Immediately upon putting them on I couldn’t help but notice how much lighter they are than the Adrenalines. The next thing I noticed is how odd it feels when you do heel strike while walking, as most people normally would, due to the inverted heel.
However, once I started running you could really feel the difference. I could still tell the significant difference in weight but add to that really being able to feel what was going on under foot. While I would imagine running on gravel would be slightly more uncomfortable, it was nice to actually be able to feel what was going on under foot.
Obviously while I am running I can’t see how my foot is pronating. But what I can say is before I made the purchase I had the guy at Pacers throw me on the treadmill and film me so he could show me the angles. While it did correct slightly less than the Adrenalines, I was still well inside the range of what would get recommended for a neutral shoe IF that was my natural gait.
So, overall I would definitely recommend this shoe to someone who over-pronates and is either a) looking for a race shoe or b) wants to foray into a more minimal style of running.
I really like this song, especially the chorus. Again, though, it had to grow on me. The chorus is a little too much like some kind of easy-listening ballad from the 80s or old-school lyrical country or something like that. I can’t quite pin it down but the archetype it evoked for me initially isn’t really to my taste.
One thing that grew on me about the chorus, and that I really like now, is the slightly irregular harmonic rhythm - the slightly delayed, syncopated chord changes on “but I’m not done yet” and “but I don’t regret” in particular are very effective.
The intro is a little bit Paul Simon from the Simon-and-Garfunkel days, but also a little bit early Bruce Cockburn. So… folk rock guitar, basically. I can roll with that.
Now listen, we need to talk about the chord progression in the prechorus. If you want to skip this, the Vocals section is next and it’s labeled in bold.
Reminder if you’re going on that I use roman numerals to name chords (capital for major chords, lower case for minor chords like vi=six i.e. a minor chord starting on the sixth scale degree of the key we’re in, for instance) and when I talk about specific notes I use solfah (i.e. “do, a deer, a female deer” etc.).
Okay. This has been bothering me since I first started listening to this song, and I’ve figured out why and how to fix it. The prechorus (“but I know in my heart / you’re not a constant star” and all other iterations of that chunk of music) uses a deceptive cadence purely for effect and doesn’t do anything functional with it. I really like deceptive cadences (deceptive cadence: when you have a V chord that you think is going to resolve to I and it resolves to something else instead, usually a vi chord). But when you throw one in just for kicks and don’t use it properly, it annoys me. They did the exact same thing in LWWY with “and never, never, never stop for anyone / tonight let’s get some” - deceptive cadence to vi, then reset back to a I chord with no concept of follow-through on the vi. It bugged me there, too.
So how do we fix this? As it stands, our prechorus progression is V-vi-I-V. Now, we have two options here, but I’m including the second one only because maybe you really want a vi chord in there somewhere. I really don’t think you need it. First, though, my ideal solution.
The existing vi happens on “heart”, which, in the melody, is sung on fa. This actually makes it a non-chord tone, because vi is la-do-mi. Do you really want a non-chord tone in your melody on a significant cadence? (APPARENTLY YOU DO IF YOU’RE DEMI LOVATO SINGING HEART ATTACK. no, i’m never letting that go.) Anyway, the easiest way to correct this and even keep your existing bass line is simply to take out mi and turn this sucker into a IV chord in first inversion (meaning that the bass note isn’t the root of the chord but instead the third). So instead of la-do-mi we get la-do-fa (which is an inversion of fa-la-do, your IV chord) and boom, your melody note is incorporated into the harmony as it should be. (i’m not even seriously entertaining the notion that someone deliberately wanted a major seventh on their vi because who does that)
So using a first inversion IV (also written as IV with a superscript 6 which I can’t do so I shorten it to IV^6 instead), our chord progression becomes V-IV^6-I-V and we actually get a nice imperfect plagal cadence in there before we finish on V prepared to go forth into the chorus from the very strongly mobile position of the dominant chord.
That is my preferred solution, because it seems to me to be the closest to what was intended; I think somebody just fucked up and turned what should have been IV^6 into a vi because they weren’t taking inversions into consideration.
The alternate is just to go I-IV-vi-V [EDIT: I fucked up, this should have been V-IV-vi-V, sorry], but it doesn’t have quite the same functional stability as the first option. I’m just including it for the sake of completeness and because maybe you really, really wanted a vi in there.
Niall opening again! Look at him go! I am so impressed with him this album. I’ve been saying his vocal development is the most impressive of the group; as far as demonstrable progress in technique and vocal control he sweeps them all.
Harry’s prechorus of “you’re not a constant star” is excellent for both delivery and lyrics. I think that’s actually my favourite line, despite the wonky progression. ALSO, on the subject of Harry, that falsetto in the chorus? That is him. No, it is. It sounds a little like Liam in the moment, but if you follow the line through, it’s definitely Harry by “and I knew then,” and there’s no phrase break after “fool’s gold.” So chalk this track up as another showcase of the resurgence of Harry’s falsetto. This is really exciting to me but it would be more exciting if I could be confident he’s not going to destroy himself doing this live.
Louis’ solo on “but I know in my heart” sounds like some kind of cowboy situation. The boy is an absolute chameleon. The smallest tweak to his vocal styling catapults him into a completely different genre. It’s fascinating to me. Also I think it’s sexy when his voice breaks like that.
This is a nicely structured song with a lot going for it. I can see some people possibly labeling it boring, but I find it kind of meditative. There’s also a fair amount of variety between sections.
Oh, lyric afterthought: the idea of this song is very similar to the idea of You’re So Damn Hot by OK Go. Both are from the PoV of a dude who knows the person he’s into is using him but doesn’t really care. Very different moods, though. It’s an interesting contrast.