HAIL MOTHER MOTOR
HAIL PISTON ROTOR
HAIL WHEEEEEL
HAIL MOTHER MOTOR
Robert Rogers
Justin Flores
TOWERS OF LONDON
WHEN THEY HAD BUILT YOU
DID YOU WATCH OVER THE MEN WHO FELL
Jack Torres
Great thread
Jaxson Ortiz
How do I make music like this?
Nathan Moore
Be born in swindon
Carter Sullivan
you can't do it alone
Isaac Adams
What about Nigel? Did you make plans for Nigel?
Jackson Brooks
hate all religions, especially the jews but do it in a subtle way so you don't get called an anti-semite
wink
Daniel Bennett
THERE MAY BE NO GOLDEN FLEECE
BUT HUMAN RICHES I’LL RELEASE
Ryan Walker
AND I'VE SEEN IT IN A PAINTING
AND I'VE SEEN IT IN ENGRAVINNNGGG
AND I'VE SEEN IT IN THEIR FACES
CLEAR AS CHILDRENS CHALK LINES
ON THE PAVINNNGGG
Liam Parker
iii have watched the manimals go by
buying shoes buying sweets and buying knives
goes so fucking hard
Ryan Richardson
I can just imagine you. You're pasty white. You wear glasses. You're ugly. You're chuds. You don't have social lives or partners. You are XTC fans, aka losers.
Jackson Morris
>WE'RE ONLY MAKING PLANS FOR NIGEL
>HE HAS HIS FUTURE IN A BRITISH STEEL
absolutely kino
Ryder Carter
trueeeeeeeee
Jacob Bennett
>J
>U
>M
>P
>I
>N
>G
>JUMPING IN GOMORRAH I'M RELIGION FREE
Jacob White
I'm a brown sudaca actually
Joshua Smith
Nobody asked.
Connor Sanchez
Show us a picture of you
Tyler Reyes
You have to look at the band as a whole. But breaking it down, the Black Sea/Drums and Wires sound relies on:
First, more than anything, Terry Chambers. He falls into one of many of a generation of drummers that doesn't have the technique for drumming, but has the ear for it - which means that when he drums, it's all unorthodox patterns that are relatively simple to play but throw you off.
The next step of the equation is the interplay between Dave Gregory and Andy Partridge, but that also has to be understood as to how they play. Dave is a thoroughly "learned" musician, he knows a ton inside and out, while Andy is a "learned" songwriter but not musician - he's got an instinctive sense for how to play with or against Dave, but the technique is not there so he has to think in terms of pure songwriting; it's very arranged but very raw. The end result is that their guitar interplay on that period is a major calling card.
The third part is a great countermelodic sense from Colin Moulding. The bass is jumping around even when he just riffs on a certain thing, but he's channeling Geezer Butler more than he is channeling Paul McCartney; it just reads like McCartney because it's written around Andy's songwriting.
The fourth is specifically that Beatlesian songwriting sense. Andy and to a lesser extent Colin both have a ton of really obvious "Beatles" moves. Generals and Majors is a great example of this: the verse begins with F-C-Bb, but the chorus opens with F-Cm-Bb. This is simple stuff, but it works for a reason.
The final one is more sonic than anything: it's the deployment of key effects at specific points for color, and the writing for 2 guitars, drums, bass, vocals and two backing vocals. That limited palette really shines on Drums and Wires.
You can recreate Black Sea and Drums and Wires from the word go, because the elements are all known, but to get a group to buy into it wholeheartedly is hard.
Bentley Cook
Nice plebbit spacing, faggot.
Oliver Russell
AND IT'S ALWAYS BEEN THE SAAAME
IT'S JUST A COMPLICATED GA-A-ME