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Post by bt95 on Oct 28, 2017 16:40:44 GMT -5
It is great, but I do think - a bit like HM - it's missing 'something' in the final third of the song. Noel's best tunes have that 'umph' going into the chorus/middle eight, and I just think both these tunes are missing that umph/change that would take them to a different level. I'm very hopeful that the rest of the album will be different, but I just have a nagging doubt that Holmes may have taken a bit too much away from Noel. As I said though, confident that doubt will have been proved wrong come Nov 24, though. I know what you mean but FK does actually progress after “you gotta get yourself together” it’s just subtle. The vocal parts from the different parts of the song all play together but the instruments remain the same which is why it’s subtle. I really like it because it’s a different style and it works. Yeh I do like it, I just feel myself gravitating more towards the first two thirds of each song than the last bits, and hope that isn't the case with every tune. Sure it won't be! |
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Post by fabulousbakers on Oct 28, 2017 17:47:14 GMT -5
Mind sharing how you mixed those albums and the track list order? I’ve wanted to do that but am too lazy would love to listen through it that way Well I set myself some "rules" first and then tried to get the tracks to flow within that framework according to both style and subject matter - -All the songs officially released for each project (b-sides and bonus tracks) must be used. -Each disc must be at least an hour long but no longer than 79mins (CD length). -Each disc (bonus tracks aside) must have roughly the same length. -Each singer (Noel or Liam) gets to sing the opening track on at least one of the two discs. -The same singer cannot sing both the opening and closing track on a particular disc. -No singer can have more than two songs in a row. -The above rules do not apply to cover songs. -Cover songs can only be placed at the end of the album as "bonus tracks". WHITE ALBUM DISC 01 OF 02RUNNING TIME 66 MINS 01. EVERYBODY’S ON THE RUN 02. FOUR LETTER WORD 03. THE ROLLER 04. IF I HAD A GUN 05. MILLIONAIRE 06. FOR ANYONE 07. A SIMPLE GAME OF GENIUS 08. TWO OF A KIND 09. IN THE BUBBLE WITH A BULLET 10. THE DEATH OF YOU AND ME 11. KILL FOR A DREAM 12. DREAM ON 13. THE GOOD REBEL 14. BEATLES AND STONES 15. (I WANNA LIVE IN A DREAM IN MY) RECORD MACHINE 16. WORLD OUTSIDE MY ROOM WHITE ALBUM DISC 02 OF 02RUNNING TIME 66 MINS (NOT INCLUDING TWO BONUS TRACKS LISTED BELOW) 01. BRING THE LIGHT 02. STANDING ON THE EDGE OF THE NOISE 03. SOLDIER BOYS AND JESUS FREAKS 04. THREE RING CIRCUS 05. WIND UP DREAM 06. AKA…WHAT A LIFE 07. MAN OF MISERY 08. AKA…BROKEN ARROW 09. WIGWAM 10. ALONE ON THE ROPE 11. THE BEAT GOES ON 12. (STRANDED ON) THE WRONG BEACH 13. LET THE LORD SHINE A LIGHT ON ME 14. THE MORNING SON 15. STOP THE CLOCKS 16. I’D PICK YOU EVERY TIME BONUS TRACKS RUNNING TIME 09 MINS 17. SONS OF THE STAGE 18. ACROSS THE UNIVERSE
BLACK ALBUM DISC 01 OF 02RUNNING TIME 65 MINS 01. FLICK OF THE FINGER 02. SOUL LOVE 03. DO THE DAMAGE 04. OFF AT THE NEXT EXIT 05. THE GIRL WITH X-RAY EYES 06. EVIL EYE 07. GIRLS IN UNIFORM 08. THE MEXICAN 09. SOON COME TOMORROW 10. REVOLUTION SONG 11. FACE THE CROWD 12. FREAKY TEETH 13. IZ RIGHT 14. IN THE HEAT OF THE MOMENT 15. BACK AFTER THE BREAK 16. LEAVE MY GUITAR ALONE BLACK ALBUM DISC 02 OF 02RUNNING TIME 70 MINS (NOT INCLUDING TWO BONUS TRACKS LISTED BELOW) 01. RIVERMAN 02. SECOND BITE OF THE APPLE 03. HERE'S A CANDLE (FOR YOUR BIRTHDAY CAKE) 04. I’M JUST SAYING 05. THE DYING OF THE LIGHT 06. SHINE A LIGHT 07. DON’T BROTHER ME 08. THE RIGHT STUFF 09. THE WORLD’S NOT SET IN STONE 10. LOCK ALL THE DOORS 11. BALLROOM FIGURED 12. WHILE THE SONG REMAINS THE SAME 13. START A NEW 14. YOU KNOW WE CAN’T GO BACK 15. BALLAD OF THE MIGHTY I 16. DREAMING OF SOME SPACE BONUS TRACKS RUNNING TIME 07 MINS 17. CRY BABY CRY (LIVE) 18. MY SWEET LORD (LIVE) |
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Post by The Crimson Rambler on Oct 28, 2017 18:46:34 GMT -5
It has slowly been building but it appears Noel has finally made good on his word to do something different from his usual output and created something that certainly stands as the most contemporary piece of music he has written for a long time.
