Amazing "Micro Moments" in Music
Talking about the little moments in a track that are so short, so so huge for your ears. The moments you anticipate the whole time, ti
ny moments that may even define a song for you. The three second instance of bliss. Examples. The super warm and beyond comfortable guitar feedback dynamic shift to a dreamy landscape at 1:57 The psychedelic electro flourish at 1:56 The strange churning at 1:39 The delay on the vocals as they softly fade at 6:49 |
The beacon throughout this song...
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Brian Wilson - "In Blue Hawaii"; at the beginning of the song, following the slow intro, that unexpected chord as the word "pink" is sung, leading into the song proper.
Mike + the Mechanics - "Nobody's Perfect"; the third time Paul Young sings "It must be hard", a deep bass note comes in on the word "hard" and always gives me chills. There is a similar moment in the verse of the song "Ripples" by Genesis. Jimmy Webb - "Asleep On the Wind"; the last word of the song is sung, unexpectedly, by Joni Mitchell, who takes it up an octave and gives the song a kind of ethereal ending. |
The crescendo from 15:58 to 16:32 gives me goosebumps every single time I hear it.
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Minute 2:01 love that clean slow sounding guitar.
Minute 6:08 that subtle movevment of the whammy bar, sounds like a scream (or whatever it is). It really does make it sound like it's 'The End'. |
The blender (?) and glass shattering at 0:58.
Those two short bass lines at the beginning of the bass solo at 3:08-3:15 |
It repeats the same bassline for the duration, but there is a single tiny bass bridge, before getting back to the line
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This whole thread could be about Beefheart songs.
Not sure if this counts as a micro moment, but I love the part that starts at 1:45 where they transition from one theme to the next. It sounds like studio editing, but the members of the band are switching to the closing theme one by one and it's ****ing awesome. The part where Beefheart says "when they could be filled with light and back with wings" because it sounds like he's a really wasted priest or something who just doesn't give a ****. Maybe I just say priest because he's a god to me. Two parts for this one. The first is after the breakdown at 1:04 when the detuned guitar becomes way more apparent. The second is at 1:42 when he says "and laugh at your tire tracks if you get up" because it adds a lot of depth to the song that I didn't pick up on for a while and the way he sings it is awesome. Lastly, at 1:10 "black lady black leather lady black lady black leather lady don't have a white white white poor son." |
The song has two parts. The first part has low-key vocals, it builds up for the change around 3:00 and the instrumental starts ~ 3:18. The outro starts off with a break beat and the deepest bass sound, Then around 4:52 it takes another turn with the introduction of power tools(?) which totally takes over. It's the middle (3:18 to 4:52) that's my favorite part, where the bass & break-beat kicks in.
The Chemical Brothers-Where Do I Begin |
1:57 That sweet milky tone, then again at 3:00
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Both songs (no doubt) are great from beginning to end. The micro moments for me is when they cue have a change, or when they start to jam.
When the synth goes "dnt, dnt, dnt" ~ 14:12 - 14:13 cause after that they start jamming like no ... buddies ... business. Yes - Close To The Edge In Willow Farm from Supper's Ready after "We watch in reverence as now Narcissus is turned to a flower." around 11:02 that part that goes "A flower?" womp, womp, womp, womp the again with the whistle and door slamming ~12:26. Genesis - Supper's Ready |
Two moments at 0:43-0:44 and 0:52-0:53. They have these four down notes that I just love. First thing I thought of. |
4:59 Chills every time. |
At 2:35:
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https://soundcloud.com/fred-brum/ethereal-rough-mix
At 3:15, the riff hits. It's so invigorating. Heard this track at least 100 times and I'm still not tiring of it. Not something I can say for a lot of songs. |
The guitar part at 0:38 is so simple but so effective. It's basically what got me interested in Can as it was the first song I heard by them and it really grabbed me. |
That part at 0:49 when the verse comes in with the heavy effects makes for a really interesting spaced out effect combined with the beat. |
0:44 - 0:51 |
In Im Abendrot from the Four Last Songs by the 84 year old Richard Strauss, his final work, when he quotes the transfiguration theme from his earlier 'Death and Transiguraton' after the words 'Ist dies etwa der Tod?' (Is this perhaps death?). One of the most moving moments in music: hell, the whole ending is...(really, the whole cycle).
4:19 and on: |
1:53 one of my favorite things ever put to tape
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1:15 |
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