Its most unexpected success came in the form of a prom-night song, which Armstrong fully supported. 2 on Billboard’s Alternative Airplay chart. While “Good Riddance” didn’t quite reach that height, it did make the Top 20 all over the world, including No. About 20 minutes later he called them back, saying:, “You guys want to hear a No. One day he asked the band to leave him alone in the control room, and they went to play foosball in the studio lounge. They realized that wasn’t the correct approach for a band like Green Day, so Cavallo wound up focusing on a smaller string section and continued to grapple with the song. Watch Green Day's 'Good Riddance (Time of Your Life)' Video “In the studio, we played it as a big, Bon Jovi–style ballad. “At first a whole orchestra in there, and they’d all come in like, ‘ Shung!’” Armstrong later recalled. That proved a little more difficult to achieve. Second, Cavallo suggested adding a string section. Perhaps an indicator as to how different an approach it was can be heard in the album version, which starts with Armstrong messing up the intro and saying “fuck!” before starting again. First, he asked Armstrong to pick open notes instead of strum chords at the start of the song, so that the strumming felt like a crescendo when it finally came in. He eventually came up with two significant changes. “I just was playing it at my house thinking … ‘This song is a freaking hit. “It was sort of like a musical problem to work out,” he said. The Ringer recently noted that Cavallo took the rough track with him every night to think about it. So in 1997, they recorded a new demo version as Nimrod came together. The record's title is apt - this debut truly does feel like an arcane discovery you want to share.But producer Rob Cavallo always felt the track had something about it, and the band agreed. While Gloin is pulling from a diversity of post-punk and noise sounds of the last few decades on We Found This, their contorted concoction feels new and tenacious. The amount of instrumentation packed on during the conclusion of the song is near-maniacal, as if the band and mixer Graham Walsh wanted to see how many layers they could weave in before it becomes unbearable. The vocal style and lyrics on We Found This also seem to poke fun at the listener's expense, with a bit of sass and sarcasm, especially so on "Dark Moto," which reaches Nick Cave levels of theatrics (or maybe even David Byrne, if he were a touch more goth). The encounter leaves you feeling dizzy, yet craving more.Ĭrucially, there are also moments of experimental reprieve on some of the more radio/single-friendly tracks like "Shoot to Kill" and "Work Patrol," which are more digestible forms of Gloin's in-the-red shoegazey punk rock ala Sonic Youth, Bikini Kill, or Babes in Toyland. There's quite a bit of sonic violence on tracks like "OCT," with its trilling atonal guitar lines, an onslaught of pounding bass riffs, and smashed up crash cymbals, it's as if you're listening to the soundtrack of a live exorcism. These unfathomable occurrences and more come to mind as you dive into the void of We Found This. It's as if you've opened a mysterious trap door in a house devoid of all sense and reason think of impossible space - black holes, doors that open to nothing but dusty brick walls, paintings shifting and moving in and out of your periphery, a chandelier that levitates and follows, leaving a dim light as your guide. Opener "Pitchfork" is frenetic, swathed in a delayed and layered guitar line that mutates, almost at a crawling speed, while some Ian Curtis-esque vocals reverberate. Not many albums have the power to transport you into a completely new frame of mind - whether sinister or joyful - within its first few seconds, but We Found This, the debut full-length from Toronto psych-noise rockers Gloin, does exactly that. The album could be described as "nightmarish," but it's a decidedly thrilling sort of nightmare - the kind that you try desperately to piece together after you wake, covered in sweat.
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