So maybe the PPG came back out sooner than I thought, but at least it was to lay down a faux bass on THE TRACK THAT SHALL NOT BE NAMED. And maybe at this point it might be wise to refer to it as THE TRACK THAT WON'T GO AWAY. Yes it's on its 7 iteration; but there's a reason for that. Which is: pay now, or pay later.
Pay now is: figure out the *general* constructs for this album (which seems more than a stones throw from MTAE) OR pay later: pull out one's teeth when you wonder if what you've done is some sort of living mistake.
Frankly put, it's all wrong until someone tells you otherwise. Or as Flood once said: "One man's meat is another man's snare drum."
The song, as is, has only gotten better by the hour, and is now complete enough in arrangement that we're tracking away (drums/synth/and bass on the helipad). Sound? Modern (whatever that is), with my trusty old drones firing away where needed. Your grandma's SP this a'int.
And that's the rub. Same, same, same or move, move, move. Same is working pretty well for most, so who am I to argue against it? Doesn't stop me though.
As Bloch said, "there's art and then there's kitsch." (I'm paraphrasing)
Art then, mostly, is worthless; if you do the numbers. But that which isn't turns out to be more valuable than any intellectual construct or monkey business (see bearded class smashing hamfisted power chords).
"Wait," says the punter. "You're giving them Joe's to much credit!"
Perhaps. and maybe 'tis true that they like their meat more than I like my synthetic snare drum.