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Dixie Chicks - 5th Album Era
- Thread starter Momin
- Start date
Farawayhills
Well-known member
The song is very focused on Natalie's divorce from actor Adrian Pasdar - and most of the lyrics seem to paint him in a particularly harsh light. That, of course, may portray her feelings accurately, and may, for all we know, be deserved - but it is at least arguable whether it's the best choice for a long awaited trio album. I'm not arguing against divorce themes as such. Emily, after all, built parts of the first Court Yard Hounds album around her own divorce from Charlie Robison - but I don't think any of the songs on that were as openly hostile as this one - and that album was pretty varied.
This song, though is very dominated by Natalie, and the other Chicks have little to do beyond harmony singing - with no glimpses of their characteristic instruments. For me, that makes it a questionable choice for a lead single for the first album by the group for many years.
The video was apparently directed by Seanne Farmer - who is new to me, but I think is best known for work with Bette Midler. The mixture of old news or advertising footage with shots of the Chicks singing or marching is a matter of taste - but the danger is that it can be seen as too quirky and disjointed, Personally, I wasn't too impressed with the style or costumes of the Chicks here - I thought the uniforms were rather too exaggerated and parodied, and a lot of of the glamour, warmth and fun of their earlier work was lost. Yes, perhaps that is necessary for the theme, which emphasizes rejection and mental suffering - but, again, it's questionable whether it is the best choice for a come-back after a long hiatus.
My interpretation of the old, mainly black and white clips worked into the video is that they begin by emphasizing the conventional ideal that society creates around marriage, but quickly turn into the crashing of dreams. Later, they seem to show how society depends on women, in wartime and industrial roles - but later expects them to return to the safe, cosy, more stereotyped roles. For example we see women marching, but that quickly blends into the more conventional cheerleader type roles.
Musically, I found little sign here of the Roots scene, that the Chicks emerged from, and I believe, are still identified with. There are some touches of Western rhythm in the main verse section, talking about Hollywood (which was probably the best part of the song), but very brief later shots of Texan dancing and a Rockabilly-style slap bass, seemed only parody references. Basically, this strikes me as a Pop song, with some touches of experimentation, but not daring enough to go far beyond fairly conventional work. (In both Pop and Mainstream Country, there is certainly more innovative work around - and I find that rather disappointing in what has been awaited and promoted as a return after their long absence.
I think a curiosity and longed for response will potentially give the album a release boost - but how far that will amount to sustained success remains to be seen. Emily has said that this song sets the sound for the album as a whole - and, if so, I think that is a gamble. They may be hoping for a strong appeal to a new audience (but their age, their past record, and their long absence may make that rather difficult). If they are aiming for that, I think part of the secret is to take a substantial part of your existing fans with you. This is only one song, of course, but on the evidence of this, I wonder if they can achieve that.
This song, though is very dominated by Natalie, and the other Chicks have little to do beyond harmony singing - with no glimpses of their characteristic instruments. For me, that makes it a questionable choice for a lead single for the first album by the group for many years.
The video was apparently directed by Seanne Farmer - who is new to me, but I think is best known for work with Bette Midler. The mixture of old news or advertising footage with shots of the Chicks singing or marching is a matter of taste - but the danger is that it can be seen as too quirky and disjointed, Personally, I wasn't too impressed with the style or costumes of the Chicks here - I thought the uniforms were rather too exaggerated and parodied, and a lot of of the glamour, warmth and fun of their earlier work was lost. Yes, perhaps that is necessary for the theme, which emphasizes rejection and mental suffering - but, again, it's questionable whether it is the best choice for a come-back after a long hiatus.
My interpretation of the old, mainly black and white clips worked into the video is that they begin by emphasizing the conventional ideal that society creates around marriage, but quickly turn into the crashing of dreams. Later, they seem to show how society depends on women, in wartime and industrial roles - but later expects them to return to the safe, cosy, more stereotyped roles. For example we see women marching, but that quickly blends into the more conventional cheerleader type roles.
Musically, I found little sign here of the Roots scene, that the Chicks emerged from, and I believe, are still identified with. There are some touches of Western rhythm in the main verse section, talking about Hollywood (which was probably the best part of the song), but very brief later shots of Texan dancing and a Rockabilly-style slap bass, seemed only parody references. Basically, this strikes me as a Pop song, with some touches of experimentation, but not daring enough to go far beyond fairly conventional work. (In both Pop and Mainstream Country, there is certainly more innovative work around - and I find that rather disappointing in what has been awaited and promoted as a return after their long absence.
