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Messages - Snupes

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Arts & Entertainment / Re: Just Watched
« on: February 06, 2020, 03:45:03 AM »
GLOW (Season 1, 2017)

What a rollercoaster of feelings. I wasn't really excited for this and I only really checked it out because I was incredibly bored and really wanted to watch something but the Twilight Zone reboot was boring as shit. During episode one I fluctuated between thinking it's pretty good to thinking it's awful, and the following episode or two I was ready to drop it as schlocky misogynistic trash. But, once the gimmicks were set and the characters were all introduced, the show began such a wonderful deep dive into everyone as people and completely yanked the rug out from right under me. There's so much natural and well-done development, great plot and pacing, and while it's definitely not the deepest work of art in the world it definitely strives to be more than just a fun show. That and the fact that it has so much heart and everyone is clearly deeply invested just pulled me right in, and I couldn't not see it through.

And I know me crying doesn't have much impact by this point, but I cried a few times for what it's worth. Psyched and ready for the next few seasons.

Philosophy, Religion & Society / Re: Kyle Jurek
« on: January 24, 2020, 01:56:16 AM »
Hmm. Well I didn't read the whole thing but it looks like a patently biased Wikipedia page probably written by someone from CNN or NBC.

What is your reasoning/evidence for this?

And have the pros and cons of socialism been debated on this site? Is it even allowed or will it get shut down by Gulag Junker?

Of course:

Arts & Entertainment / Re: Just Watched
« on: January 12, 2020, 10:04:40 PM »
(2019) Sam Mendes - 1917

Wow wow wow. I'm rattled and shook. Utterly stunning. I begrudgingly saw it with my dad because he really wanted to, even though I generally don't find war movies very interesting, but I was so gripped by the story, the acting, the cinematography, the film in its entirety, and I even sobbed at the end (wow shock I know). Amazing film.

Arts & Entertainment / Re: Star Wars Episode IX: The Rise of Skywalker
« on: January 01, 2020, 10:49:47 PM »
I more or less agree with everything Saddam has said, which is a very strange feeling to have. I went in with pretty low expectations to just have a visually-pleasing, toothless spectacle, but it was actually pretty bad IMO. Palpatine's resurrection and main villainry (complete with hanging from the live-action Animus and just going "rahh" with his fingers a few times) was such a safe, predictable, bland, cop-out choice for a climax. As was the "I am your grandfather" twist. It really does feel like a twist for the sake of having a twist, and all I could think of when I realized what it was going to be (as soon as Palpatine said "she's not who you think she is") was Spaceballs' "I am your father’s brother’s nephew’s cousin’s former roommate" scene. Rey's parents literally being unimportant was so refreshing to me, the idea that the Force doesn't just follow a few specific bloodlines religiously. But Abrams, much like Shyamalan, just can't resist a twist.

I was at least hoping for some entertaining choreography, but even most of the fight scenes were cuts every second or two and flailing lightsabers with the occasional spin or flip, nothing that great. I know the prequels kind of killed that sort of fight, since the original trilogy's bushido-based(?) fights were usually pretty good, but after a few actually visually interesting skirmishes in The Last Jedi I had a new hope. Alas.

The time gimmick of the film (they're going to launch in 15 hours!!!) made me roll my eyes the second it was out of Poe's mouth, as I was just lamenting earlier the forced breakneck pace of many adventure and action films, all the dumb time-limit stakes (made me think of Spider-Man: "Watch this, he's gonna say 'you've got 24 hours'" Fisk: "You've got 24 hours!"), and all the tension was dissipated—for me, at least—on the first fake-out death with Chewie and made me realize, oh, even though this is the final film of the trilogy trilogy we're probably only going to lose a side character and Kylo, since I was pretty confident they'd kill him off the second he redeemed himself because, again, Abrams is the "can I copy your homework?" "sure just change a few words so it's not obvious" of directors/writers. A bit hyperbolic, obviously, but not as much as I'd like.

