Knowing that the Wilco concert doesn’t necessarily need new favorites, Tweedy’s priorities seem to have shifted towards the music that sounds best in the concert hall and that can be transferred to intimate listening at home or on headphones, allowing for more possibilities. But music communicates more with melodies and phrases, and the abstract language of Poor Places or Company in the Back goes beyond Tweedy, who in Odessa’s One and a Half Stars simply says, “I just have a desire to change. “Usually an album is like a push between a desire to communicate and a desire to be taken away, as if you wanted to speak with all your heart, but with caution, to whom he was ready to trust. Ode to Joy” by Wilco is tough, gentle and surprisingly straight, and she has nothing to envy from Wilco’s classic and ambitious era, but Jeff Tweedy and his team feel comfortable in their skeletal environment. Wilco, from left to right: Nels Kline, Glen Kotche, Jeff Tweedy, Michael Jorgensen, Pat Sanson, John Stirratt. Given the two recordings of Mermaid Avenue recorded by the band together with Billy Bragg, or the three albums that composer Jeff Tweedy has released on his name, or the constant stream of official live recordings, these songs are becoming less and less important. The heavy atmosp isn’t new – the fusion of noise art and the handset was an innovation that made the band’s reputation at the beginning of the 21st century, but it could be Wilco’s album, w the atmosp and sensations became the main advantages. And so it is: the curse of a work like Wilco’s, which is never bad and sometimes absolutely brilliant, is that the perfect material that can be the culmination of another collective catalogue seems small or accessible along with such a wonderful and cultural value as the Yankee Foxtrot Hotel. Without the subtle tension of the teak rhythm and piano part, which seems too early to explode in a moment of impatience, the music of White Wooden Crosses would probably be too soft and beautiful to match the exhausted existentialism of words. The opening of “Bright Leaves” opens the scene after the winter storm, when Tweedy sings to find the keys he lost in the snow after the weather began to pour. And Tweedy seemed to be well aware of this phenomenon in the design of Ode an der Freude, whose emphasis on texture and tension somewhat undermines the “old” aspects of his writing, emphasizing the fatigue of the lyrics of his song. Tweedy’s and Tom Schick’s recordings are of skeletal quality, careless and free, the voice and guitar of Tweedy between them and other instruments that fill the structure and atmosp around them. Wilco is a band of six musicians, but these songs rarely sound like six people at a time. Although other songs are not directly related to the weather, the atmosp remains the same: the main guitar lines resemble broken branches and branches, percussion blows like boots on ice, and remote piano tones, colliding with each other, soar like a cold breeze.
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