andydanger85

I am going to third this. I loved that the film's score was predicated around Max Richter's On The Nature Of Daylight. I wanna cry every time I hear that tune. Also, fun fact, the film was filmed in and around Montreal.

I quite enjoyed it. Future dystopia with some heavy environmental/class struggle tropes. Damon and Copley are fantastic. I think this film suffered from sophomore-itis, in that people expected Blomkamp to follow up District 9 with something equally as original ....and he went in a different direction. Jodie Foster's shitty English accent was ... unfortunate, though.

Lion was one of the better Academy Award winning films from that year. Dev Patel is amazing, and it's based on the true story of a young Indian boy who finds himself separated from his family and then adopted/raised in Australia. Just watched Trainspotting 2. It was all I wanted a sequel to Trainspotting to be.

I just got to Alexandria. Let's just say that the poster doesn't do it justice. I once thought that Ubisoft's vision of Venice in the Ezio Trilogy could not be outdone. They outdid themselves.

Absolutely. Strings on the title song seem like they were recorded in my living room every time I listen to the song. Actually, I have been addicted to the title song pretty hard all week. Those hard down-strums and the main riff are infectious.

They also tried out that Matthew Good ... and his Band moniker for the Vancouver (???) tour as well, which was confusing in the same way as you mention. Funny thing is, Blake and Stu have been with Matt longer (yes, I know, with some exceptions) than Dave/Ian/Rich/Geoff were at this point.

I'm four episodes in, James. Glorious return, hits all the right notes. Honestly, just seems like a continuation of the first season. Also Coochie, if you listen to Brit Marling tell it, sounds like the divisive ending you speak of was built for a sequel. I quite enjoyed the OA as well, and I think while watching it, you can understand why it not only revels, but ends in the metaphysical.

I also agree. We could get all post-MGB shows and it would be heaven. I've heard HTB and LMU and Apparitions enough times at this point that a little more Avalanche/Blue Skies/Non Populus/Garden of Knives/Harridan/Cold Water/Bullets in a Briefcase action would be a welcome change. Legit, we get one of those songs in rotation and it makes up for both of the other ones being cut in spades. Speaking of complaints and their inevitability ... random memory ... Nothing to Hide Tour 2007 in Hamilton, just as he comes on stage this girl in front of us angrily queries whether it was " an acoustic show?!" and proceeds to read her ticket, which says MATTHEW GOOD SOLO ACOUSTIC on it. She decides to get drunk as possible and spends the second half screaming out "Apparitions" in between songs. Like, shit, he's gonna play Apparitions. Shaddap.

I just got the new AssCreed too. Love a lot of the new aspects ... new fighting system, not totally sold on yet...it's a bit clunky and arcade-y in my opinion.

Yep! You and me had the same thought.

Yes, there have been many "names" over the years, and except for the Easter Egg "Jen" in Truffle Pigs, I do think as we are putting together maybe they're all the same person or facets of the same person's personality. And yes, I agree, it can be and is cathartic.

I noticed this as well. I think it may have been an assumption on the part of Global that he'd be playing the single. It's labelled and was announced as Decades.

Yeah, I do get a romantic indication from it as well. Truthfully, this post gave me the same feeling that reading "The Night Opus" from the manifestos/book did. I've always got the feeling that the person who "Jennifer Dawn Connors" was based on has been present in other work, and not only in "Jenni's Song", which references the same "killed her dad with her car" incident from the story. Might not be, but again, don't want to take that speculation much further. That's really tough to hear, Marcy. I have been through something similar before, as my GAD/Panic Disorder began to present during my former relationship, and my ex was basically intolerant to mental disorders of any kind. She repeatedly told me that she "did not sign up for this" and made me feel shame for years. Luckily, I got free of my own accord. Do I believe in magic? I think the answer is, I wish I did. And like Nick mentions above, I believe magic exists in children, and in people's imaginations. Magic exists in the excitement one feels before an event or gathering they've been looking forward to. Magic exists in the early days of a relationship. Magic exists in the first moments of hearing a new song by an artist you love. For my own part, magic died when I became an atheist. As you grow older, your childhood illusions fade one by one, and none of those ever bothered me. "God" was always a constant in the background, and you could understand a world that believed in Santa Claus and the Easter Bunny because there was a God and he/she/it could make things like that possible. During the weeks that I began not to believe, I felt an immense intellectual freedom that I still feel to this day. But, I also feel an immense disappointment - like I was lied to repeatedly and often over the course of twenty plus years. And there's not a damn thing I can do about it. I often think back with warm feelings to when I believed in magic. I remember how it felt and I want it back.