I was kind of sad they didn't take the Finn/Poe route because they genuinely had that kind of chemistry on-screen. Rey/Kylo was expected because they're both main characters of opposite genders, not that it mattered for long. The most interesting thing between them was the extreme "Force dyad" connection between them that Rian introduced. When they battled via Force connection I thought that was fantastic, and the Chekhov's gun cleverness of the lightsaber swap. I enjoyed the epic scope of some of the shots, they did a pretty good job of really emphasizing the vastness of the universe and worlds in certain scenes. The music was mostly good. I'm sure there are a few other things I enjoyed but nothing else is immediately coming to mind.

I could go on with what I didn't like, but I feel three paragraphs is enough for now. It had a few entertaining parts but for the most part I thought it was pretty bad. I'm okay with the 5/10 reviews it's been getting, though I feel more inclined towards 4. It's pretty clear this saga (with the exception of VIII) was not made for me, but as someone who grew up with the series it sucks that this janky-ass unimaginative final film is the conclusion we get. I'm curious what Lucas' final trilogy would have looked like now.

Arts & Entertainment / Re: Star Citizen
« on: December 09, 2019, 04:34:53 AM »
Now that the Anniversary sale is over, my scam fleet composition is now:

What's it the anniversary of? The game's announcement, its beta release?

Arts & Entertainment / Re: Star Citizen
« on: November 26, 2019, 04:20:07 AM »
I shot Parsifal with a railgun from 250 meters away while on one of Hurston's moons while he was dressed up in what was essentially a Hello Kitty outfit. I once boarded Parsifal's ship and he killed me by setting the self destruct and ejecting from the ship so I couldn't turn it off. Parsifal, Anastas and myself all got wiped by NPCs while in a bunker because Anastas fired a round that alerted them all to our presence and we didn't take cover. Anastas won out against Parsifal in a land fight because they were in a cave, Parsifal tried to use his sniper rifle and Anastas blasted him with a shotgun. It's not a bad game, just an unfinished one.

It only took like fifteen years for someone to make this game sound remotely appealing to me

Arts & Entertainment / Re: Just Watched
« on: September 04, 2019, 03:19:48 AM »
Started trying to check out some anime to find some that aren't garbage. I watched the first few episodes of The Promised Neverland, Grimgar of Fantasy and Ash, and Mononoke.

The Promised Neverland had some of the worst dialogue and exposition I've ever seen in anime, which is a shame since the core conceit/twist is interesting enough. I just cannot stand shows that treat me like a child that needs everything spoon-fed to them. So I'm probably done with that one.

Grimgar of Fantasy and Ash actually has pretty good writing, a neat world, and wonderful animation so far. That said...the women. Dear god. I hope it gets better, but it feels like it's written by a horny 13-year old. I haven't cringed so much watching an anime in a long time. Like, it's really, really bad. I may try to finish it, but we'll see.

Then Mononoke. This show is absolutely wonderful so far. It's an anthology sort of series, each story being about two episodes long (sometimes three if it needs more time), but the show is so lean and well-made that nothing is ever overlong. It's basically focused around Japanese folklore and mononoke (similar to youkai, but mononoke are spirits that tend to be more malevolent) and the Medicine Man, a mysterious medicine peddler who goes around trying to seal these creatures. To do so, he has to discover their "form" (what shape they take, what are they), "truth" (what is their purpose, what are they here for), and "reason" (what do they want), all of which unfold very naturally throughout the episode. The art style is gorgeous but definitely would put off some people.

I'm gonna keep digging because I know there are good anime out there, despite my experience to the contrary.

Arts & Entertainment / Re: Just Watched
« on: September 02, 2019, 11:20:05 AM »
I was starting to wonder if I was insane. Thank you, lol

Notice how I’m not explaining any of the terms above? That’s because a regular Windows 10 user who’s savvy enough to replace the HDD with an SSD shouldn’t have to know what these things are.

