BBBBBE KK_IND -- TOOO-O-0-XXXX MY MIKKATES MISKATES

[IED0DXM%UCLAMVS.BITNET@wiscvm.wisc.edu]

OK, FOLKS. ODODODODODODODONONONONONON44446

OAOAOAOAOCOCOCOCOCSUE, PLEASE LET US KNOW HOW YOU FOUND OUT ALL THIS ST
UFF
ABOUT "SHE'S HAVING A
BAYOD," O.IK.? AND ARE YOU REALLY SURE IT;S BY KATE???*

AND DOUG, WHATEVER THOSE COMPLIACATIONS ARE, (ASND IED
HAS A PRETTY GOOD IDEA), WE ASLL HOPE TO KHRIST YOU
DON'T FORGET ABOU7T YOUR PACK OF L-HS, NOR THE PURPOSE
AND MISSION THAT BROUGHT THEM TOGETHER IN THE FIRST PLACE.
YOUR ABSENCE FROM THE GREAT GREAT KONVERSATION IS SORELY
FELT.
S

PARDON ALL THE TYPOS. IED 'S SCREWED UYP HIS KEYBAOARD
COMMANDS AND EVERYTHING'S COMING OUT FUCKED. HE CAN'T
EVEN PBACKSPA-FUCKING-CE.
S

-- ANDREW MARVICK
S
P.S . IF YOU WROTE IN ABOUT GETTING ON THE LIST, DON'T
WORRY, YOU'RE ON. NEXT UPDATED PRINING PRINTING POSTING
IN A COUPLE OF DAYS.

PERSONALLY IED THINKS IS IT IS SOMETHING OF A RELIEF
THAT MAKE IT OGO AWAY IS GONNA BE POSTPONED. THREERE'S
GETTING TO BE TOO DAMN MUCH EXPOSURE LATELY, DON'T  YOUYI
FOLKS AGREE? ASLOALSO, DESPITE MANY MOMENTS OF ABWSOLUTE
BRILLIANSE IN "BNE KIND TO MY MISTASKES", (APPROPRIATE
TITLE FOR THIS WPOSTING, EH?>) , THE RECORDING IS VERY
CL;EARLY A B-SINDE CLASS RECORD FOR KATE, HAVING BITS
OF "NOT THIS TIME:" , "BURNING BRIDGE", :ETC. IN ITS
PRODUCTION AND GUITAR (RHYUTHM GUITAR) TOUCHES FROM
(OR SIMILAR TO) X4, ECTC. ALSO, KATE ACTUALLY HITYS
A "WRONG" NOTE IN IT, ALTHOUGH BY USING IT AGAIN
(THEREBY MAKING THE WHOLE FPHRASE MORE COMPLEX HARMONICALLY)
SHE ACTUALLY LEGITIMIZES IT. ALTHOGETHER A DIFFERENT
PIECE OF PIE (HUH?) IN THE CORPUS OF KATE'S WORK TO DATE.
SOMETHING IS DIFFERENT ALSO IN THE BACKGROUDN D OF THE
SONG, AND IN THE IMAGERY THE LISTERNER BRINGS TO IT.
THAT IS, THIS TIME WE KNOW THE STORY VERY WELL (EXPECIALLY
THOSE WHO HAVE ALREADY SEEN THE MOVIE), AND THAT
MAKES KATE'S "STORYTELLING" TECHNIQUE TO NARRATIVE
SONGWRITING SEEM MUCH MORE TRANSPARENT THAN IT WOULD
WITHOUT THE MOVIE TO PUT EVERYTHING IN FOCUS (HJA-HA).
WITHOUT THE MOVIE, THE LYRICS TO "BE KIND TO MY MISTAKES"
WOULD SEEM HIGHLY CRYPTIC IN PLACES, AND WOULD SPAWN
THE SAME KIND OF SWPECULATIVE DEBATE THAT RUTH GOT,
FOR INSTANCE. BUT WITH THE MOVIE, IT'S VERY STRAIGHTFORWARD
AND EVEN A LITTLE BLAND , LYRICALLY SPEAKING. "YOUDNON'T
KNOW ME, I DON'T KNOW WYOU," AND LINES LIKE THAT, WHILE
NOT PA BAD OR ANYTHING, ARE PRETTY MINOR. EXCEPT THAT
THAT LINE TURNS OUT TO BE THE EXPLANATION OF THE
REPETITIVE BACKGROUND CHORUS LINE "IT IS THIS THAT
BRINGS US TOGETHER)::", SINCE IT EXPLAINS THAT
IT IS THE FACT THAT THE TWO PEOPLE DON'T KNOW EACH
OTHER THAT BROUGHT THEM TOGETHER IN THE FIRST PLACE.
IT;S ALSO INTERESTING THAT THE SONG FOCUSSES SS SS
ON THE CHARACTERS AND THEIR PRIVATE THOUGHTS ABOUT
THEIR RELATIONSHIP EXCLUSIVELY, AND DOESN'T EVEN
HIUNB (TRY AGAIN) HIND (NOT YET) HINT (THERE) AT
THE EXOTIC ISLAND-LOCALE EVEN FROM A MUSICAL STANDFPOINT
LET ALONE IN THE LYRICS. THIS SHOWS YOU CLEARLY WHERE
KATE IS GOING IINTELLECTUALLY. HER RECENT TALK ABOUT
HUMAN RELATIONSHIPS BEING HER MAIN CONCERN IS
EXPOSESD QUITE PLAINLY IN THIS SONG.