The drum/chant combo clearly displays Kanye West's influence on the track. For the most part these chants largely work but the 'I keep on holding on' one is the least effective of the bunch, not hitting with the same kind of power as the others. The drum work however is consistently excellent and is possibly my favourite element of the entire track, so well done David Holmes (I assume). If I had one gripe I'd have had them a touch higher in the mix to really drive home the beat. It would have been nice to have seen Y-See given a larger role within the track as she really is the biggest change up to be found and what she does is great. The bass work isn't as discernible or prominent as I'd have liked however what I can hear of it sounds good and successful gives drive to track.
Overall I believe there's lot in there to like and find it a refreshing opener for a Gallagher album. ~8/10
P.S. Looking forward to the remixes!
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Post by unionpat on Oct 28, 2017 21:51:49 GMT -5
I gotta say I love the groove. But also gotta say that I'm actually relieved when the track ends and that damn alarm stops! Genuinely relieved. I shouldn't have to say that.
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Post by headshrinker84 on Oct 28, 2017 22:09:12 GMT -5
I really hope they open with it live.
Will be amazing with Chris starting it on the drums and the rest of them walking on.
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Post by Lennon2217 on Oct 28, 2017 22:26:27 GMT -5
I really hope they open with it live. Will be amazing with Chris starting it on the drums and the rest of them walking on. Prob just play it on the PA system like FITB. |
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Post by Noeldemort on Oct 29, 2017 0:05:05 GMT -5
Just heard the preview! IT IS AMAAAAAZING!!! I rated Holy Mountain 6/10 previously, but for Fort Knox I'll give it 10/10!! Love it, Noel!
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Post by LlAM on Oct 29, 2017 2:39:15 GMT -5
I need to get this off my chest: I've been a bit annoyed about the production of HM and FK, because no matter which speakers and audio source I used, they sounded boomy, muddy as if the sound was coming from the next door neighbour, know what I mean? But last night, I had a breakthrough and found the perfect combo! Spotify on my smartphone, with a pair of cheap JVC wired headphones, and they sounded fooking amazing! Now to my point; for the first time, I heard the panned out jet plane on FK just before the drums kick in! WOW! What a moment! THIS is what Oasis was all about: Balls out, swagger, in your fooking face! It's up there with the Supersonic intro (where Noel slides his pick on the E string, know what I mean?) and the helicopter/Morse code combo on the intro of DYKWIM? This, my friends, was my biggest Oasis moment since Be Here Now. Thanks for reading, have a great Sunday  |
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Post by AdidasNG72 on Oct 29, 2017 3:03:40 GMT -5
I need to get this off my chest: I've been a bit annoyed about the production of HM and FK, because no matter which speakers and audio source I used, they sounded boomy, muddy as if the sound was coming from the next door neighbour, know what I mean? But last night, I had a breakthrough and found the perfect combo! Spotify on my smartphone, with a pair of cheap JVC wired headphones, and they sounded fooking amazing! Now to my point; for the first time, I heard the panned out jet plane on FK just before the drums kick in! WOW! What a moment! THIS is what Oasis was all about: Balls out, swagger, in your fooking face! It's up there with the Supersonic intro (where Noel slides his pick on the E string, know what I mean?) and the helicopter/Morse code combo on the intro of DYKWIM? This, my friends, was my biggest Oasis moment since Be Here Now. Thanks for reading, have a great Sunday Great post. It's amazing how some of us here managed to get the BHN vibe immediately, and rate this as one of the best things NG has done since 1997, yet others here just don't seem to feel the same. WBTM is going to be Noel's BHN Reawakened moment. It's certainly the first record since 1997 where he has taken this bold, throw-everything-but-the-kitchen-sink, multi-layered, loud, aggressive, optimistic approach to making an album. I guess BHN is not everyone's cup-of-tea, and I doubt this will be either. I now have the old Noel back. The Noel I was a huge fan of back in 1997, doing what he is best at - making BHN Part II. |
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Post by Deleted on Oct 29, 2017 9:32:51 GMT -5
Oh man this song is fucking amazing.