Uhhhh I'm pretty sure you don't get to decide what the difficulty level of a project is, or what knowledge you should or shouldn't have to have.

"I shouldn't have to know how to solder to repair a circuit board!"

If I want to own a semi-automatic gun, I should be able to own a semi-automatic gun.

Why should you?
Because what I own is none of your business.

And how far does that extend? Do you believe one should be able to own any form of weapon?

Arts & Entertainment / Re: Listening to Spoon's Entire Discography
« on: July 08, 2019, 12:32:55 AM »

Title: Kill the Moonlight
Release: August 20, 2002

All songs written by Britt Daniel, except where noted.


1. Small Stakes (3:00)
2. The Way We Get By (2:38)
3. Something to Look Forward To (Britt Daniel, Miles Zuniga) (2:17)
4. Stay Don't Go (3:35)
5. Jonathon Fisk (3:15)
6. Paper Tiger (3:07)
7. Someone Something (2:48)
8. Don't Let it Get You Down (Britt Daniel, Mel Larson, Jerry Marcellino, Deke Richards) (3:29)
9. All the Pretty Girls Go to the City (3:12)
10. You Gotta Feel It (1:29)
11. Back to the Life (2:21)
12. Vittorio E. (3:39)

From its opening riffs, Kill the Moonlight makes it very clear that it's going to be quite a different album. This is Spoon's weird one. Also their most critically-acclaimed. Also one of my favorite albums ever. I 100% consider this their best work, though they come very close a few times after. It keeps their ear for fantastically-catchy rhythms and vocals, but the actual production and structure is much more experimental. Songs will change as served by the music, constantly shifting pace and style. Many a critic has called the album minimalist, from what I've read, but I think that's wrong. It's definitely a bit less huge moment-to-moment, but there's still just as much going on, it's simply spread out and given room to breath. Every sound, every guitar pluck, every dog yelp, every reversed riff, every beatbox is clear as a bell. I wish I had the technical music knowledge to explain very specifically everything I love about this album, but I don't. It's Spoon instilled with an experimental spirit and determined to push the boundaries of their creativity. With all the energy and passion that was clearly put into this album, I would have fucking loved to have seen it performed live during that time. Everything on this record feels like they've got a fire lit in them and goddang I just think it's basically perfect man.

Oh, and Britt's lyrics have started moving distinctly in a more poetic direction on this album. His turns of phrase and manner of writing makes lyrics much more interesting and memorable, and gives you more to think about and dissect. His writing really only improves from this point on.

Arts & Entertainment / Re: Listening to Spoon's Entire Discography
« on: July 07, 2019, 11:44:10 PM »

Title: Girls Can Tell
Release: February 20, 2001

All songs written by Britt Daniel, except where noted.


1. Everything Hits at Once (4:04)
2. Believing Is Art (4:19)
3. Me and the Bean (John Clayton) (3:33)
4. Lines in the Suit (3:47)
5. The Fitted Shirt (3:12)
6. Anything You Want (2:16)
7. Take a Walk (2:26)
8. 1020 AM (2:10)
9. Take the Fifth (3:56)
10. This Book Is a Movie (3:33)
11. Chicago at Night (2:47)

Spoon's first real full-album foray into quality over quantity. It runs about as long as their two previous albums, but with a smaller tracklist. This is where they start exploring songs that are a bit more winding, imbuing them with the level of diversity you'd normally get from two or three tracks. Their melodies and rhythms get a little bit stranger and slightly more complex, More layers are added—not that that's necessarily a good thing, but Spoon, I think, handles it amazingly. No matter how much is going on at once, it always sounds natural and sounds and instruments dovetail well together. Britt has a go at somewhat smoother vocals to pleasant success, and the whole album feels a little more warm than anything they'd made up to this point. His lyrics at this point are becoming thankfully more opaque and more interesting, exploring ideas other than his usual recycled few. Instead of sounding whiny and cynical, he sounds more earnest and invested than ever in this album, whether telling everyone to fuck off, reminiscing about wearing his dad's far-too-big-for-him shirt, or investigating society's propensity for being in a rush. This album is where I think Spoon moves from good to great, more or less having worked out how to structure songs and albums in a more natural, organic, and tight package. It's interesting second-to-second and is just mmm mmm mmm so good. This is the album that made me realize I loved Spoon as a band (though it's not my favorite) and "Anything You Want" made me cry, so it's good bois.

