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Post by muzzleofbees on Aug 15, 2019 0:47:21 GMT -5
Got the French Kiss e-mail last night, apologizing for the delay, and with a link to the mp3s. And tomorrow it’s released proper. So I figured a fresh thread with first impressions rather than great expectations was fitting.
And I guess it’s natural to start with the new ones.
Traditional Village sounds like an 2006-08 outtake to me. Get that Two-Handed Handshake/40 Bucks feeling, mixed with a great saxophone and that Stones-like vibe also found in You Did Good. And with that same breezy and open production that makes so many of these new tracks so sonically pleasant.
Epaulets is a thrill! Goes straight into a hectic saloon vibe, and just keep on adding form, style and amazing details throughout the songs. A little bit of meat in the riff between the chours and the verses too. Highly enjoyable! If I was to compare it to another song in the catalog, I would describe it as a sobered up version of Chicago Seemed Tired Last Night. Check out that little tease of a piano part halfway through.
Blackout Sam is the odd one. A jazzy piano and a crooning Craig. Pushes the style of I Need a New War to the limits. An extremely effekt heavy gitar solo. Lots of this sounds like it’s coming straight from the mid 70s. A lounge version of Cheyenne Sunrise? Or the NYC to the dusty midwest vibe of Esther. Feels a little bit mediocre at first sight.
Of the minor side:
- Epaulets slides really well into You Did Good Kid. - Entitlement Crew and Star 18 are still standout tracks to me, but Epaulets might be right up there. - Confusion In The Marketplace is a bit of a disappointment as closer. I still would have preferred T-Shirt Tux, with that amazing last part. - Even if the vinyl is delayed, I have to say I love the cover art.
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charlie
Sniffling Indie Kid
Posts: 213
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Post by charlie on Aug 15, 2019 4:56:43 GMT -5
I've got the vinyl (though I haven't had time to listen yet) but no mp3s. I did listen to the radio premiere last night, though.
It's hard to think of this as a new record or muster the same excitement with so much of it already being out in the world. Blackout Sam was my favorite on first impression though, because it did get so different. I liked the guitar solo a lot.
Epaulets really caught me off guard coming out of Haircut.
It'll take enough proper listens to catch up the new new songs to the older new songs in order to really evaluate what my favs are, but Entitlement Crew, Stove, Star 18 are still the standouts to me as of this morning.
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Post by muzzleofbees on Aug 15, 2019 5:26:34 GMT -5
It's hard to think of this as a new record or muster the same excitement with so much of it already being out in the world. I agree on that. But in a way my excitement for this record (and the record itself) is very much in sync with both how I view the band, and where I am in my own life. Rather than a Big And Life Changing Rock Album, it feels like a really great collection of songs from a band who's been there through my 20s stripped of responsibilites, and into my 30s, with fatherhood, a job and just other life stuff that eats into the time and energy needed to lose oneself completely in music. And now we have a name and a cover art to summarize these batches of new songs. In a few years time we'll likely refer to this as the Passion era of Hold Steady. And that holds value in itself. Agree on Stove And The Toaster being among the best songs of these sessions. A top five for me right now woul probably be Entitlement, Star 18, Epaulets, Stove and Traditional Village. Oh, and by the way: I think the way these songs are arranged into an album makes some of them seem stronger. You Did Good Kid works really well within the sequenzing, and T-Shirt Tux sounds a little less out of place between Entitlement and Star 18 than what it did as a stand-alone track.
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Post by nosferatu on Aug 15, 2019 7:59:54 GMT -5
Vinyl arrived, will listen in about 2 hours. First impressions are the PIN BADGES ARE AWESOME!
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charlie
Sniffling Indie Kid
Posts: 213
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Post by charlie on Aug 15, 2019 9:02:27 GMT -5
I'm glad to have it as I'm glad they're moving forward. I'm glad they're enjoying being a band, and you can really hear it in these songs -- that hasn't always been the case post SP.
I can't wait to spend more time with the three I hadn't already heard. The radio play went by fast.