A bit of a redirect, and if you're like me you won't be able to un-hear this, but the lead guitar fill that begins in the first breakdown/chorus when he says the line "The wire in your blood..." in "She's Got You Where She Wants You" sounds eerily similar to the lead line in ............Rico. Great song, fill works...I just hear Rico playing in the background every time now. It's not EXACTLY the same, but similar/reminiscent.

I mean this earnestly, but do you mean this facetiously, or have you actually heard this before? Matt says in the post he has just said it for the first time out loud to another person just the other day, so I don't think this was common knowledge. Yes, he says a girl "from long ago" in the post. Also, no worries. I thought this to be a huge revelation worthy of discussion on here!

Hey all, So, Matt just posted on Instagram that essentially all of the songs that have been vague and personal have been in relation to one person. A muse, if you will. Now, I want to steer conversation away from the personal as much as possible here (especially given that Matt posts here and it's rude), but the fact that he has shared this has for me, added a new dimension to a lot of songs. I love that many tunes have a specific meaning to me and that he's traditionally kept this ambiguous so we could do that, but this actually, I think adds another layer of meaning. I'm not going to lie, I kind of want to go back to any song that addresses the anonymous "you" and re-listen with this idea of a muse in mind. What do you guys think? From Instagram: https://www.instagram.com/p/BatCQz5BzYS/?hl=en&taken-by=matthewgoodgram "There are things you hide. Things that as an artist remain in an old chest buried deep beneath the earth. You allow people to have their own perceptions. You even encourage them the lie because it could hurt their feelings. But in my life, even if a self constructed mythology, I have only really spoken to one person in my music. From Suburbia to Extraordinary Fades, from House Of Smoke And Mirrors to How It Goes, from On Nights Like Tonight to The Fine Art Of Falling Apart and She’s Got You Where She Wants You. One person. A secret. The well to which I return to remind myself - there once was a man before all of this." Side note: The post itself made me tear up. I've often referred to my teens/early twenties as "when I still believed in magic". That he used similar phrasing affected me pretty deeply.

I have also heard the Snowaxe story before. MGB was a working title while in the studio and then by the time Alabama Motel Room/one of the singles from LOTGA was released to the radio, the name had stuck so there was no going back. I don't have a source, but I remember Matt was talking about it in the context of why he wore the monkey mask during the BM days.

Letterkenny is a gift to Canadians. Hopefully I'll dangle some tickets ... a little toey, maybe a clapper ...ya bud

I second your frustration. I live in Mississauga, Ontario, and you'd think that would mean there are places to buy CD's. Best Buy no longer carries CD's in store, Wal Mart is only useful if you happen to like country and TSwift, and HMV is dead. I had to call around and I found a Sunrise Records ...I always buy Matt's records in all formats 1) Because support the damn artist, 2) Just in case I am in a situation where my phone is dead and I don't have access to a record player, and 3) Because fanaticism. You guys can relate. EDIT: I haven't tried to play it in a CD player that registers the album name, but I will check it out later. That said, anyone struck by how the original album name when turned into an acronym spells SOS - Save Our Souls ...probably intentional.

Thanks Marcy and Patrick. I've always felt that way and with the new album coming out, I felt it was a good time to integrate it!