Arts & Entertainment / Re: Just Watched
« on: July 07, 2019, 05:44:15 AM »
Stop trying to be so contrarian for the sake of being contrarian.

Dawg. Are we gonna discuss shit or are we gonna snark back and forth. I'd rather only do one at a time if possible

Arts & Entertainment / Re: Just Watched
« on: July 07, 2019, 02:07:45 AM »
Saying things like "soulless" is nothing more than a meme trope criticism. It literally can be said and argued about any movie ever created.

Literally anything can be said about literally any movie ever created. I could be wrong but sounds like you're saying I shouldn't bring my subjective opinions to a discussion about a movie. Personally, if I were you and had a problem with the use of that word and was interested in having a discussion about something, I would have asked for clarification on what was meant by it but, sure, I guess just saying "thats a dumb meme" and moving on works too.

Predictable, sure. Every Marvel movie is predictable.

First, sure, but that's not really a defense of the film as much as just a statement. If the general discussion was "Far from Home is worse than most MCU films" then yeah, but I'm talking about it as its own film. I don't really try to judge movies relative to others. B, I don't agree. On a super broad scale of "you know the bad guy will lose", sure, but on the level of basically being able to run a play-by-play in real-time with the film I definitely don't think so. Scene to scene I could basically tell everything they were going to do, I mouthed a few lines of dialogue out as characters said them because the dialogue was so bland and full of tropes and recycled lines that you could probably give the script a once-over and recite it verbatim (that's hyperbole, of course). Most Marvel films I'd say, sure, you likely have some general idea what's going to happen, but there tend to be moment-to-moment surprises, even if they're not massive plot twists. Plot is a lot more intricate than synopses; you can have an overall-predictable plot that's written well enough and cleverly enough that the moment-to-moment dialogue and actions aren't rote and predictable. That's where I feel like most Marvel movies lie. I feel like this one isn't even there.

The trailer absolutely doesn't give it away, as predictable as it may be. I am not sure what you mean by trying to be "clever;" it was rather straightforward.

I added "if you know the character" intentionally, since all you need to know is Mysterio is about illusion and trickery and you've already figured out "oh, all the elementals are fake, illusions he made, and he's just trying to look like a hero". Where they tried to be "clever" with it was, in the trailers, making it look like he was a hero in this interpretation and the Elementals were the villains.

Yes, welcome to the MCU and Tony Stark's Spider-Man saga. This film wasn't even as bad about it as its predecessor since Tony is dead.

Sounds like we're on the same page here.

How much could they evolve if they spent 5 years snapped and it was basically a few months in their time? Maybe I am misunderstanding what you mean. Outside of the core Avengers, no one really evolves in these movies. Also, it is literally about angsty high school kids and their relationships. Real life teens are much more of a meme with relationships than we see depicted in this film. Honestly, I am not even sure what your expectations are here.

I'm talking about their evolution in their movies, not during the Blip. Character arcs and development is a core conceit of filmmaking. I 100% absolutely disagree that nobody really evolves in these movies, even if the evolution can be rather standard. Even a blander film (from a critical standpoint) like Doctor Strange has him evolve from a wealthy, selfish egotist to finding passion in something and realizing that he does care about saving people. He starts out barely acknowledging other people and constantly talking about himself to listening, finding some level of humility (though certainly still cocky) and letting people in. His worldview is pretty literally expanded. His changes are not only referenced by plot, but shown in his dialogue (for one extremely small and specific example, the fact that he expected things of others early on without any response on his part, then later on would actually thank people for things), the way he carries himself, the way he acts around others, and through his actions. I picked Doctor Strange because I enjoyed the movie but I think it was, artistically, kinda mediocre and shares a number of problems with Far from Home, but I still think it did a much better job with the basics at the very least.

