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Post by ninestonecowboy on Sept 3, 2017 21:00:18 GMT -5
Exciting times... (though I really hope it doesn't sound like The Chemical Brothers, as previously described) Why not? The Chemical Brothers are great and it would be far more interesting than the dad rock Noel has been churning out. |
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Post by ninestonecowboy on Sept 3, 2017 21:05:18 GMT -5
It's strange we're hearing about how dance-oriented / Chemical Brothers-oriented the new stuff is, yet there's Noel in the video with an old school guitar like something a shoe-gazer would have.  Plenty of dance music has guitars in it anyway. Besides, i'm pretty sure he's Noel won't be churning out trance music or anything. If it's got any kind of "dance" influence, it'll probably still be more on the rock n roll side of things than pure electronic. |
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Post by bringmethemonkey on Sept 3, 2017 22:37:54 GMT -5
Britpop / jungle mash up...it could work
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Post by Lennon2217 on Sept 4, 2017 0:06:10 GMT -5
"Beautiful World is like Elvis doing disco on the mystery train while on fire."
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Post by Deleted on Sept 4, 2017 2:26:20 GMT -5
"Beautiful World is like Elvis doing disco on the mystery train while on fire." Who said that?! |
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Post by Deleted on Sept 4, 2017 2:35:21 GMT -5
RE: David Holmes- has anyone read "Meet Me in the Bathroom" about the NYC music scene in the early 2000s? He's a character in that, seemed to hang around making music in NY in the late 90s along with James Murphy (latterly of LCD Soundsytem) and DFA. Didn't end very well, mainly due to a personality clash between James and him and how one of the problems was David being a visionary but needing people to create the music, and James being able to play everything. The electronic tag that he has is probably a misnomer- I always think of him as being more cinematic. There's a great album he produced for a band called Cashier No. 9- To the Death of Fun. It's a guitar album with lush harmonies (and features Jason Faulkner, who Russ Pritchard said in The Stage left Podcast plays the bass on it). That's an interesting point, and one that hints at why he refused to produce Chasing Yesterday; basically because all the songs were completely finished, giving him little creative influence. Like I said previously, if it is a 'rock' record, then let's hope to god it is in the vein of Fuckin In The Bushes. That dabbles in electronic production techniques like sampling, loops and synths that are going on behind the Led Zep style riff, and is all the better for it. Those largely used electronic techniques - whether it be the drum loop, the vocal sample, the swirling synth that you can make out - sound so weird to put you off kilter, while the ears face an onslaught of guitar riffs and choirs. Yes, your reaction should be 'what the fuck is this?!'. That's what rock music should do - make you sit bolt upright and assault the hearing. And, not to get too sidetracked, despite the cliches thrown around that Oasis in the 90s were purely a retro nostalgic act, I do believe they pushed the boat out sonically - albeit in the most reckless manner possible. What with the Owen Morris brickwalling, the vast distortion and earth quake inducing guitars, these were pretty modern techniques that really pushed the noise levels up to the maximum (taking hints here and there from shoegaze), so much so that much of what went before sounds relatively tame. The success of Oasis did not purely rely on nostalgia and conventional songwriting, it was also largely down to the fact that they DID sound like a modern band. Oasis, and the following solo projects, biggest failures are exactly down to sounding TOO retro at times. I'm amazed that some folk think rock and electronic styles are mutually incompatible. Combined together, it more often than not conjures up the heaviest, most in-your-face hard hitting intimidating sounds of the modern era - something that 'rock n roll' prided itself on back in the day, yet whose proponents these days are so insufferably inoffensive and dull that you get the impression they don't have any idea how to 'rock'. And yes, I count the poorer Oasis material and Beady Eye in that. It would have been great if Noel had taken an extra year to make Giants with a producer who pushed him to write and experiment in the studio. The weaker, more conventional songs should have been binned and Fuckin In The Bushes should have been the template for the album, along with other Noel experiments like Setting Sun. It would have been a fantastic