I think a curiosity and longed for response will potentially give the album a release boost - but how far that will amount to sustained success remains to be seen. Emily has said that this song sets the sound for the album as a whole - and, if so, I think that is a gamble. They may be hoping for a strong appeal to a new audience (but their age, their past record, and their long absence may make that rather difficult). If they are aiming for that, I think part of the secret is to take a substantial part of your existing fans with you. This is only one song, of course, but on the evidence of this, I wonder if they can achieve that.
pkslongbeach
New member
Love hearing their voices again. I would like the song a lot more, probably, if it was not the lead single. As such it has to be so relatable to so many people. And I think we so much decisive conversation in our society right now, I would be afraid that this, though well intended, may just sound like more "noise".
I would imagine that some of this has to do with her divorce as the lyrics do speak to it almost directly, but I also think it is aimed squarely at our current government administration since the term "gaslighting" has become an everyday part of our conversation.
Gaslighting:
Gaslighting is a form of psychological manipulation in which a person seeks to sow seeds of doubt in a targeted individual or in members of a targeted group, making them question their own memory, perception, and sanity. Using denial, misdirection, contradiction, and lying, gaslighting involves attempts to destabilize the victim and delegitimize the victim's beliefs.
Much of the military imagery is directed at "we as a nation" being told we are doing something for a cause, women in particular, when in fact we're just being used for someone's personal goals.
I am loving that they are making new music and loving hearing their voices in song together. But the anger that is being felt by so many in this country right now is becoming overwhelming and we start to just turn it off, whether true or not, because we just don't want to hear it over and over again. (This is partly why I love the Carrie-songs that aim "love" at a situation and not just anger).
I don't imagine this getting a lot of play anywhere at radio. But hopefully it will reach the majority of fans and they will get excited about the album, and that will create excitement.
I do feel as Faraway does that I miss the old care-free days of the Chicks. But the truth is they went through a life altering public flogging that has made them who they now are. And a lot of expression of what that was like is going to be part of who they are now. That's called post traumatic stress. Its a real thing. And for those of us who love the Chicks, we are going to have to accept them for who they are not. And not ask them to "go back to the past". Fear takes you backwards. Strength makes you grow forward!!
I would imagine that some of this has to do with her divorce as the lyrics do speak to it almost directly, but I also think it is aimed squarely at our current government administration since the term "gaslighting" has become an everyday part of our conversation.
Gaslighting:
Gaslighting is a form of psychological manipulation in which a person seeks to sow seeds of doubt in a targeted individual or in members of a targeted group, making them question their own memory, perception, and sanity. Using denial, misdirection, contradiction, and lying, gaslighting involves attempts to destabilize the victim and delegitimize the victim's beliefs.
Much of the military imagery is directed at "we as a nation" being told we are doing something for a cause, women in particular, when in fact we're just being used for someone's personal goals.
I am loving that they are making new music and loving hearing their voices in song together. But the anger that is being felt by so many in this country right now is becoming overwhelming and we start to just turn it off, whether true or not, because we just don't want to hear it over and over again. (This is partly why I love the Carrie-songs that aim "love" at a situation and not just anger).
I don't imagine this getting a lot of play anywhere at radio. But hopefully it will reach the majority of fans and they will get excited about the album, and that will create excitement.
I do feel as Faraway does that I miss the old care-free days of the Chicks. But the truth is they went through a life altering public flogging that has made them who they now are. And a lot of expression of what that was like is going to be part of who they are now. That's called post traumatic stress. Its a real thing. And for those of us who love the Chicks, we are going to have to accept them for who they are not. And not ask them to "go back to the past". Fear takes you backwards. Strength makes you grow forward!!
Farawayhills
Well-known member
I'm told that it is being sent to Country radio. Perhaps that's a long shot - but a fan has told me that his station in the Shoals area of Alabama are hyping the song, and say the reaction they're getting has been better than expected. That's the only information i have on that topic - and we must remember that Muscle Shoals and Florence have a distinctive musical heritage, not typical, in many ways, of the region as a whole (The Drive-by Truckers, Jason Isbell, the Civil Wars, Anderson East, and even Carrie's "Before He Cheats" originated from around there.)