If there was a movie that had a toddler in it and thirty minutes of the movie was the toddler screaming and pooping on the floor, it may be realistic but that doesn't make it a better movie. Real-life dialogue and conversations are generally not very interesting or creative, at least not the majority of the time, either; hence why I didn't complain that people spoke in too grandiose a manner or that conversations weren't meandering enough.

I still don't know what you expected. Every Marvel movie is about an inch deep thematically. Shifting that to a high school kid isn't going to magically turn the movie into Citizen Kane... Mysterio's character was far more interesting than previous comic and animated iterations I have seen. Maybe you have seen some stuff I haven't.

Similar to above, I hugely disagree. Guardians of the Galaxy Vol. 2, another MCU film I'm not a big fan of, explores the concept and idea of family in an amazingly organic way. We've already seen how similarly-dysfunctional people can be brought together in the first, but the sequel then digs a little deeper into that concept, the whole movie having him search for his biological father, feeling like it would fill some hole in his heart of an incomplete family, only to realize at the very end that blood isn't what's important and that, in this case, Yondu was more of a father than Ego ever could have been. It explores the concept with Nebula and Gamora as well, their relationship as sisters and their relationship with their, uh, "adopted father".

And I'm curious what makes him more interesting in this than previous iterations to you, since the movie Beck is basically just any generic Mysterio from the comics, just underutilized and with way fewer interesting scenes and abilities. In a good Mysterio appearance, in the comics, he's almost the Marvel equivalent of Scarecrow, though infinitely more flashy. He either uses his illusions to distract and confuse his foes, or he uses them to create nightmarish dreamscapes forged of their own mind (so he'd have them think; in reality, it's all tech [generally]), a chance for the hero to confront the dark side of themselves them and grow from it. Not...I dunno...sicing drones on his foe and having a shootout.

Did anyone love it? It was Spider-Man, and it was cool, because it is Spider-Man. If you want real character development and depth, then play through the game on PS4. It seems like the 30-hour game has what you were expecting from a 2-hour movie.

Yeah. While the overall critical response was "it's pretty good but flawed", audience response has been much higher; you can go read reviews online, if a Marvel movie comes out there's always going to be a lot of people that love it, just statistically. I mostly intended that statement to refer to friends and coworkers I've spoken to.

I played Spider-Man PS4 release date. It was very good and enjoyed it. While I appreciate all the assumptions of what I wanted and expected of the film, I've basically been telling you this entire time what I wanted from it—I assume you're interested in a discussion and not just "winning", given the effort in your response, so if you want clarification on anything all you have to do is ask. Which you get in responses, so I feel you're being a little hasty in being so dismissive. You also seem to be arguing (and I could be way off) less that this movie was decent and more that I shouldn't like other MCU movies, which doesn't have much to do with the quality of this movie. Of course, I just explained why I don't think it's the same as other MCU films so I do look forward to hearing your thoughts rather than assuming and pre-emptively dismissing them. :] I thought I made it pretty clear my expectations weren't very high before the film. Had it the depth of the game I'd be super happy with that, obviously, but I expected it to have the depth of...most okay-to-decent movies, ones that tend to accomplish more than this film in 3/4 the runtime.

No offense, but I don't think there was anything they could have done to make you like it. It is a Spidey movie, not a Mysterio movie. It was fun, and mostly forgettable (just like the majority of Marvel movies).

