The Hotelier - Goodness (May 27, 2016) Album • Page 124

Trying to figure out who else. Mount Eerie/Microphones are the biggest I've seen, every one of the "good" emo bands and a bunch of the DIY scene bands are really into them. Weatherbox is one of the ones like Emp X. The Books come up a ton. Weakerthans probably but maybe they've surpassed that a bit

 

Alex G definitely did back when DSU came out, he's blown up though. Definitely one of those artists a lot of bands call influential definitely

 

Beat Happening fits too probably, most K Records stuff honestly haha

 

Great thing to point out that I didn't think of but makes me appreciate those moments even more. I love those glitches though.

 

Once you do you'll have to tab it out and share. I've been wanting to learn that song for a while but suck at figuring things out by ear.

 

Lets see how far we've come :')

 

I don't think I have it perfectly... The opening riff sounds decent
But I feel like I'm doing something off. I have the verses and chorus down though.

 

I've still never watched that full set :x

 

I've decided I like the poem opening the record. Am I the only one?

 

i like it. im having trouble putting this into words - i have typed out a few sentences and deleted them - but i feel like its a brief time my mind can clear itself to dive into this record.

 

It's grown on me quite a bit actually. Not something I'll listen to individually obviously, but I won't skip it at the beginning.

I'm not a big fan of spoken word poetry, only because I don't feel like poetry is meant to be spoken, but read, so at first it was a little off-putting, but I'm kind of indifferent to it now.

 

I stand with you.

 

Just a take on the conversation happening on the last page: I think the album "Goodness" is as much about goodness as it is about it being a temporary state of being / mood, just like anything else is - sadness, anger, happiness, indifference etc etc. Which is why the album may not be as happy as it originally appeared to be. I think it's somewhat easy to conclude that as there as juxtapositions throughout the entire album: the seasons, sun / moon, life and death, youth and old, sheltered / clothed / draped and naked / vulnerable.....the list goes on.

 

despite having listened to this a stupid high number of times already, i just finished my first listen where i really got to dive deep with the lyrics in front of me. after doing so, this record is even better. These are some of the moments of the record that i cant stop thinking about after doing so. more specifically these are lyrical moments that really didnt hit me until this listen while reading along very attentively, but that i think are incredible (with the exception of the line in "Opening Mail", that hit me one the first few listens, but its just too good not to give a shout out). Like, obviously "Soft Animal" is a lyrical highlight, but that was obvious to me long before tonight:

Piano Player
The things you grow are set to die.
You cling to them with knuckles white.
So wind me up, damper to floor
and I don't know if I know love no more.

Two Deliverances
On an empty panel floor I lie here for communion just waiting for one more but in the quiet empty hours of my afternoon what am I supposed to do? But if I want them too will they come to me soon? Will they fluctuate between midnight and past noon? Was kind of banking on a future that'd be involving you but I couldn't ask this of you.

...But if I choose this too does it count as my move?
I can't drop my history just to become new...

Opening Mail For My Grandmother
Your beautiful brightness, perpetually new.
So old in your body, the youth's in your mood.
They're keeping your space there they're dying for you.
We'll sing your good graces when they come for you
but until that day's here I'm coming for you.


End Of Reel
The kind of thing that hangs inside a moment.
A kiss of good that's temperate and golden
that permeates the surface of the woven
and seeps into the piece of you inside of my head.

 

Got my tattoo designed. It's from Home but can't wait to get it and then show u all

 

Hi!

I just signed up to this forum, but I've been following this thread for a month now. Accounting for some skipping, I've read about 80 pages of this.

I've got a couple of things to say that I believe are meaningful to the discussion:
1. It seems that many of you rush to automatically judging the album, without allowing yourselves clean, "objective" listening experiences before. Obviously, one will always receive and judge information according to the way they are built, but seeing as the band released a certain version of the album seems to me as if it calls for an attempt to take it for what it is. Editing setlists or trimming songs sounds like an admission to giving up on the band's vision, and the band's goal. I don't understand why you people give up on the poem, for example, seeing as it's crucial to the album - the band put it there! The meaning of this album is acceptance, and it seems as if many of you have given up on it from the get go. I heavily recommend that all of you people who are dissatisfied with certain points just try to listen through while accepting the fact that this is what they have chosen to do. I found this very helpful.

2. Regarding the four hits at the end of the album - I don't think it's a lame gimmick, or a recycling of what they did on Home. I think it ties in closely with the theme. One should look at the closing lines to both Goodness tracks:

"The goodness fades and we begin there."

The snares at the end of Goodness II are where the Hotelier begin. That's the kick-off to the album, following the introduction. However, the snares at the end of the album, that's where we begin. This all may sound like spiritual non-sense, but I grasp this album as a spiritual experience and act accordingly. I think the snares are our countdown, and we need to begin life there, even when goodness fades. The Daoistic approach Christian refers to in the interview requires acceptance of the natural flow of the world, with "no deferences". We must go along with it. I think that seeing as the album has shown to us both the good, through comfort and reminiscence (the "little bird..." verse in G-II, among others), and the bad ("was kind of banking on a future that'd be involving you...", "I don't know what to do with the sight of you brimming.", etc.), we now must accept that the world is built on both. The goodness fades, but so does the badness. We are left with this equivocal state of being to accept. That is what the snares bring, forebode, declare.

This is just my interpretation, obviously, but I find it an important one.

 

that's a hell of a first post @InFraming

 

Like wow you have brought so much clarity to why the snares are there and definitely improved the message of the album for me, thank you! Please post more haha

 

I really like this. Obviously Christian pointed out that it was marking the beginning and ending of the narritave of the album last night but I wasn't sure whether Goodness 2 was supposed to be included in that or not. I really like the idea of that lyric tying into that though and having Piano Player kick off the record because I feel like the beginning of Piano Player does that really well.

 

so i can skip track 1 and 2 now. cool

 

you're the worst

 

They're playing in Detroit tonight but I don't know anybody around here that's into them too.

Might just go alone.

 

"Two Deliverances" has been on repeat for me basically since I got this. In love with that song.

Also, coming around on "Goodness Pt. 2." While I enjoy Pt. 1 more, I think Pt. 2 fits better into the album.

 

Every time 'Fear of Good' comes on I tell myself that's an underrated song. Probably because it's a stripped down shorty, in the albums best stretch of songs.

 

Fear Of Good is the only track that at the moment I don't feel much of an attachment to tbh