Tres Que Quedaron – Agustin Pereyra Lucena
This song, besides being an incredibly good Bossa Nova piece by one of my favorite guitarists, has a very interesting introduction. The intro sounds like a modern Lo-Fi song, yet the album was released in 1988, where Lo-Fi was just emerging, and, based on the rest of his music, wasn’t an inspiration for Agustin Pereyra Lucena. This goes to show how musical styles can evolve independently of each others and how motifs can be used in many different contexts.
A song like this is the quintessential modern guitar song, with programed drums and a guy playing an ultra-modern Strandberg guitar. The clean tones fit nicely within the modern metal influences and overall this song is rather good. More interestingly, is that Richard Henshaw uses a capo on one of the guitar tracks. A capo is generally used to change the key so beginner guitarists can play more songs without having to know barre chords, and should be relatively obsolete for a more advanced player, except in select circumstances. The use of a capo for the more advanced guitarist should either be used to complete composition that would otherwise be impractical to play, or to make the neck feel more cohesive in the composition process, and Yang is a good example the former.
With weird time signatures, this song also fits well into the modern guitar genre, but this song manages to do something that a lot of other songs don’t: feel normal. A lot of times in math rock, the feel can feel unnatural because it’s not in 4/4. This can be used to the composer’s advance (see Animals as Leaders), but can turn listeners away. Sea Dragon, with a main riff being in 29/8, doesn’t sound like it’s in 29/8 to the casual listener. Maybe it’s because I’m more used to other time signatures, but more likely this is an effect of Covet’s talented songwriting.
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