reinvention: the hard hitting ballsiness would still be there, although the means to being 'hard hitting' and 'ballsy' would have changed. The ethos of the band would have remained intact while the band made sonic leaps. That is precisely why Liam's vocals are a wasted asset on so many songs (particularly the simpering Beady Eye); what better voice is there in the world to combine with the sonic assaults of electronica inspired music? You are not going to forget that easily, so why he - or Oasis - didn't bother beats me. So when Noel says the album will be a 'rock' record, I sure as hell hope he doesn't mean in the style of a middle aged pub dweller rocking out to Status Quo (like many of his recent 'rock' songs). Of course, if it's largely electronica I'd be delighted, but if he is eager to still play the rockstar, then now is the time to put your balls on the line.... like a real rockstar. You seem like a smart guy matt, and your arguments are well-thought out, but boy...I couldn't disagree more. I respect your opinion and maybe I'm old, but I'm NOT looking for something electronica from Noel. Why? Because Noel-doing-Radiohead isn't Noel to me. Noel-doing-EDM isn't Noel to me. Noel-doing-ChemBrothers isn't either. To me, Noel makes music that makes my soul smile and my heart cry. I can't explain it, but I want more of THAT. I'm worried if he goes in your direction, he's going to make a great effort, but ultimately fail to make a record full of those moments that can't be put into words.... Those moments? The bridge in You Know We Can't Go Back, the chorus of Riverman, the second verse of While the Song Remains the Same, the beautiful melody behind "when all the love I'm gonna need is heaven sent"... |
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Post by mossy on Sept 4, 2017 5:15:52 GMT -5
That's an interesting point, and one that hints at why he refused to produce Chasing Yesterday; basically because all the songs were completely finished, giving him little creative influence. Like I said previously, if it is a 'rock' record, then let's hope to god it is in the vein of Fuckin In The Bushes. That dabbles in electronic production techniques like sampling, loops and synths that are going on behind the Led Zep style riff, and is all the better for it. Those largely used electronic techniques - whether it be the drum loop, the vocal sample, the swirling synth that you can make out - sound so weird to put you off kilter, while the ears face an onslaught of guitar riffs and choirs. Yes, your reaction should be 'what the fuck is this?!'. That's what rock music should do - make you sit bolt upright and assault the hearing. And, not to get too sidetracked, despite the cliches thrown around that Oasis in the 90s were purely a retro nostalgic act, I do believe they pushed the boat out sonically - albeit in the most reckless manner possible. What with the Owen Morris brickwalling, the vast distortion and earth quake inducing guitars, these were pretty modern techniques that really pushed the noise levels up to the maximum (taking hints here and there from shoegaze), so much so that much of what went before sounds relatively tame. The success of Oasis did not purely rely on nostalgia and conventional songwriting, it was also largely down to the fact that they DID sound like a modern band. Oasis, and the following solo projects, biggest failures are exactly down to sounding TOO retro at times. I'm amazed that some folk think rock and electronic styles are mutually incompatible. Combined together, it more often than not conjures up the heaviest, most in-your-face hard hitting intimidating sounds of the modern era - something that 'rock n roll' prided itself on back in the day, yet whose proponents these days are so insufferably inoffensive and dull that you get the impression they don't have any idea how to 'rock'. And yes, I count the poorer Oasis material and Beady Eye in that. It would have been great if Noel had taken an extra year to make Giants with a producer who pushed him to write and experiment in the studio. The weaker, more conventional songs should have been binned and Fuckin In The Bushes should have been the template for the album, along with other Noel experiments like Setting Sun. It would have been a fantastic reinvention: the hard hitting ballsiness would still be there, although the means to being 'hard hitting' and 'ballsy' would have changed. The ethos of the band would have remained intact while the band made sonic leaps. That is precisely why Liam's vocals are a wasted asset on so many songs (particularly the simpering Beady Eye); what better voice is there in the world to combine with the sonic assaults of electronica inspired music? You are not going to forget that easily, so why he - or Oasis - didn't