As for the potential political interpretation - while the lyrics do pointedly refer to Natalie's view of the collapse of her marriage - it's certainly possible to see the video as pointing in a wider direction. For me, the most political part of the video is the clip it includes from Lyndon Johnson's campaign ad, when he was running against Barry Goldwater, in the 1960s. (Johnson was the President who pushed through Civil Rights legislation and Medicare, against strong Conservative resistance - and arguably was the key figure in establishing the broadly liberal value system that marked mainstream American culture in the late twentieth and early twenty-first century - but which now is considered under increasing attack. Perhaps significantly, Johnson, like the Chicks, was a Texan. Goldwater, by contrast, was a figure of the far Right, and, although he has since been seen as a hero to some Conservatives, was seen by many voters then as unpredictable and dangerous).
Whether that contrast can be applied as an analogy to the present electoral cycle is a matter of opinion - but to those who want it, I think that interpretation is available in the video.
Farawayhills
Well-known member
Quite a bit more information on the initial radio response is contained in this Rolling Stone article:
https://www.rollingstone.com/music/music-country/dixie-chicks-gaslighter-song-country-radio-962602/
It says that nearly all the radio play in the first 48 hours has been on Country stations (though I don't know if it has yet been released to other formats - if it hasn't, it probably will be). The early radio reception in Country has been better than expected (and the article suggests reasons for that). It also cautions against seeing the initial response to a new release as a prediction of any sustained rise in the charts over coming weeks - something which is still heavily skewed towards the established male Nashville stars
Of the corporations involved, Cumulus were one of the main players in the 2003 radio boycott, so their participation is a definite change.
I-Heart radio (which accounts for 70% of the new plays) didn't exist in 2003. However, it is owned by the Clear Channel media conglomerate, which played a mixed role in 2003. It continued to back the Chicks tour throughout, and also allowed radio play to continue in markets adjudged friendly - but also joined the boycott, and pressured DJs to stop playing in markets where public hostility was apparent.
https://www.rollingstone.com/music/music-country/dixie-chicks-gaslighter-song-country-radio-962602/
It says that nearly all the radio play in the first 48 hours has been on Country stations (though I don't know if it has yet been released to other formats - if it hasn't, it probably will be). The early radio reception in Country has been better than expected (and the article suggests reasons for that). It also cautions against seeing the initial response to a new release as a prediction of any sustained rise in the charts over coming weeks - something which is still heavily skewed towards the established male Nashville stars
Of the corporations involved, Cumulus were one of the main players in the 2003 radio boycott, so their participation is a definite change.
I-Heart radio (which accounts for 70% of the new plays) didn't exist in 2003. However, it is owned by the Clear Channel media conglomerate, which played a mixed role in 2003. It continued to back the Chicks tour throughout, and also allowed radio play to continue in markets adjudged friendly - but also joined the boycott, and pressured DJs to stop playing in markets where public hostility was apparent.
Momin
Well-known member
A couple of updates:
1. I wish this interview was longer and covered more in-depth questions but I still learned new things. Like how they perceive their projects apart and how it made them feel. In pure Chicks fashion, that raw honesty was refreshing.
2. The song has officially debuted. #36 on the Country Airplay Chart and #31 on Hot Country Songs. I'm hopeful for at least a top 20 record but something tells me it might not be possible with this song. Still, always expect the unexpected.
1. I wish this interview was longer and covered more in-depth questions but I still learned new things. Like how they perceive their projects apart and how it made them feel. In pure Chicks fashion, that raw honesty was refreshing.
2. The song has officially debuted. #36 on the Country Airplay Chart and #31 on Hot Country Songs. I'm hopeful for at least a top 20 record but something tells me it might not be possible with this song. Still, always expect the unexpected.
FanSince04
Well-known member
Interesting how the two sisters have hesitated reactions to “dragging” them through it. Personally, I believe they would have preferred Natalie to make that statement elsewhere; nobody wants their success to be halted. I like how Emily said it not “dragged”, causing me to think the sisters were in unison with Natalie; just not the right time to share that.
pkc4rls
Active member
True or not the sisters have addressed this many times and have always claimed they never blamed Natalie and thought it was overblown but I guess we will never know for sure.
Anyway, I love their new song but that may be because I have wanted new music for so long. Can’t wait for the new album. Despite mixed messages of the video, I do think her horrible brutal divorce is what inspired this song because it is kind of what happened and they have talked about their divorces and hers was played out so extensively. Honestly I read they have mixed feelings toward country radio for what they perceive as turning their back on them. They have stated if it gets played anywhere it gets played and if not it doesn’t and they didn’t do it for that reason it said.
