I’m just talking about when people are disappointed by Noel’s choices. Doesn’t matter the album or producer, usually the root of whatever gripe is Noel.

I'm sorry Mod Mimmi, I'll stop blowing up the forum with my opinions, but I came here almost a decade ago to find people like me -- those who have a real, authentic emotional connection to Noel's music, old and new. So it makes me angry when certain folks on here have done nothing but complain, pout, and bully those of us who love the simple melodies that he creates year after year. These critics have accelerated their condescension and pretentiousness whenever Noel writes a song that more that two people enjoy. To them, we are all monkeys dancing around the monolith. They pout and puff that Noel writes something as simple and gorgeous as Just Let It Come Down Over Me or I'd Pick You Every Time, declaiming that we should instead enjoy and appreciate a 27-minute AA track. Maybe I am just a simpleton, but hearing "shoot a hole into the sun" a hundred times in a row on a Saturday night just isn't inspiring, interesting, or emotionally endearing to me, or anyone I know. 

What's more--We're continuously castigated on here for appreciating the old-school beautiful melodies that mean so much to us. I know I speak for the silent marjory on here when I say we reject the Pitchfork fascists that hate anything Noel does that reminds them of Oasis. To their logic, we're un-evolved creatures lapping up Here's A Candle or Leave My Guitar Alone -- "daft" songs that need more random doorbells and yips to be cool. If Noel doesn't write ONLY ten minute, DJ-friendly, space jazz electronic dance music from now on, then Noel is forever resigned to be "dad-rock" and "boring." In a world where the silent majority rarely has a voice, I decided to speak up and defend Noel where songs like If I Had a Gun, Dead in the Water, You Know We Can't Go Back, If Love is the Law, The Man Who Build the Moon, Don't Stop / Bye Bye My Family, While The Song Remains the Same, and Waiting for the Rapture (acoustic) are appreciated and celebrated for the genius and beauty that they are. In a thousand years from now, no one will remember the hallowed remixes, the annoying Fort Knox doorbell, or (the truly boring) Right Stuff....The world will sing Don't Look Back in Anger in glorious revelry, and I couldn't be happier. That's the legacy Noel deserves, and the one he'll get. 




 

I'd like to mention that I have repeatedly expressed that I love Just Let it Come Down Over Me and would love to hear it with Holmes' ambient production. I don't think there's anyone on this forum that doesn't love Noel's melodies, but that doesn't mean we have to have to wanna hear them through the filter of dad-rock arrangements and production.

To me, Holy Mountain shows off Noel's big-chorus talent in the right way - by making it a part of a loud, blaring, carnival of a tune. Who Built the Moon is much closer to the spirit of Definitely Maybe than either of his first two solo albums from where I stand - energy, fun, joy. I don't get those from If I Had a Gun, or from The Girl With X-Ray Eyes, but I definitely get them from Fort Knox. Belter of a tune, and yes, the alarm clock sounds fucking great. Thanks.

Nah, I reckon Holmes' ambient style would suit it beautifully. He could bring out that Irish "lilting optimism". as Noel puts it, from the melody. 




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Prettiness

Eh? I don't think it's gonna actually happen, I just think it would sound great.

Why do you take things from such a binary perspective? You do know fans have a more nuanced perspective than that. For a start, I love Dead In The Water, I love If Love Is The Law, I love Broken Arrow, and I love Just Let It Come Down Over Me. Beautiful songs, but more importantly, don’t stray into slow heaving dad rock territory,

What I don’t want is Noel to keep on doing the same album time after time after time with the same plodding mid-tempo stodge - of which there is frustratingly so so much of it in his songwriting in the last 20 years. Very little variation at all - even Liam’s solo album is more brisk than the plodosphere of Noel’s first two albums. I’m more interested in big sounding songs with less obvious Noel influences like Keep On Reaching (nothing experimental about that track for instance but different) rather than another bloody Kinks inspired mind numbing thud... thud...thud...thud.

Asking for something different and a bit more inventive is not akin to asking him to make a meandering space jazz album that comprises of just one 40 minute track. There are so many shades of gray, and you have to accept that instead of getting so ridiculously hysterical about any criticisms of his music. And those criticisms aren’t an insult to those who like that music - I haven’t seen anyone on here ripping people to shreds for their love of that. Disagreements, debates, yes - but not ‘musical fascism’ or ‘monkey baiting wind ups’ or whatever.

You spelled "worst" wrong.

Thats the way it should've been with his debut.

I think it would be better as two separate albums, even if they are released as the same time. A double album should be more of a sprawl that still works as a singular musical journey, rather than two separate and different albums acting as one. I don't necessarily mean the same style throughout (in fact double albums should mix different styles), but all the different elements should add to a whole that's greater than the sum of the parts.

now, is there any proof Noel is working with Dave at the moment? The Who are recording with Dave so I din't think he has any time for Noel

I suppose, but I imagine if Noel came to him with some just-written songs and said he wanted to work on them with him, Holmes would agree. He likes to work from the ground-up, yes, but if they were newly-written melodies I'm sure that would work - he didn't want to work on Chasing Yesterday because the songs were "basically finished", as I remember.