bother beats me. So when Noel says the album will be a 'rock' record, I sure as hell hope he doesn't mean in the style of a middle aged pub dweller rocking out to Status Quo (like many of his recent 'rock' songs). Of course, if it's largely electronica I'd be delighted, but if he is eager to still play the rockstar, then now is the time to put your balls on the line.... like a real rockstar. You seem like a smart guy matt, and your arguments are well-thought out, but boy...I couldn't disagree more. I respect your opinion and maybe I'm old, but I'm NOT looking for something electronica from Noel. Why? Because Noel-doing-Radiohead isn't Noel to me. Noel-doing-EDM isn't Noel to me. Noel-doing-ChemBrothers isn't either. To me, Noel makes music that makes my soul smile and my heart cry. I can't explain it, but I want more of THAT. I'm worried if he goes in your direction, he's going to make a great effort, but ultimately fail to make a record full of those moments that can't be put into words.... Those moments? The bridge in You Know We Can't Go Back, the chorus of Riverman, the second verse of While the Song Remains the Same, the beautiful melody behind "when all the love I'm gonna need is heaven sent"... You telling me that your soul doesn't want to go ****ing mental when it hears FITB? ;-) |
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Post by Bonehead's Barber on Sept 4, 2017 12:38:35 GMT -5
Exciting times... (though I really hope it doesn't sound like The Chemical Brothers, as previously described) Why not? The Chemical Brothers are great and it would be far more interesting than the dad rock Noel has been churning out. I don't know - I just don't think I'd particularly enjoy it. Not really into Electronic Music and dance and all that. However, Noel's opinion of dance music is What A Life so I guess I could enjoy it, still |
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Post by photogirl on Sept 4, 2017 13:37:08 GMT -5
CANNOT WAIT. In the meantime happy to have Liam performing live again!  |
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Post by Derrick on Sept 4, 2017 13:52:52 GMT -5
"Beautiful World is like Elvis doing disco on the mystery train while on fire." Who said that?! Serge Pizzorno |
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Post by ninestonecowboy on Sept 4, 2017 16:36:41 GMT -5
Why not? The Chemical Brothers are great and it would be far more interesting than the dad rock Noel has been churning out. I don't know - I just don't think I'd particularly enjoy it. Not really into Electronic Music and dance and all that. However, Noel's opinion of dance music is What A Life so I guess I could enjoy it, still As long as it's better than Ballad of the Mighty I, then i don't mind. What an awful song. |
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Post by The Chief on Sept 4, 2017 18:38:50 GMT -5
I don't know - I just don't think I'd particularly enjoy it. Not really into Electronic Music and dance and all that. However, Noel's opinion of dance music is What A Life so I guess I could enjoy it, still As long as it's better than Ballad of the Mighty I, then i don't mind. What an awful song. Given that Ballad of the Mighty I is one of the best songs he's written, I agree that, if it's better than that, it will be amazin!  |
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Post by The Escapist on Sept 4, 2017 21:47:15 GMT -5
That's an interesting point, and one that hints at why he refused to produce Chasing Yesterday; basically because all the songs were completely finished, giving him little creative influence. Like I said previously, if it is a 'rock' record, then let's hope to god it is in the vein of Fuckin In The Bushes. That dabbles in electronic production techniques like sampling, loops and synths that are going on behind the Led Zep style riff, and is all the better for it. Those largely used electronic techniques - whether it be the drum loop, the vocal sample, the swirling synth that you can make out - sound so weird to put you off kilter, while the ears face an onslaught of guitar riffs and choirs. Yes, your reaction should be 'what the fuck is this?!'