ALSO, THE STURRUCTIURE OF THE SONG IS VERY MUCH
LIKE THAT OF "NOT THIS TIME"  EXPSPECIALLY IN THE
LAST MINUTE, WHEN THE FRAMEWHORK MORE OR LESS
DISINTEGRATES BEFORE THE LISTENER'S EARS. THERE
IS THE SAME KIND OF STRANGELY BASRE  BARE, AUSTERE
PIANO CHORD-SEUQUECNE IN THE CODA OF THE NEW SONG
THAT DISTINGUISHED THE END OF "NOT THIS TIME", AND
WHICH IS REALLY VERY BIZARRE. IT SMAKES THE SONG
SPOUND AS THOUGH IT'S SEARCHING FOR A CHORD TO
NEND THE RTRACK WITH, BUT JUST CAN
'T SEEM TO RESOLVE THE PROBLEM PROPERLY. AND THERE'S
A BUNCH OF STRANGE FAIRLIGHT VOCAL GOINGS-ON AT THE
FADE-OUT, COUPLED WITH SOME ODD DELAY/CHANNERL-SCREW0UP
OF THE DRUMS THERE, AS WELL, WHICH CONTRIBUTE TO THE
":WORK-IN=PROGRESS_" SOUND OF THE TREACK. AND OF COURSE
THE DRUM-KIT SOUND THROUGHOUT THE SONG IS UNUSUAL FOR
IKATE, IN THAT IT SOUNDS ALMOST GARAGE-LIKE (NOT AT ALL
IN AN INDUSTRIAL OR HEAVY SENSE, BUT AS THOUGH CHEAP
TRAP-DRUMS WERE BERING USED). ALL CLEARLY DIELIBERATE,
BUT ODD A LEXTREME, NE'SSSSS;TLEPAS? ANYWAY IED SUPPOSES
YOU CAN SEE THAT HE;'S GOT MIXED FEELINGS ABOUT THE SONG --
IT;S NOT THAT IT ISN'T A VERY FINE AND UNUSUAL PEICEIECE OF
WORK -- THERE ARE LOTS OF TURNS OF PHRASE (THE WHOLE
SCENTRAL BRIDGE SECTION, WITH THE LONG PHRASE "THERE ARE
SECRETS TOO DARK TO LET OUT,,...TO LET GO OF...TO GET OVER-R-R-R-")
THAT ARE UNIQUELY KATIAN AND UTTERLY WORLDS AHEAD OF
ANYONE ELSE IN POP SONGWRITING TODAY. BZVAND THERE
RE ARE ALSO SOME REMARKABLE INSTURUMENTAL TOUCHES
TOO, ALSO, TOO, SUCH AS THE ULTRA0-MINIMAL (MINIMALIST)
GUITAR FILLS IN THE LAST INSTRUMENTAL PASSAGE BEFORE
THE CODA SECTION , THE COMBINATION OF THE GRHYTHIMM GUITAR
FIGURE WITH THE FRETLESS BASS FIGURE (EXTREMELY BEARUTIFYUL
PLAYING BY DEL ON THIS TRACK), AND THE WIEIRD "EYEE-AYY-OOO-AYY-OO-O"S
OR WHATEVER BY KATE'S BACKGROUND CHORUS IN THE VERY LAST
PART OF THE CODA.

NO, IT;S JUST THAT KATE WAS OBVIOUSLY WORKING QUICKLY ON
THIS RECORD, AS ON MOST OR ALL OF THE B-SIDES, AND EVEN
ON EXPERIMENT IV, THOUGH THE USE OF SYNTHETIC RHYTHMS IN
X34 AND THE PRECISION OF HER SINGING, BPLUS A FEW PRODUCTION
TOUCHES GIVE THAT TRACK AN A-SIDE SHEEN. AND QUICKLY IS
A WORD KATE'S BEST WORK HASN'T HERETOFGORE BEEN ASSOCIATED WITH.
THE RESLULTS ARE VERY FINE, BUT LESS THAN QGROUND-BREAKING.
ANBD WORKING WQUICKLY IS A TEMPTATION. IED WOULD PERSONALLY
LIKE TO SEE A GOOD EIGHTEENT TO TWENTY-FOIUR MONTHS GO BY
BEFOERE THE NEXT STUDIO LP APPEARS.
S
LET'S HOPE KATE FEELS THAT WAY, TOO...

-- ANDREW
S
PPS THIS READS SORT OF LIKE A VIDEO MAX H. HUH?
SORRY.
S

,,,,,,.SA
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