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Opening with K9? It's gonna be a long ride.
EDIT: By the way, anyone else notice a change in the vocal sound live during the last year or so? The vocals sound like they're processed in a different way, affecting the timbre of the vocals somewhat. I'm not gonna say autotune (
), but to my ears there's a difference, at least.
@Coffin Varnish: You did not look like morons. Where would rock be without youthful exuberance and enthusiasm?
Me, I contented myself with nodding approvingly while grinning and staring at the lads on stage. I was probably creepy as all hell, except I guess they're used to it.
Ah, nice, in-depth dissection of Mutiny! here. I love it.
@supernaut: Having never really listened to Changes before I wasn't aware of that particular connection, but that's a pretty verbatim homage right there. To be clear, this is referring to the parts 2:48-3:04 and 4:08-4:24. Again, 4:24 onwards is pure KC to my ears, particularly the breakdowns at 4:49, 5:17 and 6:10, and would fit really nicely as a "Lark's Tongues in Aspic, part V".
The Changes connection reminds me a bit of the way "Where Eagles Dare" by Iron Maiden – specifically, the drum break – was weaved into Kvæstor. This is typical rehearsal room stuff – "Hey, this new section sounds a lot like [famous song]!". Of course, most of the time you'll want to add something that makes your composition sound different from the inspiration, but other times it just sounds too good not to leave it in.
Since Yes was mentioned though, there's a very big Yes influence running through Into the Mystic as well, particularly in the arrangement of the ending section and the way the lead synth comes in at 5:19.
@Punj Lizard: King Crimson still packs a punch live! I was fortunate enough to catch them live in Oslo last year, really would have wanted to see them again, but life sometimes gets in the way. (Of course, your user name also seems to be somewhat KC related.)
The setlist I wrote is definitely subject to debate. I'm positive of the first three and the last five, but track 4-10 may definitely be a bit messed up, except I know S.T.G was followed by P.P.P. But I don't think I forgot any tracks…at least I hope so!
Great gig, though. I normally tape shows, but decided to skip that this time. Instead I was standing practically dead center at the front rail, next to some VERY enthusiastic headbangers (a death metal three-piece from Arendal, I learned afterwards). Man, watching the chemistry between the guys was amazing. Snah in particular had some wonderful looks in the direction of Bent – he looked like a man in love.
Also, during STG, on the first instance where they do their lovely "holding guitars high in unison" move, Snah's guitar strap came loose. After a few pleading glances back to the guitar tech, the strap was reattached and Snah bowed to him in a comically formal manner, before getting back into business.
A bad side effect to standing with the bass rack in my left ear and the guitar rack in my right, was that my ears were REALLY shot after the show. The sheer volume blew straight through my (admittedly cheap) ear plugs, and my hearing was bad for 2-3 days after the show. I've since noticed that it's kicked my (slight) tinnitus up a notch, I'm guessing permanently.
Huh. That's interesting, I've never thought "Mutiny!" had much of a Rush feel – to me the 2nd half reeks heavily and intensely of King Crimson.
Speaking of influences, I've also noticed lately that the bass in Dreamhome feels similar to Geezer Butler on some songs on Sabbath's "Master of Reality" album. For some reason I get a strong "Into the Void" or "Lord of this World" vibe, even though back to back they don't sound entirely similar. Of course, the strongly leslie'd vocals and flutes also harks back to Sabbath, as well as the simple chord sequence in the slow sections (straight outta Solitude, for instance) so I guess it's inevitable. And that's not even mentioning the Sabbath influence in Bartok.
Back to Rush influences though, there's always X-3 (Knuckleheads in Space) and its spiritual brother of sorts, Cygnus X-1, which is also about space travel. In fact, the ending lyrics to X-1 has some resemblance to the last part of Little Lucid Moments, so I guess it's all a part of the same tapestry:
Nearer to my deadly goal
Until the black hole
Gains control
Spinning, whirling
Still descending
Like a spiral sea
Unending
Sound and fury
Drowns my heart
Every nerve
Is torn apart
Setlist (from memory):
Starhammer
Bartok
Dreamhome
Lacuna
S.T.G
P.P.P
Pacific
Ship of Fools
Up/down
Cuckoo
Feel
Wheel
Plan #1
—
Go to California
The Tower
Length approx. 2h40min
This brings to mind a similar discussion about another favourite of mine, Pink Floyd. They're also often labeled as a "drug band", or at least as a band where "Let's smoke some weed and listen to Pink Floyd" seems to be the consensus. Yet none of the band members were much into drugs – apart from Syd, who dropped out early, in more than one sense. And I've always enjoyed their music, and without the need of any additional stimulants.
Some people make good music while sober, others make good music while under the influence. As long as no one comes to harm, and the music sounds awesome, people can choose one or the other freely as far as I'm concerned.
Looks like I'm late to the party!
I've toyed around with a couple of MP covers in the past, namely, Starhammer and Mr. Victim. I'll try to finish them up, and see if either of them can fit on a collection like this.
@Johnny_Heartfield: I'd say Whole Lotta Diana also quite blatantly references Black Sabbath's "War Pigs" with the hi-hat keeping time in a similar way in the silence between those short bursts of riffing.
Wow, Cuckoo sounds a lot like Black Sabbath! Especially the breakdown around 11:00, it's almost lifted from a similar section in Sabbath Bloody Sabbath.
So… GBD is talking about the album, while otherdemon is talking about the play? No tracks named Buggi i ti or Røykeburet on the album as far as I can see… and why not? Those pieces were what I was most excited about from the soundtrack, and it's a bit of a bummer that they're not featured on the soundtrack album.
But, since they're the most obvious "song" ideas in the play, I guess they'll end up on the next album instead.