. That's what rock music should do - make you sit bolt upright and assault the hearing. And, not to get too sidetracked, despite the cliches thrown around that Oasis in the 90s were purely a retro nostalgic act, I do believe they pushed the boat out sonically - albeit in the most reckless manner possible. What with the Owen Morris brickwalling, the vast distortion and earth quake inducing guitars, these were pretty modern techniques that really pushed the noise levels up to the maximum (taking hints here and there from shoegaze), so much so that much of what went before sounds relatively tame. The success of Oasis did not purely rely on nostalgia and conventional songwriting, it was also largely down to the fact that they DID sound like a modern band. Oasis, and the following solo projects, biggest failures are exactly down to sounding TOO retro at times. I'm amazed that some folk think rock and electronic styles are mutually incompatible. Combined together, it more often than not conjures up the heaviest, most in-your-face hard hitting intimidating sounds of the modern era - something that 'rock n roll' prided itself on back in the day, yet whose proponents these days are so insufferably inoffensive and dull that you get the impression they don't have any idea how to 'rock'. And yes, I count the poorer Oasis material and Beady Eye in that. It would have been great if Noel had taken an extra year to make Giants with a producer who pushed him to write and experiment in the studio. The weaker, more conventional songs should have been binned and Fuckin In The Bushes should have been the template for the album, along with other Noel experiments like Setting Sun. It would have been a fantastic reinvention: the hard hitting ballsiness would still be there, although the means to being 'hard hitting' and 'ballsy' would have changed. The ethos of the band would have remained intact while the band made sonic leaps. That is precisely why Liam's vocals are a wasted asset on so many songs (particularly the simpering Beady Eye); what better voice is there in the world to combine with the sonic assaults of electronica inspired music? You are not going to forget that easily, so why he - or Oasis - didn't bother beats me. So when Noel says the album will be a 'rock' record, I sure as hell hope he doesn't mean in the style of a middle aged pub dweller rocking out to Status Quo (like many of his recent 'rock' songs). Of course, if it's largely electronica I'd be delighted, but if he is eager to still play the rockstar, then now is the time to put your balls on the line.... like a real rockstar. You seem like a smart guy matt, and your arguments are well-thought out, but boy...I couldn't disagree more. I respect your opinion and maybe I'm old, but I'm NOT looking for something electronica from Noel. Why? Because Noel-doing-Radiohead isn't Noel to me. Noel-doing-EDM isn't Noel to me. Noel-doing-ChemBrothers isn't either. To me, Noel makes music that makes my soul smile and my heart cry. I can't explain it, but I want more of THAT. I'm worried if he goes in your direction, he's going to make a great effort, but ultimately fail to make a record full of those moments that can't be put into words.... Those moments? The bridge in You Know We Can't Go Back, the chorus of Riverman, the second verse of While the Song Remains the Same, the beautiful melody behind "when all the love I'm gonna need is heaven sent"... And therein lies the rub - I think that we'd have much more of those moments if Noel where to branch into new directions, both in terms of structure and arrangements. Noel, I think, has been on a melodic plateau for a long time - even as early as Be Here Now, those timeless, indescribable melodies were starting to elude him. He'll always have a baseline of songwriting ability, of course, but he's been resting lazily on that baseline for too long. I know a lot of people on here say that the melody is all that matters in a track, but I disagree. Imaginative arrangements, production, structure, and tempos can lift tracks massively - and bland ones can bog them down. I see songs like Lock All the Doors and If I Had a Gun as the latter, and songs like The Right Stuff, Riverman, and BOTMI as the former. The only way Noel is going to give me any more truly indescribable moments now is by doing something fresh, modern, and forward-thinking. It doesn't have to be Aphex Twin, it can still be recognisably Noel, but it can't be bland, MOR, or unimaginative. |
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Post by spaneli on Sept 4, 2017 22:16:33 GMT -5
You seem like a smart guy matt, and your arguments are well-thought out, but boy...I couldn't disagree more. I respect your opinion and maybe I'm old, but I'm NOT looking for something electronica from Noel. Why? Because Noel-doing-Radiohead isn't Noel to me. Noel-doing-EDM isn't Noel to me. Noel-doing-ChemBrothers isn't either. To me, Noel makes music that makes my soul smile and my heart cry. I can't explain it, but I want more of THAT. I'm worried if he goes in your direction, he's going to make a great effort, but ultimately fail to make a record full of those moments that can't be put into words.... Those moments? The bridge in You Know We Can't Go Back, the chorus of Riverman, the second verse of While the Song Remains the Same, the beautiful melody behind "when all the love I'm gonna need is heaven sent"... And