I do sort of wish there was a classic THS dusty slow jam and a Constructive/Adderall/Hot Soft-style burner, but there's so much to unpack that it's fine.
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tbob
True Scene Leader
Posts: 547
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Post by tbob on Aug 15, 2019 9:08:13 GMT -5
Mine arrived an hour ago but I’m on my way to Green Man festival so getting it a day early doesn’t really help! Can’t wait to hear it when I’m home next though.
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cre618
True Scene Leader
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Post by cre618 on Aug 15, 2019 11:01:31 GMT -5
Loving the record on first impression. And, to each his own, but for me, “Blackout Sam” may end up being a top 10 THS track for me.
The sequencing works well for me overall. I agree that “Confusion” isn’t a typical THS closer (so wish they closed with Blackout.). But the album is a fun and fresh listen. So excited for this weekend’s shows.
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charlie
Sniffling Indie Kid
Posts: 213
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Post by charlie on Aug 15, 2019 14:07:02 GMT -5
Both Haircut and Did Good Kid have been great on KEXP. Full KEXP set:
Denver Haircut You Did Good Kid Blackout Sam (I'm 90% sure, I got a work call during this one) Entitlement Crew T-Shirt Tux
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Post by mja271 on Aug 15, 2019 16:58:27 GMT -5
Just gave it a first listen and man I really like it. Epaulets and Traditional Village both ended a tad abruptly for me but I still think both are rock solid tunes. Loved the keys and horns on Blackout Sam. We already know the second half of the record well but I just wanna say I really enjoy this batch of material a whole lot. It just brings back that more rapturous THS sound and the use of horns plays very well throughout. Craig also feels much more natural in his delivery to me than he did on the other post Stay Positive records. Sure I could nitpick a couple things here and there but overall I’m a happy guy. Love these dudes.
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TKalltheTime
Sniffling Indie Kid
Blotto / Blacked Out / Cracked Out / Caved In
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Post by TKalltheTime on Aug 15, 2019 17:12:53 GMT -5
Both Haircut and Did Good Kid have been great on KEXP. Full KEXP set: Denver Haircut You Did Good Kid Blackout Sam (I'm 90% sure, I got a work call during this one) Entitlement Crew T-Shirt Tux Yeah that was the setlist. It was awesome being there.
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bigontheinside
Midnight Hauler
If you don't know the words, don't sing along
Posts: 1,477
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Post by bigontheinside on Aug 16, 2019 8:03:22 GMT -5
Saved You Did Good Kid until today and I'm glad I did. God it rules.
Really impressed by all the new songs on first listen. Some people seem to feel like there's a lack of big choruses, which I get, but personally I just love that we get more lyrics and more depth to the songs.
I hope these songs get played a good amount live. Recent setlists have only had 3 or 4 new ones and that's a real shame imo
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Post by somethingvague on Aug 16, 2019 8:34:54 GMT -5
So great to have a THS album come through the door today. Glad they decided to put most of their new stuff out in the traditional format.
Blackout Sam sounds like it could've been a good closer...
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Post by thedreadedlaramie on Aug 16, 2019 9:14:46 GMT -5
Really enjoying the A-side of new songs. I was skeptical about having Entitlement Crew in the middle of the record, but it flows nicely out of Blackout Sam. I would've included Esther as the closer instead of Confusion, but that's what playlists are for!
Overall, I really love this collection of songs and am so glad we're able to get a full record. It's easily their best since Stay Positive; I'd rank it 4th after BAGIA-SS-SP.
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Post by orzelc on Aug 16, 2019 11:31:50 GMT -5
I've been listening to it on loop all morning, while doing other stuff, and it's really good in a low-key way. There isn't anything in the new tracks that strikes me as transcendantly great, but at the same time, there isn't anything I want to skip, either. I probably would've liked to have "A Snake in the Shower" on there somewhere, but it's maybe too dark and weird to fit with the rest. And, you know, I have it in a playlist, so it's all good.
I am struck by the heavy use of horns, and wonder how they're dealing with that live. Guess I'll find out in December in Brooklyn...