Weirdly, the worst part in the song is where Noel sings "You gotta get yourself together". I fucking love the instrumental combined with those female vocals but I slightly dislike when that line kicks in.
But on the other hand, that "keep on holding out, holding on" fits the song very well and I like it.
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Post by Fade In-Out on Oct 29, 2017 9:56:30 GMT -5
Fort knox still is 6/10 to me, good opener.
Unless it introduces HM, then it would be a shit opener, like if FITB opened little james.
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Post by bt95 on Oct 29, 2017 10:37:16 GMT -5
Noticed this yesterday, but FK is now the backing track for Sky footy
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Post by Lennon2217 on Oct 29, 2017 11:07:12 GMT -5
I need to get this off my chest: I've been a bit annoyed about the production of HM and FK, because no matter which speakers and audio source I used, they sounded boomy, muddy as if the sound was coming from the next door neighbour, know what I mean? But last night, I had a breakthrough and found the perfect combo! Spotify on my smartphone, with a pair of cheap JVC wired headphones, and they sounded fooking amazing! Now to my point; for the first time, I heard the panned out jet plane on FK just before the drums kick in! WOW! What a moment! THIS is what Oasis was all about: Balls out, swagger, in your fooking face! It's up there with the Supersonic intro (where Noel slides his pick on the E string, know what I mean?) and the helicopter/Morse code combo on the intro of DYKWIM? This, my friends, was my biggest Oasis moment since Be Here Now. Thanks for reading, have a great Sunday I thought I was the only one having the issues with the drums and bass blowing out my headphones and car speakers. Very muddy indeed. At first I blamed it on a bad mp3 rip but now the songs are both from NG.com free downloads. I guess it was intended that way. |
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Post by KhanMightSay on Oct 29, 2017 14:46:48 GMT -5
Does the song work on acoustic guitar?
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Post by Manualex on Oct 29, 2017 15:23:52 GMT -5
Does the song work on acoustic guitar? If someone Made a electric Guitar versión and made me listen to it(before the actual song) it would have gotten a huh Nirvana In Utero reaction from me |
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Post by matt on Oct 29, 2017 15:48:41 GMT -5
I need to get this off my chest: I've been a bit annoyed about the production of HM and FK, because no matter which speakers and audio source I used, they sounded boomy, muddy as if the sound was coming from the next door neighbour, know what I mean? But last night, I had a breakthrough and found the perfect combo! Spotify on my smartphone, with a pair of cheap JVC wired headphones, and they sounded fooking amazing! Now to my point; for the first time, I heard the panned out jet plane on FK just before the drums kick in! WOW! What a moment! THIS is what Oasis was all about: Balls out, swagger, in your fooking face!
It's up there with the Supersonic intro (where Noel slides his pick on the E string, know what I mean?)
and the helicopter/Morse code combo on the intro of DYKWIM?This, my friends, was my biggest Oasis moment since Be Here Now. Thanks for reading, have a great Sunday This is what I'm talking about - the sheer bravado to do this is what is endearing to me. It's well and truly the characteristic that typified classic Noel and we have it back now for the modern day. None of the timidity and insipidness of the last 17 years here, this is the ambitious and impulsive Noel we've got back. |
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Post by ninestonecowboy on Oct 29, 2017 16:47:07 GMT -5
I need to get this off my chest: I've been a bit annoyed about the production of HM and FK, because no matter which speakers and audio source I used, they sounded boomy, muddy as if the sound was coming from the next door neighbour, know what I mean? But last night, I had a breakthrough and found the perfect combo! Spotify on my smartphone, with a pair of cheap JVC wired headphones, and they sounded fooking amazing! Now to my point; for the first time, I heard the panned out jet plane on FK just before the drums kick in! WOW! What a moment! THIS is what Oasis was all about: Balls out, swagger, in your fooking face! It's up there with the Supersonic intro (where Noel slides his pick on the E string, know what I mean?) and the helicopter/Morse code combo on the intro of DYKWIM? This, my friends, was my biggest Oasis moment since Be Here Now. Thanks for reading, have a great Sunday I thought I was the only one having the issues with the drums and bass blowing out my headphones and car speakers. Very muddy indeed. At first I blamed it on a bad mp3 rip but now the songs are both from NG.com free downloads. I guess it was intended that way. I think they have intended to make quite a bass heavy record, or just have a pretty bass heavy record in general. The problem with mastering a record like that in todays day and age is that they're trying to get the volume of the track up their with the typical volume of today's tracks which is LOUD, some modern recordings are like -5 RMS. Anyway, simply put, when you're trying to get a bass heavy track that loud, especially if there's a lot going on in the track, it's often hard to master it to a loud volume without heavy compressing the low end and high end, which often results in a muddy bass end and very harsh high end