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Man Machine Poem (the album)

Just noticed that Gord quotes Bruce McCulloch during In Sarnia, from his book "Let's Start a Riot".

Remember, the love you are given will pour right through you, if you don't know who you are."

For those of you who are Kids in the Hall fans, or just fans of Bruce in general, I highly recommend reading that book. It's a terrific read.
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Hmmm...got the album tonight and gave it two listens; I don't think I've ever been so angry about an album after the first listen before. I really hated it. But I knew I had to listen to it more, and put on my good headphones, pulled out the liner notes and read the lyrics along with each song. I've warmed up to it a bit, but I still think it's the worst album they have put out in a long time, perhaps ever. I'm really struggling to connect to any of the songs - there are few if any hooks, everything is atmospheric at the expense of the solid, rocking rhythm they are famous for, and the songs are dominated by "drum and bass" style production and arrangement at the expense of the dual guitar sound that makes the band what it is.

There are only three songs that grab me at all, "World Possessed...", "Here, In the Dark" and "Machine", although all three leave something to be desired. When I first heard "Possessed", I didn't care for it much; after a few more listens it grew on me, and I like the song now, but it's dying for an anthemic, massive ending - with Johnny Fay pounding away on his kit, while the rest of the boys rock out - however, it just fizzles out instead. "Here, In the Dark" has a really cool grove, but it seems a little "schizophrenic" to me at times. "Machine" is cool, but again, it could have been epic and settles for something less. It is as though they got caught up trying to be "hip", with lots of weird, random, computer generated sounds and effects, at the expense of solid writing and arranging. There aren't any other songs that speak to me at all, at least at this point in time, unfortunately.

I'm curious to see how they treat these songs live; I think "Possessed" and "Machine" could be epic, but the rest of the album seems to be so dependent on things outside of the band to make them what they are it will be difficult for them to reproduce it in front of an audience. I'm guessing that Kevin Drew and Dave Hamelin had a heavy hand in this, and I really think they should have kept their hands off.

Also, there isn't any remarkable musical performance from the band members, it's just all these little parts thrown together, mixed in with a bunch of sound effects. It's in stark contrast to the band's work with Bob Rock; I've been listening to WATS a lot lately (oddly enough, an album that I didn't fully appreciate when it first came out), and while the complaints about the over-production are merited, Bob got amazing performances from each of the members. Gord's best singing can be found on that album - "Honey, Please" in particular - and Johnny Fay was a beast on the drums, with some great guitar work from Robbie Baker. MMP seems like the exact opposite. There is nothing that excites me performance wise on this album; it feels mundane, and boring. I hope that the rest of the album grows on me like "Possessed" has, but even then, I don't think it stands up very well to the rest of their discography. I remember when I heard "Tired as F..." and hoping that the rest of the album wasn't like those first two singles, however, it seems as though my worst fears have been realized. I hope we get at least one more album after this, so they can hopefully move in a different direction, where the strengths of the band are highlighted, not put in a time-out in the corner.

And if you think I'm pinning for "the good old days" of UPT and Road Apples - and while I certainly love me some good rock tunes - my favourite HIp songs are some of their more "off the beaten path" types..."Dark Canuck" would probably be my #1, "Escape @ Hand" (obviously), "New Maybe", "No Threat" and "Morning Moon" all rank highly for me as well. I just can't help to think that the band has been neutered on this record. Sad
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Some of the people on this forum talking about a new album/ep/whatever need to appreciate what we've been given. Gord is dying and y'all are like "oh, they've got lots of half-finished b-sides from this album, get that man in a recording studio because I need more Hip!"

The man is already spending most of his last months touring instead of being with his family: that's WAY more than 99% of bands reeling from news like this would do. You just got a new album and it's great, maybe listen to it instead of being greedy about how a guy with a brain tumor should be spending his time. Goddamn.

If we get anything from the Hip after this (that's a big if), it'll probably be some "That Night in Toronto"-esque CD/DVD from this tour.
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I'm afraid people are giving a bit of a free pass to the album due to the circumstances. It's growing on me with more listens, and I appreciate them not being afraid to experiment, but what criticisms I have, I feel like I have to keep quiet or I'll be tarred and feathered.

Edit: In Sarnia is the weakest on the album. Come at me. :lol:

Across The Causeway '04 | Big Music Fest '08 | Kingston '09 | Bobcaygeon '11 | Cobourg '13 | Bluesfest '13 | Danforth Music Hall '15 | Kingston '15 | Bluesfest '15 | Toronto I '16 | Toronto II '16 | Toronto III '16 | Hamilton '16 | Ottawa '16 | Kingston '16
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carebread Wrote:Edit: In Sarnia is the weakest on the album. Come at me. :lol:


You know, I agree with this. Maybe it's b/c I'm American and feel no real connection to 'Sarnia', but it's a very skippable track sandwiched between two of the best songs on the album.