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Post by doctoracula on Aug 16, 2019 17:19:22 GMT -5
I’m surprised how much I like side B. A lot of those tracks were not my favorites from the singles but they all flow together well and work as a whole. Guess they knew what they were doing! Does anyone else think some of the mixes sound a little different too? Or I’m wondering if I’m just noticing more details now that they’re mastered as part of this LP. The songs on side A are all excellent.
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bigontheinside
Midnight Hauler
If you don't know the words, don't sing along
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Post by bigontheinside on Aug 16, 2019 18:16:26 GMT -5
I’m surprised how much I like side B. A lot of those tracks were not my favorites from the singles but they all flow together well and work as a whole. Guess they knew what they were doing! Does anyone else think some of the mixes sound a little different too? Or I’m wondering if I’m just noticing more details now that they’re mastered as part of this LP. The songs on side A are all excellent. The mixes definitely sound different to me. I kinda wish Denver Haircut was mixed a bit better, it's stands out as not being as good as the rest to me. The start of Traditional Village seems a bit quiet to me too.
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Post by lakeandcolumbus on Aug 16, 2019 19:23:50 GMT -5
First post for me here, been reading the board for years, figured I should contribute.
I’ve listened 5 times today to the new album. Overall, I’m loving the new songs, and generally like the flow of the previously released singles. My super early impressions:
1.) Denver Haircut - Early favorite of the bunch. This song has the classic upbeat but somehow “nostalgic” feel that my favorite Hold Steady songs have. Could see this becoming a staple in their live sets.
2.) Blackout Sam is a really pleasant surprise. They can be at their best with their mid tempo songs (Oaks, Modesto, Sweet Part of the City), and I think this slots right in along their best. This is such a good example of why having Franz back is so great, the keys make this song.
3.) Epaulets and Traditional Village are good, but waiting to see if they grow a little bit. Liking the heavier riff in Epaulets, almost throws back to Hornets. Good to have the sax on Traditional Village.
4.) You Did Good Kid is my least favorite of the new five. They did that live in Hamden a few months back, could see it clicking a little more after seeing it live again.
5.) In terms of the B side, I was a little disappointed they didn’t include Eureka as that’s my favorite of the new singles. I think the closing 2 songs Stove and Confusion flow really nicely. Confusion is a bit of a different closer, but it’s such a strong song that it works.
6.) Only downside is the production, for some reason all of the new singles and this new album sound a bit muddled to me. Lyrics are drowned out at times on the louder songs, and the individual guitar riffs don’t stand out as much.
Great to have them back with a “proper” album. Hope they find enough success to allow them to continue the path from the last few years.
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Post by muzzleofbees on Aug 17, 2019 1:28:10 GMT -5
Some people seem to feel like there's a lack of big choruses, which I get, but personally I just love that we get more lyrics and more depth to the songs. I get that the chourses is not that big, but I have to say they are waaay better than most of the material from TD and HiW. This is what I like most about Epaulets, Star 18 and Stove And The Toaster: The really well crafted and melodically strong chourses. These songs remind me quite a bit of Chips Ahoy! and The Weekenders. The verses a little more static and hard, but with the song opening up in a really strong chours. And the more I listen to these new ones, the more I feel that they have found some of the melodic and poppy touch they did so well on Boys And Girls. I strongly agree with others here, saying that the sequenzing works really well (both T-Shurt Tux and Confusion In The Marketplace works way better here than they did as "singles", and I think the flow of the A-side is really good too) and how this feels like a not very flashy or monumental album, but a really great collection of songs. It just seems like a right place to be at for the band at this point in time. And I'm just really hoping that they will bring out the horns in Brooklyn in December. With so many great horn parts on the record, it is a shame if they never bring them on stage. And while they're at it, they could make a live album out of it too.
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Post by fredblom on Aug 17, 2019 4:16:52 GMT -5
I like the songs and most arrangements on Thrashing thu the Passion, also some of the production. But I kind of miss the power and drive from Nick Raskulinecz massive production on ”Teeth Dreams”. I understamd why they wanted som kind of departure from that sound with Franz back in the band, but maybe I hoped for something in between soundwise.