I mean if you just take a few of my critiques and don't do those, that's what they would've had to have done to make me like it. Saying "I don't think there was anything they could have done to make you like it" is nothing more than a meme trope response. It can literally be used in every movie discussion ever. lol jk, but, for real, it's a bizarre answer that seems to insinuate you (contrary to saying you don't understand what I expected several times) very thoroughly know my expectations and what I want from a movie. Especially when my post was all about what I wanted from the movie. I like most of the MCU films. I didn't expect a Mysterio movie, but I don't think it's absurd of me to expect a character to be interesting. Batman Begins used a B-list Batman villain interestingly, and he had half the screen-time of this one. I mean damn they could've just given me a flashier Scarecrow with a fishbowl head and it would've been a way more interesting use of character than watching fishbowl-head spin around in a cloud of green dust while shooting lasers for 90% of his scenes in-character. Ant-Man had one of the most laughably bad Marvel villains but at least it used his abilities in interesting and varied ways. Even Homecoming kept putting Vulture in constantly differing situations so that he'd have to use his suit and general moveset creatively, like on the boat or in the warehouse and on the plane. I didn't want a ton from the movie, I just wanted it to be interesting in some way, to bring more than the absolute bare minimum to the table, and sometimes just nothing at all.

Arts & Entertainment / Re: Just Watched
« on: July 06, 2019, 01:09:43 AM »
How does it feel to be ridiculously wrong tho?

The movie was a soulless, thoroughly uninteresting and amazingly predictable blockbuster. Literally the first trailer gives away the entire story, and they tried to be ""clever"" with the story while really just taking the most easy, predictable, generic route with it. Nobody's really changed or evolved much as a person or character from the start to finish, since for Peter most of the movie is just being a selfish, whiny kid—and not in an interesting, deconstructive way or a way that gives us any deeper understanding of the character. The romance between him and MJ is laughably thin and not helped by garbage dialog. The plot is paper thin and constantly just hands responsibilities off to deus ex machina so it doesn't have to naturally evolve or cleverly tie up any loose ends (or anything, really). There's no discernible interesting overarching themes other than those they spell out for you, Mysterio is horrendously underutilized, as a generic, predictable baddy who is mad at his boss and lashes out; his "fights" with the Elementals were understandably generic and bland since it was him just being a movie star, basically, but when those are basically all we get to see of Mysterio doing shit, that's no longer understandable; we get one or two interesting scenes with him and his manipulation of people and taking advantage of their fears, and then our big bad final fight with MYSTERIO is...a...shootout? Just...drones shooting at Peter? That's it?

Like, I'm a big gurl and I'm cool with not having the same opinion of others, but it baffles me how anyone has loved this movie. Of all the criticisms of the MCU being big, cut-and-paste, dry blockbusters steeped in quip sauce...this one is, by far, the most guilty. I went in just expecting an "ok" Marvel movie and to get an eyeful of my favorite Spidey villain and his visually and thematically interesting skillset, and I still came out incredibly let down. I'm glad you like it (I'd rather people enjoy things), I just don't get it at all.

Arts & Entertainment / Re: Just Watched
« on: July 03, 2019, 12:30:23 AM »
Spider-Man: Far from Home was garbage. Which is amazing. You put in Mysterio, my favorite Spidey villain, and Jake Gyllenhaal, my favorite actor, and you somehow manage to botch it. Impressive. Really impressive.

Arts & Entertainment / Re: Listening to Spoon's Entire Discography
« on: June 28, 2019, 03:55:26 AM »

Title: Love Ways (EP)
Release: October 24, 2000

All songs written by Britt Daniel.


1. Change My Life (4:29)
2. I Didn't Come Here to Die (3:08)
3. Jealousy (2:09)
4. The Figures of Art (1:46)
5. Chips and Dip (4:02)

Sexy, sexy, sexy, and much more indicative of the fully-realized Spoon I know and love. The first two tracks are rather sprawling and feel like hints of what we'll hear later more in-depth on Gimme Fiction, but the last three feel much more like a continuation of what we just heard on the 30 Gallon Tank EP. Slightly more clear and mystical, but still a bit rough around the edges. I don't have a whole lot more to say than that. "Jealousy" is probably my favorite cut on this.

