That is a brilliantly sleazy bass tone/riff. PJ Harvey called and asked if she could have her 4 track demos back 🙂 I quite like this one, despite myself.
Drag Me Around
by Moss Palace
I wait on the corner
Little sister, precious daughter
Crooked teeth, wicked ways
Smell of flesh and Tanqueray
Poor little broken man
“You’ll never drag me around”
I call the shots, I don’t say please
Just watch 'em burn on their knees
No regrets or consolation
Nevermind your salvation
Everyone takes a turn
“You’ll never drag me around”
When the night gets too long
And I feel the cold beyond
Loneliness few can stand
Will I reach out for his hand?
Keep coming back for more
“You’ll never drag me around”
Everyone takes a turn
“You’ll never drag me around”
Poor little broken man
“You’ll never drag me around”
Keep coming back for more
“You’ll never drag me around”
That is a brilliantly sleazy bass tone/riff. PJ Harvey called and asked if she could have her 4 track demos back 🙂 I quite like this one, despite myself.
For your "Semiprecious" I really shouted from the mountaintop how much I appreciated hearing Erin push her vocals in a more aggressive genre and how this seems to have kind of "broken the barrier" and gotten a level of power I felt had been missing. So it stands to reason that you'd at least make an effort to bottle that lightning again when explicitly trying to bridge "Semiprecious" to your "Pareidolia." In this judge's opinion, you rose to the occasion once more. This more prog-rock style was not the obvious direction to head, but it fits well and I love the musicality here. Especially those triplets with the organ stab chords. As a stylistic choice, I wanted less distortion on Erin's voice, as I felt like the distortion got in the way of the emotionality of the performance. Everything else about this mix works, as far as I'm concerned, and this is more top-notch work that both showcases your professional chops and pushes you out of your comfort zone.