finboy

you are a god send, i will be in the first 5 rows for both shows, even if i have to go to scalpers again.

anyone know where i can find pre-sale codes for calgary?

just about finished, i think all of the songs translated better than the demos with the exception of "what if i can't see the stars, Mildred?" while it sounds good, i really liked the more raw sound from the demo, it almost seems to glossy now. not a big deal, if it bugs me too much i can just insert the demo in itunes. aside from that (which some people might prefer, but that is the fun of opinions) i REALLY like the album. When vancouver was released, quite a few people commented how matt's albums were all starting to sound formulaic, i think this definitely bucks that trend. can't wait to see some of these songs live, maybe he'll bring another person on for the band in a keyboard/computer role?

the dynacomp makes sense, Jeff mentioned that the vintage ones were dave genn's secret weapon and he had a box full of them

so i was searching for pics of the old A&B sound in my city, and came upon this, look on the column in the background...

the new version of hornets is really growing on me, i hope he continues working on it, great atmospheric sound.

there is something else at the end too, it sounds like he is really getting into horn sections and piano, i'll take a guess and say it is called "dawn" since that is repeated throughout the song EDIT: looks like he pulled it already

new demo of "lights of endangered species" AKA "i once saw a magician cut you in half" up on the pod cast, sounds AWESOME

definitely cool the acoustic is sounding like he is using the piezo pickup quite a bit, a bit twangy for my liking but definitely easier to use than mic'ing up a guitar.

for videos of the writing process alone i'm willing to pay for it, i'd love to see more vids of how he works with garage band

i like the name as i try to have covers for all albums in i-tunes, i searched through google for a fitting cover...

dunno, not sure if we will ever get an answer to that question

saw this in the photostream on flickr, from the memorial rod bruno, warne livesey, matt good, and ian browne all at one table, looks like quite the shindig

niiiice, can't wait

i would LOVE to hear matt do more piano work, set me on fire is a great track, can't wait to hear the finished product. also, the horns do sound very british, i can definitely see some early oasis-esque sound in there

a couple points of interest from the vid the imitated british accent and the person filming (named judy) both seem to be prevalent in flashdance II

matt put the following post up...

RIP geoff ;)

thats where i have it

that high note is hard to keep a hold of, impressive showing

it would be amazing to see that played live

the dave genn quote can be heard in the audio of being special from much music. iirc matt also mentioned during the 2 part ongoing history of new music special that dave decided to go work on holly mcnarland's album, postponing work on audio of being and increasing tension within the band.

i think it was demo'd for beautiful midnight, recorded for audio of being, but it didn't fit the feel of the album so it was cut

can't stress this enough, it's the closer on AoB on my ipod and it is perfect, that is THE track i would love to hear live

it is not only my favorite matt good album, but my favorite album of any artist. that said, given the circumstances of making the record it really isn't surprising that matt doesn't play a lot of tracks from that album. it wasn't as easy of an album to get into as beautiful midnight, it got almost no promotion after the band broke up, the band were falling apart during the recording of it, and from interviews it sounds like matt made a lot of concessions on songs (be it parts being added to them or songs being added to the album) which made the end product sound different than how he wanted it too. but i think that internal conflict is what makes the album feel the way it does, like a group of people that don't want to be in the same room with each other making very aggressive, desperate songs.