Woke up with the tune of it stuck.

song starts at 13:03

I had never heard this song before and am kinda shocked.

Which was a pretty interesting choice of musical style to "borrow", for a white dude, who wanted to start a race war...

No fucking kidding. I thought what he did was like superbrightsunshiney pop along the lines of the Byrds or something, tbh. Man was a real shitsack, one of the biggest, but I cannot say I do not love this song.

2 fucking savage

Greenday is playing in Central Park for free and I would love to go see them, never have. I haz gig that day. FML

Damn that is a big bummer, they are quite amazing live. I don't follow what they do anymore but I've saw them a couple times when I was in high school and they blew me away.

Pretty cool of them to play there though, and free to boot.

It is weird to kind of not really like this band at all and not even this song or atleast it's execution too much, but the CONCEPT... now that I am very, very into. Would love to be in a band kind of like this, with the odd time signatures and offkilter drums, anthemic punk/alt kinda riffs and then the fucking ripping leads. Would scratch the gawdy back up vocals though.

This remains the closest that i have ever gotten to not despising chorus on a guitar:



Possibly the only ever acceptable use.

I have never listened to this band before but I feel like I should. I think the wackiness of that lead overrides anything that could be perceived as unfavorable about the tone, shit is like some Fripp phrasing.

They are fucking great. Check out Starfish(the one this is from), or Gold Afternoon Fix, which are IMO, the two best ones.




Those are their kind of mid-career records. The earlier ones were a type of less unique britgothpop in the vein of Boys Don't Cry era Cure or similar. The later records(they still play) got alternately a little weirder(not necessarily in a good way as much as a way that seemed to me to be a little bit more overly self indulgent without direction of purpose), and a fair bit less based on good songs as a core. The two major label middle records (those above) are for me, the sweetspot of oddness and structure.

The the combo of guitarists, Marty Willson-Piper and Peter Koppes, is pretty great, some real interesting elements in the stuff they bring in. On the list of maybe only three people, in the end times, who will be allowed to retain their chorus pedals.

I've jumped into this first one and am very much digging it. It feels to me like a more.. contained but still theatrical Ocean Rain. Or atleast, those elements are what is really doing it for me.