbage rate finishes before this, so bare with x
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