therein lies the rub - I think that we'd have much more of those moments if Noel where to branch into new directions, both in terms of structure and arrangements. Noel, I think, has been on a melodic plateau for a long time - even as early as Be Here Now, those timeless, indescribable melodies were starting to elude him. He'll always have a baseline of songwriting ability, of course, but he's been resting lazily on that baseline for too long. I know a lot of people on here say that the melody is all that matters in a track, but I disagree. Imaginative arrangements, production, structure, and tempos can lift tracks massively - and bland ones can bog them down. I see songs like Lock All the Doors and If I Had a Gun as the latter, and songs like The Right Stuff, Riverman, and BOTMI as the former. The only way Noel is going to give me any more truly indescribable moments now is by doing something fresh, modern, and forward-thinking. It doesn't have to be Aphex Twin, it can still be recognisably Noel, but it can't be bland, MOR, or unimaginative. I think the key for Noel has always been time. A lot of those early songs were songs that he had crafted over a period of years. As the turn around time for the albums became shorter, he struggled to keep up. This even includes the later albums. Sure he had the odd moment of creating something brilliant, but without time to write and experiment and to succeed and fail on his own, it caused a decline in the quality and consistency. And though there were three year gaps on the later albums, included in those three year gaps were tour and recording dates. His actual period to sit down and write was significantly less. This album is the first time since the early albums that he's had the chance to craft songs over the course of years (with the exception of HFBs, which is an album of cobbled together songs from the Oasis backlog, while having the unfortunate fate of not having a producer as good as David Holmes). That's mainly why I'm really excited for this album. The time should translate to quality as it did on those early albums. The songs may not reach the same heights, but it should provide more consistently and a greater sonic reach. |
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Post by The-Ghost-Dancer on Sept 5, 2017 8:04:02 GMT -5
just thought i would chip and say i hope its not to much EDM sounding cos all were gonna get is noel banging on about how they cant get the sound right livein rehearsal and you know what that means? 2-3 new songs at most then the stale 5 year setlist
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Post by mostlyharmless on Sept 5, 2017 11:17:18 GMT -5
Was looking into some BHN era interviews, where Noel talked several times he'd like to do something different, less traditional rock after BHN, said he didn't care if they would sell less cuz he's rich enough. It's rather amusing to hear a 1997 Noel say he might break into electronica "when I'm old and senile." XD quotes from oasisinterviews.blogspot.tw/1997/06/ "...Because I'm getting a bit bored with the traditional songwriting sense of one man sitting in a room with his guitar. I just built a studio in me house and I've got all the machines now. I'm not really a machine person. I sit in the room with loads of flashing lights and I don't know what any of them do. But as soon as I get some time to myself I'm going to sit down and figure out what they do and make some funky noises out of that." I - So you think dance elements can merge with rock elements? N - Of course they can. A song's a song at the end of the day; it doesn't matter how it's done. There are extremes of dance music that couldn't translate with the extremes of rock music, but they do gel. The stuff that The Prodigy is doing now is just electronic punk music. Chemical Brothers as well is a blend. I don't see anything wrong with that at all. The track I done with The Chemical Brothers was an homage to "Tomorrow Never Knows." I - So you're not going to sit back and say "Not only did I have the best band in the '90s, I also broke electronica?" N - I probably will at some point, when I'm old and senile. [Laughs] That's not me. I'm quite content. If anyone else would have sung it, I believe it would have been a hit. I don't believe I'm that good, that I carry that much weight. It's hardly an Oasis song. People could say that a lot of people who would never listen to an Oasis record might go out and buy the new record because I've worked in the dance field and they'll think, "Maybe he's not just about that Beatles bullshit after all." That would be great, really. |
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Post by Deleted on Sept 5, 2017 12:31:33 GMT -5