I'm not a big fan of that, Tired as Fuck or Great Soul (the last one is growing on me, though). The rest of the album is dynamite.
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Escape@Hand Wrote:I've warmed up to it a bit, but I still think it's the worst album they have put out in a long time, perhaps ever. I'm really struggling to connect to any of the songs - there are few if any hooks, everything is atmospheric at the expense of the solid, rocking rhythm they are famous for, and the songs are dominated by "drum and bass" style production and arrangement at the expense of the dual guitar sound that makes the band what it is.

Some people might rag on you for this but you are entitled to your opinion if it is honest and what you feel. Personally I Love this album but that doesn't mean it is for everyone. It is as far removed from a hip album as there has ever been, though If I had to describe it in the context of Hip songs it would be kind of like the love child from a three-way between Sharks, Sherpa and Now For Plan A. It is without a doubt an album that shows the influence/impact of Kevin Drew / Broken Social Scene in the gated drums, reverb, atmospheric texturing. More so than any other album of theirs to date. Not everyone is a fan of BSS but I for one think You Forgot It In People is one of the best albums ever crafted so this album is right up my alley. I'd say give it time - I think this is an album that you may love or hate out of the gate but I think it is one that will definitely expose its beauty and subtleties with time and repeated plays. It is not immediate for sure - check out the BSS album for comparison. Anyway I hope you end up loving this album in the end cause I think it is a work of art and a subtle beautiful creation

[youtube]GZh9D2nTB24[/youtube]
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Summiteer Wrote:Anyone in the greater Edmonton area know where they are selling the Vinyl? I have a friend adventuring down this weekend...


I bought mine at Freecloud Records.

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Here, in the dark has a real hold steady vibe to it. And I love it.
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I bought my physical copy at--wait for it--the Toronto Symphony Orchestra gift shop, because where else would I have bought it? Went last night for their annual late-night concert. Tickets cost $10 and the second part was a symphony written and performed by Mr. Mike Mills of REM.

Oh, and the album's really frigging awesome and listen #2 >>>>> listen #1.
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I found the white vinyl at a local record store! Love the scrawled liner notes. Very cool. I have a thing for handwriting. I also picked up Fully, Completely on vinyl as well Big Grin


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Cheapies in Hamilton still has a few of the white vinyl, plus I grabbed the second to last poster this morning.

After listening to the album for two days, I can say that this album is really growing. I woke up this morning with a couple different songs in my head and had to go listen immediately. Love the direction and subtleness of everything. I feel like the lack of any standout guitar solos could maybe be intentional as a jump off point for the live versions. My only wish is that this was a 12-14 song album, but I won't get greedy.

The liner notes are awesome - I love the scrawled and edited lyrics, so cool to look into Gord's revision and brainstorming process. Not sure if it's been mentioned, but In Sarnia was originally going to be Insomnia. Completely changes the meaning.

If you're not digging the album, don't worry, don't judge. Throw it on in the background and go about your business. It will grow.
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Is there such a thing as black vinyl for this?

Also, this is the trippiest Hip album since M@W.

2004-12-03 - Saint John/2005-09-03 - Moncton/2006-06-30 - Charlottetown/2006-11-09/10 - Montreal/2007-09-11 - Fredericton/2007-09-13 - Halifax/2007-09-14 - Sydney/2007-09-15 - Charlottetown/2008-06-30 - Charlottetown/2009-05-01/02 - Montreal/2011-06-28 - Moncton/2011-06-30 - Charlottetown/2012-06-30 - Niagara-on-the-Lake/2013-02-01 - Moncton/2013-02-02 - Halifax/2015-01-10 - Toronto/2015-02-20 - Montreal/2015-07-17 - Ottawa/2016-08-18 - Ottawa/2016-08-20 - Kingston
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sean.bonner Wrote:Is there such a thing as black vinyl for this?

You know what, I'm not even sure. For some reason I assumed the white was a limited run.
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The white vinyl looks so sharp. Totally fits this album
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Only had time to listen to the album once so far but nothing grabs me yet except for a couple songs, which is a good thing. DFN gave me the same initial reaction. Typically if I hear a song / album for the first time and love it, it burns out pretty fast. If it takes me a dozen listens to finally "get" it, then it continues to grow on me and I keep noticing more and more intricacies, again, like with the songs on DFN.
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