Again, I reiterate that this is why I said last year that one should think, feel and discuss felt music and try to understand the reasons as to why you have chosen this music as your guiding light. It is more than music; it is not even art that attempts to portray certain aspects of life; but rather it is a part of life itself - it is an integral part of each and every one of you.
And yes Tom, Mr. D is very much a lover of the countryside with no affinity for urban areas.
Matt is also correct when he talks about his image of Felt being concentrated on the band personnel and how distant they are from the rest of the world. This ties in with what has been written hiterto about this subject that Simon has asked about. I hoped that someone would at some point inititate discussions, as it is not something that I can keep talking about. I have tried to subtly point the forum in the right direction through subliminal prompts in the hope that someone would pick up on what really matters. Now that they have, please do not lose it; to do so is to lose a part of yourselves.
Keep reading these entries over and over, as they contain important truths. They are not to be read once only.
Very well spoted Tom. This is a curious discussion, because I never put my mind on the subject. In a way, there's the classic style of Maurice and his classical guitar riffs sending us back to the past. But now mix this with a kind of tribal drumming, a primitive and sacred drumming of the timbales (the bass reinforcing this sound).
On the other hand you have Lawrence's lyrics, track names, dark voice and mood with some rural content (I worship the sun, Sunlight bathed the golden glow, etc.), sends us back to Rural Romanticism (Byron)
Felt music doesn't reflect his own time and place (the 80's in Birmingham) and that's why is very difficult to catalogue. In my article on Felt (articles section) I mention coming back from hollidays in Algarve with my friends, crossing Tejo (Tagus) River in the sunset in a VW van and listening to Felt in silence.