That's an interesting point, and one that hints at why he refused to produce Chasing Yesterday; basically because all the songs were completely finished, giving him little creative influence. Like I said previously, if it is a 'rock' record, then let's hope to god it is in the vein of Fuckin In The Bushes. That dabbles in electronic production techniques like sampling, loops and synths that are going on behind the Led Zep style riff, and is all the better for it. Those largely used electronic techniques - whether it be the drum loop, the vocal sample, the swirling synth that you can make out - sound so weird to put you off kilter, while the ears face an onslaught of guitar riffs and choirs. Yes, your reaction should be 'what the fuck is this?!'. That's what rock music should do - make you sit bolt upright and assault the hearing. And, not to get too sidetracked, despite the cliches thrown around that Oasis in the 90s were purely a retro nostalgic act, I do believe they pushed the boat out sonically - albeit in the most reckless manner possible. What with the Owen Morris brickwalling, the vast distortion and earth quake inducing guitars, these were pretty modern techniques that really pushed the noise levels up to the maximum (taking hints here and there from shoegaze), so much so that much of what went before sounds relatively tame. The success of Oasis did not purely rely on nostalgia and conventional songwriting, it was also largely down to the fact that they DID sound like a modern band. Oasis, and the following solo projects, biggest failures are exactly down to sounding TOO retro at times. I'm amazed that some folk think rock and electronic styles are mutually incompatible. Combined together, it more often than not conjures up the heaviest, most in-your-face hard hitting intimidating sounds of the modern era - something that 'rock n roll' prided itself on back in the day, yet whose proponents these days are so insufferably inoffensive and dull that you get the impression they don't have any idea how to 'rock'. And yes, I count the poorer Oasis material and Beady Eye in that. It would have been great if Noel had taken an extra year to make Giants with a producer who pushed him to write and experiment in the studio. The weaker, more conventional songs should have been binned and Fuckin In The Bushes should have been the template for the album, along with other Noel experiments like Setting Sun. It would have been a fantastic reinvention: the hard hitting ballsiness would still be there, although the means to being 'hard hitting' and 'ballsy' would have changed. The ethos of the band would have remained intact while the band made sonic leaps. That is precisely why Liam's vocals are a wasted asset on so many songs (particularly the simpering Beady Eye); what better voice is there in the world to combine with the sonic assaults of electronica inspired music? You are not going to forget that easily, so why he - or Oasis - didn't bother beats me. So when Noel says the album will be a 'rock' record, I sure as hell hope he doesn't mean in the style of a middle aged pub dweller rocking out to Status Quo (like many of his recent 'rock' songs). Of course, if it's largely electronica I'd be delighted, but if he is eager to still play the rockstar, then now is the time to put your balls on the line.... like a real rockstar. Two songs for the SOTSOG era that do exactly that!! That DiV song is immense, never heard it before, cheers man! I'm trying not to think about this album too much yet, I'm barely even visiting this part of the forum because Noel always does March or October releases and he always gives us a huge wait between the first single and album release, I don't think we'll be hearing it anytime soon. I'm expecting his best work for a long time and I'll be counting down the hours coming towards the official release, gotta contain my excitement for now. |
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Post by matt on Sept 5, 2017 14:54:23 GMT -5
You seem like a smart guy matt, and your arguments are well-thought out, but boy...I couldn't disagree more. I respect your opinion and maybe I'm old, but I'm NOT looking for something electronica from Noel. Why? Because Noel-doing-Radiohead isn't Noel to me. Noel-doing-EDM isn't Noel to me. Noel-doing-ChemBrothers isn't either. To me, Noel makes music that makes my soul smile and my heart cry. I can't explain it, but I want more of THAT. I'm worried if he goes in your direction, he's going to make a great effort, but ultimately fail to make a record full of those moments that can't be put into words.... Those moments? The bridge in You Know We Can't Go Back, the chorus of Riverman, the second verse of While the Song Remains the Same, the beautiful melody behind "when all the love I'm gonna need is heaven sent"... And therein lies the rub - I think