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Post by fowler1969 on Aug 17, 2019 4:32:52 GMT -5
Well picked up my coffee coloured brown vinyl reserved from the local excellent local record store in Huddersfield Vinyl tap as missed the clear coke vinyl sale just a funds issue at the time. Being a fan since stumbling on Seperation Sunday on emusic years ago and seeing the band live quite a few times over the years here’s my review for its worth For me it’s the strongest collection of songs since Stay Positive, got to say agree with some comments re the production some of the songs sound lime they needed mixing better Craig’s vocals are great, love the horns but sometimes at the sacrifice of Tad and Steves guitar work definitely less solos this time around Having purchased all the eps the last 18 months or so knew 3/4 the album pre release and witnessing Denver Haircut in London in March. Favourite tracks for me Traditional Village with its e street band vibes and sax, Blackout Sam for Franz and a different feel, the sheer Clash ness of Confusion, T shirt Tux which reminds me of boys and girl era THS, Entitlemet Crew and You did good kid growing on me have the album on loop in my shop today so will probs change during the day. Would love to hear the Hold Steady produced by a legendary producer maybe a Chris Kimsey after the current Stones mentions or Bob Clearmountain Overall rating for me 7.5/10 less half a point for some muddy sounding production on some tracks which I compared the vinyl to mp3 versions
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Post by nosferatu on Aug 17, 2019 9:51:10 GMT -5
I'm pretty emotionally exhausted having listened to this back to back for the past two days. So I've written about it. This album is a glorious return to form and almost moreover an emotional catharsis from a band who would have always been plagued with the horrible “what would have happened if...” question had they never put out another LP after Teeth Dreams. They've effectively ignored unfairly maligned, solid efforts Heaven Is Whenever and the aforementioned Teeth Dreams to pick up where Stay Positive, and obviously Franz Nicolay left off. Nearly every review I've read focusses enormously on Craig's lyrics – a writer so ludicrously talented somebody should probably compile his work into some sort of compendium to be referred to by literature majors, but I'd like to focus on the music at work behind them.
Side one begins like Positive Jam, Craig and his lo-slung Epiphone playing one chord while dropping us immediately back into the centre of both his lyrical plot and the central idea of what “The Hold Steady” has always been. It's an enormously neat trick that blows away the relative uncertainty of the period since the last record and plunges us into 1970s US high school rock operatics a la The Lemon Twigs and Alice Cooper by way variously of boozy Faces electric piano, Stonesey behind the beat guitar, E-Street Band bombast, every conceivable element of peak Who, earnest Band style golden horns and eventually finding Craig leading “Blackout Sam”, probably the best song they've written in a dozen years [edit: I overestimated the amount of time since SP - maybe more like a decade!], segueing fruitfully from vintage Warren Zevon balladry into deepest Van Morrison country with a new kind of grace found in the well oiled, leaner musical muscle of the best sounding lineup the band has ever put to tape. How much of this is down to a perceived notion that Franz is the classic rock form guide deviant in the band is debatable – not wishing to understate the importance of his role historically and anecdotally as musical polymath to Tad's thrusting fundamentalism, the most interesting contribution appears to be the effect of Steve's musical professionalism – there are obvious ways this record could have become a contrived sonic competition between Franz's instincts to blow more air into the Hold Steady conceptual balloon, Tad's tendency to experiment with different facets of small 'c' classic rock guitar workouts (see The Sweet Part of The City or Lord, I'm Discouraged) and Steve's recent-ish adoption of the role of principal soloist to soften the focus, allowing Tad space his side of the stage to play with effects, layers and moods, yet here there is almost none of that friction at work – which benefits a togetherness of thought and direction that doesn't throw any curveballs in the way Hold Steady albums since certainly Boys and Girls in America have tended to (see: Citrus, Both Crosses, Barely Breathing et al), side one is conceptually direct and as a result sounds like a hell of a lot of fun for everyone involved. Steve has clearly been a tremendously positive influence on the new material, the mere presence of an additional virtuoso in the line up posing a musical question of accommodation even before you get into the actual writing phase – it's forced them to think more about arrangement, and this stretching out is glaringly beneficial to the development of their sound into what it is in 2019. Production wise, Bobby's cymbals are compressed in such a way they sound exciting every time he goes near them in the same way Keith Moon's always did - his toms also sound huge - Galen's bass exists separately from Franz's left hand and Craig's vocals are front and centre, for once they're actually louder than the band – a small but significant production improvement which has hitherto been mystifyingly elusive for any number of producers. The tendency to fuck around with the volume of Craig's speak singing is one of the most frustrating elements of listening to the whole back catalogue – when it's right it's great, but when it's wrong it's noticeably a poorer listening experience. Perhaps this stark improvement is a direct result of Craig's solo work with the same producer – I certainly can hear similarities between the two settings.