and basically destroying the dynamics. Also, obviously today, mastering engineers have to think about how most people listen to music which is usually through rubbish headphones, ipads etc..so i believe they don't mind basically compromising the low end to make it translate better on rubbish speakers most people use. So when you do actually put it through good speakers, you hear how muddy all the compression and whatnot has made the track. If you go back and listening to original pressings of music by The Chemical Brothers or something, which is kind of similar to this track, the masters are nowhere near as loud, so everything sounds great and dynamic. If you want a record today to be up the volume of todays music then you have to compromise the sound which basically means squashing the hell out of the low end. I'd much prefer music was mastered to a lower volume and preserve the dynamics. We all have volume knobs to turn it up anyway. |
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Post by MacaRonic on Oct 30, 2017 2:30:24 GMT -5
I thought I was the only one having the issues with the drums and bass blowing out my headphones and car speakers. Very muddy indeed. At first I blamed it on a bad mp3 rip but now the songs are both from NG.com free downloads. I guess it was intended that way. I think they have intended to make quite a bass heavy record, or just have a pretty bass heavy record in general. The problem with mastering a record like that in todays day and age is that they're trying to get the volume of the track up their with the typical volume of today's tracks which is LOUD, some modern recordings are like -5 RMS. Anyway, simply put, when you're trying to get a bass heavy track that loud, especially if there's a lot going on in the track, it's often hard to master it to a loud volume without heavy compressing the low end and high end, which often results in a muddy bass end and very harsh high end and basically destroying the dynamics. Also, obviously today, mastering engineers have to think about how most people listen to music which is usually through rubbish headphones, ipads etc..so i believe they don't mind basically compromising the low end to make it translate better on rubbish speakers most people use. So when you do actually put it through good speakers, you hear how muddy all the compression and whatnot has made the track. If you go back and listening to original pressings of music by The Chemical Brothers or something, which is kind of similar to this track, the masters are nowhere near as loud, so everything sounds great and dynamic. If you want a record today to be up the volume of todays music then you have to compromise the sound which basically means squashing the hell out of the low end. I'd much prefer music was mastered to a lower volume and preserve the dynamics. We all have volume knobs to turn it up anyway. So basically the young people of today are brain dead and are unable to turn the volume up. And they all use iPads, without added speakers, to listen to music. They basically don't give a fuck about audio quality and it's all their fault. I don't buy it for one second that Noel would cater for these cabbages. |
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Post by ninestonecowboy on Oct 30, 2017 6:32:45 GMT -5
I think they have intended to make quite a bass heavy record, or just have a pretty bass heavy record in general. The problem with mastering a record like that in todays day and age is that they're trying to get the volume of the track up their with the typical volume of today's tracks which is LOUD, some modern recordings are like -5 RMS. Anyway, simply put, when you're trying to get a bass heavy track that loud, especially if there's a lot going on in the track, it's often hard to master it to a loud volume without heavy compressing the low end and high end, which often results in a muddy bass end and very harsh high end and basically destroying the dynamics. Also, obviously today, mastering engineers have to think about how most people listen to music which is usually through rubbish headphones, ipads etc..so i believe they don't mind basically compromising the low end to make it translate better on rubbish speakers most people use. So when you do actually put it through good speakers, you hear how muddy all the compression and whatnot has made the track. If you go back and listening to original pressings of music by The Chemical Brothers or something, which is kind of similar to this track, the masters are nowhere near as loud, so everything sounds great and dynamic. If you want a record today to be up the volume of todays music then you have to compromise the sound which basically means squashing the hell out of the low end. I'd much prefer music was mastered to a lower volume and preserve the dynamics. We all have volume knobs to turn it up anyway. So basically the young people of today are brain dead and are unable to turn the volume up. And they all use iPads, without added speakers, to listen to music. They basically don't give a fuck about audio quality and it's all their fault. I don't buy it for one second that Noel would cater for these cabbages. Noel isn't mastering the record. Also, it's not about catering, it's become industry standard. Even the great mastering engineers like Bob Ludwig have had to follow suit. There's a science to mixing and mastering music (it's my job). An audio file can only reach a certain level in the Root-Mean-Square and the peak before it starts to clip and distort badly. One way get extra volume out that is heavily