that we'd have much more of those moments if Noel where to branch into new directions, both in terms of structure and arrangements. Noel, I think, has been on a melodic plateau for a long time - even as early as Be Here Now, those timeless, indescribable melodies were starting to elude him. He'll always have a baseline of songwriting ability, of course, but he's been resting lazily on that baseline for too long. I know a lot of people on here say that the melody is all that matters in a track, but I disagree. Imaginative arrangements, production, structure, and tempos can lift tracks massively - and bland ones can bog them down. I see songs like Lock All the Doors and If I Had a Gun as the latter, and songs like The Right Stuff, Riverman, and BOTMI as the former. The only way Noel is going to give me any more truly indescribable moments now is by doing something fresh, modern, and forward-thinking. It doesn't have to be Aphex Twin, it can still be recognisably Noel, but it can't be bland, MOR, or unimaginative. This, this, this. It's unbelievable how much a change in the creative process inspires new ways of thinking and new ways of conjuring up original melodies. I'll keep banging the U2 drum like the sad fan I am, but it's the best example I can give personally. Their melodies changed significantly with the Achtung Baby reinvention, as Bono worked his way around different tempos and more grooves than what they'd done previously, resulting in less euphoria and melodrama, and more sultry and sinister styles. Perhaps more subtle, but still devastatingly effective. And, like Noel, Rattle & Hum showed a band going stale with what had become standard bluesy tempos making derivative songs and derivative melodies - essentially tired versions of songs from The Joshua Tree. And like Noel, it's not like U2 are the greatest musicians either - those first three albums show a fairly straightforward meat and potatoes way of instrumentation, and they've always kind of been like that. But they had the vision to be flexible in the way of playing within their limits and doing things differently, culminating in their best work, without compromising more conventional aspects like melody and structure. I do believe that Noel, if open minded enough, can go about creating unique results and more importantly, new chapters in his career, rather than mere postscripts, which is the impression I get from him 21st century onwards. I don't know what he's been scared of - does he not think he's talented enough to go about it? I mean, the guy wrote Definitwly Maybe and Morning Glory! I'd think I could do anything I want if I wrote those albums rather than self consciously try to rewrite them! I have absolutely no faith that him going about the conventional manner would result in songs to rival his peak. It's not happening, the last 20 years is proof that this ain't happening anymore, not even close to his peak. So why not shake it up a bit, whether that be rock or electronic influenced? |
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Post by mossy on Sept 7, 2017 15:45:32 GMT -5
It's been over a week now Noel, come on you frickin' tease! |
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Post by Deleted on Sept 7, 2017 15:53:18 GMT -5
It's been over a week now Noel, come on you frickin' tease! The track listing was just put out on twitter.... that's something. |
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Post by matt on Sept 7, 2017 15:54:04 GMT -5
Noel's not really one for 'teasing' new releases on social media; surely this is part of the promotion so therefore it must be coming very soon.
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Post by mossy on Sept 7, 2017 16:09:56 GMT -5
It's been over a week now Noel, come on you frickin' tease! The track listing was just put out on twitter.... that's something. Thanks for the tip! |
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Post by supernovadragon on Sept 8, 2017 10:22:47 GMT -5
Anybody able to post the tracklisting on here?
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Post by Deleted on Sept 8, 2017 10:29:33 GMT -5
Anybody able to post the tracklisting on here? Didn't see the original post, but think this is a copy of the one people were talking about |
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Post by rorymcbride on Sept 8, 2017 10:30:20 GMT -5
Anybody able to post the tracklisting on here? 1. Fort Knox 2. Holy Mountain 3. Keep on Reaching 4. It's a Beautiful World 5. She Taught Me How to Fly 6. Be Careful What You Wish For 7. Black and White Sunshine 8. Interlude -Wednesday Part 1- 9. If Love is the Law 10. The Man Who Built the Moon 11. End Credits -Wednesday Part 2- |
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Nov 4, 2024 5:04:30 GMT -5