Arts & Entertainment / Re: Listening to Spoon's Entire Discography
« on: June 28, 2019, 03:34:55 AM »

Title: 30 Gallon Tank (EP)
Release: May 5, 1998

All songs written by Britt Daniel, except where noted.


1. 30 Gallon Tank (Britt Daniel, Jim Eno) (4:02)
2. Car Radio (Different) (1:30)
3. Revenge! (2:47)
4. I Could Be Underground (2:08)

Well, "30 Gallon Tank" was on the last record and "Car Radio (Different)" is, in contrast to its title, not really different to the album version. That means, essentially, two new Spoon tracks. "Revenge!" and "I Could Be Underground" are very different to each other in terms of mood and pace, but they both signify a very important shift from Spoon from the brash and direct to the more meandering and theatric. The music becomes a little bit more pulled back and given more room to breathe, but with plenty going on to keep you engaged. This is a perfect lead-in to the Girls Can Tell era.

Arts & Entertainment / Re: Listening to Spoon's Entire Discography
« on: June 28, 2019, 03:18:23 AM »

Title: A Series of Sneaks
Release: April 28, 1998

All songs written by Britt Daniel, except where noted.


1. Utilitarian (1:51)
2. The Minor Tough (2:43)
3. The Guestlist/The Execution (2:03)
4. Reservations (2:36)
5. 30 Gallon Tank (Britt Daniel, Jim Eno) (4:00)
6. Car Radio (1:30)
7. Metal Detektor (3:39)
8. June's Foreign Spell (3:00)
9. Chloroform (1:10)
10. Metal School (Britt Daniel, Josh Zarbo) (2:54)
11. Staring at the Board (0:54)
12. No You're Not (1:43)
13. Quincy Punk Episode (2:17)
14. Advance Cassette (2:54)

Right off with the first few notes of "Utilitarian", what many consider to be the first Spoon album kicks off to a much more brass and brazen start than their works prior, production sharp and layered. Britt Founds out that his voice sounds great when he's straining it and we get almost a modernized punk record, the kind of sound you'd describe coming from a group of ragtag misfits. It feels like the energy of their Soft Effects EP channeled a lot more directly. I feel like one of Spoon's greatest strengths is the ability to convey mood and emotion through their instruments and production. Take a track like "Quincy Punk Episode", which—right from the start of the drums and echoing guitar—there's a sense of urgency and immediacy. At this point their songs are starting to get very pared back, mixes clean and grooves and rhythms distinct. Their wondrous ability to make complex and challenging tracks simultaneously catchy is starting to be honed by now. It's their big turning point and the start of their career getting really exciting, for me.

Arts & Entertainment / Re: Listening to Spoon's Entire Discography
« on: June 28, 2019, 02:32:31 AM »

Title: Soft Effects (EP)
Release: January 21, 1997

All songs written by Britt Daniel.


1. Mountain to Sound (3:50)
2. Waiting for the Kid to Come Out (2:40)
3. I Could See the Dude (1:59)
4. Get Out the State (2:50)
5. Loss Leaders (3:30)

This EP starts out with the track "Mountain to Sound", which is immediately and startlingly more modern Spoon than the album that I know follows. It sounds like it could be a rough cut off of They Want My Soul, an album they drop in 2014. Droning and layered guitars, vocals dead center and contributing to the soothing chaos. The rest of the songs that follow are surprisingly prescient in how forward-sounding they are. I guess I found the exact point at which Spoon became amazing. Their ambitions are much higher and it's clear they spent a lot more time on the production and planning of this album. The mixes are (relatively) clear and passions are lit. I'd argue this is basically a shoegaze album, honestly. At moments I'd believe you if you told me I was listening to My Bloody Valentine. I wasn't expecting such a leap in quality, and I'm glad I listened to this.

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