speaking of songs with compositional issues

Obā-san

can anyone tell me what on earth is going on here?

Obā-san

really, someone desperately needed to sit down in protools and edit about a minute worth of stuff out of this

trim the bloated choruses (wow they run that hook into the ground super hard), get fred to rewrite his first part to be a tad shorter

Obā-san

ive listened to this song upwards of 20 times trying to figure out what needs to go

Alduin

Today is Tomorrow said:

ive listened to this song upwards of 20 times

You're a brave man.

Imipolex G

"Limp Bizkit ft. Lil Wayne"

nope

Obā-san

i knew nobody would actually discuss this with me

a shame

sunn wolf

it sounds so bloated because there's this really overly complex structure, so there's like a chorus, a verse, what sounds like a lil break towards the end of the verse, a pre-chorus, and a post-chorus, and the problem lies in that instrumentally everything except the chorus sounds exactly the same and the only structuring to it is in the vocals. my guess is wes borland came up with that widdly guitar bit and the fairly cool drum break underneath it and the band liked it so much they decided to run it into the fucking ground

Obā-san

that was also my guess

i actually really like the widdly guitar bit?

sunn wolf

cut the 'we ready to go, we ready to go, we ready to go', cut the pre-chorus as well, just carry on with the more basic sounding verse without going into the widdly guitar bit for the millionth time, and you would have... well you would still have a limp bizkit song with lil wayne in it

sunn wolf

Today is Tomorrow said:

that was also my guess

i actually really like the widdly guitar bit?

it's rhythmically interesting but it's the kind of thing you would put in a song maybe once or twice to add a little flair and they just do it over and over and over

Obā-san

I do like the idea of making something that would otherwise be a small flourish into a central part of a song, but yeah definitely not arguing with you there