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Farawayhills
Well-known member
This is their performance of "Gaslighter", on Ellen de Generes' show (I think this live studio performance was actually taped before the present CoVid19 crisis became intense)
For my part, I much prefer this performance to the recorded version (they are a band that really come into their own live). It was good to see Emily's banjo and Martie's mandolin - the visual absence of instruments from the official video left a rather empty impression of the trio for me.
The other musicians are in semi-darkness for much of the time, but you can see Keith Sewell on acoustic lead and backing vocals (he is their musical director for stage performances and has been with them for years - as has Glenn Fukunaga, who can only be glimpsed here, on bass). The drummer is Jimmy Paxson, who, I think, joined them for their last tour. (I'm afraid I couldn't identify the keyboard player)
For my part, I much prefer this performance to the recorded version (they are a band that really come into their own live). It was good to see Emily's banjo and Martie's mandolin - the visual absence of instruments from the official video left a rather empty impression of the trio for me.
The other musicians are in semi-darkness for much of the time, but you can see Keith Sewell on acoustic lead and backing vocals (he is their musical director for stage performances and has been with them for years - as has Glenn Fukunaga, who can only be glimpsed here, on bass). The drummer is Jimmy Paxson, who, I think, joined them for their last tour. (I'm afraid I couldn't identify the keyboard player)
Farawayhills
Well-known member
Thanks to help from a fan, the keyboard player is Erik Deutsch, of the longstanding Progressive Bluegrass festival band, Leftover Salmon. He has temporarily left that band to tour with the Dixie Chicks.
https://www.gratefulweb.com/articles/alo-leftover-salmon-fillmore-372020
https://www.gratefulweb.com/articles/alo-leftover-salmon-fillmore-372020
Momin
Well-known member
New song out. I have some mixed thoughts.
The first half: very sparse production which I liked. It seemed more like a pop song than a country song, though and I felt like the two sisters were missing there. Towards the bridge, you can lightly hear the steel guitar and then production starts to get more layered.
The second half: still not over produced which I'm glad about. I hate over-produced music. Some guitars and (I think) a banjo kick in. That's where I could see the two sisters joining in. I'm not sure how much I like this half but it was definitely interesting.
Lyrics: The girls named in the song are their daughters as well as, presumably, some other girls they know. The song is like a piece of advice to these young girls about how to handle breakups. I like the lyrics but I personally would have wanted a little more depth/detail in them. (Am I asking for too much?) Favourite lyrics is "sometimes what's going through your head is just a temporary situation." Very relatable to me as a chronic anxiety sufferer.
Vocals: The vocals, as with all Chicks songs, have character and emotion in them. Despite the change in productional directions, I'm happy they didn't dilute the quality of the vocals.
Overall, I like the song in its individuality - the lyrics, the vocals, the sparse production. As a Dixie Chicks song, I have mixed feelings. Maybe because the change is a little jarring since this is their first new music in a long time. A gradual exposure to change might have made me used to their evolving sound. I'm going to give it more listens.
Farawayhills
Well-known member
Julianna and Violet are Emily's daughters (though I think Violet is only about seven - so is probably included so she won't feel left out!). Eva, Katie and Harper are Martie's daughters. I don't recognize the other names, but they may be nieces or friends.
I agree that the song is likely to lead to mixed feelings among fans - although the Chicks have changed styles many times over the years, this doesn't really seem much like the sound of any of the eras (Perhaps the nearest parallel might be around the third independent album, when Laura Lynch was lead singer and they recorded some Soul and R & B covers)
I do hear banjo quite strongly in this, and possibly mandolin. A fan has said Martie may be playing fiddle "pizzicato" (where the strings are plucked instead of bowed) - but I'm not sure about that - it may be mistaken for the banjo). My main concern in the production (by Jack Antonoff) is that the Chicks' instruments may be used too much as speciality instruments, for novelty effect - rather than as the driving force in the musical line (which would give the music a more definite "Dixie Chick" feel)
I like the message in the lyric, and I prefer the second half of the song, where the music becomes more developed and textured. The opening is mainly vocal and keyboard - and I find this a bit too sparse for my taste. I particularly find the sections where Natalie takes her voice into a higher register and uses rather forced, short, punctuated syllables a little off putting. Those sections are probably meant to suggest sobbing, as the characters strive to calm their inner feelings - it's probably just me, but I didn't find that really worked.