compressing the low frequencies of an waveform, essentially compromising the sound, which is why come have complained the sound is muddy on systems that have a true low end frequency representation. Some of todays commercial release is mastered with peaks around -5 RMS which is way too loud and compressed to maintain quality, but that's just how it is, the loudness wars went too far and it become the norm. Noel's album also needs to be there or thereabouts in the mastering because the music has to be played alongside everything else in what has become an industry standard. So it's not about Noel catering to people with an iPod. It's just mastering to an industry standard of the times which is basically necessary on a commercial release. Personally i'd much prefer to hear quieter masters but every mastering job i've had that comes from a reputable label or producer expect the master to match up with your modern record and Noel's is no different. |
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Post by MacaRonic on Oct 30, 2017 8:03:21 GMT -5
So basically the young people of today are brain dead and are unable to turn the volume up. And they all use iPads, without added speakers, to listen to music. They basically don't give a fuck about audio quality and it's all their fault. I don't buy it for one second that Noel would cater for these cabbages. Noel isn't mastering the record. Also, it's not about catering, it's become industry standard. Even the great mastering engineers like Bob Ludwig have had to follow suit. There's a science to mixing and mastering music (it's my job). An audio file can only reach a certain level in the Root-Mean-Square and the peak before it starts to clip and distort badly. One way get extra volume out that is heavily compressing the low frequencies of an waveform, essentially compromising the sound, which is why come have complained the sound is muddy on systems that have a true low end frequency representation. Some of todays commercial release is mastered with peaks around -5 RMS which is way too loud and compressed to maintain quality, but that's just how it is, the loudness wars went too far and it become the norm. Noel's album also needs to be there or thereabouts in the mastering because the music has to be played alongside everything else in what has become an industry standard. So it's not about Noel catering to people with an iPod. It's just mastering to an industry standard of the times which is basically necessary on a commercial release. Personally i'd much prefer to hear quieter masters but every mastering job i've had that comes from a reputable label or producer expect the master to match up with your modern record and Noel's is no different. I'm aware of this but it's just sad. |
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Post by RocketMan on Oct 30, 2017 9:27:16 GMT -5
its getting better every day. i went from "its too long" to "give me more"
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Post by Mean Mrs. Mustard on Oct 30, 2017 11:28:46 GMT -5
Whereas I'm still not quite sure about Holy Mountain (although it's really catchy) I love this one. I first heard it Friday morning when I was half asleep and had to hurry because I was going to Paris and I didn't really focus on it too much. Then I heard it again this morning (forgot to take my headphones to Paris) and I love it. It reminds me of the Prodigy and the Chemical Brothers. It doesn't sound forced to me at all. You know what sounds forced to me? Something like Record Machine.
This is not that far removed from things like Setting Sun, Let Forever Be, Fucking in the bushes or Teotihuacan.
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Post by johnwesleyharding on Oct 30, 2017 16:40:20 GMT -5
Oh man this song is fucking amazing. Weirdly, the worst part in the song is where Noel sings "You gotta get yourself together". I fucking love the instrumental combined with those female vocals but I slightly dislike when that line kicks in. But on the other hand, that "keep on holding out, holding on" fits the song very well and I like it. I think the 'get yourself together' bit is a direct nod to Noel's lesser known former band (not pictured in the video). |
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Post by caughtbythefuzz on Oct 30, 2017 16:40:37 GMT -5
Really disappointed with this. I don't get anything from it. Would be an easier listen if it was 1-2 mins long, but just too repetitive for my liking.
Hoping the next tune we hear will be good!
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Post by matt on Oct 30, 2017 17:01:34 GMT -5
Oh man this song is fucking amazing. Weirdly, the worst part in the song is where Noel sings "You gotta get yourself together". I fucking love the instrumental combined with those female vocals but I slightly dislike when that line kicks in. But on the other hand, that "keep on holding out, holding on" fits the song very well and I like it. I like the 'get yourself together' refrain but it never stood out for me amongst all the other goings on in this tune. Until today that is. I was subconsciously listening to the tune while working away and concentrating on other things and was caught unawares by it. The surprise of it really struck me. Weird how the mind works and things just click automatically at times. Now when I was listening to it this evening, I was actually anticipating the moment rather than just taking it as it comes as I previously did. |
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Nov 4, 2024 5:04:30 GMT -5
Nov 4, 2024 5:04:30 GMT -5