Yeah, I liked those initial voice harmonies, I was thinking: yeah, they can take this somewhere, but then the beat thudded in.  Sounds to me like they used some muck-around-with-the-voice tech. in there; when the drums came in I thought, "I wonder how this would sound...in seven".  But I admit I have a clunky-drummer nerve; same thing I got with U2 way back, and then with Radiohead--the music was interesting (for me), but the beats--oh so clunky!

It's not something I can explain though--but it could have something to do with lateness--or even just thumping the beat on the beat, not much movement around it.  I'd compare it to the drummer playing Shoreline 7/4 in the Part III diary, who--for my ears--gave that lovely rush--and I have to say, watching the jazz trios and quartets, the sounds of those kits in the late fifties early sixties--

But a triple-gah because that's a discussion for the other diary!  All the various elements come together in my head, start with one thread, keep following and soon enough I jump threads somehow--

Any theories about that four beat?  Listening to that piece again, there's a lot of musical ability being squashed by that...clumpiness.  Thing is, when other pop songs do muck about with the internals I still get that overall sense of clump rather than dance.  (While I've been noticing that dance tracks which I presume--it's been a while--are specifically designed for audiences that dance go for the two--oom pah oom pah.  Boom chit boom chit, or even just the boom boom, boom boom.  Do fiendish wizards have theories about these four beats that they apply because in order to do X (sell product, I suppose)...for some reason the clumpy-four....turns minds to thoughts of consumption?

Or maybe it's just me ~:)

Don't fight forces, use them R. Buckminster Fuller.