indieguy311
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The lyrics are kind of inane, I think he's talking about the media or something. But that's not really the point of it, Idaho has a long history of slow-core albums, which as a genre in general, goes straight for emotion. This track is gently contemplative and quiet.
After listening through the album it's sounds a bit like an experimental, electronic The National, without the deep voice of the vocalist (which is a little off-putting to me, but may be something I have to get used to like Moz's voice with the Smiths). This album, especially (available through Rhapsody) is pretty interesting and soundscape-y. I recommend it to anyone trying to get their brain around a quiet Sunday night.
Points of reference: The National, Red House Painters.
Update: Going through the album again this morning, sensitive to runobodyii's comments (below) the songs are quite short - they still work, in my opinion, but they may come across as demos. Several in a row now have clocked in at right around 1:45 (ie U Got That Gunman Thang, Cactus Man Rides Again, Wet Work, Where The Canyon Meets The Stars, The Last Days of Petrol).
Also, it's available for listening (through Rhapsody, but in MOG) here but the track order is a little jacked.
This one, and "Secret Language", for example, go from interesting to okay through most of the song, but then kick into a wonderful chorus, then back into a disappointing verse. Hang on until (or just jump straight there) at least 0:45.
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yeah i like what i hear after the 45 sec mark. the breakdown or bridge is nice too, at about a min. 40 sec.
Attached is a song I found works well - a great track from a 'free' album found on archive.org. You can find the whole album here.
There's a free demo through Steam, if you have it, which is also free.
By the way, I read about it via this link on gamasutra.com.
Here's an example. Check out what happens to the track at about minute 1 when the classic shift in tempo happens on "Take Me Out".
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so basically you can control how hard or easy you make the game. i'd definitely have to stick to some slooow jamz!
It's funny how it works - on fast songs you speed downhill and the little blocks you're supposed to catch get more frequent, but on ambient tracks it's a slow, uphill drive with just a few blocks.
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I don't know. I've been listening to a lot of Ida on Rhapsody lately as prelude to downloading one of their albums from emusic which not long ago offered a Spokane album free, then of course there's Low - - all to say that the male-female harmony vocal thing seems integral to my limited experience of slowcore, also a certain blurred, dreaminess where I don't have to understand a word of it unless I really want to; otherwise I can just let the music lap around me like a nice warm breath. Haven't really gotten acquainted with Red House Painters yet. This song also seems really short, like when I may be starting to get into it, it's over. I'm not kvetching though. Just talking a little slowcore.
I hear you. It's a little short - if you try the whole album, it fits in with the songs around it. As for the melodic male-female - I just listened to a little Ida tonight, too, just exploring a little. I like that (and Low) more than the older slowcore like Codeine.
With ida I think I'm going to go with The Braille Night to start. I also won't to acquire more Low - - I only have Things We Lost in the Fire - - but I also try to mix up with the genres. Not so many months ago I'd never even heard of slowcore. I've been thinking a bit of late about the cool cache of unpleasant music and the or my revolt against it - - wasn't slowcore a reaction against punk: you can keep your ugly music, we're going to do beautiful music slowed down, and now a lot of stuff shelved under alternative/punk just sounds like music. Strange.