Originally Posted by scott v
I see the point being made here and agree, IMO it has some to do with the guitar tuning Thurston is using (CGDGCD) which has been probably his most used guitar tuning since 2004-ish and the fact that James Sedwards is playing in the same tuning and both of them are doing fair number of sections where riffs are matching or doubled. In SY Lee and Thurston would often not be in the same tuning starting from the 90's thru the end of 2009. So the tonal scope of the songs appeared wider.
I get the feeling that these songs are Thurston's and he has a very specific sound and idea of how the parts should sound, though I'm guessing James is having freedom on the soloing as that is not Thurston's technical forte.
That's what seperate's this band from SY/Chelsea Light Moving in that James conjours up soloing that's based off of rather conventional blues rock sounding scales. Even with all of that its still interesting to me.
Oh, yeah. Right. Not that I knew this stuff about the turnings intuitively (I didn't) but this certainly makes sense.
I think Phsychic Hearts
, much as I love it, suffered a bit from the same issues. Sounding a bit like an SY layer cake with a few layers looped off. That album has a lot of sonic similarities to the more Thurston-y songs on Washing Machine
, like "Junkie's Promise," but it lacked the added dimensions that came from the other members.
Back then, it was certainly more excusable. Early John Lennon albums sound an awful lot like Lennon's roughest Beatles tracks, severed from the rainbow of color that the band made when they recorded together (mixing metaphors, sorry). But at this point, is really be thrilled to hear solo offerings that were just totally different. Especially from Thurston, who seems to be the least adventurous SY-er in his proper studio albums.