We've had two advance singles so far, and my initial feeling is that they seem more like showcases for Natalie, rather than fully developed trio recordings. For fans who mainly focus on Natalie's vocals and performance persona, that may be fine (especially if they also share Natalie's liking for progressive Pop influence). Other fans though (myself included) really came to the Chicks through the Erwin sisters instrumentation (which, by definition, needs a prominent Roots music leaning, however progressive the musical line becomes). Some artists successfully make the move to more progressive music without losing that Roots feel. (Early examples of albums that were pretty radical musically include Emmylou's "Wrecking Ball" and Loretta's "Van Lear Rose"). My concern here is that the Chicks may not get that balance right - if you are going to change direction. or "crossover", you need to take a substantial part of your earlier fan base with you. We'll have to hear the album as a whole to know whether they are likely to achieve that.
I agree that the song is likely to lead to mixed feelings among fans - although the Chicks have changed styles many times over the years, this doesn't really seem much like the sound of any of the eras (Perhaps the nearest parallel might be around the third independent album, when Laura Lynch was lead singer and they recorded some Soul and R & B covers)
I do hear banjo quite strongly in this, and possibly mandolin. A fan has said Martie may be playing fiddle "pizzicato" (where the strings are plucked instead of bowed) - but I'm not sure about that - it may be mistaken for the banjo). My main concern in the production (by Jack Antonoff) is that the Chicks' instruments may be used too much as speciality instruments, for novelty effect - rather than as the driving force in the musical line (which would give the music a more definite "Dixie Chick" feel)
I like the message in the lyric, and I prefer the second half of the song, where the music becomes more developed and textured. The opening is mainly vocal and keyboard - and I find this a bit too sparse for my taste. I particularly find the sections where Natalie takes her voice into a higher register and uses rather forced, short, punctuated syllables a little off putting. Those sections are probably meant to suggest sobbing, as the characters strive to calm their inner feelings - it's probably just me, but I didn't find that really worked.
We've had two advance singles so far, and my initial feeling is that they seem more like showcases for Natalie, rather than fully developed trio recordings. For fans who mainly focus on Natalie's vocals and performance persona, that may be fine (especially if they also share Natalie's liking for progressive Pop influence). Other fans though (myself included) really came to the Chicks through the Erwin sisters instrumentation (which, by definition, needs a prominent Roots music leaning, however progressive the musical line becomes). Some artists successfully make the move to more progressive music without losing that Roots feel. (Early examples of albums that were pretty radical musically include Emmylou's "Wrecking Ball" and Loretta's "Van Lear Rose"). My concern here is that the Chicks may not get that balance right - if you are going to change direction. or "crossover", you need to take a substantial part of your earlier fan base with you. We'll have to hear the album as a whole to know whether they are likely to achieve that.
pacarriefan
Member
I really like your take on this Farawayhills. I honestly wish I liked their new song more than I do. It’s fine, but it just is missing something every time I listen to it- I just can’t quite put my finger on it. I feel like they are going to get themselves in trouble moving forward because I definitely feel like they are causing mixed feelings in their own fan base.
Farawayhills
Well-known member
A third song is out - "March, March".
The video is strongly focused on social activism, covering many issues that are currently touchstones of controversy (reinforced by the end titles, which list many activist organizations). For many current artists this would probably be several steps too far, and risk splitting their fan base - but the Chicks probably feel that bridge was already burnt years ago. To coincide with the release of the video, they have dropped the word "Dixie" from their name on their website and Instagram. This follows an article by a New York journalist, in "Variety", attacking the divisive connotations of the name - and it would probably have given an incongruous mixed message, in the light of several of the clips in the video. However, beyond saying they are 'embracing the moment', they seem to have made no official statement on the name change (unlike Lady A, who recently dropped the word "Antebellum" for similar reasons.) That leaves open the possibility that they may still use both names, depending on the context - especially as the shorter name "Chicks" had also been used informally for many years , including on their old fan news letter, 'Chck Chat', long before Natalie joined the group.
The track itself is very much a matter of two halves. Personally, the percussion and vocal dominated first half comes across as rather too monotonous and repetitive for my taste - but the second half, when fiddle, lap steel and banjo all kick in, with some progressive musical lines, is much more interesting. Putting the two together probably makes this the best of the three, so far, for me.
But saying that brings out what I am feeling is the main drawback to Antonoff's production style. I feel he relies too much on Natalie's featured vocal parts (which, so far, I'm often finding less than exciting) - and seems to tack the Erwin sisters' instrumental parts on as speciality extras. This can risk not integrating them organically into the track as a whole - with the result that, for long term fans, it can lack that characteristic group sound.