I agree that he's probably never going to skip Apparitions and I do also remember him saying the lynching thing ... but when it comes to some of the hits, especially Hello Time Bomb, I actually get the opposite feeling from the way he performs it. About ten years ago he started letting the fans sing some of the choruses, and my perception is the song bores him at this point. He gets energy from performing, there's no doubt about that - just during that song, maybe not so much! Just my opinion though ...

And I think he'd agree with you on that point, from past interviews! A big believer in the mystique of the artist and in allowing lyrics to remain subject to your interpretation. Even still, your interpretation is pretty on point, especially the bit about the mags and cigs

I tend to agree! Though, I kinda preferred Bones to Peter ... but he seems like old hat already and like everybody is old and good friends and that vibe is amazing and unmistakeable!

My review after sampling a few times over the last several days ... This album is really an exercise in "coming full circle", for me. My favourite artist who influenced me creating an album rife with his own pubescent/young adult influences. I have to say, tunes like "There The First Time", "She's Got You Were She Wants You" and "This Is Night" rubs me a different way- but I say that as a good thing. I have a soft spot for new wave tinged music and my early childhood was defined by early 90's power ballads in the vein of Meat Loaf and Bonnie Tyler ... and I wasn't expecting to get that from Matt. But it's refreshing. One of the things that I have always loved about him is that he isn't afraid to burn the whole facade down and start again... from album to album it's kinda been that way for always ... Between LOTGA to Raygun someone told him to buy an electric guitar because he was writing rock songs, not folk songs. From Raygun to Underdogs, he embraced late era grunge and was at the forefront of alt rock. Beautiful Midnight and The Audio of Being are two of the most epic, prototypical alt rock records that combine big sound with orchestral work and a raw emotionalism that saw him found his voice - one that I still maintain is one of the most unique and powerful to exist in music, period. With the breakup of MGB, we saw a further progression to Avalanche with a combination of the alt rock stuff that he had become known for, as well as swelling orchestral ballads and pop sensibilities. Between Avalanche and WLRRR, we see a shift from big, produced orchestral symphonies to short, stripped down, garage rock that features the centrepiece standout Blue Skies Over Badlands - definitely an overall career highlight. From there, he went back to his roots and wrote what is essentially a folk album with some alt-country and alt-rock elements with Hospital Music. A few years later, Vancouver was released and it embraces a concept album format; stylistically, the orchestra returned and was added to a soundboard that borrows from U2/arena rock inflection. LOES features the introduction of brass, owes a lot to jazz, and is really the first time since the MGB days that we get some prominent lead guitar work. Arrows of Desire is a straight up rock record which features a couple Audio of Being-era bangers near the tail end with heavy synths and a foreboding tone (Garden of Knives and Mutineering). Chaotic Neutral, as intended, is a little of all of the above ....which brings us to a new era ...."I still miss new wave" You can draw a straight line from the BM revisited work to the new album, and it's glorious. Men at the Door reminds me of The Cure in the best way, and the above songs create that 80's sensibility that make this album something special. In my opinion, the singles are the weakest songs. That doesn't mean they are weak, just not as good as the rest of the record. Bad Guys Win and Something Like A Storm sound like they belong on Vancouver, Decades is an amazing song save for the choruses, and Days Come Down fits the audio aesthetic very nicely. All in all, as always, Matt has evolved and so have my own tastes in following his work. Sometimes he does things we don't expect, but that challenge is one I am always open to accepting. It's added so much value to my life, and Something Like A Storm is just the latest example of that. EDIT: Oh, and I forgot about Bullets in a Briefcase because I posted in the thread dedicated to the song, but like many others, it's bound for my daily, ever changing Matt Good top ten list ( which I could probably never actually sit down and write out, because it's more of a top 25 ... even that's pushing it)

First and foremost, I am going to agree with the majority and continue the affection for this song. It is the emotional centre of the records. When the guitars come in, they remind me of Sigur Ros in the Agaetis Byrjun/ ( ) era. Specifically, the bowed guitar in the song Untitled #4 (Njosnavelin). Anyone else hear that?