Side two is a rollicking victory lap for the singles they've been issuing as direct fan missives for a while now, and as such it's very difficult to objectively appreciate the whole collection, each song having connotations of time and space and shows, so I'm not going to attempt that. I've read some downbeat opinions about the album closer “Confusion In The Marketplace”, but I totally get it – whereas previous albums have ended on what you'd call the curtain coming down, Thrashing Thru The Passion* ends with an incantation to reach for the secrets in the static on the stereo... or more obviously just flip the record over and start again... or vice versa for me man? I know I said I wouldn't focus on the lyrics, but how can I ignore this beautiful implication of circuity, that our band could have an improbable comeback story as eloquent as this – after all, who would want to dick around when you can devastate?
*the spelling of which could even be a deliciously subtle piece of self-sabotage – listening to the podcasts released about the making of Separation Sunday it was interesting to note Craig's anxiety about nearly naming that record “Youth Services” as he wouldn't have been able to deal with people getting the spelling of the word “Separation” wrong yet here we are with the word “through” deliberately artistically truncated...
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Post by muzzleofbees on Aug 17, 2019 14:09:10 GMT -5
I'm warming a bit to Blackout Sam. It's the intro I really can't stand, but when the song builds some momentum, it's pretty impressive. And the way Entitlement Crew bursts out at the end of it (when listening digitally, at least) is sweet.
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Post by orzelc on Aug 17, 2019 18:36:03 GMT -5
The one I have a little trouble with is "You Did Good Kid," which is kind of weird and jagged. It's interesting to me though that everybody seems to have different answers to the question of favorite/least favorite track. And, for that matter, which of the previously released tracks that got left off should've been included (I'm voting for "Snake in the Shower"). That probably says something about the quality of the record, and where the band is at these days.
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charlie
Sniffling Indie Kid
Posts: 213
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Post by charlie on Aug 18, 2019 8:20:10 GMT -5
I hope they keep releasing digital singles. those added a nice buildup to knowing shows were coming.
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Post by lukeindetroit on Aug 19, 2019 13:48:18 GMT -5
Hard to think of this as an album, it sounds more like a collection of singles (and was basically released as such). But if we do....It's definitely their worst album overall. There's not really any coherence or narrative, and there's a lot of filler. Although Craigs lyrics are as good as ever, I feel the tiniest bit of "subtraction by addition" with the new lineup musically. Hard for me to see how it competes with HiW or Teeth Dreams let alone Sep Sunday etc.
(P.S. Am I the only one who feels like the mix is fucked up on this album? Teeth Dreams was too....)
THAT BEING SAID
It's so great to have this album at this point in our lives as fans of this band. It's like a wonderful bonus. AND there are some definite bangers. T-Shirt Tux remains an all timer to me (and should definitely have been the closer). Epaulets is awesome. Blackout Sam is something new and interesting. You Did Good Kid is catchy as hell. Craig remains a genius lyricist, evidenced in traditional village more than anywhere.
Filler songs, imho, include Confusion in the Marketplace and Star 18
In a few years, my guess is that we look back on this album fondly, as an outlier that doesn't really fit in their discography, but represented a fun time to be a fan and gave us a few classic songs.
I really do hope they keep putting out music and playing shows forever. My son is 8 months old. I'd love to take him to a show as a teenager.
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