The video is strongly focused on social activism, covering many issues that are currently touchstones of controversy (reinforced by the end titles, which list many activist organizations). For many current artists this would probably be several steps too far, and risk splitting their fan base - but the Chicks probably feel that bridge was already burnt years ago. To coincide with the release of the video, they have dropped the word "Dixie" from their name on their website and Instagram. This follows an article by a New York journalist, in "Variety", attacking the divisive connotations of the name - and it would probably have given an incongruous mixed message, in the light of several of the clips in the video. However, beyond saying they are 'embracing the moment', they seem to have made no official statement on the name change (unlike Lady A, who recently dropped the word "Antebellum" for similar reasons.) That leaves open the possibility that they may still use both names, depending on the context - especially as the shorter name "Chicks" had also been used informally for many years , including on their old fan news letter, 'Chck Chat', long before Natalie joined the group.
The track itself is very much a matter of two halves. Personally, the percussion and vocal dominated first half comes across as rather too monotonous and repetitive for my taste - but the second half, when fiddle, lap steel and banjo all kick in, with some progressive musical lines, is much more interesting. Putting the two together probably makes this the best of the three, so far, for me.
But saying that brings out what I am feeling is the main drawback to Antonoff's production style. I feel he relies too much on Natalie's featured vocal parts (which, so far, I'm often finding less than exciting) - and seems to tack the Erwin sisters' instrumental parts on as speciality extras. This can risk not integrating them organically into the track as a whole - with the result that, for long term fans, it can lack that characteristic group sound.
Momin
Well-known member
The song for me is okay, although I deeply appreciate the visual references they have included from a range of movements. At first I thought this might be a song they might have recorded just recently in light of recent events but knowing them, it's likely this was already on the new album.
I agree with Faraway. The second half of the song is much better than the first half. If this was a solo-artist effort, I might not have thought about it this way. But the Chicks have all had distinct roles and presences on each song they've put out, and to not have that on the first half makes the song feel empty.
I recently rewatched their documentary Shut Up and Sing. I think the Chicks might be a bit of a 'brand' in their careers: outspoken, not afraid to say what's on their mind and challenging norms (all in the context of politics particularly) instead of a band focusing on their musical strengths like they used to. This album was probably bound to be in that vain especially considering they are making an album 14 years after their last effort. The expectations with this album must be very mixed from fans and the music industry at large. So the rest of the album might be similar in that regard (although I do expect the live performances to feature a more prominent role for the two sisters like they did on their recent tours - which had a very pop/rock tone).
That being said, if they continue to make music after this, which I believe they will, they will most likely be with lesser expectations, or at least not the kind of expectations that are attached to Gaslighter.
I agree with Faraway. The second half of the song is much better than the first half. If this was a solo-artist effort, I might not have thought about it this way. But the Chicks have all had distinct roles and presences on each song they've put out, and to not have that on the first half makes the song feel empty.
I recently rewatched their documentary Shut Up and Sing. I think the Chicks might be a bit of a 'brand' in their careers: outspoken, not afraid to say what's on their mind and challenging norms (all in the context of politics particularly) instead of a band focusing on their musical strengths like they used to. This album was probably bound to be in that vain especially considering they are making an album 14 years after their last effort. The expectations with this album must be very mixed from fans and the music industry at large. So the rest of the album might be similar in that regard (although I do expect the live performances to feature a more prominent role for the two sisters like they did on their recent tours - which had a very pop/rock tone).
That being said, if they continue to make music after this, which I believe they will, they will most likely be with lesser expectations, or at least not the kind of expectations that are attached to Gaslighter.
Momin
Well-known member
I have but I need to give it a second listen to really get into the songs. Already have forgotten some (the songs aren't forgettable, I'm the problem 
)
Some thoughts:
- The overall album lacks the textures and layered productions that gave all three members prominence in all tracks. Compared to that, this one seems less 'rich', if that makes sense.
- Nevertheless, the songwriting is good on the album overall and it's a cohesive sound.
- Early standouts for me are "Young Man", "My Best Friend's Wedding" and "Set Me Free".
- The album has garnered critical acclaim on Metacritic and has been widely praised, specifically for its stark honesty.
)Some thoughts:
- The overall album lacks the textures and layered productions that gave all three members prominence in all tracks. Compared to that, this one seems less 'rich', if that makes sense.
- Nevertheless, the songwriting is good on the album overall and it's a cohesive sound.
- Early standouts for me are "Young Man", "My Best Friend's Wedding" and "Set Me Free".
- The album has garnered critical acclaim on Metacritic and has been widely praised, specifically for its stark honesty.